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Tools and Supplies for Restoration and Repair
July 8, 2009 |
Tools and supplies
A handyman’s guide from 1902 offers the opinion that without tools, the hand would be powerless. It was some 500,000 years ago that the first implements were used, probably scraps of stone or bone picked up off the ground in a moment of frustration. These days our tools are highly specialized and costly, but a well-made tool will always make a job easier and more enjoyable.
On the following pages, tools are divided into groups
according to their use—you find tools for hammering, gripping, sawing, etc., with similar tools illustrated in close proximity.
Tools should be kept clean and sharp, in a suitable container such as a tool box, or hung on the wall near the workspace. Probably the most important items, after the few essential tools listed below, are clean cotton rags and containers with lids—it seems that you never have enough of either. Get in the habit of saving all clean scraps from pure cotton clothing, sheets, etc., and keep them handy. Also 4oard glass jars, tins and otter containers with lids, but do bear in mind that some chemicals such as spirit-based ones, tend to dissolve plastic, while some react with acids. Finally, keep all tools and supplies properly labelled.
BASIC SUPPLIES
Ammonia Beeswax Benzine Cardboard, white
Chalk, powdered or stick
Chamois
Cotton wool or absorbent cotton
Denatured alcohol (methylated spirits)
Double boiler
Empty glass jars, tin cans and atomizer
spray bottles
Glue, general purpose or PVA
Japan paints
Jewelers’ rouge or pumice powder
Kerosene (paraffin)
Linseed oil
Masking tape, acid-free
Matches, wooden
Pencils, hard and well sharpened
Powdered pigments, especially raw umber Purified water
Rags, soft cotton
Shellac String
Thermometer, cooking
Turpentine
Turpentine substitute
Tweezers Varnish Vinegar
Wire mesh strainer, small
BASIC TOOL KIT
Abrasive paper, sanding block, and assorted abrasive papers
Combination pliers (6in/15cm) square-nosed type, with side cutters
Knife with replaceable blades, which also takes saw blades
Metal ruler (12 - 18in/30 - 46cm) for use when cutting along straight edge
Screwdriver (6iri/15cm) and bradawl for starting holes
T (or try) square (6iri/15cm) to ensure right angles
The following tools are nice to have, but are not essential for beginners:
Bench vice
File, combination, for use on wood or metal Hand drill, bit brace and countersink bit Panel saw or tenon saw
Power drill and attachments (sanding and buffing wheels, masonry bits, etc.)
Combination oilstone for sharpening the blade
Wood chisels (Nin/2cm) bevel-edged firmer
(Y4in/2cm) and mallet (41/2in/Ilem)
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ABRASIVE PAPERS
Store abrasive papers in a warm, dry place and never attempt to use them on damp wood. Always use at least two grades when trying to get a really smooth finish; coarse paper, wom smooth, will not give the same effect as a finer paper. While working “snap” abrasive paper to unclog it. Incidentally, there is no such thing as “sandpaper” and although these papers feel gritty, sand has been replaced by more effective smoothing agents.
The five types of abrasive paper used for smoothing woods are as follows: Glass paper, with grains made from crushed glass (once reputedly derived from crushed port bottles). It is available with a base of cloth or paper and is commonly used for hand smoothing. Garnet paper, with grains made of crushed garnet stone, so it costs a bit more but it is very durable and recommended for smoothing by hand. Aluminurn oxide paper, used when really heavy cutting action is desired—its synthetic grains are very tough. Silicone carbide paper, also known as “wet-and-dry” paper because it can be used damp (not wet) for fine smoothing of paintwork or dry like other abrasive papers. When damp it leaves a black-grey “gravy” which has to be washed off, but when lubricated with water, it lasts a long time. It can be used on both metal and wood and is also available on a cloth base. Flint paper, rarely used any more, although it is inexpensive, is not recommended because its grains are softer than glass or gamer, and it has a short life.
Both garnet and aluminum oxide papers come in “open coat” and “close coat”—with “open coat” there is more space between the grains, making it less likely to clog and therefore better for smoothing softwoods; while in “close coat” the grains are more closely spaced and are best for hardwoods.
Steel wool can be used for smoothing wood and the finer grades are recommended after smoothing with fine abrasive paper to give a final perfect finish. As with abrasive papers, always work with the grain. Wear a handkerchief tied “bandit-style” to protect your throat and lungs when sanding.
