ST piers et aa ee: = gentasw et Sei - WOR ne Stes seer ate oe Peel toca crn tency oGalemnsety ary, r Aaa esr te ara aot np Ba oer es eter soni Podirarl snes. tere fdebean esTao ececie et ty Z 3 tere ere es eS ane (Seecrem eerie iaeats aatree Late eels es este ee esi te Larsen Pte et sete Coetelars Pra eel po se ee . =. dy fiir len erie re 3 ; Th triiee : ra roaphe ete abies Pest | a pers ae Biase . ite : rs E a oi = eae vil tea te rar teins foe {ie vir ne ebat eet r i Hs a MS ' Siete : Sere neyo stron , Eta Reece aI = S we 7 rer . oa a } Rew Pork HState College of Agriculture At Cornell Aniversitp Sthaca, M2. D. Librarp | Cornell University Library | TT 185.W94 | { TT, 3 1924 003 588 542 nm PROBLEMS IN WOODWORK OTHER BOOKS BY MR. WORST Foot-Power Loom Weaving Industrial Work for the Middle Grades Construction Work for the Primary Grades How to Weave Linens Coping Saw Work for Elementary Manual Training New Problems in Woodwork Problems in Woodwork EDWARD F. WORST Supervisor of Elementary Manual Training and Construction Work Chicago, Illinois SECOND EDITION — ENLARGED THE BRUCE PUBLISHING COMPANY Milwaukee, Wisconsin INTRODUCTION Ke5==4) HIS manual is designed as a guide to manual training teachers who believe that the object of G) Th education is the development of the child morally and mentally rather than the acquisition (CE of skill, which so often is made the dominant feature in manual training. Not that the train- : = ing to acquire skill should be neglected, but it should not be fostered at the expense of the child’s broad understanding of nature and nature’s laws. ? _No set of models can express the manual training idea, nor can any definite course of work be applicable to all the diverse conditions to be met with in one city, or even in one school; consequently, the exercises are arranged merely as a basis from which to work. fe The fact that a variety of materials is used aids in bringing the work into closer relation with that of the grade teacher. This relationship tends to instill life into the work of the shop, which should be considered as a school laboratory where the work of the classroom is to be more fully developed. The emphasis placed on the combination of materials gives a broader view of the subject of man- ual training. It broadens the child’s horizon so that he is capable of appreciating the unusual rather than the more commonplace problems so often imposed on pupils of manual training. The problems suggested are presented in such a way that the trained teacher will have no difficulty to understand their construction. The fact that so much detail is omitted gives the teacher an opportunity to present the detailed operations in his own way, thus making the work more individual. EDWARD F. WORST. Chicago, December 17, 1917. Table of Contents Chapter I Page PROBLEMS IN WOODWORK—The Squaring Up Process— Solitaire Game—Nine Men Morris—Chip Carving—Sta- tionery Holders—Bird Houses—Tabourets—Shoe Polish- ing Stand—Plant Rack—Costumer——Telephone Table and roe Table—Writing Desk—Miscellaneous Prob- OMS 2: Shoe gd 2 eet «hay eee Ss ass a dale eaaes are Gitaum ape) e ahealeis cea zodehe cies 7-53 Chapter II ELECTRIC LAMPS—Parchment Lamp Shades—Shapes and Sizes of Shades—Cutting the Shade—Fitting the Rings— Painting the Shade—Designs for Decoration of Shades—- Electric Lamp—Floor Lamp...................22 ee ee eee 54-65 Chapter III METAL AND WOOD—Designs for Hinge Tails, Escutcheons and Draw Pulls—Problems................ 02 sees ee eens 66-74 Chapter IV ASH SPLINT WORK—Trays and Baskets—Cutting Gauge— Cutting Splints—Making a Small Tray—Circular Basket or Tray—Making a Cover—Combination of Wood and Splints—Making a Screen—Problems.................6. 75-110 Chapter V CANE WEAVING—Origin and Use of Cane—Making a Fern- ery—Steps in Six-Step Caning—Binding—Trimming— Four-Step Caning—Problems—Caning an Old Chair..... 111-147 Chapter VI RUSH SEATING—Varieties and Sources of Materials—Method of Wrapping—Splicing Cord—Splicing and Twisting Rush Page —Stuffing Rush Seats—Placing Frames—Wrapping a Rectangular Seat—Treatment of Irregular Shaped Seats— Problems. <6 svs4c54Wsota tama eee aueee Reeteaae es Roe ds 148-161 Chapter VII HICKORY SPLINTS—The Splints—Making a Bending Form— Fitting Tenons—Weaving—Problems ............0200005 162-170 Chapter VIII UPHOLSTERING—Simple Methods—Upholstering Chair Seats —Making Upholstered Cushions................000ceeee 171-177 Chapter IX ROUND AND FLAT REED WEAVING — Single, Double, Triple and Quadruple Weaving—Making Mats—Splitting Spokes—Beginning the Weave—Tension—Overcasting— Constructing Borders—Pairing Weaves—Making Closed Borders—Miscellaneous Mats—Weaving Baskets—Shaping Baskets—Finishing the Top—Various Small Baskets— Alternate Method of Beginning a Basket—Large Baskets— Handles—Covering Pottery Forms—Covered Sandwich Plate—Covered Vase and Bowl—Melon Shaped Basket— Reed and Wood—Serving Tray—Foot Stools—Fern Stand —Sewing Stands. 2. cc. sc4 sine ve avai aw bodes Sees ee sau ean 178-218 Chapter X TEXTILES AND WOOD—Foot Stool—Waste Basket—Screens —Danish and Swedish Looms..................00c0ceee 219-235 Appendix LUMBER PRICE TABLES.............cccec eee cececeeeces 237-241 Problems in Woodwork CHAPTER I The Squaring Up Process The first step in squaring up a piece of stock, is to get something to work from and that is usually a face, or the broadest and longest surface, of the piece of stock. If the piece of stock has been sur- faced by machine all that is necessary to do is to take a few fine shavings off the face so that the planer marks may be removed. If this is done care- fully and the board has not previously been warped, this is all that is necessary to get the face level. Mark this face with an “x.” It is a wise plan not to give a beginner a warped or twisted piece of stock. The second step is to plane an edge level and square with the face just planed. Mark this edge “x.” The third step is to plane an end square with both the face and edge marked “x.” The fourth step is to mark the length with a rule, knife, and try square, and saw off all surplus stock Yg in. from this line. Then plane down to this line and square with both the face and edge marked ‘‘x.” The fifth step is to gauge the width from the edge marked “x” and plane the other edge down to this line square with both the face and the ends marked “x.” The last step is to gauge the thickness from the face marked “x” and plane the other face down to these gauged lines square with all edges and ends. Discourage the use of the pencil. Solitaire This game, as shown in No. 1, Fig. 3, is played by one person. Place 32 pegs on sticks, one in each hole, leaving the center hole “A” vacant. Then jump over any peg into an empty hole. Take away the peg which has been jumped. Repeat this operation until but one peg remains. The last jump must land the final peg in hole “A.” Any peg may do jumping. Jump in a straight line only backward and 8 PROBLEMS IN WOODWORK forward and right and left. The jump must be over one peg only into an empty hole. All jumps must be made in one straight line. Nine Men Morris This game as shown in No. 2, Fig. 3, is played by two persons. Each player has nine pegs. Player A puts a peg in any hole, then player B puts one in any other hole. They alternate turns. Each tries to get as many rows of three as he can, and also to spoil as many of his opponent’s rows as he can. The pegs when once set cannot be moved around. The rows may be either vertical, horizontal or on the slant. The one having the most rows of three wins the game. a Hole pa OLE — = : i z ZL WZ Ss \ | Jl i: I" BRE AD BOARD Fig. 1—Working Drawing of Bread Board (Sixth Grade) 10 >: —: CAKE BOARDS Fig. 2—Working Drawing of Cake Boards (Sixth Grade) 11 i. Lo ae to Lt. das soy me Y bt YY var Doma WVo ty WY hy Y N? 2 -u alt VY van VY a VY Y WY hy WY WYWY o—— GAME BOARDS | eT ct he Pee = ee N\ Me vi oy VY O ah OY ak OH mh Oa av DOP oa yy DD. a vm A wb TD WDD . : DA A Hn wv ad TP aa as ' ‘ + oH an. ? WW 4.4 7 pee Les F-[-3 |. -|-4 ae TOM t oO ot alt alt Nel a_. Vo a GTS 3 YS Yann YQ VY ao yany YY VY VY SN “WD WY QV fy WY ay ia fh -4 YO Y D- M WY 1H a ab WY ' b YY 4 7 | ii et ty eo is | RB \WL i bol a & ® Dy . Wm a WY WYN ' ' i alt i 6 a a ~ € ry 4 p- WN DY - WY ©, alt ' © 2 Mm Hh -p DM-a- a -D- O-D oe WY = See € ce a” oe cc € -|t 1 ‘ i: ' ts ‘ t rn € = e -lq ; Dh, WO yp Zs 4 -- D Ce ee yp. Es Nh ty WY 7 “NTT aly MW Mm-a VW YV 7 -O O Fig. 3—Working Drawing of Game Boards (Sixth Grade) Alt holes are & indiameter and & deep. 12 ED Se MK 3 Hole Ie EC es Z + = i } — Lt me CLOTHES LINE WINDER Fig. 4—Working Drawing for Clothes Line Winder (Sixth Grade) 8 7 Cp : ara | | ° | tt F . vt 0 Clay Ink Well to fit Stand X i / v ap-—*« 3 art “ul a) Clay Ink Well to fit Stand a alt Le 2 —j.! 2! 2 a ret jer T Fez o \ 7 pace fo doy U0 4684 03 spow N 4 x 7 Dies) 241m 4940 AINE 2Q 0) aPeYC % ’ Fig. 53—Electric Lamp ELECTRIC LAMPS Fig. 55—Floor Lamp 63 64 (epeiy WISI) durey Joojy jo Surmeiq BurppIoMA—+yG “31 daANVT MOOTSL -+—___—— es —_—____-] pater Le] ieee es i | a_i a : bea = ; ® ad ee, oe f{——$—1 EN 7x f f° O% ge 2 \ i \ / * / X oe \ Z ‘ / \ a / \ / \ $ it ~ pat \ ef Z . \ iH oahoaor | lal tees q E } M \FL_-Ef -Fq4 x 7 \ / Ne / 5 i / \ . / \ / Ni 7 \ / \ l \ ’ / Ye \ \ va ——} ___»’ eS = qe ae Spo ree eS] | ! 1 1 1 ' 1 1 is awa iec a ! a aa a we we Ss / 2 is 3, - a N \ 7 7 _ X 47 “7 RN fo 2 mH Let ss —< } elas st Chek E BL9 THE FLOOR LAMP 65 The Floor Lamp Since the floor lamp has become a part of the furnishings of the home, we have designed a very simple and inexpensive one, as shown in Fig. 55, which was made from the working drawing shown in Fig. 54, and which any eighth-grade boy can make very easily. The post tapers from 214 in. at the base to 1144 in. at the top. It is fastened into the base with a through mortise and tenon joint, and wedged. The braces are then fastened on and, not only do they make the lamp more artistic, but they also make it more solid. The shade is made of strawboard, and is lined with an inexpensive fabric. A pattern of the sides must first be made, and then the sides may be cut. They are pasted together with strips of bookbinders’ cloth, and they are then pasted or tacked to the blocks of wood at the top of the shade, as shown in the drawing. A 1% in. hole is bored in the under side of this block, and a dowel pin is glued into it. A corresponding hole is bored in the center of the top of the post. This is all that is necessary to do to hold the shade on the lamp. The sockets are placed about 6 in. from the top of the post, and any device may be used to fasten them to it. CHAPTER III Metal and Wood Most teachers of manual training are agreed that flat metal work as a means of decoration has a legitimate place in the shops. The meager equip- ment required to carry on the work places it within the reach of every shop in charge of teachers who wish to do the work. Through the introduction of metal, opportunity is given the boy to work in another medium, thus broadening his experience. Among the problems which suggest themselves as being practical are tail hinges, drawer pulls, tray handles, escutcheons, plates for sconces, and an occasional shallow tray to be used with the umbrella rack as shown in Fig. 65, and the smoking stand, Fig. 62 and Fig. 63. The material and its use create a real necessity for work in design, which should be of vital interest to every teacher of manual training. In order to design intelligently, it is necessary to know something of the space at our disposal. It is the space which determines whether the applied metal shall be circular, square, or rectangular. 66 When designing, use paper and scissors freely. The cutting leads to better drawing. When the drawing is completed, it is transferred to the metal. To do this, a piece of carbon paper is placed, black surface down, on the metal to be sawed. The design is placed on the carbon paper and traced. A tracing may be made on rice paper and pasted to the metal. The sawing is done with a metal saw, No. 2 or 3. The fact that the boys have had experience with the coping saw greatly simplifies the sawing of metal. With a pair of shears and pliers, a saw frame, a drill, metal saw blades No. 2 and 3, a sawing board, and a small clamp with which the board may be clamped to the edge of the table, and a couple of files, very interesing flat metal work may be done. The trays for umbrella racks require a few blocks which are gauged in such a way as to allow the metal to be shaped in the form of a shallow tray. The exercises suggested in this chapter call for only the most simple work in metal. Hinge Tails To be used inconyunction with Butt Hinges Escutcheons Draw Pulls METAL WORK Fig. 56——Designs for Work in Metal (Eighth Grade) 67 PROBLEMS IN WOODWORK 68 aseg Arsu0NeIS—gg “BIT s30u0dg apueg—¢ ‘31 ( . en Roised Brass Nretector : i ; i, : Oo oO O ® | w -u x =< : Pon Oo Oo Co = f a fo. | x te ied 3 The coe =| - { = Ss SCONCE S. Fig. 59—Working Drawing of Candle Sconces (Seventh Grade) 69 70 STATIONERY CASE, Fig. 60—Working Drawing of Stationery Case (Seventh Grade) Bap ot [ ie Sate: P97 ct it = ie Tose os ! | I \ ! ! : | i ! f | eee cat ee ea ao Yoy 7 9 as Oe L Ie Hp aye oe | Dose SMOKING STAND Fig. 61—Working Drawing of Smoking Stand (Eighth Grade) 71 PROBLEMS IN WOODWORK Fig. 63—Smoking Stand Fig. 62—Smoking Stand 73 (@pesy YyIYSIY) purrg Buryourg jo Surmeiq SupjiomM—p9 “S11 GNVLS DNIMOWS se Fox ' eer | ba ee < FE-— ———— 74 (apesy WIYSIA) AVY epferquiy, yo Surmerq SuryioM—s9 “Sta WIV VWTTAYGWNN | } Siseetbies (ema | (eetoeead ok faoes=: Baca — 9 no nay LoI;9N4ySUED OUD, Pus BEIysoL) CHAPTER IV Ash Splint Work Indian splints are the products of oak and black ash, drawn in long, shaving-like bands from logs, with the grain of the wood. Splint is a material very extensively used for basketry by the various Indian tribes living-in the northern and the New England states, and various parts of Canada. Of late it has been used in the manufacture of furniture, in combination with various woods, much the same as willow, cane, pith cane, rushes, and hickory splints. It is a most attractive material used in this way, as it is inexpensive, easily handled, and easily dyed or stained to harmonize with the wood used, and other furnishings of the room in which the finished article is to be placed. It has been found to stand the test of all possible conditions of climate and hard usage of the sun-beaten and fre- quently storm-swept piazzas, the furnace-heated living rooms, the wind-swept seashore, and moun- tain bungalows. The splints, as found in the market, for basketry, trays, and furniture paneling, are in long, shaving- like bands, varying in width from 11, in. to 2 in., and 75 often several yards long. They are furnished in three weights,—thin, medium, and heavy. Mention should be made at the time of purchase as to the weight desired. Very often the three weights are found in a single coil. This is very convenient in basketry, as the three weights are used in different parts of the same basket. In the retail markets of our large cities, the price is often as high as $1.60 per pound, thus making the work prohibitive in elementary schools. On the other hand, when purchased directly from the producer, the price ranges from 30 to 40 cents per pound. The expense of sweet grass, which is much used with splints in basketry, makes its use in most schools prohibitive. A three-strand braid of raffia makes a good substitute. In order to make the braid continuous, begin with strands of different lengths, thus allowing no two to run out at the same time. In adding a new strand, the end of the old strand and the beginning of the new are braided as one. This braiding affords a most pleasing occupation for the pupils who are to construct trays and bas- kets. It may be pursued at home, thus providing occupation for many leisure hours. 76 PROBLEMS IN WOODWORK Trays and Baskets One of the great aims of manual training is to combine judgment, a purely mental function, and execution, a purely physical one. There seems to be no work so suited for com- bining the two from the beginning as basketry. The material varies so in texture that care and judg- ment are required in its manipulation, and so few tools are used that the hand must do all, or a greater part, of the work. In all teaching, the character of the work should be emphasized, rather than the intrinsic value of that which is produced. The aim should be to have work complete in all its parts, as to beauty of design and workmanship, and finished insofar as the com- pleted work coming from the pupil can show his in- tention, and evince careful and diligent work. The teacher should never hurry the different stages of the work faster than the pupils can go. The Cutting Gauge The cutting of splints into desired widths is accomplished by the use of a gauge, as shown in Fig. 66. The little points of steel which do the cutting are simply pieces of discarded watch springs, which may be obtained at any watch repair shop for the asking. The little knife-like projections are filed after being placed. Each teacher should have several gauges for cutting different widths. The distance between the points determines the width of the splint. The most used splints are 14 in., 14 in., and 5¢ in. Cutting the Splints Press one end of the splint down upon the points, allowing enough to extend beyond the edge of the gauge to make it possible for one to pull the splint while the other holds the gauge and guides the splint, Fig. 67~-Two Persons Cutting Splints Fig. 67. This may be done by one person, by hold- ing the gauge and strip in one hand and pulling with the other, Fig 68. Making a Small Tray One of the simplest problems in splint work is the making of a tray. This involves the use of braid- ed raffia. The tray should be 6 in. long, 4 in. wide, and about 114, in. deep when finished. seas ject ome ape MAKING A SMALL TRAY 17 Fig. 68—One Person Cutting Splints Using the gauge, cut strips %g in. wide. Dip the splints into water before cutting. It is not necessary to allow them to soak, as in the case of reed. Cut seven strips, each 10 in. long, and nine strips, each 8 in. long. Lay the 10 in. strips in a horizontal position on the desk, and weave the 8 in. strips across, as shown in Fig. 69. _ A little difficulty may be experienced in weaving the first two strips. To aid in keeping a good shape, blocks of wood are used. The block may be made of soft wood, and squared up by the pupils taking shop work. Blocks of wood might be brought in from carpenter shops or new buildings in the process of construction. Tie the woven bottom to the blocks of wood as shown in Fig 70, allowing the ends to project. The splints, slightly moist, are bent upward around the block, as shown in Fig. 71. It is just possible that the splints will be slightly cracked in the bending. This does not interfere so long as no part falls away. The weaving with braided raffia is now begun and continued until the weaving is as high as the block is thick. In the weaving of reed mats and baskets, it was learned that in order to do continuous weaving,— that is, to weave so the weaver passes under one spoke and over the next, there must be an uneven number of spokes. Each time the weaver passes around the tray or basket, a place is reached where it is necessary for the weaver to pass under two splints. The weaving is then continued, under and over, until the place is reached where it is again necessary for the weaver to pass under two. This happens each time around. When the raffia weaving is finished, one strip of the splint 14 in. wide is woven around the top, as shown in Fig. 71. Allow the end of this strip to weave under and over the same spokes as the begin- ning. This overlapping keeps the two ends together. Each spoke on the outside of the 14 in. strip woven around the top, is cut pointed, as shown in Fig. 72, turned to the inside, and slipped under the weaving. The other spokes are cut away even with the top edge of the tray, as in Fig. 72. a & - oe Figure 66 ~ ~\ ; Fy : : frp M—_] i 6:3 Figure 6&6 Figure 69 a “l= ~ eG SMALL CIRCULAR BASKET OR TRAY 79 To finish the top edge, take another 1, in. strip of the ash and about eight strands of raffia. Place the strip of ash on the inside of the tray along the top edge, the bunch of raffia to the outside, and with a darning needle threaded with raffia, overcast around the top so that the raffia and splints are held in place by the overcasting, as shown in Fig. 73. The needle passes between the spokes. The process, as above described, holds good in all splint work. To Make Small Circular Basket or Tray 1st: With the use of the 1,4 in. gauge, cut a num- ber of strips. 