Table Of Content

HOW TO BUILD MODERN FURNITURE HOW TO BUILD Mario Dal Fabbro MODERN FURNITURE JOHN MURRAY FIFTY ALBEMARLE STREET LONDON WI Reprinted 1961 .(L't\.O • \010 e' " N~·""t! Ji s- F- f! © F. W. Dodge Corporaiion 1957 Published in Great Britain 1959 by John Murray (Publishers) Ltd. all(/ reprinted by Lithography by Jarrold and Sons Ltd, Norwich SECTION 1, General Instructio~ General General notes about wood Wood changes Seasoning of timber ,...... . , Selecting and buying wood Cutting and assembling the parts Wood finish Woodworking Marking the materials Basic woodworking operations Sawing Surfacing Shaping Joinery Gluing wood Methods of joining boards Basic joints Basic joints Scarf joints Rail joints Middle rail joints Rail-to-frame joints Panel-td-frame joints Frame joints Middle frame joints . Back panel joints Knock-down joints Joining rails to legs Joining legs to furniture Knock-down legs Joining legs to upholstered furniture Joining metal legs to wood top Metal leg end fittings Wood leg end fittings Plywood and curves Plywood, blockboard! and laminated wood I Plywood hollow-frame Veneer Gra;]" direction in curved pieces 3 4 4 5 5 6 8 9 9 11 12 14 17 18 19 21 22 25 27 28 Constructing curves Special uses of plywood Covering edges and p Edge treatment Fastening fabric to board Metal borders Plastic borders Application of fabric to doors Doors 54 55 Door stops 56 Door hinges 58 Table hinges 61 Special hinges • -- _. - - 62 Pivot hinges ... / . £ ,=,C I J f'~ ;' ,C~ r'- --, /. Drop doors I '<." Go ~ .';\ ~'. Special doors ~' :: ( ~ 0:: .... \ 68 . ~. • I ~ Sl~ding doors ~ ( ,}:.._<{" .... .:) ~ Door catches \ ~. ( a::.";;; / .... ) 11 Door bolts and locks) \. '- •• .; : ) $1. Door locks ~G" .._J 0:;' ;; .J<J~ \..1.'- J--\ puns -< ..._ --::: y. 5 /1 ()~ .,.'.........:; Shelve -----~ 29 Adjustable shelves 77 33 Drawers 34 35 37 39 40 I 41 42 43 44 45 46 47 48 Drawers Special drawers Drawer slides Materials other than wood Joining wood and glass Joining metal and wood Joining marble and wood· Joining rubber and wood Common metal joints Joining plate glass to metal Joining rubber to metal Bonding surfacing material to plywood Bonding surfacing material to curved surfaces Molded plastic 79 82 85 88 90 92 93 94 96 97 98 99 99 ~ Upholstery materials 105 100 Foam rubber 108 .. ... ~I-Y ....... "' .. ~- 101 Seats 109 :;:-:-\Cyp~-~'::'f frameS chair and sofa frames 1'03 Backs 117 Armchair frame 104 Upholstery details 120 Upholstery tools 105 Chair angles 122 SECTION 2: Furniture designs " Instructions for reading drawings 125 27. Bench 2 164 28. Sectional bookcase 166 1. Family workbench 126 29. Chair 167 2. Professional workben~h 128 30. Dining set 1: Table 168 3. Tool cabinets 130 31. Dining set 1: Armchair 170 4. Magazine rack 131 32. Dining set 1: Side chair 112 5. Service cart 132 33. Dining set 2: Side chair 173 6. Telephone cabinet 133 34. Dining set 2: Armchair 174 7. Flower box 134 35. Dining set 2: Table 176 8. End table I 135 36. Easy chair 177 9. End table 2 136 37. 2 or 3 seater settee J 179 10. End table 3 137 38. Armless chair, 2 or 3 seater ~ttee 180 1 I. Coffee table 138 39. Armchair 182 12. Coffee table 2 139 40. Bed Settee 184 13. Side table 140 4l. Dressing table 1 186 14. Extension dining table 141 42. Dressing table 2 1188 15. Television table 144 43. Dressing table stool· 190 16. Record storage cabinet 145 44. Wardrobe 191 17. Radio cabinet 1 146 45. Chest 1 194 18. Radio cabinet 2 148 46. Chest 2 195 19. Speaker cabinet 151 47. Chest 3 196 20. Open-shelf breakfront 152 48. Chest 4 198 21. Cabinet 1 154 49. Chest 5 200 22. Cabinet 2 156 50. Single or double bed and night table 202 23. Desk 1 158 51. Double bed 204 24. Desk 2 _" 160 52. Beds and headboard 206 25. Stool 162 53. Night table 210 26. Bench I 163 Index 211 SECT ION 1: General" instructions In order to select the type of wood best suited to the work to be done it is essential to understand the characteristics of the material. I have, therefore, outlined some basic information regarding its structure, as well as methods of sawing and handling. Structure of wood Wood is derived from a tree. It is made up of bundles of fibers or long tubes that run parallel to the stem of the tree. These are crossed by other fibers that form the medul- lary or wood rays. These wood rays pass from the center or pith to the bark and serve to bind the units together. Concentric rings are formed as a layer of wood is added each year. These are called annual rings. A-Partial section of a tree trunk Note the location of its parts: Medulla, or