Making Shoji Free

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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. These are jika glass shoji. Yukimi shojis' translucent sections often slide, like sash windowsfor privacy left, open; right, closed; center, partly open. Another style of yukimi shoji, yokogaku shoji: full-width glass, surrounded by lightweight panes. Another style of Making Shoji shoji, katagaku shoji: one central glass pane, surrounded by regular lightweight material. Paper-coated nekoma shoji with sliding sub-panel for view inside the engawa, and all-glass garasu-do outside. Until the late s, these small panels were the only use of glass in shoji; [76] [77] blown plate glass was expensive and available in small panes. Cheaper plate glass was introduced to Japan circa the late s. Glass can be used in large sheets or in small panes the kumiko becoming muntins. Yukimi shoji Making Shoji contain non-transparent translucent sections, for privacy. In suriage shoji, there is a vertically-sliding translucent section; the translucent sections are divided horizontally like a sash windows. Peel-and-stick films that give glass some of the appearance of washi are also Making Shoji. Shoji as usually mounted with two sliding panels in an opening. If the full opening is wanted, Making Shoji are removed. Four-panel opening at Sankeienopen. The innermost doors and outermost doors overlap fully; note that in the Making Shoji ranma above, the light is brighter, and the silhouette of the visitor stooping for Making Shoji bag sharper. Top: katabiki shoji, on interior rails, slides in front of the wall. Lower right: a katabiki shoji which cannot slide fully open. Shoji doors are often designed to slide open, and thus conserve space that would be required by a swinging door [1] ; they may also be hung or fixed. Most commonly, a shoji panel slides in a grooved wooden track. The upper groove is substantially deeper than the lower groove. The upper groove is cut in the kamoia lintel between adjacent posts. Shoji are often mounted in pairs, with two panels and two grooves in each opening. In this case, the innermost pair are generally mounted on the same track, and the outermost pair on a different track; [8] A rounded tongue and groove are cut do that the innermost pair interlock. Making Shoji slide on rails mounted on a Making Shoji wall, and when open partly or fully overlap the wall. They are used for smaller windows in opaque walls; this is common in chashitsu see image. This avoids fit problems caused by humidity-related changes Making Shoji the dimensions of wood. Other suspension methods are sometimes used. They are commonly hung over small windows in opaque walls of mud plaster; they hang from bent-nail hooks, one on either side of the top of the window, and the topmost frame member is extended into two horizontal projections that rest in the hooks see photo above. Hiraki shoji are mounted on hinges in a doorframe, and open like a standard western door. Some Making Shoji single doors, some double doors. Traditional Japanese buildings are post-and-lintel structures. They are built around vertical posts, connected by horizontal beams rafters were traditionally the only structural member that was neither horizontal nor vertical. The rest of the structure is non-load-bearing. The roof completed, all but the cheapest buildings also added a raised plank floor except in the kitchen. The hashira-ma might be filled with fixed walls, in cheaper Japanese homes. For example, there might be lath-and-plaster walls, or in colder areas thatch walls; these are still used in rustic teahouses and Making Shoji buildings see images. Bark-and-bamboo walls, clapboardand Making Shoji walls were also used. Instead, openable or removable screens were used, and Making Shoji type, Making Shoji, and position adjusted according to the weather without and the activities within. These items can collectively be termed hashira-ma equipment. The technology of hashira-ma equipment has developed over time, and shoji were among those developments. Shoji have imposed constraints on other types of hashira-ma equipment: being translucent, non-waterproof, light, and fragile, they need protection, but they also need access to light. Cloth-covered frame panels that fit between pillars but did not yet slide in grooves were invented in the s. They were used to screen bedrooms like the curtains on a canopy bedand called fusuma shoji [96] there were also bedclothes called "fusuma" [97]. When paper came to be used instead of Making Shoji, fusuma shoji were also called karakami shoji. The symmetrical Making Shoji shinden style developed in the mids, Making Shoji the lakeside palaces of aristocrats. Hajitomi are Making Shoji, and hinged, horizontally. Here the bottom halves have not been lifted out. There are shoji behind the hajitomi. On the right, three grooves, three panels. The maira-do are open, and Making Shoji single shoji panel closed; half of the area is still filled with the mairado. The building to the left is newer; its outer groove runs outside the pillars. The shutters are packed away in Making Shoji to-bukuros in the corners, and the shoji Making Shoji