2nd: Cut the 14 in. strips into 12 in. lengths. 3rd: To arrange the strips for weaving, allow two strips to cross, as shown in Fig. 74. Lay a third strip, as shown in Fig. 75. Place the first finger of the left hand at the point where the strips cross; continue to lay the strips until all have been placed (Fig. 76), raising the finger only to allow a strip to be placed. With the right hand, weave a piece of raffia (single strand) around, (Fig. 77), going under and over as previously described. After two or three rounds, the strips hold together and the finger may be removed. In circular weaving, there is an even number of ends. This makes it necessary to allow the weaver to pass under two strips each time around. After weaving around a few times with the single strand, the braided raffia may be introduced. The Indians, in making splint baskets, use forms around which the baskets are woven. Fig. 78 shows a number of forms made in wood. After weaving the bottom of the circular basket, it may be tied to a ciruclar form in wood, as shown in Fig. 79. The weaving may then be continued in either the braided raffia, or a narrow splint may be used for the weaver. In making small circular baskets, the Prang drawing blocks may be used. The top of the basket is finished by weaving around twice, using the splint, as shown in the finished basket in Fig. 79. In binding the top, a strip of the heaviest ash, 14 in. wide, is placed at the top on the inside; and instead of overcasting with raffia, as in the tray, a strip 14 in. wide of the light- est weight ash is used. No needle is required. The overcasting is done by running the 1 in. strip be- tween the spokes and over the top. This is plainly shown in the finished basket, Fig. 79. Fig. 80 shows a couple of work baskets, one woven in sweet grass and the other in braiced raffia. The basket shown in Fig. 79 is woven of braided rush, with a foundation of ash splints, 80 [a] 5) \ \ ; A 8 Toe TT it Ly, LL 9] Figure 73 N Q | Figure 76 Figure 74 Figure 75 Figure, 83 MAKING A COVER 81 To Make a Cover Proceed as when making a basket. When the weaving has reached a diameter sufficient to cover the opening in the basket, remove it from the block and tie it to the top of the basket. The cover is finished by bending the spokes downward on the outside of the basket, and the weaving is completed. In this way the cover is bound to fit the basket. The cover of the basket is finished the same as the top of the tray. Figs. 80 and 81. Baskets the size of those shown in Fig. 80 should have foundation spokes from 1% in. to 5 in. in width. Fig. 77—Weaving Single Strand Fig. 81 shows other interesting forms of baskets, hair receivers, hairpin holders, ete. In order that a greater number of spokes may be used as the foundation for a basket, they are often cut as shown in Fig. 82. This is done by moistening the splint, folding it into halves, and then cutting it with scissors. The spokes are then crossed, as shown in Fig. 83, and the weaving done the same as above described and shown in Figs. 77 and 79. ) Hig: Seeawradaen REAGZ Fig. 79—Finished Basket, Roll of Splint, Basket Tied to Form Fig. 84 shows two interesting work baskets, one made of sweet grass and splint, and the other of raffia and splint. Combination of Wood and Splints Wood alone is not sufficient for a course in ele- mentary manual training. Under proper guidance, PROBLEMS IN WOODWORK such materials as splints of ash, oak and hickory, cane, pith cane (flat reed), rushes, split and round reed, bits of metal, and simple upholstering in leather, hand-woven fabrics and tapestry may be Fig. 80—Finished Work Baskets COMBINATION OF WOOD AND SPLINTS 83 used in conjunction with wood, thus adding greatly to an appreciation of constructive design so often lacking in work done in manual training shops. If there is any doubt as to the commercial value of combined materials as above mentioned one need only consult a salesman from any first class furni ture establishment regarding prices. Figs. 85 and 86 show two simple weaves in paper which may readily be duplicated in splints. The diagonal weave in Fig. 85 is the one used in Fig. 81—Other Forms of Baskets the panels of the wastebasket shown in Fig. 90, and also the panels of the screen shown in Fig. 88, while the weave in Fig. 86. shows the pattern used in weaving the sides of the tabouret, shown in Fig. 94. It is well to have the members of a elass doing this work first experiment in paper- weaving. If the pupils have pursued paper-weaving in the lower grades the knowledge there gained will serve them well at this time. If they are doing the work for the first time, the simplicity of it and the rapidi- ty with which it can be done will greatly please them. Observe that in the diago- nal weave, Fig. 85, the weaver the first time across passes under two splints and then over two, etc. The second time across, the weaver passes under one, then over two and under two until across. The third time the weaver passes over two, then under two, un- til across. The fourth time across, the weaver passes over one, then under two, over two, ete. The four above 84 PROBLEMS IN WOODWORK changes are all that are necessary to produce the diagonal weave. Continue the weaving by having the fifth weaver the same as the first, the sixth the same as the second, the seventh the same as the third, and the eighth the same as the fourth. This order is fol- lowed until the entire panel is finished. To weave the pattern as shown in the tabouret, there must be an uneven number of vertical strips, Fig. 86. It will be observed that the weaver starts out by passing over two, under two, and then over three. This must be so because of the uneven number of vertical splints. Fig. 84—Work Baskets The next weaver starts out by passing under one, over two, under two, and then over one, this being the center. The third weaver starts out by passing under two, over two, and then under three. The fourth weaver passes over one, under two, over two, and under one. The four above changes are the only ones in the entire pat- tern. To continue allow the fifth weaver to follow the same course as the first one, ete. Observe that every other weaver passes either under or over three vertical strips. When the center of the panel is reached, the second half is just the reverse of the first. In other words, weave Fig. 85—Diagonal Weave COMBINATION OF WOOD AND SPLINTS Fig. 86—Pattern Weave 85 86 PROBLEMS IN WOODWORK backward by allowing the first weave below the center to follow the same course as the one just above the center. The unfinished screen in Fig. 87 shows the vari- ous stages of the weaving. The material is moistened the same as when used in baskets. The strips used in the accompany- ing exercises are all cut 14 in. in width. To weave the panels in a screen, proceed as follows: Ist: Cut strips. 2nd: Tack the strips to the upper cross-piece of the screen, as shown in the panel to the right (Fig. 87), allowing the strips to hang as shown in cut. Use 1 oz. iron tacks. These may be purchased in the cur- tain section of any department or hardware store. 3rd: Cut strips to be woven across about two inches longer than the distance across the panel. Begin to weave at the top, as shown in center panel, Fig. 87, and continue until the entire panel is com- pleted. The tacking at the bottom and sides.should not be done until the splints have thoroughly dried. Before tacking, push the cross-pieces one by one as close together as possible. It will be found that owing to the drying out, considerable space will be left at the bottom. Weave in additional pieces to fill this space. 4th: Before tacking, moisten all ends to be tacked to prevent splitting. Draw each vertical splint until it is perfectly tight, and then tack. Tack the strips down one side. Draw the opposite ends until the weavers are tight and then tack. When completed, the panel will look like the one shown to the left, Fig. 87. Fig. 89 shows the finished screen with 1 in. trim covering the tacked edges. Rabbet the trim about 1/32 in. in depth and 34 in. in width. This makes it possible for the trim to fit the face of the panel perfectly. Fig. 88 shows the working drawing for the screen. Fig. 90 shows a finished waste basket. This is a problem easily constructed by pupils of the seventh grade. Fig. 91 shows the working drawing of the waste basket. The mitered strips which cover the tacked edges are only 14 in. in thickness. The 1 in. trim might have been used the same as in other problems sug- gested. The working drawing for the basket shows nothing but butt joints. The panels for the basket are woven by tacking the strips to a drawing board. 87 OF WOOD AND SPLINTS COMBINATION Fig. 87—Steps in Splint Weaving 88 Hin THE { i tt He uh us3I9g UsAOAA JUTTdS—6Gg “BI TEES eM 0 as Splint Weaving " I 9 ™ T 9 > Tt om | Splint Weaving n \ < a a i} n 4 a T wn FY a | i a 7 7 ie | 7 reaper '7 : re 22 ’ 22 T ze 66 69 SCREEN Fig. 88—Working Drawing of Screen (Eighth Grade) 89 90 PROBLEMS IN WOODWORK The weaving is done on the drawing board and is then transferred to the basket. This method of weaving panels is pursued in weaving for small openings. Fig. 92 shows a finished fireplace basket. The working drawing, Fig. 93, shows the simplicity of its construction. The handle may be made of any wood that can be made to bend after soaking in warm water. Fig. 94 shows a finished tabouret made with the top hinged, thus making it possible for any house- keeper to store away a number of articles. This double use is quite worth considering, especially to those living in small flats. Fig. 95 shows the working drawing for the tabouret. The stool shown in Fig. 96 is a little more dif- ficult in construction. Fig. 97 is the working drawing for the stool. The top of the stool is woven by tacking the strips along the inner edge of one end of the frame. When the weaving is completed, the opposite ends and sides are tacked to the inner edges of the frame. This frame just fits the stool by cutting the corners, as shown in Fig. 97. The flower box shown in Fig. 98 makes a most attractive problem for the pupils of the eighth grade. Fig. 90—Waste Basket The panels for this may be woven as suggested in the case of the tabouret and waste basket. Fig. 99 shows the working drawing for a plant box. A metal box is placed on the inside to prevent water from dripping. 91 2 z ‘ a Ir a fe 3 2 2 o a e alo wu Oo Ly Ip seeetree AUG oe mm ate em eet erent ar fms gate sneha Ss og Pe aH y | pete tL T ood ti ty La bo Qn = 3 A) u s = z oO i ‘ in al On On e1 rh I a1 1 1 oO} L £>. ' a = i 1 110 "iO tt ty u " ; i: L on E > u 3 = . 4 S a ea 2 ly I t oil riot Lal Ms: fe A ee eae WV aS WASTE, BASKET Fig. 91—Working Drawing of Waste Basket (Seventh Grade) 92 Fig. 92—Fireplace Basket PROBLEMS IN WOODWORK Fig. 94—Tabouret 93 Sphnt Weaving au ud Sratisasol [22 I> 14g +3 18 16 — WOOD BASKET Fig. 93—Working Drawing of Wood Basket (Eighth Grade) id 94 FE 16 -| f 16 --| : ; 1 i ts ae cL J he] eitesl fad foe Ol 1iO 0 Eo fm eee co | I} \ | Splint Weaving Splint Weaving | | 1 OQ; IO ie car | | \ | { ay | eo | | a | le iD Pape | | | | | \ ! | | if tte PO Oo, wel - (Oy oN Sage et | 1 { 1 1 i 5 : | Sit tip 5 PERS 4 ala fa TATE ee 10 a pee 2 ape } 0 ——____— > + 2 14 14 TABOURET Fig. 95—Working Drawing of Tabouret (Eighth Grade) COMBINATION OF WOOD AND SPLINTS 95 Fig. 100 shows a most interesting tea table which may be folded and placed in a remarkably small space, as shown in Fig. 101. The trays are woven of ash splint. To make the trays, the weaving is first done in the form of a square. A circular frame is made of the heaviest ash splints, and may be composed of several thicknesses. The frame is now placed on the square weaving, and a line drawn just outside it. When cutting the weaving circular, cut about 1 in. outside the mark. The ends are now turned upward next to the outside of the circular tray, and are held in place by using the 1 oz. iron tacks. Another frame is now made to fit outside the first one. When this is slipped in place, the tacking is brought between the two frames. To make the tray more secure, a 1 in. strip of ash may be used to overcast the top, similar to over- casting done in basketry. Fig. 102 shows the working drawing for the standard of the tea table. Fig. 103 shows a finished tea table. The woven panel at each end adds greatly to the appearance of the finished product. Fig. 104 shows the working drawing of the tea table. Fig. 96—Foot Stool Fig. 105 shows a simple, yet effective, magazine rack. It is somewhat different from the stereotyped forms. It is a beginning toward getting away from the old types that are so apt to suggest fences or chicken coops. Fig. 106 shows the working drawing for the magazine rack. Fig. 107 shows a most attractive way in which the ash splint may be used in the construction of a sewing basket. 12 CRICKET 16 5 on = > a o s E a 0 Fig. 97—Working Drawing of Foot Stool (Eighth Grade) 1 Se | | | oT rT] B} = 1 ' ‘ 96 COMBINATION OF WOOD AND SPLINTS 97 Fig. 98—Plant Stand Fig. 100—Tea Table 98 Dowels 14 PLANT STAND Cross Section at A-B Fig. 99—Working Drawing of Plant Stand (Eighth Grade) COMBINATION OF WOOD AND SPLINTS 99 Fig. 101—Tea Table Folded Fig. 108 shows the working drawing for the sewing basket. Fig. 109 shows a completed lamp in which a panel of ash splint is woven in each side. This problem is the most difficult of any suggested, and should not be undertaken as a class exercise, but rather by the exceptional boy. Fig. 110 shows the working drawing of the lamp standard, and Fig. 111 shows the working drawing of the shade. Fig. 112 gives the working drawing of a news- paper tray. If the dimensions given do not suit the size of the folded paper for which the basket is to be constructed, they may be changed to meet re- quirements. Fig. 103—Tea Table 100 \) -.4- 4-4 Se / / 4 oo ee es ati dlipnt= Splint Woven Trays is : Top Cross Pieces te be cutin similar manner 192 =: cee reas te Se Detail of Bottom Cross Piece> L el ~ 2aS | bat 20 rl ‘MN % Dowel ee oA-3 4% 4 Dowels LJ LJ a bye 133 . [ee 16. 6 TEA TABLE Fig. 102—Working Drawing of Tea Table (Eighth Grade) ae 26 — | \ ' _ oft [ oe @ ° o ear “| ‘T i yar Ss tn ° Ts a ‘ Al oN -dii ys SoH e| ah 7 ° ie 6 iE b | ' 0 ' = 1 a 1 [Sphint w. i OW ! phnt Weaving a 4 i ry 1 i \ i ' ! t ' | i) | | 4 I ia}-—a a t ' 2 + / ell i ste wees 2 if =. [ok -C._O) © mo 4— = Ree 3 0 7 7 “T us 1 a “ eer ——-- t 2 it Esa! ae i. 7 \ : ) + x Sa i asi a 13 TEA TABLE Fig. 104—Working Drawing of Tea Table (Eighth Grade) 101 PROBLEMS IN WOODWORK 102 105—Magazine Rack Fig, Fig. 107—Sewing Basket 108 i iTOai ete bis ave! rer ¢ ale ----4-------------- a-2-5 overs ge 1 Qa epee eee BG =F ZI i Ze — 9 zl TH van a! ln Hh ee ees t i nie ey a ( > +4 or 5 Cy ct 3 Nyy @ 3 = a vy) } oH * fi i Be A wy 1 FL ! i = Ww MAGAZINE, STAND Fig. 106—Working Drawing of Magazine Stand (Seventh Grade) 104 Splint Weaving Dowel construction throvaht ovt 3+ Ws Af (i SEWING BASKET Fig. 108—Working Drawing of Sewing Basket (Eighth Grade) COMBINATION OF WOOD AND SPLINTS Fig. 113 shows the finished basket. Fig. 114 shows the working drawing for a tele- phone directory rack. The cover of a directory is usually poor in color and design. It is therefore de- sirable to keep as much of it as possible out of sight. Fig. 115 shows the finished rack. The ash splint cannot be used in the seating of large chairs, nor in any other large piece of furni- ture where strength is required, without being rein- forced by a flat wire. This wire is woven at the same time the splint weaving is done. Splints of ash, oak and hickory must, at least for a time, be used in place of the pith cane (flat reed). Attention is called at this point to the fact that an effort has been made to keep the problems as simple as possible. It is hoped that they are within the power of the seventh- and eighth-grade pupils to construct, thus making the suggestions practical. Fig. 109—Table Lamp 105 106 (epery WIysIA) dueyT sqey jo Surmesq SurpiomM—Ooll “Bad dNVT ZIGyL 3 an N alt at ty Suineam, vende} eI ei ie ca 107 Splint Weaving Silk tobe stretchedon back of Splint ° -}— is Panern for side of shade LAMP SHADE, Fig. 111—Working Drawing of Lamp Shade (Eighth Grade) 108 PROBLEMS IN WOODWORK Fig. 113—Newspaper Tray Fig. 115—Directory Rack + | oe | a {Ty fy Te be woven with Ash splints L NN 1 DE + NEWSPAPER TRAY Fig. 112—Working Drawing of Newspaper Tray (Seventh Grade) 109 110 pastes eee a te oe Se go2 4 Ree I Nn Pr oie pT cle i | | i) Lt ae — { i r | 7 1 LS _ fi | ,— p I | | To be woven with Ash splints l Hy) LL Hoof tt Hl oa | | | Po TT | é | | | ce | ! TT 1 ] | Loss | | ae i | pAnnceseens feereseee: seem 4 A, Py AGE |: on t Tz +t | n mm os bi . tok | = ‘TELE PHONE DIRECTORY RACK Fig. 114—Working Drawing of Telephone Directory Rack (Seventh Grade) CHAPTER V Cane Weaving There is no material which works more harmo- niously and artistically in combination with wood than the old-fashioned cane that was used in much of our grandmothers’ furniture. Like many of the old arts, cane weaving is being gradually revived, not just as it was half a century ago, but in such a way as to fill the needs and de- mands of the present modes of living. In the past, caning was used principally in the seats and backs of chairs; while now, it is used not only in this way, but many surfaces are broken in a most pleasing way by panels or friezes of cane. We enjoy and appreciate our surroundings only so far as we have been taught to see what is about us. It is after our attention has been called to certain combination of materials that we begin to realize their importance in the artistic and commercial world. Caning has a legitimate place in the manual training of our elementary schools. It is a very wholesome occupation, and when used in conjunc- tion with wood, adds greatly to the interest of the pupils in their manual training projects. It is a line 111 of work that develops the mind, the hand, and the eye. Any seventh-grade boy can do this work. Much of the work suggested in the following exer- cises may be pursued in the home, thus caring for many of the boy’s leisure hours by furnishing him interesting occupation. This occupation may be carried over to the repairing of many worn-out jobs in caning for the neighbors, thus giving the boy an opportunity to place a money value on his work. That the work is so limited in our school shops is often due to the fact that our teachers-are un- familiar with it. Many may feel that caning is not a part of manual training, and thus has no place in such a course. The manual training teacher must take the broadest possible view of the work in his charge. He should become familiar with the various materials which will work in combination with wood. He should understand the handling of such materials and the processes necessary to produce the finished product. There is no doubt but the introduction of cane, splint, reed, etc., in conjunction with wood, often makes a real, live problem of the one at hand, which otherwise would be dead, or at least un- interesting. 