GLUES AND GLUEING
Glueing must be the simplest repair to do! Strangely it is often neglected which is unfortunate, because a little glue applied after slight damage can prevent more extensive problems. The section below deals with glues suitable for
porous materials like woodpaper, textiles, some plastics and rubber. A wooden matchstick is often perfect for applying non-water-soluble glues. Always save even the smallest splinters and chips and glue these in’pla after the main piece has set. For glueing X;s end pottery, see the detailed chapters conodmed
‘I bere are six basic types of i [ue in common use today.
Traditional glues such as animal and fish glues, casein glue and scotch glues are gradually being superseded as they are neither heat- nor waterproof Although they are not generally recommended some craftsmen~prcfer them— such as gilders, who use rabbit Glue.
General purpose glues, cellulose- or acetate-based, and usually sold .irk tubes are water-resistant, free from staring and excellent for fixing plastics, metals, and rfiost inlays to wood. Do not work with these near an open fire—they are inflammable—and avoid inhaling the fumes.
Epoxy resins are modem, synthetic-based glues. They are strong and versatile, perfect for home use, and usually come in *o part kits—a glue and a hardener. Most take about six hours to set but a warm room will speed the setting. Follow directions on the package as the mixtures vary slightly. Caution: synthetic resin glues become rubbery ifkept unused. “They should not be used for glucing wood as they are harder than the wood itself and allow nc natural movement and thus may cause splittir
Polyvinyl acetate (PVA) g~uc is a thick, white, cold-setting, inexpensive&-sin-based glue and can be used extensively, although it is not waterproof It will keep for several months (though not in a cold place) but may stain the lighter woods and tends to creep a bit. PVA is a good general purpose glue skid is often sold in a squeeze bottle with a handy poin ed nozzle. It is water-soluble.
Contact adhesives, which are isually rubber-based, are only recommended when clamping is difficult but a strong bond isidesircd. The glue is applied to both surfaces and, w* tacky, they
are brought together. The two Ofeces are immovable upon contact, so adjusting is impossible. They are very usefid when bonding other materials to wood.
Latex glues are derived ;he milky fluid of the rubber tree, although syr thctic latex is now manufactured. They can be applied either to one surface or both and are thinned with water. Their odor is slightly objectionable. Latex glues are perfect when working with textiles, although some fabric dyes seem soluble, so test an inconspicuous spot befc reapplication.
CLEANING BRUSHES
1. It is imperative to clean brushes when you have finished using them, or to soak them if leaving the project for a few hours. (Should you forget to soak the brush, the paint will harden on the bristles; only a very strong paint remover will restore the brush to usefulness and it will never be the same again.) Always remove excess paint from the bristles first by wiping them over old newspaper.
2. In order to soak the brush, prepare it by drilling a hole in the upper handle, as shown, then inserting a dowel which will suspend the brush in water up to the first of the fernile. (Use a container deep enough to keep the brush from resting on the bristles.) Some experts recommend storing brushes in white spirit, but this seems to dry out the bristles unnecessarily.
3. When you need to use the brush again, remove excess water from the bristles by 3quel zing them in soft absorbent cloth or paper
Caring for tools
Tools should be stored in a dryish atmosphere and away from children. After using tools with a metal part, it is a good idea to spread a film of light machine oil over the metal surface to prevent rusting. For this purpose, keep an oiled pad in a sealed container near the work area. Tools with wooden handles should be kept smoothed and well sanded to avoid splinters.
BRUSHES
Many different kinds of brushes are used in restoration and it is worth choosing them with care. A paintbrush has three parts: handle (I~ ferrule (2) and filling (3). The filling, or bristles, can be made from boar (used in the best quality brushes); horsehair (used to bulk out better filling); oxhair, squirrel and sable (used for thin artists’ paintbrushes); fibre (from the stem of the palm tree); or, increasingly, synthetic fibres (from filaments such as nylon). If possible, always invest in a good quality brush — it will hold more paint and apply it better than a cheaper brush and is less like1v to shed its bristles. Test brushes before purchasing by making sure the bristles fan evenly and that they are firmly set into the ferrule. Keep them in good condition by cleaning and storing as directed in Steps 1 – 6.
Three useful paintbrushes for the restorer are: a flat paintbrush (A~ a stencilling brush (B), and a lining brush (C). Another useful brush for many jobs is a wire brush (D).
4. To remove oil-based paint from a brush, fill a glass or metal container two-thirds full ofturpentine substitute. Agitate the brush in the liquid, pressing it against the side of the container to force out the paint. When the liquid can absorb no more paint, repeat until most of the paint is removed. To remove water-based paints, use the same technique in a jar of warm water.
