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Making Shoji Free FREE MAKING SHOJI PDF Toshio Odate,Laure Olender | 128 pages | 01 Jul 2000 | Linden Publishing Co Inc | 9780941936477 | English | Fresno, CA, United States Recommended books：Making Shoji – 翠紅舎 The shoji screens are part of a project that my friend Yann of Mokuchi Woodworking has taken on. There are 20 screens that need to be made in total, and I just finished making 8 of them. The proportions and style were based on the Making Shoji screens. The wood for the shojis is Alaskan yellow cedar, which is beautiful material to work Making Shoji. And after making a lot of chips and noise I ended up with a nice clean stack of milled parts for the rails and stiles. Making Shoji next step was to lay out all of the mortises. There are three mortises per stile, two for the top and bottom rails and one for the rail that separates the kumiko grid from the panel. After laying out all the mortise I then marked and cut the tenons. Below are the tenons nearly complete. The haunched tenons Making Shoji for the top and bottom rails and the straight tenons are Making Shoji the middle rails. My first step was to cut the shoulders for all the tenons using the table saw, then I angled the blade and cut the angle for the haunches. After that I used Making Shoji shop-made tenoning jig to cut the cheeks. For the cheek cuts I oversized the cut so that the tenons would be extra thick, then I used a horizontal router multi-router to do the final cleanup bringing the tenons to the right thickness. But rough cutting on the table saw and then using the horizontal router really does a great job and makes for a really accurate result. Here are the mortises roughed out using a benchtop mortiser. These shojis get a chamfer all around the inside perimeter of the rails and stiles, and that detail needs Making Shoji be taken into account when joining the rails and stiles. One method for dealing with the chamfer is to cut the chamfer all the way down the length of the stiles and then angle the shoulder cut on the rails to mate with the chamfer. The name for this is the jaguchi joint, and Des King covers cutting this joint in great detail in his first book. Another Making Shoji for dealing with a continuous chamfer around the rails and stiles is to miter the connection between the rails and stiles by the same dimension as the final chamfer. This method also require a recess or mitered abutment to be cut on the stiles. Here are the miters cut on the rails. Also there has been a groove cut on all the rails which will hold the kumiko grid and the bottom panel. The grooves are sized so that they can be run down the full length of the rails, effectively cutting the tenons to their final width. After cutting the little miters on all the rails, I then Making Shoji the stiles where they would meet the rails. The depth of the recess is set by the size of the chamfer which will be applied later once all the parts have been fitted together. The middle rails that separate the kumiko grid from the lower panel is mitered on both sides. These were a bit trickier to fit, but using a paring jig worked out well since it allowed me to make small adjustments and creep up on a tight joint. Here is the middle rail joined up with the stile. The chamfer will soon be cut to the depth of the miter and recess in the stiles leaving a nice clean line. Once I fit all the joints in the shoji frames it was time Making Shoji move on to the kumiko. After Making Shoji fair amount of milling, I Making Shoji up with an nice clean stack of kumiko strips. All in all it amounts to vertical kumiko and 48 horizontals, plus slightly thicker pieces tsukeko that frame out the kumiko grid. Making Shoji I had Making Shoji many joints to cut for these screens I decided to take a different approach to Making Shoji the half-laps in these kumiko strips. I tried to take a lot of pictures throughout the entire process of making these screens but I definitely forgot to snap photos of some of the steps. As a woodworker sharpening is a never ending learning experience and challenge. My own approach to sharpening has changed dramatically Recently I finished up a collaborative project here in Tokyo with a design company called Consentable. The project is a Enter your Making Shoji address to subscribe to this blog and receive notifications of new posts by email. Email Address. Share This. This is what I started with, a stack of rough milled yellow cedar. Also this yellow cedar Making Shoji beautifully…. Below you can see the recess cut in the stile, which has yet to be mitered to fit with the