112 PROBLEMS IN WOODWORK To appreciate the commercial value of the com- bination problem, one needs only to consult a sales- man in one of the large department stores, or some dealer in furniture. Manual training in the grade is not designed to make carpenters, cabinet-makers and _pattern- makers of our boys, any more than it is to make surgeons of them. For this reason, the greater va- riety of materials which can be introduced into the work, the more mental power and skill it takes in its manipulation. When introducing a new material, it is always well to have the members of the class know some- thing of its origin, what it is, where it comes from, how prepared for the market, ete. It thus becomes a real, live problem in commercial geography. Cane is a product of India, China, Ceylon, and many islands in the Indian Archipelago. It is the outer covering of a kind of palm known as rattan. It grows to an immense height, often reaching the tops of the tallest trees. It is often found trailing on the ground to a length of several hundred feet, not exceeding a diameter of more than 1 in. For con- venience in handling, it is cut into lengths of from twelve to twenty feet. Great quantities of this material are shipped to various European countries, where it is prepared for market, to be sent to all parts of the world. It is the outer covering of the stem which makes the cane. It is stripped off in widths of from 1/16 in. to 3/16 in., and tied up in bundles of about 1,000 feet each. The commercial name for such a bundle is “hank.” It sells for from 55 cents to 95 cents per hank. The inner part of the stem is cut by running it through circular dies of various sizes, thus giving to us the assorted sizes of reed such as are used in basketry. The flat reed, properly called “pith cane,” is nothing more than the inner part of the stem cut into thin flat strands. In market terms, cane is designated as superfine, fine-fine, fine, medium, common, narrow binder, and wide binder. Fine and medium are the best suited for pupils’ work. There is no difficulty in de- termining the right side of cane, as it has a very glossy surface. The equipment necessary to carry on the work is exceedingly simple, consisting of the following: A scratch awl, a knife, or pair of scissors, a pair of di- viders, a rule and four or five pegs made of 1, in. dowel rod pointed as shown in the illustration, a caning needle, constructed as shown in Fig. 116. The cost of such a needle, if made by a workman, MAKING A FERNERY 113 is about 35 cents. Its direct use will be mentioned later. As the needles are not on the market, it is neces- sary for some local workman, or the pupil himself, to construct them. They are made of a piece of round steel wire about 18 in. long, flattened at one end. An eye is cut in the flattened portion, and the blunt point is curved, as shown in Fig. 116. The other end is run through an ordinary tool handle and riveted. The needle is a great assistance in executing the fourth step in caning. The needle, however, is not absolutely necessary, as the work may be done without it, taking a somewhat longer time. Refer- O Dr ence will be made again to this point when taking up the various steps. Making a Fernery There is no reason why our pupils should not learn cane weaving through the construction of some interesting manual training exercises. The day of doing things just for the sake of learning the processes, has practically passed. Fig. 117 shows the working drawing of an interesting fernery for a dining-room table. It is very simple in its construc- : tion, and not in the least beyond the ability of the average seventh-grade pupil. The exercise involves the butt joint. The inner part of each side is sawed out, leaving the opening to be caned. This kind of {4 toRA Fig. 116—Working Drawing of Caning Needle 114 3 8 68 88 fy >) A ~. il & & & & & Zz aes is i fu lo ti) iol iL pl A ¢ a 2 | S | | | 4 i i | ; | | Ine 3 | 4 $ Ip i n =e | | las 1 | ea Ett ® & & & & + Be 2 26 a LA + 2 8 @ & a rl Ww pica lod -+ | \ e 2 | | | 3 | a 4 2 oe a fe : | | 3 fh) 3 lig 3 | Vp ° | or | 1 nest | Be i pee Oe coerce | ® & & & &X 4 Fig. 117—Working Drawing of Caned Fernery (Seventh Grade) STEPS IN CANING 115 construction is legitimate, where the caned parts are not to be put under any great strain. It would hardly do to construct the seat of a chair in this way. Steps in Caning Fig. 117 shows the entire working drawing, and Fig. 118 shows one corner of the opening to be caned. Draw a pencil line around the entire opening, 1, in. from the edges. It will be observed that this distance from the edge is allowed in most all com- mercial work for various widths of cane. With a pair of dividers, mark off 14 in. spaces on the line just drawn by beginning at the upper right-hand corner where the lines intersect, and proceed to the left. In marking the opposite rail, use the try-square or framing square, as this will bring the holes, when bored with a 3/16 in. wood bit, directly opposite each other. Fig. 118 shows all necessary details. When the boring is completed, the frames are ready for the cane. For convenience, the several steps in caning will be numbered as follows: First Step: Fig. 119 shows the first step in cane weaving. Moisten a hank of cane in either warm or cold water. It is not necessary to allow it to soak more than two or three minutes, as the water remaining on the cane is absorbed, making it t ! | ! OP -P-O-P- O-y - teh “Re oD Y -|v ly WY - Oo WY Method of locating holes RA S 16 ae a ae 13 16 - fan\ @d-—* © D €- WY ' \ 1 R R R. Cy LPP PH? Fig. 118—Method of Locating Holes very pliable. Start a strand right side up by draw- ing one end through the hole marked 1, as shown in Fig. 119. Hold this end in place by forcing a peg 116 PROBLEMS IN WOODWORK Co 3) 1S 3: 1! > © Or % OF 1 © Oe © UU & v Oo 2 98 Fig. 119—First Step in Caning into the hole. Draw the other end of the strand through the opposite hole marked 2, always keeping the right side up. This is most easily done by draw- ing the strand between the thumb and forefinger. This not only keeps the right side up, but prevents twisting and kinks. Another peg may now be in- (|i E § UY’ Yo D UU UY Fig. 120—Second Step in Caning on ARH AO serted in hole 2. See that the cane is fairly tight. The end is next brought up through hole 3, care being taken that the right side of the cane is always kept to the outside. To do this, the cane must be drawn between the thumb and forefinger each time. The end is now carried across the opening and down STEPS IN CANING 117 hole 4. The peg is now removed from hole 2 and placed in No. 4. The end is next brought up hole 5, and the peg taken from hole 3 and placed in No. 5. Continue in this way until all the holes in the parallel rails have been used, as shown in Fig. 119. Second Step: There is no difference between the first and second steps, except that the holes in the other parallel rails are used, and the cane is carried over the first. If there is any part of the first strand left, do not cut it, but carry the end over to the first hole in the vertical rail, and proceed as in the first step. Fig. 120 shows the second step completed. Move the pegs as the strand travels from one hole to the other. To fasten the end, draw it under the nearest stitch on the under side of the frame, as shown in Sketch of Peg D Cc D ¢ —D = D oVUUUY Fig. 122—Third Step in Caning Fig. 121. The new end may be fastened in the same way as the end of the used one. Third Step: This step is identical with the first. It runs over the first and second, and. is parallel with the first. It will be observed by this time that the same hole is used a number of times. It often be- 118 PROBLEMS IN WOODWORK Fad oA aft ° cs AUP = od¥ u's Fig. 123—Using Needle, Fourth Step ot comes necessary to use the scratch awl in forcing an opening to allow the cane to pass through the hole. Fig. 122 shows the third step completed. Fourth Step: The weaving, properly so called, begins at this particular stage of the work. It is in this step that the needle is used. It will be observed that some holes have been used twice, and some once. Start a hole next to a corner that has been used but once, and on the side toward the open space to be caned. With the needle, begin to weave over and under, across the entire opening, as shown in Fig. 123. The end of the cane is now run through the eye of the needle and drawn through, being eareful to avoid kinks or twists. Draw the end through the hole, bringing it up through the next hole. The needle is now woven across from the opposite di- rection and the cane is drawn through. This is con- tinued until the entire surface is completed. When finished, it appears somewhat confusing, as shown in Fig. 124. This is all adjusted by moistening the cane with a sponge or cloth, and pushing the parts forming pairs together. It will be observed that the cane forms itself into groups. The strands from right to left form groups, and those from front to back form groups. Fig. 125 shows the fourth step completed. The fourth step may be accomplished without the needle by bringing the end of the cane over and under, following the same course as described for the needle. For convenience, the work should always be clamped to some substantial support,—the work STEPS IN CANING 119 *_ (DADA EUV >VVVY Fig. 124—Fourth Step After Being Woven bench, a table, or the pupil’s desk, as shown in Fig. 126. Fifth Step: This step begins with the first diag- onal weaving. For convenience, start a strand at the upper right-hand corner. With one hand under, O Fig. 125—Fourth Step Completed and the other over the frame, guide the end so it passes under the first vertical group and then over the first horizontal group, as shown in Fig. 127. . Since the end passes over the first vertical group, it must pass over each group parallel to the first; 1 0 PROBLEMS IN WOODWORK Fig. 126—Work Clamped to Table STEPS IN CANING 121 Fig. 127—Fifth Step in Caning and since it passes under the first horizontal group, it must pass under each horizontal group parallel to the first. when putting in the diagonal lines of cane, two parallel lines begin or end in the same hole at the corners. Fig. 128 shows the wrong way to begin. oO Fig. 128—Wrong Way to Start Fifth Step in Caning Sixth Step: In this step, it will be observed that the cane is carried from the back left corner to the front right corner, over the first vertical group and under the first horizontal group, thus making these diagonals perpendicular to the first. It is now seen that where the first diagonals passed under the ver- 122 PROBLEMS IN WOODWORK a LoD XG RNG Ne NeNeNeNONO SOOO ONS ES) | ; NONE AAA : Ne Fig. 129—Sixth Step, Caning Complete tical group in the fifth step, the second diagonals pass over the vertical group, as in Fig. 129, Great care should be taken to have the cane so drawn in, that the right side is always to the outside. This is done only by drawing the strand between the thumb and the fore-finger. The Binder The binding cane is broader than that used in the weaving. Its use is to cover up the rows of holes through which the weaver has been drawn. There was a time when the binder was considered abso- lutely necessary. It is no longer considered so. Much of the very best caned furniture is left without a binder. YQ! = @ Fig. 130—Method of Weaving Binder THE TRIM 123 The binding is a simple process, and is done in the following way: Pull a cane, similar to that used in the weaving, up through a hole. Lay the cane, to be used as a binder, over the hole, and pull the cane over it, allowing it to pass down through the same hole. This makes a loop over the binder, holding it secure. This is continued around the entire chair. The binder is shown along the left edge of Fig. 130. The Trim When the under side of a piece of caned work is exposed, it often detracts from the general appear- ance of the finished article. In such a case, narrow a ad Fig. 131—Sketch of Trim 5,3 ),5 iene strips of wood may be grooved, as shown in Fig. 131, and tacked over the unsightly parts, thus giving it a neatly finished appearance, as in Fig. 182. Fig. 183 shows a finished fernery. Four-Step Caning Fig. 134 shows a finished magazine rack with sides woven in the four-step cane. The working drawing is shown in Fig. 185. Fig. 186 shows the various steps to follow in the four-step caning. While this work is not so substantial as the six-step caning, it has a place in the workshop, and especially in problems where any great strength is not required. The holes are SLA $ Wl, ) Fig. 132—Trim Applied to Under Side of Caned Panel 124 PROBLEMS IN WOODWORK Fig. 133—Fernery marked off and bored the same as pre- viously described. The cane is first carried across the opening vertically; then across horizontally, crossing the vertical strands at right angles. Following this step, the first diagonal is carried from the upper right corner to the lower left, as shown in the drawing. In the fourth step, the diagonal is started in the upper left corner, brought over the first diago- nal and under the intersection of the other strands, making simple under and over weaving, as shown in Fig. 136. Figs. 138, 139, and 141 show very interesting foot- stools in which cane plays a very important part in the construction. “ SID ee ee ee eee os an PE ee Fig. 134—Magazine Rack 125 MAGAZINE, STAND Fig. 135—Working Drawing of Magazine Stand (Seventh Grade) ~ |e bebe | = . a e——| ell gy b oO a 1 . 1 a fo eee er Ss aaa Pa A i DNs feta ee "3 ‘91 " i « ‘ " ’ an 9 t 5 } i i i \ i 4 ue morse Gtr rr tee 1 ae fn Tee eo aes ee Ones es Ly : ‘ o ZS ai é | {t z 12 | = | y eel a a poaash t a a i inl SSeS Ape Sip eS Tit cae e ee. Dp jr ie: eee cs at bs 1 ! i 2, te 2. ; ‘ i : 1 Ke et € aw n oo o £ > Q vv 3 v c LY 2) 8 7 I Toe a } -e SPOS O SOO eT ‘ r i i i mn Et fit ek Se 4 1 1 Tops DE, ia alt iO, a) Qi 4 te | =o lf 1 i Se ae ee tt et Tod = ce uy iy oS 126 PROBLEMS IN WOODWORK Fig. 136—Four-Step Caning Completed Figs. 137 and 140 show working drawings for the foot-stools above mentioned. In Fig. 138 is shown a binder of broad binding cane forced into a groove. When the binder is used in this way, a groove as wide as the binder and about 3/16 in. deep is cut coincident with the holes before the weaving is started. It is after the caning has been completed that the binding cane or half-round reed is forced into the groove. A small amount of glue, and occasion- ally a 5g in. brad, is used to hold the binder in place. Fig. 143 shows the working drawing for a com- bination box and foot-stool. Owing to the small flats and so often crowded conditions in the homes, it is advisable to make combination problems, as shown in Fig. 142. In this problem there is a very interesting, stool, foot-stool, and shoe box. Fig. 144 shows the drawing for a plant stand. Fig. 145 shows the completed stand. Fig. 146 is a working drawing for a hall mirror. This problem may be worked out very successfully by any eighth-grade pupil. Fig. 147 shows the finished mirror. Fig. 148 shows the working drawing for a sew- ing stand. Fig. 149 shows the finished stand. Figs. 150, 152, and 154 show working drawings of waste baskets, while Figs. 151, 153, and 155 show the finished products. The leg rest shown in Figs. 156 and 157 makes a most interesting problem to be taken into the home. 127 ae eee | ae ©) L tO aft |e 4{|0 im ° Oo ju ua ate z oO -- - ey 1 cao ' v 1 L » 2 9 2 Iz Fig. 137—Working Drawing of Caned Foot Stool (Eighth Grade) [or C 128 Caned Top Fig. 138—Low Foot Stool. Caned Top and Ends Fig. 139—Foot Stool. 129 at ry a ie 6k i wg Caned 4 CANED FOOT RE 7 10 Fig. 140—Working Drawing of Caned Foot Rest (Eighth Grade) | : 4 tty Re ue nae a + ti) Th if a >| ———— Poets wees : 1 tS a Se Ree Se of 4 ge re ae ait se em ee apretemmient icing | a a ae cit ete a Lr -F 1 + ON ayes ren tte cme Ao eee tala I : iT 44 ! 