A CYLINDRICAL GARDEN VASE
The dimensions called for in this design are a diameter of 10 inches and a height of 8 inches. The wire form must therefore be made to approximate quite closely to these dimensions. A good material for the form is galvanized wire lath of 1⁄2-inch mesh. This problem will require a piece about 8 inches wide and 34 inches long for the convex side, and a piece about 10 inches square for the base. From the square piece a circle 10 inches in diameter should be cut out. A strong pair of tinners' shears will be needed for this purpose. In bending the long piece into the cylindrical form it is well to proceed slowly in order to produce an evenly curved surface—i. e., one free from angular bends. A good way to accomplish this result is to lay the piece down on a bench top and bend it up over a cylindrical wooden block. If nothing better is available a rolling pin will serve this purpose. When the bending is nearly complete, the two ends of the piece should be brought together, lapped over about an inch, and bound together with free ends of the strands of wire. A pair of pliers will be of great assistance. If this part of the process has been carefully done, there will result a cylindrical form 10 inches in diameter. The circular piece should now be attached to one end of this form by means of the free ends of the strands found there, bending the projecting wires over and clinching them at convenient points on the circumference of the circular piece where there are uncut meshes of the wire. The form is now ready for covering with the cement.
A garden vase
The first step is the mixing of the cement for what is known as the scratch coat. This is made by mixing Portland cement with fine, clean sand in the proportion of one part cement to two of sand. These ingredients should be thoroughly mixed together in the dry state, and then there should be added a small quantity of goats' hair, well picked apart. For the problem at hand about five pounds of cement will be needed and as much goats' hair as can be held in the hand. The whole should be thoroughly wet down with just the right amount of water. It is important that the mixture should not be made too soft. A scratch coat should be given a consistency that will enable it to be easily spread over the wire form and, at the same time, to hang well together.
When a sufficient amount of the right mixture has been obtained, it should be spread upon the wire form by means of a small mason's trowel or a large knife. It is well to begin at the bottom of the convex side of the cylinder, working upward, taking no pains to make this first coat smooth, since roughness is desirable, and paying no attention whatever to the inside of the cylinder, excepting to see that the cement is forced well through the meshes so that the whole mass will be held together firmly when dry. The inside is given a smooth coat as a part of the later finishing process. When the convex surface has been well covered, the form should be turned bottom up and the cement spread upon the base of the cylinder in the same way. After the wire has been completely covered, the form, which is likely to be somewhat distorted, should be corrected by careful manipulation till a true cylinder has been obtained. This is allowed to stand for about five hours until the cement has thoroughly hardened. It is then ready for the finishing coat.
The next step in the process is to make the cement for the finishing coat. Considerable variety is possible here, depending upon the colour and other surface effects that are desired. In this design a light, sparkling surface when finished is required. To produce this effect a mixture of one part Portland cement and two parts marble dust will be needed. This should be mixed without hair to a consistency like that used for the scratch coat.
Before applying the finishing coat the surfaces should be thoroughly moistened by means of a brush well filled with water. There are various methods of applying this coat. The simplest is carefully spreading it on with a trowel and smoothing it with the moistened hand. When the surface has hardened sufficiently it is sometimes possible to improve the finish by the judicious use of sand-paper or a coarse file. It is not possible to produce perfectly even surfaces in this way; and yet the method has the characteristic freedom of handwork in general, and yields very satisfactory results.
A vase with blocked rim
The Decoration.—A great variety of decorative effects may be obtained in concrete pottery and in other articles made of this material for out-door use. In pottery these decorations may take the form of raised figures or ornaments, of borders or designs cut in the surface, and of inlays in colour. Whatever the form of design, the necessary cutting for it is best made when the cement has become well set but not very hard—i. e., from 6 to 10 hours after the finishing coat is applied. A stout, sharp, pointed knife blade is all the tool that will be required. A narrow chisel, however, may be found desirable for deepening the cuts. The knife should be guided by means of a ruler, which should be flexible if used on curved surfaces; and the depth of the cut will depend somewhat upon the size of the piece. In work similar to that described in the problem just given, a depth of 3⁄16 or 1⁄4 of an inch is sufficient. This cutting, of course can be made after the cement has hardened, by the use of hammer and chisel; but it will be much more difficult.