rail. And here is the finished miter. After a little more tweaking here is the final fit. Related Posts. Araf Making Shoji. Leave a Reply Cancel reply. Making Shoji From the Shop Recent Posts. Sharpening Kanna: an Evolving Method Part 1 As a woodworker sharpening is a never ending learning experience Making Shoji challenge. Subscribe to Blog via Email Enter your email address to subscribe to this blog and receive notifications of new posts by email. Contact - Jon Billing bigsandwoodworking gmail. Making Shoji | Japanese Tools Australia Shoji usually slide, but may occasionally be hung or hinged, especially in more rustic styles. It rose in popularity as an Making Shoji element of the shoin-zukuri style, which developed in the Kamakura Period —as loss of income forced aristocrats into more modest and restrained architecture. The interweaving is structural, and the paper which is tensioned by spraying it with water [17] further strengthens the finished panel. Rice glue can also be used in the frame joints. Coniferous wood is preferred for its Making Shoji, straight grain. The kumiko are the fine wooden laths of the screen, and the tsukeko are the heavier members usually around the edge. The tsukeko are joined with mortise-and-tenon joints, with either a jaguchi joint Making Shoji a more complex mitered joint. While frames can be produced with minimal hand tools, specialized hand tools, power tools, and jigs for cutting Making Shoji lengths and angles speed the process. The wood panels were often quite Making Shoji ornamented, from the late s onwards. The koshi boards may be fastened to straight vertical or horizontal rails, which stand Making Shoji of the planks; older rails are thicker and often chamfered. A ranma fanlight, unfilled for air circulation. Note fukiyose, clustered spacing of the laths. Frames may also be backed with wire meshfor ventilation without insects. For instance, in Kyotoboth paper shoji and fusuma will be removed and replaced with su-do and sudare blinds ; this is usually done towards the end of June, before the rainy season ends and the Gion Festival begins. Shoji Making Shoji most commonly filled with a single sheet of paper, pasted Making Shoji the back of the frame on the outer side. Shoji may also be papered on both sides, which increases thermal insulation and sound absorption; the frame is still visible in silhouette. Shoji are not made with rice paperthough this is commonly asserted Making Shoji of Japan, [5] Making Shoji simply because "rice paper" sounds oriental. Cloth, usually a fine silk, has traditionally been used, Making Shoji usage declined with improvements in the quality of washi a specialized paper which diffuses light particularly well, and excludes wind. Washi was formerly made in narrower strips, which were overlapped by a few millimeters as they were glued on; it now comes in wider widths, and in rolls or lengths the height of a short Japanese door. Bright white paper is most popular in Japan; Making Shoji are also available, but darker colours are avoided, as they would not transmit light. Washi began to be mass-produced in the s, making it much more affordable. Paper is decoratively patched if torn, [5] [4] [18] and, traditionally, replaced once a year in late December sometimes less frequently, such as every two years [18]. The rice glue used to hold it to the kumiko is water-soluble [55] [17] wheatpaste is also sometimes used [18] and double-sided tape may also be used, especially for laminated paper [56]. Laminated papers, coated in vinyllast longer and are sufficiently waterproof to be wiped clean, but the thicker the plastic film, the harder it is to install. This made them water-resistant, so they were used where rain might reach under the eaves. In Japan, deep Making Shoji were conventional, and oiled-paper windows Making Shoji rare. The smooth sheet of paper covering the back of a shoji can make it difficult to grip and slide the shoji from the outside. This doorpull is called a hikite. While washi paper blocks wind, it does allow air to diffuse through, allowing air circulation. Less traditionally, rigid light-diffusing panels of plastics are also used, [61] such as approximately 2mm-thick [62] acrylic [63] [64] or polycarbonate [65] which can be frosted or bonded Making Shoji a printed Making Shoji. Paperlike sheets of plastic nonwoven fabrics may also be used, including polypropylene like that Making Shoji in surgical masks and other disposable clothing. Yukimi shoji snow-watching Making Shoji have glass panes. They allow a view of the outside in cold weather.
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