pith: This is the center of the tree. It is lighter in color and less strong than the heartwood. Heartwood: This section of the trunk, lo- cated between the medulla and the sapwood, gives us the best building material. Sapwood: The recent al1nual rings are con- tained here, between the heartwood and cambium. Cambium: This is the most recent ring. Bark: This external layer protects tnel~tree. Sawing the tree into planks A tree is usually cut during the when there is little sap in the wood. At time the wood is less subject to fungus ati tack. After the bark has been stripped, the' trunk is washed to prevent fungus, mold, OJ; other growth. This process also helps to season wood. At the end of the seasoning period the trunk may be sawed into planks in any of a number of different ways. One of the most practical methods is sawing parallel to the grhin. This is called plain, or bastard, sawing. Quarter sawing, another method, is used for higher quality work. General Notes About Wood GENERAL NOTES ABOUT WOOD WOOD RAY S --------._ CAMBIUM -------- PIT H A ---_._----- -----, HEART WOOD I ---------~ I \ I \ I I t \ " \ , \ ',.\ " ----------~ ANNUAL RINGS C-Quarter sawing 3 WOOD CHANGES Planks undergo both warping and shrinking during the seasoning process. Shrinking is most noticeable at the outer edges of the plank, because the annual rings of the sapwood are fresher and less dense. Warping refers to the general change the plank undergoes after being cut. A-Warping in a plank that includes the pith B-Warping and curvature of parallel- sawed (plain-sawed) planks: Note how the curvature runs in a direction opposite to the arc formed by the annual rings. C-Aligning or joining of two planks must be done on their concave sides. D-Joining two planks on their convex sides will produce a weak joint. A r:--- I I I L:~~~~~~~~~~~~ SEASONING OF TIMBER It is essential that timber be well seasoned before it is used. The usual methods are as follows: Natural seasoning: In- this -method sawed timber is exposed to free air after it has been carefully stacked. Water seasoning: A somewhat quicker method of seasoning consists of immersing . the timber in running water for about one 4 c o month. The water entering the pores of the wood washes out the sap. The timber is dried in the open air. Artificial seasoning: In this method the till1ber is placed in a drying kiln, and a current of hot air is allowed to circulate continuously between the layers. For some woods steam may be used. This is the fast- est method. Wood Changes After the design has been selected and studied, the next step is the ordering of material. One method is to buy the timber in standard lengths and cut the required pieces as listed. Another method is to ask the timber dealer to cut the material into the sizes you. need. There will be a minimum of waste whichever method is used, because standard timber sizes have been considered in the planning of the designs. SELECTING AND BUYING WOOD· pheric conditions, but screws or loose joints will permit shrinkage or expansion. How- ever, wood and plywood may be safely combined in edge treatment, as shown on page 52. Another point to keep in mind is that both soft and hard wood shrink in the process of seasoning. Thus the wood is usually l!J 6 in. narrower than the nominal thickness. This difference is of consequence only in fit- A void using solid wood and plywood to- ting such parts as doors, shelves, or gether in the same piece of furniture, par- drawers. If the wood is of a different thick- ticularly if a flush board is to be visible. If ness from that specified in the design, ad- such a combination of materials is unavoid- justments must be made in the dimensions able, glue should never be used for bonding of the part to be applied. Therefore it is the parts. Plywood and solid wood react best to secure timber of a thickness as close differently to drying glue and to atmos- ~_ __ ssible to that specified. :./ ~ ~C II/'( I :/' ~ ''''''-'''-','' :It'. ?~Crr ,. ~ f .\- . 4. ~O!:":: c. cL~. iIN~cl.N.b AS~.~BLlNG THE PARTS ; ~ (, ~ ~ : ;: »~)!/ Whether wood is shaped by hand or jj 6?