5. Inspect the bristles near the ferrule to see if the paint is removed, then wash the bristles in warm, soapy water. Rinse and repeat Step 4 ifnecessary before washing and rinsing again.
Shake or blot out the moisture and leave to dry naturally, away from any heat source which will only dry out the natural oils in the bristles. Store the brush by wrapping it in brown paper, secured with a rubber band as shown, laying it flat if possible. Keep brushes used for water and oil-based paints separate, and reserve a 2-3in/5- 8cm brush specifically for varnish and shellac.
6. To keep small artists’ p brushes in good
condition, clean as above in S 4 and 5. Then point the brush by placing adrop oflight machine oil or linseed oil on the bristles and slowly rotating the bristles between the thumb and index finger.
Carving tools
Chisels are designed for cutting with or across gouges are used for less drastic action on wood
the grain, while
Chisels and gouges have narrow cutting edges and are each designed with a particular task in mind, so purchase the various types as they are required. The metal part is usually fitted to a bulbous handle made from boxwood or impact-resistant plastic.
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The main types of carving tools are: firmer chisel (A), available withblades in a variety of widths, often driven with a wooden or soft-face mallet although a hammer maybe used with plastic-handled chisels; bevelled-edge firmer chisel (B) with a slightly less rigid blade, used for lighter woodworking tasks such as undercutting dovetail housing joints, not designed for use with a mallet but tolerates light tapping; paring chisel (C) with longer blade, used to trim long grooves; firmer gouges (D) with curved blades of two types—one with the cutting bevel on the outside, used to make concave shapes, the other ground on the inside, used to make straight cuts that are curved in cross-section—both used with a mallet; paring gouge (F) for hand paring (without a mallet), ideal for cutting curved shapes of all kinds; and cold chisel (F) used to cut metal (for example for chain links, sheet metal and bolt or rivet heads), struck with a heavy hammer.
Cutting tools
Probably the most useful and versatile cutting tools are the knives with replaceable blades. There are four types of these, all with disposable blades which come ready-sharpened. The blades are terrifically sharp and should be stored and used with great care.The four types are: general purpose knife with replaceable blades (A), sometimes with blades that may be retracted and stored inside the handle; knife with snap-off blade (B), also retractable; and surgeon’s knife or scalpel (C), with blades removed manually.
Various useful kinds of scissors are: aviation snips or compound action snips (D) which will make straight or curved cuts in metal—they have specially firm jaws and comfortable plastic hand grips; pinking scissors (E) with a zig-zag cutting edge which makes the cut edge of fabric less likely to fray; embroidery scissors (F) with elongated blades ending in a fine point, useful for work on carpets and textiles; and cuticle scissors (G) with a curved blade, used in decoupage.
A glass cutter (H) has a hardened steel wheel mounted in a holder, and is used to score a line across a sheet of glass. Small pieces can be “nibbled” off back to the scored line using the notches on the side. (It helps to remove any grease from the glass with turpentine substitute and oil the cutting wheel before starting.)
Drilling tools
When using any drill, try to keep the pressure constant. If the drill wobbles, the drillbit may snap. When drilling metal select the appropriate bit and oil it lightly before starting; it may also help to make a small hole in the metal with a punch or awl. When using a
power drill, take care to disconnect it from the power source before making any adjustments, and be sure to examine the cable regularly for signs of damage or wear. Also, avoid wearing loose clothing or accessories that could get caught in the mo T g parts.
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A hand-drill (A) has a chuck shell at one end which turns anticlockwise to open the jaws that hold the bit. When the drillbit is central, rotate it to establish it in position, then use the drill at the desired speed. Various hand-drill bits are available for special tasks: twist bit (B) for metal and wood; dowel bit (C) for the side and end grain of wood; countersink bit (D) to recess a hole to accept a countersunk screw head; glass bit (E) for use at slow speed to drill holes in glass, mirror and porcelain; masonry bit (F) for drilling holes in brick, stone and ceramic tiles. A push drill
dri(G) can be used to make small holes in wood or plastic, using special drill points. A power drill (H) is probably the most versatile tool available; accessories include circular saws, sanding discs, grinders, rasps, even paint sprayers. Small hand tools such as augers and gimlets (I) can also be used to drill holes in wood; augers drill fairly large holes, gimlets shallow ones, often to take a screw. Bore the hole by twisting the tools in one direction only. Bradawls or awls (J) are used to start holes in timber for nails and screws and to make holes in leather. The bradawl is twisted right and left; the awl is inserted with pressure.