1 | 1 | 1 om Dy mere TD ty | | | | | I fey 1 | ie 9 I 1 | 5 pal ty Oo fe ell wou foe ov ry 1 rR Se Py (haa Ea il Ij \ Dal | oy jl (ote i'l 1 tb LE eae it (eee ee WO _ [No Ko) sus cof He Ee 1 iF es io tf ! Q ‘ ' Hes ees Sei ft estar ie ee | ! Fe Fe ie ae eae 1 JM ga yas ee eu Be ne ts Li ' | bssd See SS Sipps Sail er eel I Ay. XOg puke [00}g JOO UONEUIqUIOD—ZPI “SIF spuyq pue sapig ‘doy paued ‘ysay OOg—Ipl “Bid 131 CANED SHOE BOX Fig. 143—Working Drawing of Caned Shoe Box (Eighth Grade) c « ai 4 ar a tT pax lye Neff ns ach Se er ae, to ta Alcs acral = ot +1 >t ksi) I mi a pe aie | | eS 0 1 aT = fir - vu Ba g 2 be Ly 7 Pt : 3k , ! ! \ 7 1 ‘ Me =b0-o%b-05 ar | 8 fa ASH Ma t | oo egy pe es gee eal 2 . ale aT q ¥ Mls cal See Nat ens ee ae a co a | = h_Jy io -— zi pte pte Ne roa rere aa l re ea pe Bs, ale Ses Ua ss sete ie, aa ian | 2 tt 1 J 1 I ---+-~--—------ t-L—~—_ ae Poe Bl. T — oy i Ey | T pa | | | [ot | | [; 4 1 i 1 | I | it ! i a 4 | | 1 Rs i a le I | I 0 ~ oe ly wR pol 4 7 = Wea we || le 9 1d pod j \ | as Sill iyi ! i) 1 | \ | 2! pil \ ik | | er \ f x oe 3 if | he : 4 ee il © toy HL 8 : ! Ee " \ yo te | © ae it Tt ry sR iy ie Te ele 2h tes i i Li --e-9-0-93 ___ | Sahoo Sees Ine i 7 v y ey ae ie LE -4 ~~ — ~~ bd a desde sel SSS te Ss eh Sg are he eit * HH, ahi 2 5 Ze fd ut t. “6-713 Oo] 15 2 10 (Ol FeO ke oo es te, oc - Ber hte fe a les x a5 15 12 Ri i 132 Fig. 144—Working Drawing of Fern Stand (Eighth Grade) FOUR-STEP CANING 133 There are few pupils in the grades who are am- bitious enough to undertake a problem larger than a Morris chair. In planning for such a problem, care should be taken that the designer holds to one line of design. He should not be allowed to upholster the seat, cane the sides, and have slats for the back. Such a combination is too much for one chair. If leather is used in the seat, it might be used for the back or the back might be caned. Fig. 158 gives the working drawing for a Morris chair, while Fig. 159 shows the completed chair. Care must be taken not to allow too great a contrast between the natural color of the cane and the finish of the wood with which it is used. It is often advisable to give the cane a coat of the same stain as used on the wood. Owing to the hard, shiny surface of the cane, only a very small amount of the oil or acid stain is absorbed. This, however, gives a most pleasing contrast, and is not so extreme as to attract attention. Fig. 160 shows the working drawing of a tea table. Fig. 161 shows a finished table without the use of cane. Fig. 162 shows the table with caned ends. Fig. 145—Fern Stand 134 oT 22 rt 2 2 > ' + + Tr 1 a t ae fr ty I Caned li lh 4 Cove Mouldin i I ih ° Ih nN tH o lh x It I it 4 (! a zt 19 i | mes I ain N 4 a \ 1 | Cy pees tel HH -~—_— 4 af 32 40 HALL MIRROR Fig. 146—Working Drawing of Hall Mirror (Eighth Grade) 5 Tt FOUR-STEP CANIN( Fig. 147—Hall Mirror Fig. 149—Sewing Table 18 t= a zl _] Top tobe hingedhere TN 3 Dowels | SEWING TABLE Sh =f ‘|h |__| Bs ys | I \ | i 1 1 as ° 1 \ z 1 ‘ 7% ( £ \ - 5 ' Lf? 9 1 te 1 [2 1 Te I e G-O- i ae ree = aE EEE a Dye ati poe eee eae oer On re a BS estes Sheet Ieee it chy trad i gla ol 1.4 iW ¢ 1 Fer 1 ii Lt rm 1 An ' 1 we sii 'y L ih be 1 1 1 1 ( 2 wa | vt ee it it it 0 re i ste 5 it a 8 rsa 9 ie rot Pe = Ta r + + ea “ee ay -Lid 136 Fig. 148—Working Drawing of Sewing Table (Eighth Grade) 137 R dowels 12 92 jo-o-4 4 aH Caned 12 we Bs Caned an a 'z WASTE: BASKET Fig. 150—Working Drawing of Waste Basket (Eighth Grade) Fig. 151—Waste Basket PROBLEMS IN WOODWORK Fig. 153—Waste Basket 139 ital at —S | =] SI & Dowels Mw = x a = j vo vo = n u o 4 lb -c-e0 loo ae Rae PR ay ae ety ee a ee 2a 5 -- sel] L P| i ' Ne ee eee ee , zi 1 ; \ pro 2 ao " + Ita el + eit =e u 4+— z—+-~#2 | : d \ dell Serr [ee og ee eee eee ee aa ere ae aaa oh ek oe nes fe ea ae a at a Oe ' a : N ae nN WASTE BASKET Fig. 152—Working Drawing of Waste Basket (Eighth Grade) 140 12 92 tore Caned n 2 tas bp +f: 2 + Sys 12 62 2 x tL 4 a b-i3-s 13 tsb Caned aN tie eee ier weds rts ee peel aa qa ad oe eee ol i tl x“ % Oo pl = 2 s Fig. 154—Working Drawing of Waste Basket (Eighth Grade) 141 CANED LEG REST —ag75 cs Se Tc i ! = it* Lal Caned 1 224 Fig. 156—Working Drawing of Caned Leg Rest (Eighth Grade) 7 7 ih oY _ . neh, {est 0 _ : i ater e ea SS SSS pea. Whe ee es =" aoe aS = a lee to patra ig } LE = Pe aad ro = Tt: ) yd ie Ke 4 é z -| ' Z | \ | 1 1 toy ly #0 Ie a i | * ae Hd . ° Ps 8 | | Wy | 1 3 lb 3 (| 3 a q fo 2 Le il Aa st , 1 PPS ciao ll eal gira ee as 4 SSS a ee Legh Toot ce nen te oS Sea ares r 4 ri ee Ue tJ LE | 142 PROBLEMS IN WOODWORK Fig. 157—Leg Rest U Uv \ Q v . £ 5 1 le | a 0 Q Y o v g a rn oO o 2 ge F ron ‘ ‘ é s 7 Fame oT Ty a ; | + : H+ iy ) i 1 =i I iw Jj | ft 1 | | 1 NTH 4) IL é if To be caned 1 psa pepe pepe pes 0 i! | | 2 | | ¢ Hes =i mm [eb oo ‘ Lee ee | = | i =p qT oo 1H Mi 6 mn | | PLE 4 | ke ty 1 CaS AS 4 | a | z| 4 ! r 3 Toa | | = ee ee et LJ er ee eM ee Les ca —j}-] LJ Ld rs Mortise& Tenon Construction thru out ae t oa a od c = 21 te 2g RI “| t R26 6 al MORRIS CHAIR Fig. 158—Working Drawing of Morris Chair (Eighth Grade) 143 144 PROBLEMS Fig. 155—Waste Basket IN WOODWORK Fig. 159—Morris Chair t 24 ' t pett+— 204 foes | - PaaS ey | i pte Nn i iS cy | = 3 2S See 2 a y a CUBE - at t 7, at N n ee ® tig 3 a 3 =a le ro. Oh -—T , LM ___O ° po ae s | Ey a es oe ao Bhek 20 $ fz eas 22% ie asl TEA TABLE Fig. 160—Working Drawing Caned Tea Table (Eighth Grade) 145 146 PROBLEMS IN WOODWORK Fig. 162—Tea Table. Caned Ends Fig. 161—Tea Table. Open Ends CANING AN OLD CHAIR 147 To Cane an Old Chair Even irregular openings are simple after a little It is not necessary to go into all the details of practice in the more regular forms above mentioned. caning an old chair, as such a problem solves itself Fig. 163 shows the caning of the irregular chair to one who has had even a little experience in chair seat. Fig. 163 Fig. 164 caning. What may seem confusing in any line of Fig. 164 shows the caning of the circular chair repair work, very soon straightens itself out when seat. the worker begins the actual operation of caning. CHAPTER VI. Rush Seating A few years ago, such materials as cane, pith cane, round reed, split reed, ash splints, willow, hickory splints, fibre cord, and rushes were con- sidered a novelty when seen in the work rooms of our manual training schools. By degrees these materials are finding their way into the shops of the more pro- gressive teachers, who believe any material that may be used in conjunction with wood has a legitimate place in the shops of our public schools. Such materials not only add interest to the problems at hand, but also increase the pupil’s knowl- edge of materials and possible combinations, thus broadening his horizon and making it possible for him to enjoy to a far greater degree not only the products of his own shop, but those of the art world in general. It aids him in discriminating in the com- mercial world between good and bad combinations. One appreciates this when he sees a group of boys gathered about the show windows of a furniture store admiring the display, and pointing out, in their limited way, the good qualities of certain combina- tions. There is nothing new about the rush seating of stools and chairs. Rush is probably one of the oldest known materials used in conjunction with wood. 148 History states that it was used in the valley of the Nile long before Christ. The museums of our east- crn cities contain various examples of rush seating brought to this country by the early settlers from England, France, and Holland. The real rush seating, as the name implies, calls for the rushes, or cat-tail flags which grow in the low, wet places along rivers and in sloughs. If rushes or cat-tail flags cannot be procured, heavy hemp or sisal twine or raffia are possible. In some sections of the country ropes of corn husks are used. In Europe, rye straw is wound over twine or grass, and is used in seats. The most practical substitute in the north cen- tral section of the country is a twisted paper cord. It is usually shipped on spools of about 100 pounds each, and sells at from 12 to 15 cents per pound. It may be procured in several colors, green and brown being most commonly used for chair seating. One kind is especially pleasing in color. The prevailing color is brown, with just an occasional suggestion of green. Imitations, as a rule, are to be discour- aged. Fibre cord, however, may be considered an exception, as it is a very substantial material and may be very successfully used in chair seats. RUSH SEATING 149 If rushes or cat-tail flags are used, they should be cut in August and the butt ends removed. The drying should be done in a dark place, as this aids in retaining some of the natural green in the drying stem. Care should be exercised not to break the stems. After they are thoroughly dried, they may be tied in bundles and stored away for future use. Be- fore working, allow them to lie in a wet cloth to soften. When using, squeeze the air and water out by pressing each leaf from the top between the thumb and first finger. Four leaves usually compose a strand. Twist in the same direction and keep uniform in size. With flags or rushes, the strands stretch underneath with- out twisting, and new leaves are introduced at the corners where the coil turns back for a new direc- tion. The process of wrapping will be described a little later. When raffia is used, color may be introduced. Raffia is well known throughout the grades because of its general use in basketry. The original source of all materials should be considered, and well gone over at the time of their introduction. The writer well remembers the time when this phase of the work was neglected. A large supply of raffia had just been delivered to the school and left in the office. As the material was to be dyed, several boys of the upper grades were asked to assist in the opening of the braided bundles. This made a loose pile of grass-looking material in one corner of the office. Just at this point a little girl came to inquire for a pair of lost mittens. She was referred to the “lost-and-found box,” which was at this particular moment under the pile of raffia. As the little girl was leaving the office she was asked if she had found her mittens. Her reply was that she could not get near the “lost-and-found box” because there was so much hay around it. There are scores of pupils who have used raffia in various ways, who have been allowed to go on thinking that raffia is a kind of grass. ; In a recent article, raffia was described as being the leaf of a certain palm. One needs only to dampen it and observe how nearly transparent it is, to know that it cannot be the leaf itself. Raffia is the outer covering stripped from the leaf of a certain palm, which grows very extensively in Madagascar. If raffia is used it should not be soaked, but like the cat-tail flags, it should be wrapped in a damp cloth, which moistens it sufficiently for twisting purposes. Rush seating cannot be called weaving. more properly called wrapping. For the rush bottom or cord seat, a frame is provided with rounded edges and definite, sub- stantial corners (Fig. 165) that rise a little above It is 150 PROBLEMS IN WOODWORK the connecting frame and suggests how thick the coil should be. Fig. 166 shows the direction pursued by the cord in wrapping a chair seat. Beginning with the upper r-- = ene) q <4 — T on et Pod Fig. 165—Frame for Wrapping right-hand corner, lay one end of the twisted cord on top of the rail, allowing the end to extend, as shown at “A”; allow the cord to pass over the edge and un- ler the rail, as shown at “A,” then over the top and edge of the rail marked “B.” This binds the start- ing end. Pull the cord right under the rail at “B” and carry it directly across to the upper left corner of the frame and over the top at “C,” around the tm (| Fig. 166—Method of Wrapping edge and under the rail at “C,” then over the top of the rail at “D,” over the edge and under the rail at “D,” directly across to the lower left corner, over SPLICING THE CORD 151 the top of the rail at “E,” around and under the rail at “H,” and then over and under the rail at “F,” across to the lower right corner, over the rail at “G,” around the edge and under “G,” over the rail at “H,” around the edge and under the rail at “H,” back to the upper right hand corner. The same course is repeated each time around. Care should be exercised to have the cord fit closely where it passes over the rails. Do not allow the strands to overlap at the corners as the work progresses. Sometimes it becomes necessary to force the strand together by using a block of wood and a mallet. The fiber cord being of paper prevents it from being soaked in water for any length of time. By dipping it into the water and allowing it to remain but a moment, enough water is absorbed to make the handling of the cord somewhat easier and in drying out it tightens about the frame, making smoother work. Splicing the Cord When the end of the cord is reached, the ama- teur usually tacks it to the under side of the frame. The new piece of cord is begun also by tacking. Even a beginner may learn to do the splicing. Take a piece of new cord of the desired length and splice the end (which is made by severing the cord from the spool) to the end of the frame. This is done by untwisting each of the ends and cutting away a slanting piece of each. These two ends are now over- lapped and twisted together. The other end of the new piece of cord will not twist with the end on the chair frame. Splicing and Twisting the Rush In using rush, the twisting is done as the wrap- ping progresses. It is done by rubbing the rushes against the thigh with the palm of the hand. When several strands of raffia or rushes are used in making the twist, different lengths are chosen, thus making the twist continuous by adding one strand at a time. Those experienced in rush seating think it quite im- possible for the average eighth-grade boy to do chair seating with the rushes, as the twisting is an art which is acquired only by a great deal of experience. A very valuable experience, however, is gained by allowing the boys to experiment. Stuffing the Stool As the work progresses, it becomes necessary to stuff the space between the layers of cord. Raffia, paper, rushes, or even excelsior are used to make a firm, solid seat. This stuffing must be well done in order to prevent breaking at the inner edges of the rails. When the wrapping and stuffing are com- pleted and the frame placed, the cord should be given a couple of coats of shellac. Sometimes varnish 152 PROBLEMS IN WOODWORK is used. Care should be taken when shellacing that all the strands are forced into place. The shellac or varnish will aid in keeping a perfectly smooth sur- face, and is a protection against moisture. If so de- sired, a coat of stain may be applied before using the shellac. This is especially desirable when the seat is to be of the same color or a tint of the same color as the frame of the chair. In a recent display of furniture, in which the combination of materials was emphasized, rush seated stools were shown on which paint had been used. Fig. 167 shows a partially wrapped top. Fig. 171 shows the working drawing of the stool. To Place the Frame Remove the caps at the corners and screw the frame to the posts of the stool. When this is done the caps are again returned to the corners, and with glue and brads are tacked permanently to the corners. The return of the caps covers the screw heads used to keep the frame in place. Fig. 169 shows the finished stool. Fig. 170 shows a square seat, the wrapping hav- ing been done over the rails of the stool. Fig. 168 shows the working drawing of the stool shown in Fig. 170. Fig. 167—Partially Wrapped Top 153 (apern yIYsIY) Jeg YsnY jo Sulmerq BurIoM—9I “BIA vais Hsna ‘t J Ly — L fall , & mee iy core ahs 1 re b Lp oo Au +. 7 ry ta ! | tel 1 sl - Vag= ' \ v | 1 ‘ \ Smo43g HAOleNS Sune an ycny 154 PROBLEMS IN WOODWORK Wrapping a Rectangular Seat The wrapping is more often done over the rails It is not absolutely necessary that the wrapping of the chair or stool, as shown in Fig. 170. This is be done over a separate frame and then inserted or somewhat more inconvenient than wrapping over a screwed to the posts, as in the case of the stool frame. Wrapping over the rails of the chair does above described and shown in Fig. 169. away with two plain squares in each corner, as must Fig. 169—Rush Seat Fig. 170—Square Stool ADowels A FOOT STOOL, Fig. 171—Working Drawing of Foot Stool (Eighth Grade) 155 156 PROBLEMS IN WOODWORK be true when using the frame, the post of the chair or stool making one square and the cap at each cor- ner of the frame making the other. In wrapping a rectangular seat, proceed the same as when wrapping the square, as shown in Fig. 166. In Fig. 172 is shown a partially wrapped rectan- ‘ gular stool top. It shows the short rails already filled while there is considerable vacant space to be filled on the long rails. The weaving around the cor- ners is no longer possible. The problem is to fill the vacant space on the long rails. This is accomplished by going over and under a long rail, across half the frame opening, which is very definitely shown in Fig. 172, up through the center opening, across the remaining half, and over and under the other long rail. This is continued until the seat is finished. Fig. 173 shows the finished stool and Fig. 174 shows the working drawing of the stool. Rush Seating an Irregular Seat In the foregoing directions, only the regular shapes, the square and rectangular, have been con- sidered. In order that the boy may become familiar with shapes other than those above mentioned, the one shown in Fig. 175 is introduced. This shape is often seen in the commercial market. The drawing Fig. 172—Partially Wrapped Rectangular Top 157 Rush Weaving qv \ yf nen i ' J th a eae : ii i wh | wont Haat a ae es a 2 L S tet] FOOT STOOL Fig. 174—Working Draw'ng of Foot Stool (Eighth Grade) 158 PROBLEMS IN WOODWORK Fig. 173—Rectangular Stoo! in Fig. 175 clearly shows that the front rail is longer than the back and that the side rails are equal in length. The first step in the seating of this shape is to mark off a distance on the front rail equal in length to the back rail. of the framing square along the long edge and the This is done by placing one arm other arm butting against the inner edge of the cap on the short rail, and drawing the lines on the longer rail, as shown in Fig. 175. This is a sort of squaring-up process, marking off or describing a perfect rectangle in the center. If the framing square is not at hand, the squaring- up may be done by subtracting the length of the short or back edge between the caps, from the length of the long or front edge between the caps, and one- half of this difference marked off on the long rail, measuring from the inner edges of the corner caps, as shown in Fig. 175. : | | aA are ——— : eee | x [ t X= Difference between a and b Fig. 175—Method of Marking Irregular Frame RUSH SEATING AN IRREGULAR SEAT 159 In the wrapping, the first step is to fill in the space at the side not a part of the rectangle. There are two ways of doing this. In the first, take a strand of cord, tie a string to the end. Tie this string around the back rail close to the left hand cap. Then pro- ceed as when weaving a square until the back rail is reached. Cut the strand about 2 in. from the back rail and tie a string to the cut end. This string in turn is wrapped around the back rail close to the right hand cap. Proceed in this way until the spaces marked off on the front rail are filled. There is now a perfect rectangle, which may be wrapped as previously described. Another good way of filling in the extra space at the front corners is to tack one end of a strand to the inner edge of one side rail close to the corner. Wrap the cord around the corners, as shown in Fig. 176, and tack the other end to the inner edge of the op- posite rail. Proceed in this way until the spaces on the front rail are filled. There is now a rectangular space, which is wrapped as already described. The seating of irregular seats is no more difficult than that of the square or rectangle. Any eighth- grade boy can do the work if the fiber cord is used. The twisting of the genuine rush is somewhat diffi- cult. Fig. 177 shows a finished irregular seat. Fig. 178 gives the working drawing for a rush seated chair. Fig. 179 shows the top of a stool woven with fiber cord. Fig. 180 shows a finished stool. Fig. 176—Method of Wrapping an Irregular Frame PROBLEMS IN WOODWORK 160 Vln ‘ Fig. 179—Woven Top Fig. 177—Irregular Shaped Seat Fig. 180—Stool with Woven Seat 17 13d r} Zz 48 0S alli rt | —!3 Oo CHAIR Fig. 178—Working Drawing of Chair (Eighth Grade) 161 CHAPTER VII Hickory Splints Hickory splints are the product of the hickory tree, obtained in very much the same way as are splints from the black ash and the oak trees. Many of the old colonial hickory-splint-seated