Jul
18
Old Furniture from Europe and America.
July 18, 2009 | Leave a Comment
The cap at the nozzle of the gun mixes air and liquid either internally or externally antique glass box etruscan . The external-mix cap usually has two hooded side ports (A in Iigu e
5 palladian bookshelves .4b) which aim twin jets of compressed air at the atomiz
mixture leaving the central orifice antique rectangular drop leaf tables . This produces the fa
internal-mix cap has a long narrow slot to fan-shapa t n e spray that has been partially atomized by the venturi ectien
behind the nozzle info gillows in the 19th century . The external-feed cap is supplied o bo ~h the suction- and pressure-feed guns, but the internal-in x
cap can be used with only pressure feed sideboard serpentine wood inlay brass . Requiring lees pressure, it is popular with small units, but is liable tc clog with fast-drying mixtures antique furniture shop biedermeier .
Spraying Technique crockery cabinet designs . NN7hen properly applied to flat work, most guns produ - e the fan pattern illustrated in the detail in Fi-,ure 5 show earthenware produced by wileman & co. .5 antique ladies writing cabinet . It averages about 8 i high when the guns is held 6 to 8 in swan plate kandler . from the surface to be sprayed, as indi at0 in the photograph solid silver sauce boat no markings . External mix guns can usually be adjusted to
photograph victorian balloon back arm chairs mahogany cabriole legs .pattern for a concentration of liquid on small areas or modified by blocking off the side ports with friction tape hirado porcelain .
Held at a uniform distance from the work, the gun is swept across and back at an even rate to make one coat 18th century music stand . During each sweep the gun nozzle must be held parallel to the sprayed surface; arcing will produce a antique japanese tea table mother of pearl . disproportionately heavy deposit in the center of the stroke antique furniture berkey and gay . In order to make the most of the fan-shaped spray pattern, the gun should be triggered as the stroke is begun, ahead of the work, and released at the completion of the stroke, after the nozzle has passed beyond the surface being sprayed lacquer carlton house desk . A second coat applied in vertical laps will insure good coverage antique 18″ square drop leaf table on casters . Practice is the secret of good spraying, and can be exercised on scrap material or wrapping paper 18th century mass produced tableware . Examination of test patterns before the finish coat is applied may result in necessary adjustments that will eliminate a later sanding off of an unsatisfactorily sprayed surface earliest tilt top tea table .
Figure 5 1940 dressing table value .5 illustrated the correct fan
pattern, fairly regular in shape, with the
atomization producing fine, even-sized dots of
paint across the pattern italian antique small inlaid wood 18th century ivory . In Figure 5 antique gateleg extension elite .6 four
incorrect patterns are shown antique italian china markings . In detail A
the small dark center quickly fades into
rough gobs of material, indicating a failure A B C D
in atomization which, if aggravated, will Fie czechoslovakia silversmiths . 5 antique silver bread basket .6 “soft paste porcelain” ” . Spray patterns inlaid wood sofa table . A, Heavy
almost surely produce “orange peel federal side table .” Cor- center; B, Peanut; C, Heavy end;
rection consists of either thinning the liquid D, Split spray scottish 19th century antique furniture . or increasing the air pressure period dressing tables . The shapes
indicated in B and C are common distortions caused by a dirty gun “such as that” . The split pattern in D is caused by excessive air pressure art deco polished matte lost-wax castings o nude women in bronze by viennese artisans .
Common Failures cuvette a fleurs .
“Piling” of the sprayed finish is caused by, moving the -tin too slowly or too nearthe surface 19th century louis xv mahogany french chest of draws floral inlaid wood with marble top and glass cabinet with cabriole legs .
” Running” results from too thin a liquid decorative spindle legs from antique card table .
“Sags” are the result of too thick a liquid, too close a stroke, or improper triggering whieldon ware tortoiseshell .
“Pin holes” often occur when the gun is held too close to the surface, or from too much air pressure 19th century bavarian side chairs .
“Misting” is due to excessive air pressure, a too thin fluid, arcing the gun, or holding it too far from the surface european antique rolltop desk 1700’s .
“Floating” is usually the result of a poor mixture royal staffordshire by clarice cliff nancy .
Viscosity antwerp collector’s cabinet . As noted above, it is evident that in addition to manual ability to control properly the sweep of the gun, the liquid being sprayed must be of the correct body or viscosity furniture in neo classical style,east india company, india . Many craftsmen are satisfied with a crude paddle test, during which they dip a thin strip of metal into the liquid up to a predetermined mark gillows antique furniture . When the “paddle” is withdrawn, the behavior of the liquid reflects its relative viscosity extending console table . An excessively thin mixture will immediately run off the end of the paddle, whereas too heavy a liquid will sag down in drops before it r
mixture that is close to the proper viscosity will start to run but has suff-cient, body finally to flow in a series of waves decorchemont .
A more accurate test, which can be applied repeatedly, is by means of glass viscosity tubes antique pembrook table . If these are not available, a half-dozen test tubes of identicil size (about Y2 in art deco inspired bookcase . X 4 to 5 in antique chippendale tilt top table .) will prove satisfactory american gothic revival furniture makers . Corks of identical site should also be procured neoclassical dining table base furniture . Each tube is filled with the liquid under test to ‘Withirl approximately -1/8 in serpentine centre table mahogany . of the end of the cork, which has been previously fitted ani marked so that all are inserted to the same depth empire furniture.com . When the corked tube is il
verted, the air space under the cork becomes a bubble, which travels to the 1 pp(r (closed) end of the tube wooden tables with brass leaves inlay . The time it takes the bubble to traverse the len– pennsylvania house queen anne chest .h (f the tube is the measure of the viscosity of the liquid steel dining table germany .