the inner two grooves run uninterrupted close-up. Plan view Making Shoji the mairado and amado shutter systems, showing rotator and to-bukuro. Black squares are pillars. Shoji in white, shutters in black, grooves in grey. See also Making Shoji movie. Section through Sukiya-style middle-class home of the early s. Smooth fitting of panel and groove is critical to allow the Making Shoji to move easily, [5] and Making Shoji woodworking of the sliding mechanism developed over time [6] modern shoji can be moved with one finger. In the Muromachi periodhiki-do improved, and the Shoin style of architecture was Making Shoji. A core part of the style was the shoin "library" or "study"a room with a desk built into an alcove containing a shoji window, in a monastic style; Making Shoji [] this desk alcove developed in the Kamakura period. Tatami dimensions were regionally standardized, and the other elements of the room became proportioned to the mats; [94] standardization of building components reduced waste and Making Shoji need for custom fabrication, and thus cost standard lumber, for instance, came in exactly the dimensions needed by the carpenter. A variety of specialized hiki-do were developed along with intermediate forms. Initially, the beams between the outer support posts were cut with three grooves; the innermost one for the shoji, and the outer two for mairado-do. This meant that the hashira-ma was generally at least half- obscured, although the other half could be open, shoji-filled, or closed. In the first half of the s, at the beginning of the Edo period, the outermost groove was moved outside the line of pillars. The to-bukuro might be designed to swing out of the way. Making Shoji Screens - Big Sand Woodworking

There's a lot of woodworking involved, but nothing too complicated. If you can Making Shoji halving, and mortise and tenon joints, then you should be able to tackle this. I've got a summary build video on YouTube, and I will be adding more in-depth tutorials in the future, so subscribe to my channel if that interests you. I used some average pine for mine, but Making Shoji, straight grained material would be better with so Making Shoji joints involved, avoiding knots is tricky. Slats are taken from a wide board, Making Shoji either slitting and riving as shown, or by ripping with a saw. The stiles and rails are roughed out with a saw, before planing to dimensions. I smooth plane Making Shoji surfaces now, in case I forget before assembly. The kumiko slats are going to be joined to each other with halving joints, and tenoned into the stiles and rails, so it makes sense to prepare them all exactly the same thickness. Pinning or screwing a couple of 'skates' to the sole of a kanna or a western plane makes a great thicknessing plane for the job. Mark out the stiles in pairs, and the rails as the top, middle, and bottom together. This ensures the Making Shoji will be square, and the slats will be parallel. Top and bottom rails get a rebate deeper for the top railwhich will allow the shoji to be lifted into running tracks if required. Then the rails and stiles received the matching chamfers. The frame is held together with twin mortise and tenons, although single stub mortise and tenons should do. The mortises are marked out, bearing in mind the rebates that we've cut in the top and bottom rails. Mortises should be chopped almost the whole way through the stiles, using a depth gauge to ensure Making Shoji are flat and don't break through. It should be possible to see light through the thin bottom of the mortises. This allows the longest tenons, without their end grain showing through. The mortises should Making Shoji in very slightly, so that a well fit tenon will tighten as it is driven in. Tenons are marked out Making Shoji cut to a tight fit. I didn't use any glue on my frame, and it shouldn't need it. The mortises for the kumiko lattice work are marked out and chopped in the stiles and rails. The positions are copied from one style and rail to the others to keep everything lined up. The tenons are prepared on the ends of the kumiko, in a ganged up fashion, which greatly speeds up the process. I prepared two hardwood blocks with a cutout exactly half the width of the kumiko, and long enough to hold all the horizontal kumiko at the same time. This allowed me Making Shoji easily saw exactly halfway through at each cross halving location, and to pare out the waste material. The cross halvings are prepared to a snug fit, and once one set is prepared, a short length of kumiko can be inserted into the ganged up pieces to keep them aligned whilst the rest are prepared. It's not essential, but certainly a good idea to weave the joints. This is restricted to alternate halves, to make assembly possible see the photo. The idea is that this alternate weave helps to keep the kumiko from bowing and opening up the joints. The best Making Shoji is to create your plain shoji just the horizontal and vertical Making Shoji first. This fixes your pattern areas. Then draw your pattern out to fit exactly. You Making Shoji then take the exact measurements of lengths and angles for the pieces to be slotted in. If you've made your latticework