chairs are still to be seen in the various museums in the New England and Middle Atlantic states. The chairs to be seen at Deerfield, Mass., are especially interesting. The hickory splint seated chairs, as household furniture, may still be found in everyday use in various sections of the country, especially in the south. Since civilized man has learned the value of fresh air, the inevitable demand for suitable outdoor fur- niture has been created. After much experiment- ing with various kinds of wood, it was found that hickory, because of its toughness and pliability, was the most suitable of all native woods. It stands all kinds of weather with placid indifference. It may be used in its natural state without paint or varnish, —the beautiful sheen and soft colorings of the smooth bark being infinitely prettier than any paint or varnish. The Splints The splints are usually furnished in two widths, one about %% in. wide, and the other about 5 in. 162 Splints of this kind may be purchased from the original producer at about twenty cents per pound. Several of the largest rustic furniture companies use splints made of the inner bark of the hickory for the backs and seats of porch furniture. These splints are somewhat darker in color than those obtained from the trunk of the tree. The frame work need not necessarily be of hickory. Sassafras wood is very often used,—in fact, branches of any kind of trees may be used. Hickory and sassafras retain their bark, whil> the branches from many local trees will not. Encourage the pupils to bring in branches trimmed from these trees during the season for trimming. Fig. 181 shows the working drawing of a stool with a woven hickory splint top. The construction of the frame is very simple. Making a Form It will be observed that there is a slight curve in the side rails of the stool top. This curve is often natural, but the rails may be easily bent over a form made for this purpose. Such a form may be made of a piece of 2 in. plank by drawing the curve down the Seat tobe woven Fickory Spiints STOOL Fig. 181—Working Drawing of Stool (Eighth Grade) 163 164 PROBLEMS IN WOODWORK center of the plank and sawing. Place the branch to be bent between the two parts of the form and then draw them together with the clamps. If the wood is green, it will bend without any special treatment; but if dried out, it must either be steamed or soaked in boiling water. Such pieces must remain clamped in the form until thoroughly dried out; otherwise they will spring back to their original shape. Fitting the Tenon Care should be taken, however, when fitting the rails, not to taper the tenons. This mistake is often made, and the result is insufficient space for the glue to hold the parts together. The final outcome is that the frame comes apart in a short time. Fig. 182 shows the wrong way of cutting the tenon, while Fig. 183 shows the right way. Weaving the Top To weave the top, the splints are soaked for a short time in water. This makes them very pliable and easily handled. To begin the seating, tack one end of a splint to one of the rails of the top, using a 2 oz. iron tack. The splint is wrapped around the seat frame. When e Fig. 182—Incorrect Way of Cutting Tenon ©) the end is reached, it is fastened with a tack. The end of a new splint butts up against the end of the one just used, and the wrapping is continued until the entire top is covered. Wrapping in this way makes a double seat. Fig. 184 shows the wrapping. Fig. 183—Correct Way of Cutting Tenon Weaving The wrapping completed, the weaving is begun about the middle of the under side of the seat. In this exercise, both the top and the under side of the top are woven. This is true of all hickory splint and flat reed weaving of stool tops. If plain weaving is to be used, the weaver simply passes over one and under one. If a diaganol weave is desired, the same direc- tions may be followed as given for ash splints. When the end of one splint is reached, the beginning WEAVING 165 of the second weave overlaps the end of the first for a couple of inches, and the weaving continues the same as at first. It is desirable to have the over- lapping come on the under side of the stool top. Fig. 185 shows a partially woven stool top. Fig. 186 shows the completed stool. This work may be made most attractive and inexpensive for the boys in making garden and porch furniture. Fig. 184—Wrapping Fig. 185—Partially Woven Top Fig. 186—Stool with Woven Top 166 Seat to pe woven with Hickory Splints HL aC) 2+ 27 alee ae ‘ SETTEE nv pate 36 Fig. 187—Working Drawing of Settee (Eighth Grade) WEAVING 167 Fig. 187 shows the working drawing of a porch settee with woven seat and long, straight branches for the back. Fig. 188 shows the finished settee with woven seat. In Fig. 189 is shown the working drawing of a porch chair with woven seat and back. Fig. 190—Chair. Woven Seat and Back Fig. 190 shows the finished chair. Fig. 191 shows the working drawing of a settee with woven seat and back. Fig. 192 shows the finished settee. Fig. 193 shows a settee with a woven seat and two woven panels in the back. Fig. 188—Settee. Woven Seat. 168 Seat to be woven with Hickory Splints 4 2 |Slats {1 s [i = TE . l } — mir ||: FD C —E. _ Back to bewoven with Hickory Splints a r -—! L Py a Ba 4 bias 2 PS O eee o 7 4 fd m7 A q ‘ esi vie lo alta =| 5 "1 ae Hy + 18 tte fe a 2) Fig. 189—Working Drawing of Chair (Eighth Grade) " 4) ! \ ! \ i \ i Seat to be woven with \ I Hickory Splints \ i= | / \ / — I = z a ry hn | if ia hu id u tral aM ri 1 K Back to be woven with C ty =e Hickory Splints — i ! iy tea “iv ; i a © SS = a: T = wv i e A £ oO . a t oO ps oe = ey Matt - 7 cs Fame = e ht “Ht Oo 2T 1a 2 ileal! LN ead sl an 36 | SET TEE Fig. 191—Working Drawing of Settee (Eighth Grade) 169 170 Fig. 192—Settee. Woven Seat and Back Fig. 193—Settee. Woven Seat and Two Panels in Back CHAPTER VIII Simple Upholstering We may safely say that 75 per cent of the furni- ture manufactured today is upholstered in one form or another, the reason being not only for the ease and comfort that are produced, but because of the beautiful and artistic effects that can be obtained by upholstering. Upholstering is an art in itself, and like most arts, cannot be poorly done without a displeasing effect on the entire article upon which it is applied. The methods of upholstering are too numerous to mention in full, therefore we shall explain only those simple methods that are within the capabilities of the average seventh- or eighth-grade boy. The tools needed for these simple methods are very few. The materials that may be used, and that are used the most, are webbing, springs, canvas, cotton, curled hair, common tacks, upholstering tacks, staples, gimp, cord, leather, imitation leather, tapes- try, and fabrics of all kinds. The most simple of all upholstering is the stretch- ing of leather over a plain surface such as the top of a library table, leg rest, or footstool, where only the effect of the upholstering is desired. This is 171 very good for library tables, but not for leg rests and foot-stools, where a little comfort must be consid- ered. This method can be used on leg rests and foot- stools if a small amount of curled hair is placed under the leather before stretching it, as in the case of the leg rest shown in Fig. 157. Do not use cotton when upholstering over a plain, hard surface, such as the top of the leg rest, as the cotton will pack down and in time become almost as hard as the wood itself. Curled hair will not pack as readily nor as hard as cotton. But when curled hair is used, a thin layer of cotton should be placed over the curled hair before stretching the leather over it. The next method is that in which the webbing is used as a base upon which the upholstering is built. The use of the webbing adds greatly to the comfort of the article to be upholstered, in this case a small foot-stool. At A, Fig. 194, the foot- stool is shown with the webbing stretched and tacked upon it. The webbing must be pulled very tight and tacked very securely, the ends of the web- bing being doubled to insure a good hold for the tacks. 172 Fig. 194—Steps in Unpholstering a Small Foot Stool SIMPLE UPHOLSTERING 173 In B, Fig. 194, is shown the leather stretched and tacked to the stool over the curled hair and cotton, which has been placed on the webbing. In placing the leather on the stool it should be stretched from corner to corner first and tacked temporarily, then pulled from center to center, right and left, front and back, and tacked securely at the center. Then proceed with the tacking down of the leather from center to corner, always pulling the leather down and towards the corner. When the corner is reached, remove the tack placed there in the be- ginning, trim the leather to fit snugly around the post, then pull it tight and tack it securely, seeing that there are no wrinkles in the leather before tacking. If there are any wrinkles they can be filled out with cotton. When the leather has been stretched and tacked as shown in B, Fig. 194, we may next place the gimp around the edge of the leather and tack it with upholstering tacks as shown in C, Fig. 194. This gimp not only adds greatly to the beauty of the up- holstering, but also covers up any defects in the stretching of the leather. If the rails are not too wide, and the piece of leather is large enough, one might stretch the leather around the rails and tack it on the under side of them, as shown in D, Fig. 194. If the leather is pulled snugly and neatly around the posts no gimp is necessary, but if not, the de- fects may be covered by placing the gimp around the posts as shown in D, Fig. 194. It may be said here that small corner blocks should be placed in each corner of the foot-stool to provide a place for the upholstering tacks. The gimp and tacks give the upholstering a finished appearance. The foregoing methods of upholstering may be used on any piece of furniture, provided the opening is not too large. We now come to another simple method, which is used very extensively in upholstering the seats of dining-room chairs, and which may also be used very effectively on any chair or stool. It is necessary first to make a wooden frame 1 in. thick and the same shape as the opening in the chair which it is to cover, but 1% in. larger all around than the opening. Then rabbet each edge and cut each corner out on the under side as shown in Fig. 195, so that the frame will slip down into the opening with the 14 in. projection all around. This projec- tion is about 14 in. in thickness. Then round off the edges of the frame on the upper side as shown in Fig. 196. Corner blocks are now placed in each cor- ner of the chair or stool so that the frame rests on the blocks, and the projections of the frame rest on the rails. This removes any pressure from the pro- 174 PROBLEMS IN WOODWORK Fig. 195—Under Side of Slip Seat Frame jection. If these blocks were not placed beneath the frame the projections would snap off when the first real pressure was placed upon the seat. The next operation is to upholster the frame. Tack the webbing on as in the case of the foot- stool, pulling the webbing tightly before tacking. Weave the webbing over and under as shown in Fig. 196. Now place the cotton on the frame and then tightly stretch the leather over it, tacking the leather on the under side of the projections. Do not use too much padding, as the seat will become bulk- some; yet have enough to make the seat comfortable, as shown in Fig. 197. The seat may be held in place by placing a screw up through each corner block and screwing it into the seat frame. The other method of fitting the seat frame to the opening in the chair is to rabbet out the rails and posts to fit the frame, but this method is a little too difficult for an eighth-grade boy to accomplish. The methods described in the foregoing para- graphs suit very well the articles mentioned in the explanation of the methods. But, one expects more comfort in a Morris chair than in a dining-room chair, therefore one must use a method of upholster- Fig. 196—Webbing Tacked on Frame SIMPLE UPHOLSTERING 175 Fig. 197—Leather Stretched on Frame ing Morris chairs, rockers, etc., that will give greater comfort. There are a great number of methods of doing this. We shall take the easiest and simplest. To begin with, one must make a box frame, as shown in Fig. 198, which is 14 in. shorter than the distance between the front and back rails, and 1% in. narrower than the distance between the right and left posts of the chair in which the cushion is to be placed. The box is made of 34 in. stock about 4 in. high. Along the inner lower edges of the front and back 34 in. square strips are screwed to the box as shown in Fig. 198, and on these are placed the 4-in. strips of wood upon which the springs are tacked. Fig. 199 shows the springs held in place by 34 in. staples, a small piece of rope about 1 in. long being placed between the spring and staple before the staple is hammered down. After the springs are made fast at the bottom, they are tied together with rope at the top as shown in Fig. 199. Take a piece of rope about 4 in. longer than the box and tie one end of it to one side of the upper rim of a corner spring, cross over to the other side of the rim, tie a single knot, pass over to the next spring, repeat the opera- Fig. 198—Box Frame 176 PROBLEMS IN Fig. 199—Springs Tied and in Place tions performed on the first spring, and let the end of the cord hang over the side of the box. Repeat this operation until you have six strands of cord tied over the springs as shown in Fig. 199, two ends on each side and one in each corner. When you have this completed pull the ropes tight and tack the ends to the upper edges of the box. This secures the springs at the top. The springs may be covered with webbing as shown in Fig. 200, or with a piece of canvas. The cotton is then placed upon the springs, allowing it WOODWORK to cover the sides of the box frame as shown in Fig. 201. The leather is then stretched over the cotton and tacked on the under side of the box, stretching the leather as in the case of the foot-stool, that is from corner to corner first, and then from center to center. A piece of canvas is then tacked over the bottom of the box and the cushion, as it is now called, is complete, Fig. 201. One must decide for oneself just how many springs are to be used in a cushion. The fewer Fig. 200—Springs Covered with Webbing SIMPLE UPHOLSTERING 177 the springs the softer a cushion, while the more chapter are only a few of a great many, but they will springs used the more serviceable a cushion. suffice all purposes for which upholstering can be The methods of upholstering described in this used in the sixth, seventh, and eighth grades. Fig. 201—Leather Stretched Over Box CHAPTER IX Round and Flat Reed Weaving The purpose of this chapter is to show a few of the possibilities that may be accomplished in round and flat reed, and to point out the relation reed bears to wood. Too many manual training teachers are laboring under the impression that elementary manual training concerns work in wood only. It has already been stated in a previous chapter that the one great aim of manual training is to combine judgment, a purely mental function, and execution, a purely physical function. There seems to be no work in which the two can be combined so efficiently from the beginning, as basketry. The expression of thought through wood and many other mediums requires, very often, an elaborate equipment of tools. The work in basketry requires almost no tools, and yet offers great variety as to form and color, and almost unlimited possibilities in design. Much of the poor work in reed is often due to poor teaching, and many times in attempting prob- lems too difficult. 178 For the purpose of experimenting, take a 10 in. square of 2 in. plank. From the center describe a 9 in. circle. On the circumference, mark off and bore 1% in. holes from 5¢ in. to 34 in. apart. There should be an uneven number of holes. In order to bring this about it would be better not to keep the spacing equal. When an even number of stakes are to be used, a plug may be placed in one of the holes. With the above device at hand it is possible for the pupils to answer many questions which arise concerning an odd or an even number of spokes. Such a device also gives the teacher an opportunity of demonstrating the single, double, triple, and quadruple weaves. Single Weaving Fig. 202 shows the single weave with an odd num- ber of stakes. Fig. 203 shows the single weave with an even number of stakes. In this weave it will be observed that after the weave has passed around once, it no longer continues to pass before and back of the 180 PROBLEMS IN WOODWORK alternate stakes, but continues to pass before and back of the same stakes, as in the first time around, as shown in Fig. 203. In order to bring about the passing back and before the alternate stakes, it becomes necessary for the weaver to pass back of two stakes each time around, as shown in Fig. 204. From this point the weaving continues the same as when an odd number of stakes is used. This is the Indian way of weaving, and may often be used as a means of decorative work, as shown in Fig. 205. The weaver, in its journey around the basket, passes back and forth before the same stakes until it has passed around several times. When the reverse is desired, the weaver passes back of two stakes as shown in Fig. 205. Double Weaving Double weaving is made more effective if reeds of different colors are used. Fig. 206 shows the double or pairing weave. In weaving with two, three, or four weavers, the left- hand weaver of the group is known as the rear weaver, and the right-hand one as the forward weaver. Ordinarily, weaving is done from the left to the right, except when a special design is desired. To do double weaving, two weavers are put be- hind two consecutive stakes and project toward the right. The rear weaver goes over the forward one back of the stake and out between the two stakes. The forward weaver now becomes the rear weaver, and passes over the back of the stake and out be- tween the two stakes. Fig. 207 suggests the possibilities in decoration when one weaver is colored and an even number of stakes is used. Fig. 208 shows the design when the double weave is used with an odd number of spokes. To add a new weaver, insert the end behind and beside the end of the one already woven in, and continue the weaving as if the weavers were continuous. Triple Weaving In Fig. 209 is shown the starting of the triple weave. The three weavers are put behind three con- secutive stakes and extend toward the right. In weaving, the rear one goes over the other two and in front of the two stakes, behind one stake, and out between the next pair of stakes to the right of the forward weaver. The weaver that was in the middle now becomes the rear weaver, and in turn is treated. as the other rear one was treated. This is continued as long as the triple weave is desired. In weaving, always be sure to take the rear weaver, and have it come out between the pair of