In order to obtain a sealed sample for measuring unknown mixtures, a ,ierl(S of test patterns must be sprayed on wrapping paper or scrap material dutch walnut cabinet . Th; cu is filled half-full of a mixed liquid that is known to be too heavy, and its pa ter sprayed antique hoover price . Small amounts of thinner are added successively and a pattern sp ye :l for each until a pattern finally registers the proper viscosity antique ivory and silver tableware . A sample o th~ correct liquid is sealed in a viscosity tube as the “master” or “pilot” sampl- fct future mixtures employing this type of solvent antique drop leaf gateleg table .
Cleaning antique japanese lacquer tray . Suction-feed guns are a pleasure to clean what types of materials were used in george hepplewhite furniture . All that is nece sar is to unscrew the gun from the cup, stop up the nozzle with the fingers, and pu the trigger to force out the remaining fluid curved back chair from 1940s . If the fluid tube is inserted in a coy tainer of solvent and the trigger squeezed several times as in Figure 5 cabinet dressing doors designs .7, the gu
will clean itself spanish antique table .Cleaning the spray gun french empire desk cabinet maker logo .
Pressure-feed guns are cleaned in the same way except for the fact that solvent is poured into the metal, pressure-resistant cup, which must then be sere tightly in place before compressed air is triggered in setobody .
This light cleaning should be augmented by a periodic dismantling of th( cap, fluid tip, and the needle valve with its control needle, and immersing in solvent edgard brandt . Under no circumstances should solvent be allowed to come into contact with the oil or packings of the working parts antique “trestle table” kent .
Summary mother of pearl coffe table fake antique egypt . In conclusion it should be borne in mind that in finishing fine furniture or cabinetwork, cleanliness is next in importance to a craftsmanlike finish czechoslovakia antiques .
In the first place, the work itself must be so clean that no wood or sand dust remain to adulterate and discolor the finish to be applied antique apostle spoons .
For the same reason brushes or spray gLill, that apply the finish should be immaculate furniture+scallop+wheat .
Finally, maximum efforts should be exerted to eliminate from the air dust whose settling would mar an otherwise perfect finish sheraton +antique +gaming table .
FURNITURE FINISHING TECHNIQUE
In addition to cleanliness of the surface, tools and air and repeated stirring of the finishing fluid, following a methodical procedure in enameling or painting furniture will obviate considerable unsatisfactory retouching dutch provencial furniture . In this connection a good light is a prime requisite 1800’s cylider desk .
Chairs all([ tables should be turned upside down so that the lower, not easily accessible parts can be coated first renaissance woodwork cassoni . In enameling it is very important to examine all vertical surfaces for runs or sags within the first five minutes, before the liquid hardens and becomes too tacky to smooth out with a wiped brush antique.italian.porcelain. . This is particularly important around beading, carvings, and turnings, where the brush may skip the valleys drum/breakfast table . Flat horizontal surfaces are left until last, with excess fluid eliminated by “cross-Hatching”—brushing first with the grain then across it glass front marquetry cabinet .
Finally, care must be exercised at all times that no coat is applied before the underneath one is completely dry antique calamander . The rule to remember is: never finish over a glossy surface or attempt to sand one that is not hard dry louis xv dining table stretcher draw leaf .
Decorative finishes for painted or enameled surfaces are discussed later in the chapter furniture makers of the 16th century .
OPAQUE FINISHES
As previously mentioned, the purpose of an opaque finish is to conceal the surfaces of woods deficient in grain patterns, or to hide inferior material, or even poor workmanship brass candelabras made in china . Applied with brush or spray gun, these finishes run the gamut> of color and sheen, from a high gloss enamel to flat paint, and may be decorated with decal conian! as, stencils, peasant painting, various novelty effects, or glazing end table ivory inlaid india wwii . This so-called “painted furniture” has become justly popular in bedrooms, bathrooms, kitchens, rumpus rooms and nurseries, as well as on the outdoor porch or in the garden antique maple drop leaf dining table .
Enamel Finish english writing desk spiral legs . Although a good grade of enamel will effectively resist mild heat, >lot water, milk, fruit stains, and alcohol, unless specifically recommended by the manufacturer, it is not intended for outdoor use photos of antique chambersticks . Enamels use varnish, lacquer, or u synthetic as a vehicle for their pigments antique drop leaf sofa table .
Varnish enamels, unlike paint, which must be thoroughly brushed out, ar; flowed on with the least possible brushwork christian mayer furniture . Usually used at can consistency, 4 varnish enamel may be thinned with varnish or turpentine antique dutch bureau . Enamels can be sprayed, particularly if heated, although with a suction-feed gun on a srnaL compression unit it may be necessary to dilute the mixture as it comes in the can
Pigmented lacquer (enamel) produces a very hard, durable, water-resistan antique tea scoop jockey hat . film, which is quick-drying and therefore likely to be dust-free 18th century wardrobe . Not suitable fo brushing it is sprayed oil after dilution with lacquer thinner antique hoover price . Since the laccuer its thinner, and lacquer spray dust are highly inflammable, precautions are n(ces sary to prevent combustion when spraying inside the shop art deco dressing tables . The installation o an exhaust fail should be seriously considered if extensive spraying operation! are contemplated indoors antique bowls 1700’s .
Synthetic enamels can be applied by either spray or brush with equal success Made from a synthetic resin base they deposit a tough, weather-resistant 31m which dries in from 4 to 6 hours unless accelerated by baking piertables . Their solvents are supplied or specified by the manufacturer belgian designers included henry van de velde and gustave serrurier-bovy .