A square form
The Colours.—Colour cement for inlaid designs is made by using the best quality of white Portland cement as a base, colouring it with dry mineral pigments which are sold by dealers under the name of lime or cement-proof colours. Among the pigments suitable for this purpose are red oxide of iron, which produces a red; oxide of cobalt, which gives a good blue; chromate of lead, which produces yellow; carbonate of copper, which gives a good dark green; and burnt umber, which yields a good brown. These come as dry powders and should be mixed with the dry cement and marble dust, making a mixture of uniform colour, before the water is applied. In order to determine the right colour it is well to experiment with a small quantity of the various ingredients until a satisfactory shade has been found. Then with this as a guide a sufficiently large quantity should be mixed, in the same proportions, to the consistency of a thick paste, and applied to the design, which has been previously cut in the surface to be decorated. To insure thorough adhesion of the paste to the concrete, the cutting should be well moistened with a wet brush. A number of suggestive designs are shown in the accompanying drawings.
Rustic Furniture.—The lighter out-door furniture can be easily made up in a great variety of designs. The form of rustic settles and chairs is determined largely by the material which is available. Very useful and ornamental effects are produced by using sticks cut from the tops or from branches of small trees. Birch saplings, easily found in the second growth of some wood lots, afford a good supply of material. It is not necessary that the sticks be straight; the natural crooks and notches are often very useful in bracing the framework. Chairs, settles, tables, standards for flower boxes, and other articles of furniture may be made out of this rough and unfinished material.
A garden screen
Lattice Work.—Trellises and garden screens have been made in an almost endless variety of forms. Among the most satisfactory is the plain lattice work in squares and rectangles. Its simplicity and evident durability are points in its favour. Experience proves also that vines and other plants needing support are readily adjusted to this form of trellis. The size of the stock required in making the right-angled lattice work depends upon the uses to be made of it. For a garden screen the uprights need to be of 2 × 2 inch stock and of any convenient length. End posts of 3 × 3 inch stock will be required, to give necessary stiffness; and, if the screen be a long one, intermediate posts of the same size should be placed at intervals of ten or twelve feet. The horizontal pieces may be strips of 7⁄8-inch stock, 2 inches wide, set their full thickness into the uprights. Spruce furring, which lumber dealers supply in 2-inch widths, is suitable for the small rails; but if chestnut be used for the uprights it is well to use the same wood for the rest of the construction. The top and bottom rails should be of heavier stock, not less than 2 by 3 inches. The best foundation is a line of concrete posts, firmly set into the ground at intervals of 6 feet, to which the bottom rail or the uprights are fastened by means of irons set into the cement when the posts are formed. Two coats of dull green paint will protect the wood and properly subordinate the lattice work to the trailing branches which it supports.
[VIII]
FINISHING AND RE-FINISHING
'Tis toil's reward that sweetens industry—Ebenezer Elliot
In the commercial production of furniture the cabinet-maker has nothing to do with the finishing of his work. This essential part of furniture making is turned over to artisans who are finishers by trade. In a separate part of the factory they attend to the cleaning and filling of the wood and to whatever finish is applied to the work of the joiner. It is hardly necessary to add that the finishing of all kinds of woodwork is quite as important as any other feature in its production; for, however good the lines of design may be and however thoroughly the design may be carried out in the construction of any piece of furniture or other woodwork, it may be and often is spoiled as a work of art in the finishing.
Finishing a Library Table
[Plate VI]
But the amateur cabinet-maker should be his own finisher. He should familiarize himself with the various kinds of finish that may be applied to the different woods. He should know the object of filling wood and how it is done. He should understand the processes of fuming, staining, and varnishing so well that he can produce with certainty the results desired.