stakes to the right of the forward weaver. QUADRUPLE WEAVING 181 Fig. 210 shows the result when one colored weaver and two uncolored ones are used, and the number of weavers will go an exact number of times into the stakes. By this is meant, the number of stakes must be divisible by the number of weavers. Each color forms a vertical stripe. Using two col- ored weavers gives the same result, but with a dif- ferent proportion of color. In Fig. 211 is given the result when the number of stakes divided by the number of weavers leaves a remainder of one. This produces a spiral effect on the inside and a variegated effect on the outside. Fig. 212 gives the result when the number of stakes divided by the number of weavers leaves a remainder of two. This produces a spiral effect on the outside with a variegated effect on the inside. Quadruple Weaving Fig. 213 shows the starting of the quadruple weave. This may be done with most pleasing effect in using weavers of different colors. In weaving, the rear one goes over the other three and in front of three stakes, behind one stake, and out between the next pair of stakes to the right of the forward weaver. The weaver that was next to the rear now becomes the rear and the weaving continues as described. In order to make use of the suggestions given above, it will be necessary to have a simple problem on which to work. Mats Mats are always useful, and since they embody all that is found in the bottom of a basket they may well be taken as beginning problems. Before beginning the work there are a few terms in connection with basketry that should be made a part of the child’s vocabulary. The foundation pieces of reed on which a mat or bottom of a basket are woven are known as spokes because they radiate from the center like the spokes of a wheel. After the bottom of a basket is completed and the spokes are turned upward they are called stakes. The strands of reed used in weaving in and out of the spokes and stakes are called weavers. Fig. 214 shows a number of woven mats. The one of simplest construction is shown at A, Fig. 214. The material necessary for this mat consists of four pieces of No. 3 reed, 14 in. long, one piece 8 in. long, and two weavers of No. 2 reed. Splitting the Spokes With a No. 14 or 16 darning needle, split two of the 14 in. reeds. To do this first find the center of the reed, and about 1% in. from this point force the point of the needle through the reed. 182 Fig. 214—Reed Woven Mats BEGINNING THE WEAVE 183 Do this by boring, rather than trying to push the needle. When through, pull or push the needle along until a slit about 14 in. long has been made, as shown in Fig. 215. Split a second reed; pass the other two Se Fig. 215—Split Reed 14 in. reeds through the splints just made, as shown in Fig. 216. This makes a perpendicular cross. The 8 in. piece is placed between the upper end of the two vertical ones, making an odd number of spokes. By pursuing this method there is very little difficulty in holding the vertical and horizontal reeds together while beginning the weaving. ' Fig. 216 Beginning the Weave The weaver of No. 2 reed is placed, as shown in Fig. 217, behind the vertical group and along the top of the horizontal pair with its right hand end projecting about 34 in. to the right of the vertical group. Fig. 217 The weaver is then brought to the right in front of the vertical group, back and down behind the horizontal group, thereby binding its own end to the spokes, Fig. 218. It next comes to the left in front of the vertical group and behind the horizontal group to the posi- tion from which it started. It follows the same 184 PROBLEMS IN WOODWORK Fig. 218 course for once more around as shown in Fig. 219. time around and under the groups it went over, The weaving may now be reversed and the weaver Fig. 220. From this point the weaver begins to pass allowed to pass over the group it went under the first over and under alternate spokes, Fig. 221. Fig. 219 BEGINNING THE WEAVE 185 The left hand does the holding while the right hand does the weaving. When the spokes are all the same distance apart, the mat may be placed on a flat surface and the weaving continued until it is 8 in. in diameter. If one weaver is too short to make the mat of the desired size, add another and join the weavers as shown in Fig. 222. Fig. 222 Be sure to hold the spokes out straight as the weaving is done. It must be understood that the weaver adjusts itself to the spokes and not the spokes to the weaver. Just as soon as the spokes begin to project in all directions, it is an indication that the workman is attempting to make the spokes adjust themselves to the weaver. While weaving, hold the work in such a way that the spokes pass between the fingers of the left Fig. 223—Correct Method of Holding Work 186 PROBLEMS IN WOODWORK hand as shown in Fig. 223. The work held in this position makes it possible for the thumb and first finger to hold the weaver in place while the right hand brings the weaver before and behind the spokes. Tension If the work is to be kept perfectly flat, care must be taken not to allow the right hand to pull on the weaver while the work is in progress. The right hand, in making a mat, simply carries the weaver before and behind the spokes. If the work begins to pucker and draw up like a bird’s nest, it is an indication that the tension is too great. Over Casting After the desired diameter has been woven the outer edge must be overcast. Fig. 224 shows one stitch of overcasting and the second stitch ready to be pulled through. This process continues once around, when the weaver is cut off on the back side of the last spoke. The Border In Fig. 225 are shown several ways of construct- ing borders. In A, Fig. 225, one spoke goes in front of the next and inserts just before it gets to the third. In B, Fig. 225, one stake goes in front of two and in- serts just before it gets to the fourth. In C, Fig. Fig. 224 225, one goes in front of three, and in D, one goes in front of four. All spokes must be cut the same length before be- ginning the border. The loops must be adjusted after the ends are cared for. The length of the spokes re- quired after overcasting may be found by trial. Pairing Weave Fig. 226 shows the method of starting a mat using the pairing weave. In this exercise there are eight pieces of No. 4 reed, each 14 in. long. Four pieces PAIRING WEAVE 187 Fig. 225—Method of Weaving Borders pass through four pieces, giving 16 spokes. The split pieces are held horizontally. The weaver is doubled in the middle, and is started around the vertical group just above the horizontal ones, one end being in front of and the other behind the vertical group, thus forming two weavers, A, Fig. 226. The front weaver passes in front of the vertical group and back of the horizontal group. The rear one goes to the right across the back of the vertical group and down in front of the horizontal group, B, Fig. 226. In this way the two weavers continue around the groups of fours several times, C, Fig. 226. At A, Fig. 227, is shown the separation of the groups into pairs, while at B, Fig. 227, is shown the separation of pairs into singles. Just as soon as the spokes are the same distance apart single weaving may begin by taking the rear weaver and bringing it over one spoke and under the next. Continue in this way until around. The weaver now comes outside of the other weaver and stops. The inside weaver now weaves around until it comes to the same position with reference to the first one. Continue to weave with first one and then the other, each as a single weaver, until the desired diameter is reached. To Overcast The weavers are stopped on opposite sides of the weaving. One weaver is used in overcasting until it reaches the other weaver. The other weaver CLOSED BORDERS 189 Fig. 228—Method of Weaving Closed Borders is then used in the overcasting until it comes op- posite the place where the first stopped. If a looped border is desired, follow the directions given in making the first mat. Closed Borders Fig. 228—A, B, C, D, E, and F—shows the various steps in making a closed border. A, Fig. 228, shows the starting of the first row of the weaving of a closed border, and B shows the fin- ished border. The starting spoke is No. 1. No. 1 goes behind No. 2 and out; No. 2 behind No. 3 and out, and so on around, the last spoke going behind No. 1 and out. Pull all ends tightly. The ends are now on the outside of the basket and must be pushed back to the inside. B, Fig. 228, shows the ends drawn to the inside. To do this, start with any spoke, put it in front of the next to the right, through the loop into the inside of the basket just before getting to the next spoke. When all the ends have been drawn to the inside, they are cut off close to the border. In C, Fig. 228, the first spoke goes to the right behind two and out. In D, Fig. 228, is shown the finish of C. Each spoke goes in front of two and through to the inside just before getting to the next. 190 PROBLEMS IN WOODWORK In the first half of E, Fig. 228, each spoke goes behind one and out, the spokes all being on the out- side. The second half of E shows the spokes passing in front of two, through the loop to the inside. In F, Fig. 228, each spoke goes behind two and out and in front of three to the inside. Other Mats B, Fig. 214, shows a mat with an uneven number of spokes and a single weaver. It will be observed that the beginning weaving of this mat is of raffia. Raffia is somewhat easier to weave in and out than the reed. Reed, however, is desirable in beginning the weaving. C, Fig. 214, shows a mat, the spokes of which are round and the weaver of split reed or reed windings. D, Fig. 214, shows a mat having an uneven num- ber of spokes and two weavers which pursue the same course as a single weaver would. When this is done it is advisable to select weavers of different lengths in order that only one will run out at a time, thus making it easy to add new weavers. This kind of weaving is not called double weavy- ing. E, Fig. 214, shows a mat having an even number of spokes and two weavers, one natural and the other colored. This is called the pairing or double weave. F, Fig. 214, shows a mat with an uneven number of spokes. G, Fig. 214, shows a triple woven mat in which the number of spokes is divisible by the number of weavers. Three weavers used. H, Fig. 214, shows a triple woven mat in which the number of spokes when divided by the number of weavers leaves a remainder of one. Three weav- ers are used, two colored and one natural. I, Fig. 214, shows a triple woven mat in which the number of spokes divided by the number of weavers leaves a remainder of two. Three weavers are used, two colored and one nat- ural. In making mats and baskets it is most interesting to experiment, using different numbers of spokes and various combinations of weavers. This work offers splendid opportunity for orig- inality. Baskets Fig. 231 shows a number of interesting baskets, some of which will be described later. In the begin- ning of basket-making care should be taken not to allow the pupils to undertake baskets too large. This is one reason why so many poorly made bas- _ kets are turned out by inexperienced workers. THE FIRST BASKET 191 Fig. 229—Spokes Turned Up The first basket is little more than a mat. The spokes are cut a little longer to allow for turning up. The First Basket Soak the No. 2 reed for about ten minutes if the water is warm and twenty minutes if it is cold. Cut four spokes 12 in. long and one spoke 7 in. long. Pro- ceed as when making a mat. After weaving a diam- eter of about 2 in. with a No. 1 reed, the spokes, which are still moist, are bent upward. Sometimes when this is done the spokes slightly break. There is no particular harm in this. In weaving the first time around after turning up the spokes the weaver does not keep them in an upright position. After going around several times they are in the position as shown in Fig. 229. The face of the weaving which was next to the body of the worker becomes the outside of the bot- tom. When the spokes are bent they are turned away from the body in order that the weaving may pro- ceed from left to right without the interference of the stakes as shown in Fig. 230. Shaping the Basket The shape of the basket is determined at this point in the weaving. If a straight, perpendicular sided basket is wanted pull the weaver, or in other words give the weaver tension enough to hold the stakes upright. If a straight flaring sided basket is desired do not give the weaver so much tension, thereby allowing the stakes to flare. In weaving all straight sided baskets, after the stakes stand at a satisfactory angle, be careful to see that the weaver has no tension whatever. In the beginning of basket making the person weaving seemingly has no control of the material and the shaping of the basket. With a little experi- ence this difficulty disappears and the worker gains control of both the material and the shaping of baskets. 192 PROBLEMS IN WOODWORK If a curved-sided basket, similar to A and B, Fig. 231, is wanted, start with the stakes quite flaring, and keep an even tension on the weaver as the weav- ing progresses and until the desired curve is woven IM, Always remember that tension on the weaver will bring the stakes together. When the basket is woven to the desired height, the top is overcast around the stakes just as it was done around the spokes of the mat. When this is done the basket may be finished sat- isfactorily by using the border, A or B, Fig. 225. The stakes should be cut long enough to push through the weaving until they come out at the bottom of the basket. This will stiffen the sides and give it a more finished appearance. After a!l the stakes are pushed through, all the curves and loops of the border are made regular in height and outline. This is done either by measure- ment or by turning the basket bottom side up on a flat surface, making all the loops touch this surface. Other Baskets The basket on which P, Fig. 231, stands is an in- teresting one. The spokes, 12 in number, are cut 30 in. long of No. 3 reed. Six of the spokes are split and the other six are passed through the split ones as described in the making of mats. Fig. 230—Holding Work While Weaving FINISHING THE TOP 193 To secure an odd number of spokes one of the now 24 spokes is cut away and the work proceeds as when making a mat. Weave with a No. 2 reed until a diameter of 6 in. is reached. Instead of breaking the spokes to turn them upward allow the weaver to do it by pulling or giving it considerable tension. By so doing a very interesting curve is secured at the turning point instead of an abrupt turn. In the weaving allow the stakes to flare while weaving about 2 in. of the upright part of the basket. At this point begin to give the weaver considerable tension, thus drawing the stakes closer together. Continue to weave for about 214 in. more. The di- ameter of the opening at the top is little more than the diameter of the bottom. Finishing the Top To finish the top proceed as shown at A, Fig. 228. Each spoke passes back of the one at the right and out. Continue until all the spokes extend outward. The spokes now all extend outward as shown at A, Fig. 228. They are next, each in its regular order, passed to the inside as shown at B, Fig. 228. Cut away the ends on the inside. M, Fig. 231, shows another basket constructed very much the same as the one just described, the shape being somewhat modified. C, D, and E, Fig. 231, are forms used for hang- ing baskets. D was made to hold an olive bottle and may be used for cut flowers. J, Fig. 231, is an interesting little work basket. Around the top a wooden kindergarten bead is placed on each stake. The weaving then continues several times more around and is finished as suggested in any of the different ways as shown in Fig. 228. Another Way to Begin Baskets Fig. 232 shows a simple and effective way for be- ginning a basket. Cut sixteen pieces of No. 3 reed and arrange in groups as shown in Fig. 232. First a perpendicular cross is formed with two of the groups. The other two groups are placed between the parts of the perpendicular cross as shown in Fig. 232. Begin to weave by placing the end of the weav- er under one of the groups forming the perpendic- ular cross. Continue to weave over and under until once around. This weaving may continue three times around, the weaver passing over and under the same groups each time around, or the course of the weaver may be changed each time around. The course of the weaver is changed by allowing it to pass under or over two groups. This changing is clearly seen in Fig. 282. it Ki TE a a BT nt OE Mh MAE fest lsy Bi: Fig. 231—Reed Woven Baskets LARGE BASKETS 195 Fig. 232—Starting with Sixteen Strands After weaving over and under the groups of four each group is divided, and the weaver passes under and over two at a time as shown in Fig. 233. If so desired each group of two may be divided into sin- gles and the weaving continued. Large Baskets H, B, and N, Fig. 231, show baskets somewhat larger than the others shown in Fig. 231. In all the preceding baskets the spokes were cut long enough to complete the basket. In A, B, and N, the spokes are cut long enough to make the bottom only, as shown in Fig. 234. When the bottom is completed two spokes are inserted, one at each side of each single spoke as shown in Fig. 235. This doubles the number of spokes used in making the bottom, thus giving added strength to the com- pleted basket. After the new spokes have been inserted, the weaving continues a couple of times around before Fig. 233—Dividing Groups Into Pairs 196 PROBLEMS IN WOODWORK turning upward. The spokes now become stakes. Baskets A and B have curved sides. This is accom- plished by allowing the stakes to flare while weaving and keeping an even tension on the weaver as the weaving progresses until the desired curve is woven in. After reaching the top of the basket other pieces of reed are inserted by the sides of the stakes. There are now two reeds in each place instead of one. To finish the top allow one pair to pass behind the one next to it and then to the outside of the basket as shown in Fig. 236. These ends are long enough Fig. 234—Inserting New Spokes. Fig. 235—Dividing New Spokes LARGE BASKETS 197 Fig. 236—Finishing Top of Basket so that each is tied to the bottom of the basket. This is best accomplished by using a darning needle threaded with a piece of string. Begin to sew the ends down by allowing the needle to come from the inside of the basket next to a stake, over the pair turned downward, pulling it close to the stake. The needle now comes out next to the following stake, over and then in. This is continued until all the pairs have been sewed down. Fig. 236. With the pair in Fig. 237—Finishing Bottom of Basket the position as shown in Fig. 286 one end of a new weaver is inserted and the weaving is continued around the pairs as shown in Fig. 237. The bottom of the basket is finished the same as the top is usual- ly finished. Fig. 237. F and G, Fig. 231, are two fruit trays started in the way just described. The weaver passes under and over two stakes each time instead of one. To finish the top follow the plan as shown in Fig. 236. 