Gripping tools
Professionals will opt fora bench vice or a clamp-on vice (A), but these require a sturdy and steadfast table or workbench. Amateur restorer-, can make do with a variety of gripping tools, purchased as required. These include: “G” or “C” cramp (B) for clamping wood or metal work, used with a block of wood between the cramp and wood to prevent marking; spring cramp (C), a manual device to provide light pressure to an object while glueing-, mitre cramp (D) to hold mitred joins together while glue sets; needle-nosed pliers (E) to grip small objects in confined places, available in a variety of shapes and proportions, all with serrated jaws; slip-joint pliers (F}, with a pivot joint which provides two widths of jaw opening; carpenters pincers (G), with curved jaws which meet at a bevelled cutting edge, designed to extract nails and tacks from wood; and upholsterers’ pliers (11), used to stretch webbing across the chair frame by gripping the folded end of the webbing while the lower jaw touches the frame.
Hammers
The most useful hammer is the claw hammer (A), which may be used for removing bent nails as well as for driving nails home. (When pulling nails out, always protect the surface with a small block of wood placed under the front end of the hammer.) Others are: lightweight pin hammer or ball pin hammer (B), used for driving pins or tacks; upholsterers’ hammer (C), with a small rounded face for driving tacks in a confined space, and magnetized so that it holds the tack in place as it drives it home; soft faced hammer (D), used for driving or shaping materials such as soft metals which would otherwise be damaged —these usually have a socketed head into which soft bases are screwed; similar are soft faced mallets (E) with rubber or rawhide heads; and lastly, heavy carvers’ mallet (F}, designed to drive various chisels and gouges.
Fitting a new handle to a hammer head
1. Choose a new handle with an even, straight grain to the wood. Begin by cutting two evenly spaced slots across the head ofthe new shaft, two-thirds the depth of the hole. Drive the hammer head onto the shaft using another hammer.
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2. Cut the shaft flush with the top ofthe hammer head.
3. If steel wedges were used, drive th;m in with another hammer until they are level %?’th the top of the shaft. If there are no stee wedges, make some from bits of hardwood. Finally grind or file the wedges flush and varnish the expo sed wood.
Measuring tools
When making measurements, avoid using the common wooden yardstick, which is too inaccuram Instead use an engineer’s steel rule (A), ideally one scribed with both metric and imperial
measurements; a folding or zig-zag rule
push-pusteel tape (C); and (for fabric only) a
tape measure or a new digital rule (D) which is run over a surface and indicates the length in its display.’ro achieve accurate right angles, use a T or try square (E) or steel square. Cl-hc metal rule is highly recommended as it will not only measure, but also serve as a straight edge to guide a knife along when cutting veneers, plastic, leather etc.)
Sawing tools
‘There are three main kindsofsaw: large handsaws, stiff-backed saws for cutting joints, and special purpose saws. With all types, the greater the number of teeth or points per inch, the finer the cut. If a saw blade is rusty, clean it by rubbing it with steel wool dipped in turpentine substitute. If sticking occurs, rub the blade with a wax candle, but if the problem persists, the blade may need sharpening, resetting or replacing.
I arge handsaws (A) include: panel-cut saw for cutting with and across the grain, cross-cut saw for cutting across the grain and rip saw for cutting with the grain. All handsaws should cut freely under their own weight and your forward pressure. Stiff-back saws include the back saw, or tenon saw, (B) for cutting joints. Various specialist saws are: coping saw (C) for cutting curves in plastic or wood; fretsaw (D) for tighter curves in wood or plastic; hacksaws (E and F) for cutting metal; and pad saw (G) for cutting holes in a panel. Knives with replaceable blades can also be fitted with saw blades although these are only designed for sawing lightweight materials.
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Scraping and filling tools
Scrapers are indispensable to the restorer and are not interchangeable, although they, and some filling knives, look somewhat alike. Various scrapers are: paint scraper (A~ with a stiff blade for removing softened paint; filling knife (B), with a wider, flexible blade; putty knife (C), used to shape and smooth putty — available with three shapes ofblade depending on the preference of the user, palette knife (D), used to scrape pigments and mix media; skarsten (E), for smoothing timberor removing paint; and combination shave hook (F) — the most useful of the shave hooks with its curved and straight blades, ideal for scraping awkwardly shaped surfaces.