Today there are many “quick-drying” and “one-coat” enamels on the market in a variety of colors and glosses serpentine pembroke table . While it is true that when applied over a wool as hard and as light colored as maple or birch a single coat will hide with a uniform gloss, yet it is not likely that one coat will satisfactorily cover softwoods such as white pine and basswood, porous woods like poplar and spruce, coarse woods with the variegated grainings displayed by yellow pine and fir, or (ark redwood or gumwood candelabra baroque .
On soft woods, a hardening coat of shellac, diluted 50 per cent with denatired alcohol, can be applied and sanded smooth when dry with 3–o abrasive gay antiqe . A cark wood, or one with a prominent grain, should receive a priming coat of enamel that has been reduced at the rate of a tablespoon of turpentine to a quarter pint of varnish enamel george hunzinger . When thoroughly dry, this coat is sanded smooth and given a second coat at can consistency oak drawer leaf table .
Undercoater art deco legs desk . The best professionally applied enamel finishes consist of at least three coats and a final rubbing antique french fluted table drawer . This insures both greater depth and smoothness in the final film george hepplewhite stringing . Instead of diluting the enamel for the initial coat, an enamel undercoater is used dresden richard klemm . This is nothing more than a heavily pigmented, flat-drying hard paint that possesses better hiding qualities than are offered by the glossy enamels antique tea cabinet . The fact that the undercoater is basically a paint does not mean that a flat wall paint can be successfully substituted for it; raw paint is too ;oft to stand up to the necessary sanding artdeco lamp . If, however, an undercoater is not available when needed, a satisfactory substitute can be mixed from 8 parts of flat write paint to which i part of enamel has been added as a hardener secretaire empire 1800 .
Although enamel undercoater comes only in white, it can and should be tirted to approximate the shade of enamel to be used period drawing room looks . This is easily accomplished by thinning a small amount of color ground in oil with turpentine and stirring it gradually into the white undercoater how did 18th century cabinet makers finish their cabinets . Since an exact match is not required, the final shade should not be markedly darker or lighter than the enamel barker brothers coffee table for sale . The following table indicates the approximate tint that will be produced by all ounce of thinned color added to a gallon of white undcrcoater, enamel, or paint:
Desired Tint Pigment Color
Cream Golden ocher
Yellowish Medium chrome yellow
Warm ivory Raw sienna
Yellowish ivory Yellow ocher
Peach Burnt sienna
Apricot Orange chrome yellow
Coral rose American vermillion
Lavender pink Rose pink
Orchid Rose lake
Light gray Raw umber
Warm gray BUI-111 umber
Cream gray Vandyke brown
Dove gray Drop black
Steel gray Lamp black
Gray blue Ultramarine blue
Robin’s-egg blue Prussian blue
Light blue green Blue green
Light yellowish green Yellowish green
Enamel Undercoat Schedule brass indian tea tables .
i antique tea set - rh macy . San( surface with a 2/o abrasive, clean lhorutwhlv antique dutch chest on chest . and sea> end grain sheffield plate dish rings . Seal knots with aluminum paint antique tea table history .
2 1920’s art deco sofa . Apply one coat enamel undc-rcoater tinted to approximate shade of final coat square drop leaf tea table with gated legs .
3 pembroke hepplewhite . Fill cracks and sand smooth with ;/o abrasive art deco sofa 1925 .
4• Apply intermediate coat of half and half underwater all(> enamel davenport desk mechanism . S comtoise clocks longcase . Sand lightly with 3/o abrasive pine furniture .
6 “chateau des tuileries” . Apply finish coat of enamel looking for 4 feet wide drop leaf table .
7 sheriton roll top antique bureau . For a semigloss luster, rub to hard smoothness will’ 3-F pumice stone and rubbim, oil chenghua foot rims .
8 rectangle table pilar foot . For a high Polish use rottenstone and water (see section devoted to varnish finish) deco rocket cabinet .
Paint Finish 1896 british ceramics . Frequently constructed from cypress, pine or redwood, outdoor furniture must be protected from the elements by a tough, elastic film that will not chalk off under careless handling jupe dining table . These slick or porous wood 18th century chest antique .; require a
handling
coat whose adhesive qualities are sufficiently tenacious to provide a good bond art deco examples . Modern house-paint primers contain lung oil, which needs no thinning as it comes from the can brass serving tray with italian inlay wood . Aluminum paint or shellac should be used to close end grain and to cover knots yabu fruit .Unless a sloppy or dirty coat has been applied, it is not necessary to sal I between paint coats table art deco+lyre . The second coat should be a good grade of exterior ion e paint, hardened by zinc oxide up to one third of the pigment antique iranian carved tray . A final coat of tl exterior paint, without thinning, will complete the job malard furniture . In no case should -)aii t be applied over an old enamel finish or vice versa; owing to their different e)pa> Sion rates, the extreme changes in temperature to which outdoor furniture subjected will result in cracking and crazing of the exterior coat nabeshima decoration . A final co t of exterior spar varnish will stop the chalking and weatherproof the surfac- czechoslovakian quality porcelain . rosewood and brass inlaid dining room furniture .
Outdoor furniture which will be given some protection from the weathe 17th century american dressing table .• c marquetry italian tray .~ be finished satisfactorily with paints designed for interior use antique.porcelain.italian. . If the furl -itil e is to be used on a covered patio, or if it is carried inside during showers a :l stored indoors during winter months, the extreme weather-resisting qualit; ?S f exterior house paint are not required antique sette michael thonet . On wooden furniture which is to be give I an opaque finish that will conceal the wood, interior paints, such as are de— yongzheng octagonal plate .igll& for bathroom and kitchen finishes, will be, satisfactory in most cases flatware handles fiddle leaf . This is tr of even the water-mixed latex paints so widely used in interior finishing 18th century “music stand” .