square, then the lengths and angles of similar pieces should be Making Shoji same, and you can batch cut the different pieces you need. Angled blocks make paring the ends easy, Making Shoji you can sneek-up on the fit so that the pieces hold each other tightly in place. In the more complex pattern shown, one piece is cut almost right through in the centre, to create a 'hinge' which opens up to receive the end of a mating piece. I found a couple of layers of masking tape laid on a cutting board to be a good guide to stop sawing at the right depth. Wetting the hinge allows it to bend without Making Shoji, if you are careful. With the lattice panels completed, I attached the vertical kumiko to the Making Shoji, middle, and finally the bottom rails. Finally I used a pair of sash cramps to pull all the joints up tight, making sure the whole assembly was square. Although the frame held together tight, Making Shoji was concerned about it possibly becoming loose with constant use. The solution was to install two wooden 'cocktail stick' pins through each of the frame joints. Inevitably, there were minor inaccuracies here and there, so a quick work over with a smoother sorted that out. Shoji paper is available for covering these screens, and it is to be recommended. However, I was on a budget, and so I used simple tissue paper. Prepare some boiled rice. Mash it into a paste with a glue stick. Add water to get a smooth creamy glue that spreads easily. I applied the glue to the screen, placed the paper in position, and later scored and removed the excess. You'll notice I gave no dimensions. Geometric pattern pieces will need to be sized to fit the kumiko spacings. For Making Shoji lasting screens Making Shoji is good, it won't damage when someone ultimately knocks it Making Shoji. I loved the work that you have put into them, I had just finished watching a Japanese documentary on the making of the screens and you were so very close to how they built them specially the designed squares even if they are on a larger scale to Making Shoji they made the Making Shoji squares. It is beautifully built as you said the correct paper would Making Shoji worked better but the tracing paper Making Shoji was a very good second choice. Reply 2 years ago. I think I still Making Shoji the glow and shoji paper although it may be the plastic lined one at the house. Very involved an labor intensive. But a Making Shoji beautiful design! One of Making Shoji pictures show the tissue paper to wrinkled by the rice glue. Did the wrinkles disappear Making Shoji the glue dried? Would the same have happened if you use Shoji paper? Congratulations on your Shoji screens. They are beautiful! I had never imagined that they are so complicated to make. Thank you for sharing. Yes, it did tighten up. Not by much though, so you do have to be fairly careful in applying it. Also, you could use some cellulose dope to really tighten and strengthen the paper once the glue has cured. Proper shoji paper would have been much tougher, and therefore easier to handle and pull tight. Of course it's expensive! I will probably replace the paper once I have some spare cash for it. There Making Shoji simpler ways to make them single mortise and tenons, non-woven kumiko, etc. Thanks for your comments. More by the author:. Let me talk you through how I made this pair of Shoji screens There's a lot of woodworking involved, but nothing too complicated. If Making Shoji can make halving, and mortise and tenon joints, then you should be able to tackle this I've got a summary build video on YouTube, and I will be adding more Making Shoji tutorials in the future, so subscribe to my channel if that interests you I used some average pine for mine, but clear, straight grained material would be better with so many joints involved, avoiding knots is tricky. Kumiko are the thin slats that make up the lattice work and geometric patterns Slats are taken from a Making Shoji board, by either slitting and riving as shown, or by ripping with a saw The rough slats are 'ganged' together and planed close to the required size. The mortises should taper in very slightly, so that a well fit tenon will tighten as it is driven in Tenons are marked out and cut to a tight fit. Kumiko are cut to length, both for Making Shoji verticals and horizontals. This is the tricky bit! Then I offerred up the stiles, one by one, tapping the mortises onto the ends of the tenons. The rear of each panel was designed to be flush frame and kumiko lattice. The rebates in the top and bottom Making Shoji were extended through the top and bottom of the stiles. The traditional adhesive for the paper is rice glue, which I could afford to make: Prepare some boiled rice. T hanks for reading Making Shoji instructable. Advice: Try making a small test panel Use a CAD package to work your design out fully Set aside twice as long as you think it will take Did I do any of those? Making Shoji here:. Did you make this project? Share it with us! I Made It! Write in Braille With B. Reply Upvote. Dawsie 2 years ago. WOmadeOD jdevendorf Reply 2 years ago. WOmadeOD ildegiron Reply 2 years ago. Adron 2 years ago. WOmadeOD laurasujo Reply 2 years Making Shoji.