~\\... ::; -e'liniiUaJ.n~hie joint and substituting nails. of woodworking machines, the process c 0..).,- ,-CYl!efete"lhty.parts are joined, all should be sists of removing small parts of wood 6 . -!: 1\ lPbe~.9fto make sure they will fit. sawing, planing, or chiseling in accordance - ----c . with the selected design. Instructions for assembly are provided with After the design has been studied and suitable wood selected, the various pieces can be traced directly on the wood for cutting. See details, page 8. The parts should be laid out in such a way that the handsomest surfaces of the wood will be seen in the finished piece. In the cutting operation itself; accuracy is very important; if the parts are I. to fit together as designed, the timber must I be cut at the correct angle. The saw cut ! should fall outside the pencil line, so that the board can be planed or filed to correct dimensions. (A plane is used on flat surfaces, and a file on curved edges.) When the parts have been cut and finished to the right sizes, the joints may be marked and executed as indicated in the details. Sometimes it is possible to save time by Selecting and Buying the Wood each design. The glue must be spread on both surfaces to be joined, and the pieces clamped together for several hours. Simple clamps or screws and nails may be used to apply pressure. Wood clamps may be made by nailing blocks of wood to the ends of a rail slightly longer than the piece being glued, and applying pressure by inserting wedges between the wood and the blocks. Large assemblies Before assembling a large piece of furniture, particularly a built-in unit, it is wise to measure passageways to make sure it can be moved from the shop to the site that has been picked for it. It may be necessary to assemble the piece in two or three units in the shop, and complete the assembly in the room where the piece is to be installed. 5 WOOD FINISH The kind of finish a piece of furniture should receive will depend upon the quality and appearance of the wood, the use it will receive, decorating tastes, and so on. Noth- ing shows off the beauty of the wood-and the builder's achievement!-quite so well as a "natural" finish. Or it may seem pref- erable to add a touch of bright color to the decorating scheme of a room by painting the piece. Nowadays furniture makers sometimes achieve bold, striking effects by the carefully planned use of contrasting panels on the same piece: for example, the drawer fronts of a chest might be enameled or lacquered pure white, while the frame could be a strong, deep tone of almost any other color that would "go well" in the room. A word of caution to the amateur decorator: if you lack confidence in your judgment, or are wavering between color and natural finish, remember that the latter is never in bad taste. Furthermore, a natural. finish can later be painted over, if you find you are not happy with it. It is a far more difficult proposition to remove the paint, if you later decide you prefer the "natural" look. The subject of wood finishing is too exten- sive to receive adequate treatment here, but a few general pointers are worth giving: Carefully sand smooth all surfaces, both before and between coats of finish. Grade M2 sandpaper is recommended for raw wood; finer grades of waterproof sandpaper- such as 0 or OO-are suitable between 6 finish coats, and may be dipped in water to prevent dogging and minimize dust. Other methods of smoothing the surfaces, such as rubbing with fine steel wool, pumice, or other fine abrasives, may also be used. Dust should be allowed to settle before liquid finishes are applied, and the air in the work- room should be clear and still. Be sure that a coat of finish is thoroughly dry before sanding and proceeding with the next coat, and never rub or sand the final coat of paint . or enamel. Various rubbing compounds or "Flour" sandpaper may be sparingly used after the final coat of shellac or varnish. Preparation of surface Most raw woods need careful preparation before they can be painted or finished. Neg- lect of this essential preliminary will not only increase the number of coats necessary to obtain proper coverage-with conse- quent waste of materials and labor-but will produce less satisfactory results. Fill- ers, primers, and unde.rcoats are' not cheaper types of finishing material to be used where they won't "sfiow"-they are indispensable components of a proper finish. In applying finishes, use good brushes and !ceep them in good condition. It is best to keep special brushes for special uses: one brush for shellac, another for varnish, a third for lacquer. A nylon brush should not be used with shellac, as the alcohol solvent will attack the bristles. Wood Finish Open-grained hardwoods must be filled. If the wood is to be stained, this operation should precede filling or be combined with it-filler-stain preparations are available in a number of shades. If wood filler is applied separately, it should be brushed or wiped on and the excess rubbed