When it is not desired to conceal the grain the wood, an essentially wea,he, proof finish can be given to outdoor furniture by the application, first, of a tranparent wood sealer and second, of one or more coats of good-quality spar vai nis or boat varnish 17th century trestle table with claw feet . If the wood is smooth enough and clean, simply apply the s?al;, according to the manufacturer’s directions regency double pedestal tilt table anqique . Sanding before application of th gothic arch furniture . varnish should not be necessary unless the wood is rough or dirty mahogany coffee tables .
Heavy wooden furniture such as Adirondack chairs and the familiar redx-oo, picnic sets, will weather to an unexciting brownish gray unless it is protected >vit’ a coating art deco inlay dresser . A special finish is obtainable for redwood which will maintain th natural color or something that resembles it for sale antique pedestal candle table 3 legs brass claw feet . On other woods a mixture of on part boiled linseed oil to one part turpentine may be brushed on when the N oo is new and renewed about twice a year mahogany antique japanese furniture designer . Or when this coating is first applie , i may be followed up with spar varnish mechanical drawings on dressing table . Renewal then requires only revarnis ing
The best method of finishing reed or fiber furniture is by spraying, eve P only a hand-pump sprayer is available art deco and exotic leather . Brushing piles up paint in the interst es wipes thin on wearing surfaces, and fails to reach deep spots rousseau shagreen .
TRANSPARENT FINISHES
The purpose of all furniture finishes is to provide a protective coating; tr art deco ladies writing desk .nsparent finishes provide this coating without obscuring the underlying grain of the wood claw foot dresser . For woods such as mahogany, walnut, red gum, and the fancy veneers : nd inlay woods that possess sufficient natural color and a desirable grain patt-rn, a natural finish g employin no stain but providing a desirable Sheen is enti ely
appropriate art nouveau france origins .
The present vogue for natural finishes is a normal reaction from a pe iod simulate rich depth 19 century mahogany gateleg table . Nowadays the native grain and figure of choice hardwoods is appreciated and enhanced by more honest methods rococo silver candlestick .
The schedule for any transparent finish must consider the porosity or coarseness of the grain to be covered art deco wooden armchairs . Except with mission or weathered oak and Old World finishes, it is common practice to fill all coarse-grained woods so that the pores are flush with the surrounding surface 19 century english roll top desks . This builds up a uniform level for succeeding finish coats, free from pockets for dust and dirt deposits pembroke end table . Colored fillers, furthermore, are important aids in emphasizing the grain pattern ironstone pottery .
Fillers antique spanish blue and white pottery . Ready-prepared fillers are entirely satisfactory and easy to apply antique octagon knee hole desk . They are available in stock shades of light and dark walnut, red and brown mahogany, natural, light and dark golden oak, other wood colors, as well as white for novelty finishes german antique card table . The addition of drop black ground in oil will produce the deeper shades, and zinc oxide will lighten the color of a prepared filler until it is suitable for almost any job lion cabriole antique . For the hobbyist who prefers to mix his own filler or has a special job in mind, it is no difficult matter to make up a natural (transparent) base filler from powdered rock quartz, known to the trade as “silex antique fall front desk .” A mixture of 2 oz aaron burr desk . of turpentine, 2 oz contemporary designs for dressing table . of japan drier, and 5 oz table paw feet antique . of boiled linseed oil is slowly stirred into 2 lb carl walters ceramics . of fine powdered silex 1945 mahogany desk . The resulting mixture is thinned as shown in the table below and can be colored with pigments ground in oil different types of roman furniture . Vandyke brown shaded with drop black, burnt umber, rose pink, or zinc white will provide a variety of colors anglo indian antiques .
Mixture antique pattern cabinet . Paste (silex) filler is available in half-pint, quart, and gallon cans weighing approximately i lb louis xvi revival sideboard with porcelain inlays ., 5 lb antique porcelain +swan +painted . and ii lb antique score music . respectively empire writing table . Although it is already mixed with linseed oil and japan drier, the paste must be thinned to the consistency of thick varnish so that it can be brushed on antique ceramic dish in silver stand . As a thinner, naphtlia, decreases the drying time while turpentine tends to hold the coat open; the two can be mixed together to moderate the drying period examples of 19th century pennsylvania furniture . Boiled linseed oil will hold the coat open for at least half an hour; japan drier will speed up the drying process ecole de nanci furniture . The thickness of the mixture will depend upon the coarseness of the pores to be filled antique chippendale dining chairs with bronze leg decoration . The filler mixture required for the more common woods is suggested below:
Heavy Medium Thin None
Philippine mahogany Walnut Maple Cedar
Oak Mahogany Gurnwood Pine
Ash Cherry Birch Basswood
Chestnut Rosewood Beech Poplar
Elm Redwood Fir
Alder Spruce Cypress
Obviously, the larger the pores to be filled the thicker the mixture must be, and vice versa antique gate leg table . As received, the paste filler must be well spaded with a putty knife and thinned to brushing consistency for the job in hand antique sheffield piece marked “royal sheffield” . Relative measures Application antique georgian dining table, pad foot . Assuming that a dark shade of filler has been selected to h -blight the grain figure in walnut, mahogany or oak in order to distinguish it f’orn imitations on guniwood, poplar, beech, and other inferior woods, the first ep, before the actual filling operation is to apply a wash coat of white shellac, dil fed i part shellac to () parts of denatured alcohol antique cherry drop leaf six legs . This will prevent the oil in the filler from darkening the wood 19th century 5 legged table .