198 PROBLEMS IN WOODWORK Two stakes pass behind two and then out and down, the spokes being cut long enough to do this. Each pair of stakes making the border is tied at the bot- tom to keep it in place. These ends at the bottom are treated as the spokes of a basket. With a new weaver weave around the bottom several times. This weav- ing and the finish make a standard on which the tray stands. Finish the bottom as shown in Fig. 237, When all is finished the string used in tying is cut away. Handles The handle forms a very important part of the basket upon which it is built. It must be constructed correctly, in order that it may add beauty and utility to the basket, and possess strength itself. We have tried to show in Fig. 238, as clearly as possible, the successive steps in the making of a twisted handle. In explanation, let us add, that only that part of the basket which influences the making of the handle is shown in the illustrative steps in Fig. 238. It must be kept in mind, that the number of times the weaver twists around the foundation reed, de- pends entirely upon the diameter of the semi-circle and the size of the weaver. After a little experience in the weaving of handles, one will be able to judge accurately the ratio of the number of twists to the diameter of the semi-circle and the size of the weaver of different size handles. For example, take one end of a piece of No. 4 reed and insert it between two spokes of a basket as shown at 1-A, Fig. 238. The other end of the reed is then curved over and inserted between two other spokes about three or four spokes away from the two spokes first mentioned, as shown at 2-A, Fig. 238. This semi-circle forms the foundation upon which the twisting is done. A piece of No. 2 reed soaked in water until very pliable is now inserted to the left and alongside of the right hand side of the foundation reed as shown at A, Fig. 238. This reed is now twisted around the foundation reed three times, coming to the outside of the basket as shown at B, Fig. 238. It is now put through to the inside of the basket, outside of the left-hand side of the foundation reed, and about three, four or five strands below the bor- der, or just below the border, and then brought up and to the outside just below the first twisting. From here it follows the first twisting back to the starting ‘point. Be sure to keep the weaver beside the first twist. Do not let it cross the first one, but keep it beside the first at all times. It now goes to the inside of the basket and is put through to the outside, to the right of the right hand side of the foundation reed and is brought up. This course can be easily fol- lowed in C, Fig. 288. 199 : ! a = il i iS i Fig. 238—Steps in the Wrapping of a Handle 200 PROBLEMS IN WOODWORK From here the weaver is twisted to the left, be- side the first two twistings, until it again reaches the left hand side of the handle. It is then placed through to the inside of the basket to the left and alongside of the weaver already there, instead of to the right of the weaver already there, as one is apt to do when learning. At D, Fig. 238, this step is shown very clearly. The weaver is then twisted back beside the others to the right hand side of the handle to the inside of the basket, and then to the outside to the right and alongside of the weaver already there as shown at E, Fig. 238, remembering that it goes to the right, not to the left, of the weaver already there. It is now twisted back beside the others, until it reached the left hand side of the handle to the out- side of the basket and then it is placed through to the inside to the left of the other two as shown in F, Fig. 238. From here it is twisted back to the right hand side of the handle to the inside of the basket and put through to the outside to the right of the other two as shown in G, Fig. 238. It is now twisted back for the last time to the left hand side of the handle; the end is pushed in between the front and back weavers, and is cut off. The handle is then complete as shown at H, Fig. 238. It now has the appearance of a tightly twisted piece of rope. Covered Forms Very often good pottery forms may be secured at an unusually low price. The decoration, however, is so atrocious that one hesitates to make a purchase even at the lowest price. By using reed, good forms may be covered, thus eliminating the unattractive features. In Fig. 242 are shown several pieces covered as above mentioned. The sandwich plate is not includ- ed in what might be called poor art. To Cover a Sandwich Plate At any department store may be found plates of good English prints. Among the most common are the Indian Tree and Parrot plates. These when cov- ered, as shown in Fig. 242, make most attractive sandwich plates. To cover the plate proceed in the following way: On a piece of pine board draw a circle having a diam- eter equal to the diameter of the bottom ring of the plate. The plate itself may be placed on the board and drawn around, thus securing the circle required. Cut 12 pieces of No. 2 reed, each 16 in. long. Soak in warm water. When sufficiently pliable, bend each COVERING A SANDWICH PLATE 201 Fig. 239—Starting the Weave piece of reed at the center, and thumb tack each to the board on the circumference of the circle just drawn. See A, B, and C, Fig. 239. When all are tacked, with a No. 1 reed weave around the entire circle, using the pairing weave. Weave several more times around as shown in Fig. 240. The spokes are now crossed as shown in Fig. 240. A space is left and the pairing weave again is used once around. The weaving is done as the spokes are crossed. From this point the single weave may be used but not until Fig. 240 is removed from the board and tied to the plate. The remainder of the weaving is done over the plate. Fig. 241 shows the underside of the finished plate. In Fig. 242 may be seen the upper side of the fin- ished plate. Fig. 240 1) oS bo The top is finished by using any one of the closed borders shown in Fig. 238. The handle is simply a four strand braid, using eight strands of reed but using them in pairs. The looped ends seen in Fig. 241 show the way the handle is fastened to the under part of the plate. Fig. 241—Outside of Plate Vase Form in Fig. 242 The tall vase form shown in Fig. 242 may be cov- ered, or the beginning may be the same as when starting a basket. When a diameter is woven equal to the diameter of the bottom of the vase it is tied to the vase and the weaving is done around the form. PROBLEMS IN WOODWORK The Bowl in Fig. 242 To cover a bowl proceed as when covering the sandwich plate. To finish the top use any closed finish shown in Fig. 238. The Melon Shaped Basket The most interesting of all baskets to construct is the melon shaped basket, because of the different Fig. 242—Finished Covered Forms steps involved in its method of construction. The foundation upon which this basket is built is two rings. These rings may be either purchased in the form of fancy work hoops, or they may be made of 2038 Fig. 243—Foundation of Melon Shaped Basket 204 PROBLEMS IN WOODWORK heavy ash splints. If they are to be made of the ash splints, take two straight pieces of the ash splints about 3 1-7 times the desired diameter of the basket plus 1 in. for lap, and with fine wire, iron fasteners, or fine string, fasten them together to form the two rings. At A, Fig. 248, is shown the position in which these two rings are placed so that they are perpen- dicular to one another. If the half ring that is to form the handle looks shabby it might be improved by wrapping a winder about it. The weaver is placed behind the vertical ring parallel with the horizontal ring, one end extending beyond the vertical ring about 1 in. as shown at 2-A, Fig. 243. Then bring the other end over and diag- onally across the vertical ring from 1 to 4, and then behind and straight across the horizontal ring from 4 to 2 as shown at A, Fig. 243. Now place the strand over and diagonally across the vertical from 2 to 3 and behind and straight across the horizontal from 3 to 1. This position is shown at B, Fig. 243. Then take the strand over and diagonally across the vertical from 1 to 4 and bring it behind and straight across the vertical from 4 to 3 as shown at C, Fig. 248. The strand now travels over and diagonally across the vertical from 3 to 2 and back to its orig- inal position at 1 as shown at D, Fig. 248, by passing behind and straight across the vertical from 2 to 1. The foregoing method of wrapping repeats itself by going over and diagonally across the vertical from 1 to 4, up, behind, and straight across the horizontal from 4 to 2, over and diagonally across the vertical from 2 to 8, behind and straight across the vertical from 8 to 4, up, over and diagonally across the ver- tical from 4 to 1, down, behind and straight across the horizontal from 1 to 3, up, over and diagonally across from 3 to 2 and then back to its original posi- tion at 1 by passing behind and straight across the vertical from 2 to 1. The wrapping should be now as shown in H, Fig. 248. This method of wrapping should be continued until four pockets are formed, one at each corner, as shown in F, Fig. 243. The other side of the rings are wrapped in the same manner as shown in F, Fig. 243, and after both are completed the center rib on both sides may be placed into these pockets as shown in Fig. 244-A. An amateur might attempt to place all the ribs in at one time, but this is too difficult to try when learning how to make this basket for the first time. MELON SHAPED BASKET 205 Fig. 244 The ribs may be made of the stout ash splints about 114 times as long as the diameter of the basket, both ends of the ribs being tapered to a point; or if the ash cannot be had one might use ordinary heavy reed, about a No. 8. If the reed is used a good many more spokes must be had than when using the ash splints. In shaping the ash splints care should be taken that there will be a sufficient space between them when placed in the basket so as not to cramp the weaver. The shape of the basket when finished depends entirely upon the shape of the ribs used, so that it is very important that the ribs be made and placed correctly. The single weaving is now commenced as shown in A, Fig. 244. After three or four rows are woven at one end, weave three or four rows at the other end, thus fastening the ribs at both ends. This method of weaving, that is, first at one end and then at the other, must be kept up throughout the entire construction of the basket, finishing the weaving at the center. Now when the three or four rows are woven at each end we place into the pockets the other four ribs as shown in B, Fig. 244, with the exception that we place the ribs only in the pockets on one side of the basket. This makes it easier to continue the weav- ing, for while one is weaving at one end the ribs are continually coming out of the other end. After four or five rows of weaving have been completed at the end into which the ribs were placed, the other ends of the ribs may be placed into the pockets on the other side of the basket, and the weav- ing done the same as on the first side of the basket. The weaving is then continued first from one side and then from the other. Fig. 245 shows a partially woven basket done in this way. When the center is reached the weaving ends and the basket is complete. Figs. 246 and 247 show finished melon shaped baskets. Reed and Wood We come now to a most interesting and useful combination, that of reed with wood. There is no 206 PROBLEMS IN WOODWORK Tig. 245 other combination with wood that gives such a large variety of possibilities as reed. Serving Tray The most simple problem in this combination is that of the serving tray, which is nothing more than a slip joint frame, as shown in the working drawing, Fig. 245 Finished Melon Shaped Baskets Fig. 247 Fig. 248. Holes the size of the reed to be used, usual- ly a No. 3, are bored 1 in. apart and an extra reed is placed in to give an odd number of stakes. The weav- ing is done the same as described on the wooden block shown at the beginning of this chapter. It is just the plain weave, using a No. 2 reed until about 1 in. high. Then the weaving stops; the stakes are woven to form any one of the closed borders shown in Fig. 228, having the ends of the stakes come to the outside of the tray. They are then cut off flush with the weaving. To form the handle bore two holes the size of a No. 10 reed about four stakes apart in place of the holes in the size of a No. 3 reed, as shown in Fig. 248. Then take a piece of No. 10 reed and bend it, placing the two ends into the holes just bored. When weav- ing, consider the stakes of the handle the same as the rest of the stakes. To finish off the handle wrap it with a reed winding. The handle is wrapped before the weaving is begun. Strips of 3¢ in. cove moulding are tacked to the inside of the frame. A glass is then cut to size and fitted in from the bottom. Under this glass may be placed strips of tapestry, splint weaving or water color design as shown in the finished tray, Fig. 249. A heavy piece of cloth board is tacked over the entire bottom of the tray, thus holding the glass in place. Hetes forHandle tobe size of N°l0 Reed Tepastry, Splint Weaving or Woter Color Design may be placed Kb in this space under Glass Bottom We WZ Holes tobe size of N@S Reed placed I" apart, Total N° of holes must be odd N2 Reed Woven Rim te be I High RCove Moulding / SERVING TRAY Fig. 248—Working Drawing of Serving Tray (Seventh Grade) 207 208 PROBLEMS IN WOODWORK Fig. 249—Finished Tray Foot Stools In Fig. 250 is shown the working drawing of a simple reed woven stool. In this stool we use the flat reed, which is similar to the ash and hickory splints used in the preceding chapters. The wrapping is done over the entire upper rails, and both the top and bottom of the seat are woven. This makes a very strong and durable seat. Fig. 251 shows the finished woven top, while Fig. 252 shows the finished stool. Fig. 253 is the working drawing of another reed woven footstool. In this stool dowel rods are used for the rails, and there is no weaving on the bottom of the seat. Fig. 254 shows the finished stool. The legs may be either turned as shown in Fig. 254, or tapered as shown in Fig. 253. Fern Stand The basket shown in Fig. 255 is built on a wooden #21. bottom, 84 in. in thickness. The upright stakes are of 3/16 in. dowel rods and placed in holes bored on a slant in the upper face of the bottom. These stakes are about fifteen degrees from vertical. The ends of the stakes are dipped in glue before being forced into the holes. The weavers are of a No. 114 reed. Fig. 251—Woven Seat 209 14 ° WOVEN SEAT = = —- 4 I LJ - Le Fig. 250—Working Drawing of Woven Seat (Eighth Grade) vl afke +3} 2 1 1 L at so eee 4 =o oa = 2 a - 3 9 v O o Q c q q 7 ae (B54 peste? r So a eases Aid ete = 210 Reed Weaving 7 ae o L s wali ib = 1 is 1 3 >| 3 a Pas 2 = < cm os ote, | at Ne ar A a Wy ZereL. u a a6 w\ --., ' oe a Ss a) Sy | ae . i NR BK FOOT STOOL, Fig. 253—Working Drawing of Foot Stool (Seventh Grade) FERN STAND 211 Tig. 252—Finished Stool Two weavers are carried around at the same time. The finish at the top is brought about by insert- ing a piece of the No. 11% reed at each side of each stake. The length of these pieces is determined by the kind of finish desired. The circumference of the bottom is finished by tacking a three strand braid of reed around the wooden bottom thus giving it a pleasing finish. The finish at the top of the basket and the braid around the bottom are stained the same color as the standard, while the body part remains the natural color of the reed. The basket is more easily kept clean if given a coat of shellac and then a coat of varnish. A gal- vanized iron pan, about 3 in. in depth, is placed in the basket to keep the water from dripping after the plant has been watered. Fig. 254—Reed Woven Stool 212 ee} “a be yet — +k a ey [] Ak z x ie J a Nt @ A +A S J le LL ISS WT _ u-4 Ee bross Sechion Thru A-A ies. poms] & , a ; i) ae | J es RK Zu a Lee (= |. = ' As = slo = ~ Pear ef a a : . FERN STAND Fig. 256—Working Drawing of Fern Stand. (Sixth Grade.) SEWING STANDS Sewing Stands Unique sewing stands can be made with the com- bination of reed and wood. Fig. 257 is the working drawing of a sewing stand with a reed woven basket near the top to hold the sewing materials, and a drawer underneath the basket to hold the sewing tools. It is extremely simple in its construction, easy to carry around and a very useful article to have in any home. All details of construction are shown very clearly in the working drawing. The weaving is the same as used in the serving tray, the stakes being glued into the wooden block which forms the shelf. Fig. 258 shows the completed stand. Fig. 259 is the working drawing of another sew- ing stand of a little different type. In this the woven basket is a unit in itself, made so it rests upon the bottom shelf, and so that it can be very readily re- moved from the stand. The box at the top may be used for the sewing tools. The construction of this stand is also very simple, being well within the capa- bilities of the average seventh-grade boy. It forms a very useful as well as an ornamental piece of fur- niture. Fig. 260 shows the completed stand. Fig. 261 is the working drawing of still another sewing stand, by far the most interesting of the three stands shown. The two baskets are integral parts of the stand, having wooden tops and bottoms. This Fig. 255—Fern Stand 213 214 c oe oe atl aE 30 135- alu eee SEWING STAND Fig. 257—Working Drawing of Sewing Stand (Seventh Grade) SEWING STANDS reinforces the baskets and makes them more firm. The top basket is covered with a hinged lid, while the lower one is left uncovered. Instead of using the reed for the stakes use the 14 in. dowel rods and for the weaver use the reed winding. To prevent the corners from drawing in place two dowel rods at each corner, one behind the other, far enough apart so that the weaver can slip between them. If placed correctly only one dowel rod can be seen at each corner. The weaver never passes to the inside of this extra stake at each corner. The construction of this stand is a little more difficult than the preced- ing ones and should be confined to the eighth grade only. Fig. 262 shows the completed stand. Fig. 258—Sewing Stand 215 216 . ‘ © : 4 NI N°OFH Screws ' ' ‘ ' 1 1 ' 1 1 ' ' ' ' ' ' \ f TH a if i Ms r r : 1 i: a ; ‘ ve he ty ae nf ria | i d | es | 4 . 1 -}! I af, ul LJ Lt u Rigas Da Esha Hab BH peat St 2p St gy SSS SSS 1 toe Reed Woven Dasket & I 15 N° BFH Screws t 5 tat | w [ # ett W 8 SEWING STAND Fig. 259—Working Drawing of Sewing Stand (Eighth Grade) Fig. 260—Finished Stand SEWING STANDS Fig. 262—Finished Stand 17 218 CR SON , ~“N 10 = a 8 ST ~ 1 SS i Ei2ts) ‘aya ms 43. 