off with a clean rag. It is important to follow the manufacturer's instructions faithfully with all finishing materials. Close-grained woods do not need to be filled, but a coat of thin shellac is recommended to seal fir before varnishing, because of the soft grain. If there are any knots or resin pockets in the wood, they should be sealed with shellac or knot- sealer. Plastic wood or crack filler (in shades to match the wood, if a natural finish is selected) should be used to fill nail holes or crevices after they have been primed, either by the first finish coat or !by swabbing with linseed oil or varnish. Natural finishes Among natural finishes, the least discolora- ; tion of the raw wood is obtained with wax, ; but this method also offers least protection : against hard usage. A single coat of white I shellac or clear varnish should precede the; wax. Combined varnish-wax preparations are also available. j Clear lacquer can yield striking results, and! , I Wood Finish WOOD FINISH there are now preparations available which make it possible to apply this traditiomilly difficult material with a brush instead of a spray-gun. A "white" shellac finish will discolor wood less than varnish, but is not waterproof. A "5-lb cut" shellac contains 5 lb of shellac gum to the gallon of alcohol; "4-lb cut" contains only 4 lb. Either of these concentra- tions will give good results, but the "3-lb cut" frequently found in stores is not recommended, except for preliminary coats, which should be thin. Varnish finish combines durability with the attractiveness of a natural finish. Spar var- niSh is suitable for pieces like kitchen cabinets, that are exposed to moisture. Other types of varnish are suitable for high-gloss effects, and some types have pigment added . to combine the coloring effect of paint with the natural grain of the wood. Paint or enamel finish If the wood is to be painted, it must first be primed, although some special formulations and most rubber-base paints are self-prim- ing. If it is to be enameled, best results will be obtained by using an enamel undercoat preparation. It is generally advisable to mix a little of the finish coat into the white primer or enamel undercoat, in order to tint it, and provide a better base for the final pigment. This measure is especially advisable if the final color is very deep. 7 MARKING THE MATERIALS After obtaining the rough wood from the timber yard, mark out the various pieces on the wood using the straight yard rule (A), the try square (B), or the sliding bevel (C). If you use the two latter devices, remember that one edge of the material should be straight. The marking gauge (D) is used to trace lines parallel to a straight border or edge. The marker can be adjusted to vary the distance from the edge. The function of the compass (E) is the scribing of circles or partial curves. 8 c Marking the Materials BASIC WOODWORKING OPERATIONS The basic types of woodworking operations required to shape the pieces and make the joints shown in this book are il- lustrated on pages 9 through 16. To de- scribe the actual method of working the wood would require a whole book in itself, but the text does suggest the tools-both hand and power- for each operatIOn. In general, the tools mentioned are those that will do the job most efficiently, but because some operations can be accomplished in many ways, the choice of method will depend upon such factors as the equipment available, the number of similar or identi- A-Rip cut (with grain) Hand: Rip saw recommended, but cross- I cut saw may be used. Power: Circular saw. I or band saw. I C-Angle cut Hand: Cross-cut saw or, for small pieces, tenon saw. Power: Circular saw or band saw. Basic Woodworking Operations 1 I, cal operations to be performed, the degree of precision necessary, and so on. For all operations involving power tools, the characteristics of the particular equipment and the manufacturer's recommendations for its use will also need to be considered. It should be understood that careful sanding of the wood is ordinarily required after the wood has been worked to the proper size and shape. Depending upon the operation, planing or filing may also be necessary. In the text that follows, such operations have not beell mentioned unless they are essential to the description. SAWING 8-Cross cut (across grain) Hand: Cross-cut saw or, for small pieces, tenon saw. Power: Circular saw or band saw. D-Miter cut (45 degrees) Hand: Cross-cut saw or, for small framing pieces, miter saw in miter guide. Power: Band saw or circular saw. 9