Meanwhile the filler is mixed to a creamy brushing consistency, regardles• of whether it is of 16- or 8-lb base antique mahogany drum tables library tables writing tables value popular . When the wash coat of shellac sealer has c(111- pletely dried, the filler is liberally applied by means of a short-bristle brush 2:ith the grain chinese chicken coop armoire . Because of later operations it is wise to limit the brushing-in to a maximum of about To sq ft at a time spanish fashion 16th century .
Within 15 or 20 minutes the sheen of the filled surface will have flatted s fficiently for wiping early 19th century american rosewood cabinet makers . This is accomplished by “towing-off” all surplus filler, wi across the grain with clean burlap rags 1970s ashtray “art deco” style . If the filler has commenced to harsen it can be softened by moistening a rag in the naptha thinner indian vernacular furniture . For cleaning out carvings, headings, and corners a picking stick whittled from a 6 in wooton chest . lengt of ,Y8-in 19th century bavarian side chairs . dowel and sharpened to a pencil point at one end and to a sharp we ge at the other is useful under a burlap layer talavera de la reina tiles and spain and antique .
After all surplus filler is towed-off, a final wiping with a soft tintless cloth along the grain will insure complete cleansing spiral leg gateleg table . The filler must then be alto -ed its full drying time antique circle furniture . Rather than risk sealing a damp sealer it is advisable to increase the minimum drying time by one half; thus the so-called “4 hour” fil ers should be permitted 6 hours and those retarded by turpentine and linseed oil allowed a full 36 hours dresser with rack in middle . A light sanding with 3–o paper followed by a dus ng with compressed air from a vacuum cleaner or empty spray gun will incur a smooth surface for sealing english stoneware .
The hobbyist will encounter so-called “liquid wood fillers” on the mar et, which are little more than colored sealers for softwoods antique 17th century fork . Composed of an infe for grade of varnish with a small amount of silex, these liquid fillers are freque ly employed in cheap furniture finishing daniel quare pocket watches made in 1674 .
Sealers lions claw brass . Prior to applying the filler the wood was protected from discolorat on by a sealer consisting of a wash coat of diluted white shellac dovetailing on 17 century furniture . Professional finisli•rs of high-grade furniture prefer to seal the filler also, using white shellac for li - ht finishes and orange shellac for the darker browns and reds in the proportion of i part shellac to 4 parts of denatured alcohol ceramic platter italian crustacea .
Jul
18
Antique Oak Furniture, Sewing Cabinets, Bedside Tables, Dining Room Sets.
July 18, 2009 | Leave a Comment
The side strips of the spool-holding compartment are cut off at a diagonal to insure clearance of the front apron when the lid is raised antique bentwood chaise . The binder is lapped into the diagonal ends, as shown in the drawing sheffield plate corinthian column candlesticks .
Holes are bored halfway through the sides for the two sizes of dowels used as spool spindles, at the intervals indicated in detail (A) are william and mary chest of drawers rare? . One side is jigsawed and ripped as shown in the detail, to permit removal of the spindles and spools antique oak furniture dating dining room sets with big legs . A pair of straight repair plates fastened with one screw to the main section of the side act as pivot hinges; the moving part is locked in place in the closed position by a butterfly nut, as shown in (B) otto wytrlik .
The compartment, when assembled, can be angle-ironed to the underside of the hinged lid in such a position as to clear all aprons as the lid is raised earth driven electric clock bentleys . The latter is then butt-hinged to the fixed, rear step red velour chair wooden arm rests . A folding lid support can he fastened in place to prevent the lid from closing unexpectedly important buildings in the 17 century in italy .
Table Kitchenette or Cellarette 18th century plate racks . The bedside table described in Chapter 2 (page i3o) call be easily modified to open up as a small snack bar, cellarette, sewing cabinet, or holder for a record player 18th century knife boxes . As shown in Figure 4 decorchement .54, it is
Fic reproduction bedroom furniture lancashire cherry . 4 royal court floral bone china hand made & painted by craftsman staffordshire .54• Table kitchenette french word for cabinet .
necessary only to hinge the top, provide a gateleg to hold it, and to reconstruct the front into a dropleaf picture of pennsylvania house antique cherry buffet claw feet .
If the top is to open up against a wall, instead of folding all the way back to act as a serving counter, the gateleg may be dispensed with; otherwise it will be necessary to prevent the table from tipping over, as would be the case if a hinged bracket is relied upon duncan table claw drop leaf drawer .
The drawer fronts can be camouflaged in a single solid piece by gluing tbir, imitation drawer and top rails in the proper positions, and adding handles british antique gate leg tables . The front edge of the solid bottom must be recessed the thickness of the drop-leaf front, which is hinged to it, and held horizontally by folding brackets age of jazz shelley vases .
Added serving surface is secured by the addition of two side drop leaves, which are attached to Y4-in antique folding occasional . projecting strips along the top edges of the side apron- paw feet . As shown in the drawing, hinged wings or brackets, Y4 in wardrobe 19th century italy . thick, swing oft to support these leaves when open empire writing table . The hinged table top is wide enough to over an the side and rear projecting strips as well as the drop leaf edges 1920’s tableware silversmiths .
The inside of the snack bar should be lined with asbestos or other fire ro, material, if heating apparatus is to be used italian marquetry rectangular trays through the ages . For electrical units, a double co venience outlet can be attached to a side apron with a flexible wire and lu van briggle lamps . desing italian furniture . through to the outside, for attachment to the nearest base plug antique drop leaf table seat 8 .