4 fa ' ! =— 12k 1% elitl. z ony h 18 545 9 Leal sof + 1 1 -_—_"; OZ Fig. 278—Work:ng Drawing of Swedish Loom as ao 5 EL = z * Sh am a co £170 r} pe 48 Mt = a Heddle Sticks Makeld ath adel 2 Beater wu Q iE aN a Ns PS I og cent teeny a ' Zi | | ! v LC —_— = Hoe | b ma | Hotta a Hee | | ° Lambs Ro it Make 4 =f 3 ia Lit UJ ie 3+ 3) eo. is ope ik == al | Treadles aes mele | a Make 6 1 yy nh ———n ° — 0 @& i) — rel L| Wo 3 462% athe ahi UJ. - ih Warp Beam 4 I “Tisraehet ei SC Make 2 he Bi E | | Cloth Beam t 46k tart Fig. 279—Working Drawing of Swedish Loom—Details 235 APPENDIX Lumber Price Table To aid the instructor in getting rapidly the price of lumber, we have compiled the tables on the fol- lowing pages. In order not to have too many of these plates we have considered only lumber ranging from 1 in. to 12 in. in width, 1 ft. to 12 ft. in length and $30 to $100 per thousand in price. The prices of the lumber have been taken only in full numbers, ranging from 3 cents to 10 cents per square foot—that is, we consider lumber at $38 per M as 4 cents per foot, $43 per M as 5 cents per foot and $75 per M as 8 cents per foot, dropping the frac- tion when less than 15 and counting the fraction as 1 when 14 or over. We need not take into consideration the thickness of the lumber, since the price is different for each different thickness. To illustrate the tables, let us take for example the following pieces of wood and find the price of each from the tables: 3 pieces 34”x6”"x3’ 4” of Oak at $54 per M. 4 pieces 54”x10"x2’ 3” of Poplar at $40 per M. 8 pieces 1”x734”xl’ 6” of Bass at $28 per M. 2 pieces 1”x8”x5’ 0” of Oak at $58 per M. 237 This will easily revert into the following: 1 piece 1”x6”x10’ 0” at 5c per foot.............. 25¢ 1 piece 1”x10”x9’ 0” at 4c per foot.............. 30¢ 1 piece 1”x8”x12’ 0” at 3c per foot.............. 24c 1 piece 1”x3”x10’ 0” at 6c per foot.............. 15¢ Gta) Y2rcueoeuaruisguge wudvauuanaeeedad 94¢ To find the price of a 1”x6”x10’ at 5c per foot we turn to the table marked 5c, the price being in the upper left hand corner of each table. The figures in the column directly under the price designate the length in feet, while the figures in the top row di- rectly opposite the price designate the width and thickness of the boards. Go over to 1”x6” in the top row and then down this column until you come to the row marked 10, which means 10 ft. in length, and there is the price, 25 cents. Do the same for the other pieces, using the table corresponding to the price of the lumber. If the stock is over 1 in. in thickness, find the price at 1 in. in thickness and then multiply this price by the actual thickness. For example, take a piece 11,”x4’x8’ at 9 cents per foot. If it were 1 in. in- stead of 114 in. in thickness it would cost 24 cents, so take 114 times 24 cents and you will have the price, which is 36 cents. 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Aor g0I | 66 06 18 | 2 | £9 | BG | sp | 9¢ | uz | ot | 6 jet 66 16 9 wy | 99 | 8G | OG | tT | es | cz | zt | ses it 06 8 GL eo | 09 | GG | cy | ee | og | cz | st | @ flor 18 GL 89 19 | eo | 2h | te 1 ee | ee | le | et dl ek aL 99 09 vo | Ov | @ | 9¢ | OF | be | BT | 2t |9 Is ¢9 8G £G iy | 2r | # | 2 | 22 | % | or | tm is la vo 06 Sv Tt | 6 | ge | ae | oe | ek | ar | 6 ¢ |l9 GY lv 8 rE | G6 | Ze | <2 | et 1 ot | Be} B y is 9¢ £e oc be | #2 ] 2 | Ot | St | er | es 9 ¢ |r Lz gz 2% oz | et | OT | HL | IT | 6 L g z ie et LI Gt aw | at | Ut 4 6 i 9 S ¢ z |e 6 8 g Z 9 g g v g 2 2 tT it 2UXT| TUXT | OLXT | 6xT | OxXT | Lxt | 9XT | GXT | BKT] Ext] ext | UxTHl 46 Abbreviations: Alternate method of beginning a basket, 193 Ash splints, 75 Baskets, splint, 76, 79; (designs), 78, 80 circular splint and raffia, 79 fireplace, 90; (ill.), 92; (w. d.), 93 hanging, (ill.), 194; (w. d.), 25 large, 195 melon shape, 202; (ill.), 206 rush, 79; (ill.), 82 sewing, 95; (ill.), 102; (w. d.), 104 splint and "vaffia, 79 waste, caned, 126; (ill.), 138, 144; (w. d.), 137, 139, 140 (See Reed Baskets) Basket cover, 81 Basket, finishing bottom, 197 finishing top, 193; (ill.), 197 handles, 198; (ill.), 199 reed, 190; (ill.), 194 weaving, inserting spokes, 195 Bed, doll, (w. d.), 21 Binding, cane, 122 Bird, feedery, (w. d.), 31 feeding car, (w. d.), 31 feeding table, (w. d.), 31 Bird houses, 28 martin, (w. d.), 39 woodpecker, (w. d.), 41 wren, (ill.), 28; (w. d.), 27, 41 Boards, bread, (w. d.), 9 bread cooling, (w. d.), 24 cake, (w. d.), 1 game, (w. d.), 11 Borders, reed, 186 Bowl, covering ~ reed, 202 Bread board, (w. d.), 9 Bread cooling board, ¢ w. d.), 2 Book trough, (ill.), 28; (w. an 29 Borders, closed, reed, 189 Box frame, for "upholstering, 175 Boys at work on lamps, 59; (ill.), 57 Braiding raffia, with splint, 17 INDEX Cake board, (w. d.), 10 Candle sconces, (ill.), 68; (w. d.), 69 Candle sticks, (w. d.), 32 Cane, equipment for weaving, 111 Cane, markets, 112 Caning needle, 113 Caning, 111 binding, 122 combination foot stool and box, 126; (ill.), 180; (w. d.), 181 chair, 147 fastening end, 117 fernery, 113; (ill.), 124; (w. d.), 114 fern stand, 126; (ill.), 183; (w. d.), 132 fog Bloel, 126; (ill.), 128, 180; (w. d.), 127, four-step, 123 hall mirror, 126; a 185; (w. dy 134 leg rest, 126; (ill Dis 142: (w. d.), 141 magazine rack, 95; (ill.), 102, 124; (w. d.), morris chair, 1388; (ill.), 144; (w. d.), 148 sewing table, 126; (ill.), 185; (w. d.), 136 six-step, 115 tea table, 133; (ill.), 146; (w. d.), 145 trim for, 123 waste basket, 126; (ill.), 188, 144; (w. d.), 137, 139, 140 Chair, doll, (w. d.), 20 morris, 133; (ill.), 144; (w. d.), 143 porch, hickory at 167; (w. d.), 168 rush seated, (w. d.), 161 telephone, (ill.), 47; "(w. d.), 46 Chair caning, 147 Chair seat, wrapping of rush, 156 Chip carving, 15; (designs), 16, 17 Circular splint basket or tray, 79 ee splint and raffia basket, weaving of, 7 Cloth and wood waste basket, 221; (w. d.), 222 Clothes line winder, (w. d.), 12, 26 Colored reed weaving, 180 Combination foot stool and box, 126; (ill.), 130; (w. d.), 1381 243 (w. d.), working drawing; (ill.), illustration. Conventional designs for parchment shades, 60 Cord, fiber, 150 Costumer, 45; (w. d.), 44 Cover, splint and raffia basket, 81 Cradle, (w. d.), 22 Cushion for morris chair, 175 Cutting gauge for splint, 76 Cutting splints, 76 Danish loom, 228; (w. d.), 229, 230, 231 Designs, chip carving, 16, 17 decoration of parchment shades, 60 metal work, 67 splint trays and baskets, 78, 80 stationery holders, 18 tabouret, 35 Desk, writing, 538; (w. d.), 52 Diagonal weave, 83, 84, 85, 86 Doll bed, (w. d.), 21 chair, (w. d.), 20 Double reed weaving, 180 Electric lamps, 54; (w. d.), 62 conventional designs for parchment shades, cutting the shade, 56 designs for decoration of shades, 61; (ill.), 60 finished lamps, 59 fitting the rings, 57 fioor lamp, 65; (ill.), 63; (w. d.), 64 painting the shade, 59 parchment lamp shades, 54; (w. d.), 58 shapes and sizes of shades, 54; (w. d.), 58 splint table lamp, 99; (ill.), "105; (w. d.), 106, 107 table lamp, 63; (w. d.), 55 Equipment for weaving cane, 112 Heol feeding table and feeding car, (w. d.), Fernery, 113; (ill.), 124; (w. d.), 114 Fern stand, 126, 208; (ill.), 138, 218; (w. d.), 132, 212 244 Fiber cord, 150 splicing, 151 seat top, 159; (ill.), 160 Fireplace basket, 90; (ill.), 92; (w. d.), 93 Floor lamp, 65; (ill.), 63; (w. d.), 64 Flower and tea pot stands, (w. d.), 14 Flower box, ao (ill.), 97; (w. d.), 98 Fly trap, (w. d 0 Folding table, 53; (ill.), 51; (w. d.), Foot stools, caned, 126; (il.), 128, io. Oa d.), 127, 129 rush seated, (w. d.), 158, 157 splint, 90; (ill.), 95; (w. d.), 96 upholstered, 221; (w. d.), 220 woven reed, 208; (ill.), 211; (w. d.), 210 Form for bending wood, 162 Four-step caning, 123 Frame for rush seat, 149 Framework, hickory splint material for, 162 Game boards, (w. d.), 11 Games, nine men morris, 8 solitaire, 7 Gauge, cutting splint, 76 Gimp, placing of, 173 Hairpin receivers and holders, 81; (ill.), 83 Hall mirror, 126; (ill.), 185; (w. d.), 134 Handles, 198; (ill.), 199 Handle, reed serving tray, 206; (w. d.), 207 Hanging basket, (w. d.), 25; (ill.), 194 Hickory splints, 162 Hickory splint porch chair, oo (w. d.), 168 settee, 167; (w. d.), 166 settee, woven seat and back, 170; (w. d.), 169 stool, construction of, 162; (w. d.), 163 (ill.), 208; Irregular seat, rush seating of, 156; (w. d.), 158 Lamps, electric, 54; (w. d.), 62 conventional designs for parchment shades, 60 cutting the shade, 56 decieus for decoration of shades, 61; (ill.), finished lamps, 59 PROBLEMS IN WOODWORK fitting the rings, 5 floor lamp, 65; iil), o (w. d.), 64 painting the shade, 5 parchment lamp ani 54; (w. d.), 58 shapes and sizes of shades, 54; (w. d.), 58 splint table lamp, 99; (ill.), 105; (w. d.), 106, 107 table lamp, 68; (w. d.), 55 Leather, how stretched on box, 173 how stretched on webbing, 176 Leg rest, 126; (ill.), 142; a. d.), 141 Looms, 328 Danish, 228 Swedish, 232 Lumber price tables, 236 Magazine rack, caned, 123; (ill.), 124; (w. d.), 125 splint, 95; (ill.), 102; (w. d.), 103 Markets, cane, 112 Martin house, (w. d.), 39 Materials upholstering, 171 Mats, reed, 181, 190; (ill.), 182 reed and raffia, 190 Melon shaped basket, steps in making, 202 Metal work, processes of, 66; (designs), 67 Morris chair, 133; (ill.), 144; (w. d.), 143 Montene of serving tray, 206; (ill), 208; (w. d.), 207 Newspaper tray, 99; (ill.), 108; (w. d.), 109 Nine men morris, 8 Overcasting of circular splint and raffia bas- ket, 79 reed, 186 reed weaver, 187 Padding upholstery, 174 Painting parchment shades, 59 Pairing, reed weave, 186; (ill.), 188 Paper weaving, 83 Parchment lamp shades, 54; (w. d.), 58 conventional designs, a Pen and ink stands, (w. d.), 138 Plant stand, 90; 38 97; sS d.), 98 Plate rack, ‘(w.'d Jy 30 Porch chair, hickory splint, woven seat and back, 167; (w. d.), 168 Pottery forms, reed covered, 200 PROBLEMS, SIXTH GRADE, bird house, 28; (w. d.), 27 bread board, (w. d.), 9 bread cooling board, 24 cake boards, (w. d.), 10 chip carving, 15; (designs), 16, 17 cloth and wood straight sided basket, 223 clothes line winder, (w. d), 12, 26 cradle, 22 doll bed, (w. d.), 21 doll chair, (w. d.), 20 fern stand, 208; (ill.), 213; (w. d.), 212 flower and tea pot stands, (w. d.), 14 game boards, (w. d.), 11 hanging basket, (w. d.), 25 pen and ink stands, (w. d.), 18 sink drain, (w. d.), 23 stationery holders, 19; (ill.), 19; (w. d.), 18 waste basket, 219; (ill), 221’ (w. d.), 222 PROBLEMS, SEVENTH GRADE, book trough, (ill.), 28; (w. d.), 29 candle sconces, (il.), 88; (w. d.), 69 candle sticks, (w. d.), 3 feet ye rc table i feeding car, (w. fly trap, (w. d.), 40 fernery, 113; (il.), 124; (w. d.), 114 foot stool, 208; (ill.), 211; (w. a.), 210 magazine rack, 95; (ill. ), 102; (w. d.), 103 magazine stand, caned panels, 128; (ill.), 124; (w. d.), 125 _ martin house, (w. d.), 39 newspaper tray, 99; Auld 108; (w. d.), 109 plate rack, (w. d.) reed and wood ae stand, 213; (ill.), 215; (w. d.), 214 Sid wood stool, 208; (ill.), 211; (w. d.), serving tray of reed and wood, 206; (ill.), 208; (w. d.), 207 sewing basket, (ill.), 102; (w. d.), 104 shoe polishing stand, 37; (w. d.), 36 sleds, (w. d.), 38 stationery case, 68; (w. d.), 70 tabouret, 34; (w. d.), 38; (designs), 35 as i splint panels, 90; (ill.), 92; (w. d.), ieleohne directory rack, 105; (w. d.), 110 upholstering, 172 waste basket, 86; (ill.), 90; (w. d.), 91 wren and woodpecker houses, (ill.), 28; (w. d.), 41 PROBLEMS, EIGHTH GRADE, chair, hickory splint with woven back and seat, 167; (w. d.), 168 chair, rush "seated, (w. d.), 161 costumer, 45; (w. d.), 44 electric lamps, 54; (ill.), 68; (w. d.), 55, 62, 64 fern stand, 126; (ill.), 183; (w. d.), 182 fireplace basket, 90; (ill.), 92; (w. d.), 98 floor lamp, 65; (ill.), 63; (w. d.), 64 flower box, 90; (ill.), 97; (w. d.), 98 folding table, 53; (ill.), 51; (w. d.), 50 foot stool, 90, 126; (ill.), 95, 128, 130; (w. d.), 127, 129, 131 foot stool and box combined, 126; (ill.), 130; (w. d.), 131 foot stool, rush seated, 152, 156; (ill.), 158, 154; (w. d.), 153, 157 hall mirror, 126; (ill.), 185; (w. d.), 184 leg rest, caned, 126; (ill.), 142; (w. d.), 141 metal work designs, 67 morris chair, 133; (ill.), ae (w. d.), 148 plant rack, 43; (w. d.) plant stand, 90; “a a (w. d.), 98 rush seating, 152, 156 rush seat, (w. d.), 153, 157 screen, wood and splint, 83; (ill.), 87, 89; (w. d.), 88 seating of irregular seats, 156; (ill.), 158, 159, 160; (w. d.), 1 settee, hickory splint with straight spindle back, 167; (w. d.), 166 settee, hickory apne Pte woven back and seat, 170; (w. d.), sewing basket, 95; iil), 102; (w. d.), 104 sewing stand, reed and ‘wood, 213 (ill.), 215, 217; (w. d.), 214, 216 sewing table, caned, 126; (ill.), 185; (w. d.), 136 smoking stand, 66; (ill.), 72; (w. d.), 71, 73 stool =e rod and wood, 208; (ill.), 211; (w. d.), 209, table ream 99; (ill.), 105; (w. d.), 106, 107 (ill.), 108; INDEX tabouret, 84; (ill.), 92; (w. d.), 94 tea table, 95; (ill.), 97, 99; (w. d.), 100, 101 caned, (ill.), 146; (w. d.), 145; wood, (ill. ), 146 tea trays, 95; (ill.), 99; (w. d.), 100 telephone chair, 49; (ill.), 47; (w. d.), 46 telephone table and chair, 49; (ill.), 47; (w. d.), 48 umbrella rack, 66; (w. d.), 74 waste basket, caned, 126; (ill.), 188, 144; (w. d.), 137, 139, 140 woven seat, 208; (w. d.), 209 writing desk, 53; (w. d.), 52 Quadruple reed weaving, 181; (ill.), 179 Raffia and reed mat, 190; (ill.), 182 Raffia, braiding of with splint, 77 Raffia seating, 150 Raffia, use in basketry, 190; (ill.), 194 Raffia work baskets, 79; (ill.), 82 Reeds, round and flat, 178 Reed stakes, number of, 178 Reed weavers, number and character of, 190 Reed weaving, beginning of, 183 Reed baskets, 190; (ill.), 194 finishing top of, 193 handles, 198; (ill.), 199 overcasting of top, 192 shaping of, 191; (ill), 192 Reed covered pottery forms, 200 Reed bowl, covering, 202 fruit tray, 197; (ill.), 194 sandwich plate, 200; (ill.), 202 vase, 202 mats, 181, 190; (ill.), 182 Reed mat, material for, 181 Reed and wood combinations, 205 sewing stand, 2138; (ill.), 215, 217; (w. d.), 214, 216 stool, 208; (ill.), 211; (w. d.), 209, 210 tray, 206; (ill.), 208; (w. d.), 207 Reed weaving, closed borders, 189 colored, 180 double weaving, 180 binding to spoke, 183 overcasting weavers, 187 pairing weave, 186; (ill.), 188 quadruple weaving, 181 245 single, 178 triple, 180 variegated, 181 Reed and raffia mat, 190 Reed stool, 208; (ill.), 211; (w. d.), 209, 210 Ribs of splint basket, 205 Rush seating, 148; irregular seating, 156; (w. d.), 161 materials, 149 sources, 148 splicing and twisting, 151 Rush basket, 79 chair, (w. d.), 161 seat, rectangular, 156; (w. d.), 157; wrcp- ping of, 156 seat, frame for, 150, 152; (w. d.), 153 Screens, hand woven, 221; (ill.), 225, 227; (w. d.), 224, 226 splint, 83; (ill.), 87, 88; (w. d.), 89 Seating, rush, 148 Serving tray, reed and wood, 206; (ill.), 208; (w. d.), 207 Settee, hickory splints an, gens of straight spindles, 170; (w. d.), Sewing basket, 95; (ill.), io, a d.), 104 stand, 215; (ill.), 217; (w. ‘a.), 214, 216 table, caned, 126; (ill. . 135; (w. d. ), 136 Shoe box, caned, 126; (ill.), 130; (w. d.), 131 Shoe polishing stand, 37; (w. d.), 36 Simple upholstering, 171; qill.), 172 Single reed weaving, 178 Sink drain, (w. d.), 23 Six step cane weaving, 115 Sleds, (w. d.), 38 Smoking stand, 66; (ill.), 72; (w. d.), 71, 78 Solitaire, 7 Splicing "and twisting rush, 151 Splicing fiber cord, 151 Splint, 75 basket rib, 205 braiding raffia, 77 cutting of, 76 finishing top of tray, 77 making tray, 76 material for hickory, 162 Splint weaving, 82, 83, 84; (ill.). 85 circular basket or tray, 79 fireplace basket, 90; (ill.), 92; (w d.), 93 246 flower box, 90; (ill.), 97; (w d.), 2 foot stool, 90; (ill.), 95; (w. d.), magazine "rack, 95; (il), 102; (, om 103 screen, 86; (ill.), 87, 88; (w. d.), 89 sewing basket, 95; (ill.), 102; Oh d.), 104 table lamp, 99; (ill.), 105; (w. d.), 106, 107 tabouret, 84, 90; (ill.), 92; (w. d.), 94 tea table, 95; (ill.), 97, 99; (w. d.), 100, 101 telephone directory rack, 105; (ill.), 108; (w. d.), 110 trays and baskets, 76, 79; (designs), 78, 80 Splint waste basket, 83, 86; (ill.), 90; (w. d.), 91 work baskets, 82, 84 Spokes, how to hold reed, 185 length of reed, 186 splitting of, 181 Springs, upholstery, 176 Square stool, 154; (w. d.), 155 woven seat, 159; (ill.), 160 Squaring up stock, 7 Stands, flower and tea pot, (w. d.), 14 pen and ink, (w. d.), plant, 90; (ill.), 97; a d.), 98 fern, 126: (ill.), 133; (w. d.), 132 sewing, reed and wood, 213; (ill.), 215, 217; (w. d.), 214, 216 shoe polishing, (ill.), 87; (w. d.), 36 Stationery case, (ill.), 68; (w. d.), 70 Stationery holders, 19; (w. d.), 18 Stock, squaring up, 7 ee splint, 162; (ill.), 165; (w. d.), 1 Stuffing, rush seats, 151 Swedish loom, 228; (ill.), 232; (w. d.), 233, 234, 235 Table lamps, 99; (ill.), 105; (w. d.), 106, 107 Tables, folding, 53; (ill), 51; (w. d.), 50 sewing, caned, 126; (ill.), 135; (w. d.), 136 tea, 95; (ill. ), 97, 99; (w. d.), 100, 101; PROBLEMS IN WOODWORK caned, 133; (ill.), 146; (w. d.), 145; plain, (ill.), 146 Tabouret, 34; (w. d.), 83; (designs), 35 weaving of splints, 84, 85, 90; (ill.), 92; (w. d.), 94 Tea pot and flower stands, (w. d.), 14 Tea table, 95; (ill.), 97, 99; (w. di), 100, 101 Tea trays, 95; (ill.), 99; (w. d.), 100 Telephone chair, 49; (iil.), 47; (w. d.), 46 directory rack, 105; (ill.), 108; (w. d.), 110 table and chair, 49: (w. d.), 46, 48 Top, finishing of splint tray and basket, 77 finishing of circular raffia and splint basket, 79 Tray, making splint, 76 top of splint, 77 newspaper, 99; (ill.), 108; (w. d.), 109 tea, 95; (ill.), 99; (w. d.), 100 Trays and baskets, splint, 76, 79; (designs), 78, 80 Trimming cane, 123 Triple reed weaving, 180 Tension in reed weaving, 186 Textiles and wood, 219 Umbrella rack, 66; (w. d), 74 Upholstering, 171 leather, 173 materials, 171 hard surface, 171 Upholstered dining room chairs, 173 Upholstered stool, 219; (ill.), 221; (w d.), 220 Upholstery webbing, 171 Variegated reed weaving, 181 Vase, reed covered, 202 Waste basket, caned, 126; (ill.), (w. d.), 137, 139, 140 splint sides, 83, 86; (w. d.), 91 straight sides, 221 tapered sides, 221; (w. d.), 222 138, 144; Weave, pairing reed, 186 (ill.), 188 Weavers, joining of reed, 185 Weaving cane (see Cane) Weaving cane six step, 115 Weaving, closed borders of reed, 189 colored reed, 180 diagonal, 83; (ill.), 85 double reed, 180; (ill.), 179 handle of serving tray, 206 hickory splint stool top, 162; (w. d.), 163 paper, 83 position for baskets, 191 Weaving splint (see Splint) Weaving, quadruple reed, 181; (ill.), 179 single reed, 180 variegated reed, 181; (ill.), 179 Webbing, upholstery, 171 Webbing, 174 how placed on springs, 176 Winder, clothes line, (w. d.), 12, 26 Wood, form for bending, 162 Wood and cane (see Cane) Wood and cloth screen, 221; (ill.), 225, 227; (w. d.), 224, 226 waste basket, 219; (ill.), 221; (w. d.), 222 Wood and reed combinations (see Reed) Wood and splints (see Splints) Wood and textiles, 219 Wooden forms for spl'nt baskets, 81 Wooden frame for upholstering, 173 Woodpecker houses, (w. d.), 41 Work baskets, 82 Weare ee an irregular frame with rush, 156; i a ea ae rush seat, 156; (ill.), 157 rush chair seat, 149; (ill.), 150 wes hickory ‘seat, 164; (ill.), 165; (w. d.), (ill.), 165; Wren and woodpecker houses, (w. d.), 41 Writing desk, 53; (w. d.), 52 Era marae seh. Serene itp Teilacementes