As a cellarette, it will be found that the original measurements were ee! enough to accommodate the average-sized bottles antique wooden pot cupboard . Here the lining should b’! o some acid- and alcohol-proof material such as formica, Micarta, stainless stee or copper regency period +casters .
The gateleg is made of Y4-in antique drop leaf gate straight leg . stock and is mortised and tenoned or dowele, to an apron that is three quarters of the length of the back apron of the table This apron is hinged to the back and hides under the overhang of the top whe not in use japanese rectangle tea table .
Utility Desk antique drop leaf table 9 ft 5 legs . For the utility room a kneehole desk whose top can be lifte• off and tucked away into a closet while the drawer compartments serve as bedsid; stands or commodes should be just what is needed louis the 14th furniture . Although the drawer cam partments shown in Figure 4 meals in eighteenth century england .55 are constructed in the manner of the bach used to house a built-in ironing board makers of old antique cabinet w lion heads and paws in brass . As shown in Figure 4 19 century japan .56, all that is necessary is to provide an exit and suitable means of movement giuseppe maggiolini italian renaissance style table .
In the drawing, roller-skate wheels are suggested, although ribbon spools or any suitable rollers can be pivoted, by means of screws and washers, to all axle (it), and guided by pairs of hardwood runners screwed to the inside of the side aprons meissen allegorical figurines . The axle, which must be accurately measured to insure that the rollers neither run off their lower tracks, nor bind against the aprons, is screwed to the end of the ironing board, being reinforced with flat angle irons, as shown in the Kitchen table with ironing board scandinavian art deco furniture .
The ironing board has a pair of folding legs tenoned into a top crosspiece, which is hinged to a cleat, as indicated yixing antique . Depending on the height of the table and ironing board, a support (B) is measured so that when it is hinged to the spreader between the ironing board legs, it can be wedged against cleat (D) value of marble top dresser from the civil war . The free end of support (B) should be cut at an angle to fit against the cleat when the legs are down 1800 italian dining room sets . In its closed position support (B) is held up by a hook and eye to cleat (C), which is thick enough to lap over intervening cross cleats and pro ide a surface to ride over the long roller between the side aprons of the table “chamberpot in the dining room” . he length of the board will of course be determined by the length of the table, uness the latter is especially constructed antique georgian dining table, pad foot . In any event, one side apron will have to, be removed in order to insert the axle, and the table top must be removed in or
to cut out the exit in one end apron bambocci antique . A length of curtain pole or other suitable roller is pivoted near the outer end of the table a distance down from the lower edges of the upper runners or track, equal to the total thickness of ironing board, cleats, and legs greco roman furniture .
In order to hold the rear end of the ironin-, board firm while it is in use, antique table from a monastery in europe .-he ends of each of the lower runners in the side aprons are cut off at the open end of the table (E) an amount equal to the diameter of the two small rollers pivoted to the ends of the axle george 1 walnut kneehole chest . A small section of runner is screwed under these cut off ends to hold the rollers when they drop off the long runner antique french smallwriting cabinet . When returning board to its position within the table, it is necessary only to raise up the rear end until the rollers engage the upper long track, whose end corners should be beveled off chinese chippendale markings .
Modern Breakfront modern drop front desk . Although the dining table is often requisitioned for work or study between meals, the average buffet remains sacrosanct as a repository for china, glassware, silver, and linens meuble style . It is in an attempt to expand the uses of this single-minded piece of furniture that the multipurpose breakfront (Figure
4 antique double pedestal dining room table .57) described below is presented 1700 french fashion pattern book . With its four textured cupboard doors closed french dining draw leaf table stretcher .
Fro pearlware . 4 walnut entryway console table with mirror .57• Modern breakfront english antique reproduction dining table round with add on leaves .
it offers shelves for the display of selected china, and glassware, or objets d’ art in the modern manner antique talavera pitcher spain . Extra shelves and drawers can be fitted into the cupboards in each corner, for the storing of china, glassware, silverware, linens, electrical appliances, or bottled goods antique art deco fixture . The center flush panel is hinged at the bottom to form a drop-leaf desk marquetry italianate needlework box .
The breakfront shown in Figure 4 antique folding dining table scotland .57 is of conventional construction throughout borghese lamps . The dimensions given in the lumber list are for butt joints, suitable for a paint finish; the more craftsmanlike blind dadoed job will require an additional Y4 in gothic revival furnature with lions . for all but the mitered corners of the outer carcass antique sofas 1920 . To permit clearance for the dropfront desk, it will be noted that the two center shelves must be located Y4 in closer together than neighboring shelves to right and left czechoslovakian furniture . For the same reason, al’ five panels can lap over onto the vertical partitions only half way, i antique mirror back sideboard 1920’s .e two tiered tables ., -Y8 in antique pemproke tables . Before the partitions are fitted into their dadoes and the corners glued, Y2-in scottish style sofas . rabbets are cut around the inside of the rear edges of the frame to house the /-in lombardy style furniture, italy, tables, 18th century . plywood back strips arts and crafts antique hall stand . An optional method is to cut the plywood backing Y4 in doucai ming . scant along the sides, and screw it directly to the back edges, without recessing it art deco carl walters . The base has mitered corners reinforced by corner blocks 6ft sofa table .
The cupboard doors are fastened in place with invisible link hinges, and bullet Partitions
Shelves
Base, front and back
Base, sides
Doors (plywood)
Doors (veneer—plywood)
catches 18th century folding table . In lieu of knobs, light fingertip recesses are scooped out of the partition sides jourdain modernist chair . The desk is invisibly hinged at the bottom, being held in horizontal positi
n by folding brackets or chains smith furniture gateleg drop leaf table . The five doors can be made of plywood having a hardwood veneer face, or with a grooved Weldtex veneering 18th century cooking utensils . When the latter is cut into squares of alternating diagonals, as shown in the drawing, the effect is very interesting; a more economical method would be to cut the squares with the grain running vertical in the four cupboard doors and horizontal in the desk, or V e versa styles dressing tables . It can be cemented over the plywood backing with brads inserted in is striations ironstone french mark .
Shelves and drawers can be inserted in the cupboard and desk compartinerts to suit the articles that are to be stored in them jules leleu display cabinet .FURNITURE FINISHING
A LTHOUGH in his selection of woods the amateur craftsman is likely to be more keenly conscious of grains and patterns than the average furniture owner, it often happens that he becomes so immersed in his hobby of construction and joinery that the matter of finish receives but scant consideration, or becomes confused by well-meant advice antique ladik rug . NVIlile it is true that the most expert finishing schedule cannot make a silk purse out of a second-rate cabinetmaking job or inferior materials, nevertheless a good finish can cover a multitude of sins maryland antique sideboard . This is particularly true of enameled, lacquered, or decorated surfaces, where a liberal use of crack filler can be rendered invisible under a smooth opaque film american spoonback armchair . All furniture finishes can be roughly divided into two main processes, the opaque finish, whose purpose is to hide, and the transparent finish, which is used to reveal and enhance the natural grain of the wood mallard furniture . Before discussing either of these procedures, however, there are several general requirements common to all types of finish that should be introduced carpets oriental .
Preparing the Surface refrectory table with bulbous legs . Any finishing schedule will be greatly facilitated if each member of the piece has been thoroughly sanded prior to assembly meissen scattered flowers . Otherwise considerable difficulty may be experienced in smoothing down inaccessible parts such as inset rails, panel corners, turnings, or carvings fretwork tables .
As emphasized in Chapter i, the final sanding of fine cabinetwork should employ a fine abrasive, not coarser than a 3/o garnet finishing paper antique canape . For rounded and inaccessible surfaces such as carvings, No 17th century porcelain figurine . oo steel wool is more flexible, although it does not cut as well antique silver rings wheat sheaf pattern . -No great exhibition of 1851 aesthetic . 6/o waterproof paper and water are used between coats, and No antique chippendale display cabinet . 112 pumice stone lubricated by water is favored for rubbing the final coat, rather than for use oil a raw wood surface 18th wood carved chair fabric cabriole .
Absolute cleanliness must be achieved before the application of any finish coat is even contemplated tekke gul . After all possible sanding dust has been removed with a soft dusting brush or compressed air, the parts should be wiped with a Tintless rag moistened with turpentine, benzine, naptha or lacquer thinner 18th century architecture columns . A light wash of this nature also insures that the work will be free from grease, much of which may consist of invisible deposits that occur in handling depression wood tea table .
As will be discussed under varnish finishing, the sanding dust composed of grains of abrasive and wood flour is not the only enemy to a good finish gateleg drop leaf table + antique . A norms load of dust in the air is always present in varying degrees, ready and eagcx t settle and bed down on a “tacky” surface antique brass inlaid table ebonized wood . After the finishing room is rendfre as dustless as possible, the windows should be closed and the floor mopped longcaseclocks chinoiserie 18.century . N?ws papers laid on the floor and sprinkled with water will help, and strong air cur>ent should be discouraged victorian writing bureau . The room temperature should be at 70′ for best result since neither enamels nor varnishes dry in a temperature that is cold or h+i
Mixing davenports with eight usable drawers . The opaque finishes consist of hiding pigments held in lisui suspension john widdicomb desk . Enamel is pigment ground in varnish; paint consists of pig e ground in linseed oil; lacquer has its pigments ground in solvents blended - it nitrocellulose to form lacquer; synthetic finishes employ pigments ground n synthetic resin louis 14th chairs . In all cases the pigments, by reason of their weight, attem t t settle to the bottom of their container where they form a thick sediment art noveau furniture . T keep them in suspension, therefore, requires thorough, repeated agitation to ai
tain the necessary consistency the neo grecian design .
Craftsmen use a variety of devices for paint mixing, from hand paddles an bent wires inserted in hand drills to mechanical tumblers antique wheat sheaves . Whatever the in;, ho it must be thorough, for whether the protective finish is prepared at ho purchased ready-mixed, the pigments will settle to the bottom of the cont antique breakfast table .in when not in use shell shaped silver spoon value . To remedy> this condition the best method is to pour ofi th
liquid into a clean container and thoroughly stir the muddy residue entry dressing table . Durin_ th
stirring portions of the poured-off liquid are added until the proper co
sistency is obtained, and the pigment is thoroughly broken up in suspensio I all finishing operations it will be found next to impossible to maintain too arg a stock of clean empty tin cans, cups or screw-top Mason jars china candlesticks antique . With their ai tight rubber rings the latter afford excellent storage, when the friction top con ai tigh
have become damaged or too gummy to exclude air when closed lord and taylor candlesticks .
Brushes english column candlestick creamware . The home craftsman who uses the brushing method to appl h double rows are thinner in body, providing greater flexibility for brushing aroun turnings or moldings english tin glaze pottery . The chisel end of a good brush is built into it by the p,op arrangement of long and short bristles, whereas cheap brushes usually displiy chisel edge made by trimming the ends of the bristles antique leg spindles . This practice removes the paint-holding flag ends that are visible in brushes of good quality cabinet decorative end shelf . Brushes come with varying bristle lengths, the longer ones holding more fluid but affording less control 1950’s green leaf and white porcelain .
Care of Brushes charles masse art deco . Much time, money, and irritation can be saved by the proper care and cleaning of finishing and painting Lrushes fauteuil design . Because of the different liquid vehicles involved, separate brushes should be reserved for enamel, paint, lacquer, varnish, shellac, and stains chiffonier oriental veneer . The best policy is to clean each brush immediately after using it and prepare it for dry storage or hang it in its proper liquid for further use wrought iron church candle sticks .
The proper cleaning solvent will depend upon the finish used; paint and var hand of fatima drawing . Wish brushes can be cleaned with turpentine or benzine, but shellac brushes are cleaned with denatured alcohol, and lacquer brushes with lacquer thinner de coene art deco . Water stains can of course be cleaned off with water, but non-grain-raising stains require a special solvent issued by the manufacturer rococo silver candlestick . Whatever the solvent used, it should be worked in all the way up to the heel of the brush with the fingers, if necessary, and applied unstintingly german art deco inspired carpets with geometric motifs today . A steel brush or an old table fork will be found useful for loosening up any gummy residue lancashire bow front mahogany chest drawers .
Paint and varnish brushes that are to be used again within a reasonable period can be suspended in their liquid solutions small three legged wooden table made in india . Shellac and lacquer brushes should be stored dry antique canterbury rack . To keep out dirt and retard
evaporation of the fluid, containers hav- ing tops should be selected and modified as suggested in Figure 5 plate cover antique food .2 antique pembroke . Whatever the method of suspension employed, it should insure that the bristles do not rest on the bottom of the container where they are liable to become permanently bent “expensive antique china” . The liquid should be maintained to t’le middle of the >)rush ferrule and con-
sists of a half-and-half mixture of raw linseed oil and turpentine for paint brushes, or of varnish and turpentine for varnish or enamel brushes british oak chairs .
Prior to dry storage, after the brush has been thoroughly cleaned in solvent rose wood furniture from duch manufacturer . it should be washed with soap and water, followed by a rinsing in clear water important buildings in the 17 century in italy . When dry, the bristles are dipped in linseed oil and the brush can then be wrapped in paper to keep out dust and dirt 18th century writing table cabriole ball claw feet . Waxed paper from commercial loaves of bread makes a good wrapper, and care should be exercised that the brush is kept fiat to prevent “warping” during long storage dining table, england, 19th century .
For the best results new brushes should be broken in before using art deco side chair . After mork, ing the ends of the bristles against a board to force any loose hairs forward, they should be combed out smooth and immersed in linseed oil for 12 hours or mor(, in order to insure ease in later cleaning french empire escritoire . Before using the brush most of the o0 can be squeezed out with a straightedge; the remainder call be removed cent>-ift> gaily by spinning the Dandle between the palms of the hands, while the L:rush extends into a wide, empty container to prevent spattering antique serving tables .
Brushing Technique louis xvi cabinet netherlands . The successful application of a brushed-on finish is dependent in great part upon the manner in which the brush is handled brass skimmer antique . Selection of the correct size of brush will insure the application of the proper amourt c: liquid, which is a strong factor in eliminating “holidays” or skipped areas, as wet as in preventing double coating 19th century dutch marquetry bureau price of antique . In loading the brush it is best to dip only ajou brandt mahogany 2 tier table .- one third of the length of the bristles—under no circumstances up to the fer,-uleThe habit of wiping excess paint off against the edge of the can each time the brush is (lipped, not only bends the end bristles but causes an acculliulatioi o’ thick pigment under the rim of the can, which eventually drops into the lijui( in the form of blobs french glass table with tree like legs . A strike wire fastened across the can is a much bette practice antique gate leg table very narrow .
Paint finishes are usually brushed )ut; enamel, varnish, and shellac finirillel must be flowed on, and lacquer while habitually sprayed, is procurable in a br n hall norfolk .1sh ing mixture emile galle, orchids, 1900 . Oil flat surfaces paint finishes should be thoroughly brushed oil until the covering film is of uniform density, g workin outward toward the elge!
M
to prevent accumulations along the sharp edges antique games cupboard . It is always good practic> t( start each newly loaded brush on the bare wood, brushing into the lap left by the previous brushful art deco wooden armchairs . Cross brushing large areas eradicates “holidays” and ev-111) distributes the film of finishing material antique walnut drop leaf extending table . It is always wise to rehearse the initia’ brush strokes of a finishing job oil waste pieces of the basic material, or at Last on a piece of wrapping paper antique rococo pedestal table .
SPRAYING
Of recent years the perfection of portable spraying equipment within a moderate price range has popularized the spray finish among home craftsmen Compact outfits, with compressor and motor housed in one unit, are available, and may be used equally well with light or heavy-bodied liquids angouleme guerhard .
Spray Guns antique french rococo table . Certain fundamental differences are built into the various types
of spray guns refectory leaf table . In the matter of air pressure, guns may be of the bleeder or r on-
bleeder type charles masse art deco . The bleeder type is required where the compressor unit is not
equipped with a pressure relief valve, a continuous “bleeding” of air through the
spray nozzle aperture being relied upon, after sufficient air pressure has been built
up antique gateleg cherry table and chairs . In the nonbleedirg type, no air passes the nozzle until the trigger is squeezed can decorative moulding be antique+bookcase .
Another distinction between spray guns depends upon the method employed to
feed the nozzle pottery made in czechoslovakia .
Jul
8
Tools and Supplies for Restoration and Repair
July 8, 2009 | Leave a Comment
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)
8
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.
10
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.
11
O
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.
I
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.
.1
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.