P R OB LE M S I N W O O D - T U RN I N G ° R D 15 R W HAW B M By F E 1 C A S , . s . E . P rofessor of M anual Arts ni . U versity of Wisconsin % Author of Prob lems in Furniture M aking % Furniture B aign for Schools and S hops , % % M anual Arts for Vocational E nd s. % and M etal S pinning. THE MAN UAL ARTS PRESS P EOR A L N O S I , IL I I COP% RI GHT 1909 THE M AN A AR TS PR E S U L S . I % T E D T ON 1918 S H I I , FOREW O RD . - N s R I . s COD TU N G doubtless is an art However, if the tatement which follow in this text - e he s s i . are facts, the subject comprises som of t element of a c ence The art of wood turning is the ability of the operator to skilfully handle the tools in making the several wood - turning - c cuts. T he science in wood turning is found in the mathematical prin iples discovered when these cuts are analyzed . The following are some of the elements in a c ou rse in spindle wood- turning which should re ceive considerable emphasis % skill in handling the t ools % geometrical principles involved % the applica tion of these principles in obj ects which have a utilitarian value % and design . There is little possi 1 P - bilify of making the subject as applied in face plate and chuck turning one of essential interest or % r s stu benefit except in two particulars first, the study of good fo m , and econd , the dy of technical principles to be applied in making useful objects. This book on wood -turning has been prepared for the following particular reasons - r s s u % es ec a se i u Fi st , to help tudent of wood t rning p i lly tho who are work ng nder the supervision e - of a teacher. I t is, therefore , a t xt book. m s as - Second , to si plify the ubject treated in the average text on wood turning. s reason n Third , to how the for ha dling the tool in a particu lar way for each cut . ofier s s s s i Fou rth , to by good mechanical drawing a erie of problem which , it s hoped , are superior s s h in many ways to those u ually found in book on t is subject . These drawings are not arranged as P R O B L E M S I N W O O D - T U R N I N G The point of view used in this text is this % A classification of all necessary cuts used in w ood s turning with a geometrical basis for the handling o f the tool for each cu t. The u ual point of view has been a classification or grouping of models w ith a desc ription of how to turn each model . The author is indebted to the many teache rs of manual training w ho have helped him by ofier s s e He w s s s ing suggestion and furnishing de igns which have made this book possibl . i he e pecially to re E of M an recognize aid from notes which we furnished b y Profess or Charles A. Bennett , ditor the ual Training M agazine . RA H . F. D . C W S AW CON TE N T S. Forew ord Form and P roportion T he Care of W ood -turni ng Chisels Spindl e T urning ’ W ood -Turner s Kit T he G ouge Used as a R oughi ng T ool T he ew el e to T u rn l n er . Z Sk Chis Us d a Cy i d . T he Skew Chisel Used to Square the E nds of a Pi ece T he Skew Chisel Used to M ake a Long V or T aper C ut 2 T he Skew Chisel Used to M ake I nsid e Square Corners T he Smal l Skew Chisel Used to M ake V C uts T he Skew Chisel Used to M ake the Conv ex or B ead Cut T he G ouge Used to M ake the Concav e Cuts T he G ouge Used to M ake Conv ex C uts Face-P late and Chuck T urni ng Center Screw Face- Pl ate Turning Face-P l ate and Chuck T urni ng Combined Finishing and M AN D R FOR P OPO RTI ON . D e s This section of the text might be headed chief importance , some general uggestions may sign except that ir is believed such a heading should be given as a guide for the study of wood be reserved for a place where both construction turning profiles in both their form and pro and decoration are more prominent than they are portion . - N ss is of s of in wood turning. everthele , there need Student manual training have been told dur carefully considering form and proportion in turned ing the past few years that they must inject into I as - s w s work. nasmuch wood turning, perhap more their ork the principle underlying the work of - k h than any other subject in wood wor ing, as been the artist and designer. When one attempts to set rs of s s s i n as taught by following a cou e exerci e , it do thi , he s at once co fronted with a m s of sub m is ffi s seems that new interest may be given the theory, fro which it di cult to elect prin e I i j cet by introducing a consid ration of the elements ciples to be applied in the shop . t s hoped that I s s o s o - of design . t hould be under to d in thi con the student of wo d turning may be helped by the r e i nection s s s as s . s s t that the fo mal exerci e , uch Plat selection herein made Thi text written wi h 1 2 3 s s relimi t ss s , , and , pre ented in thi book are p the idea that brevi y and clearne hould go hand r to s of s s as s in na y ome application the cut , uch are in hand , and with thi idea mind , the follow shown in Plates 5 to 12 . The exercises should ing generally accepted prmciples are rather dog be made only so long as the operator feels nu matically laid dow n to control the form and pro in . I certain the control of the tool nasmuch as portions in designs for turning. the application of the cuts in useful articles is of I t is safe to say that the use to which an oh PR O B L E M S I N W O O D - T U R N I N G ce is s as s i s viz s j t to be put hould be the principal factor in me urement elect on , a dominant mea ure r i s ts s . s . dete mining general hape %Fig Thi and a measu re sequence . %Fig There hould fact does not destroy the possibility of securing w hat be some parts of the design w hich should act as is e e all often call d harmony in m asurements. By this a starting point from w hich other as e s planned , both r gard outline T and dimensions. his part need not be an extreme in the scale f s s s o ize , but often the malle t or F i . 1 g . largest part is the design base for s . A s e s term one mean the arrangement of varying other parts l o, th re hould s s s diameter and di tance to be agreeable to the ey e. be a uniform gradation in di s of s al ess ho mensions ro There are degree vi u agreeablen , w f m the dominant form is s w . ever, and it ometimes helpful in making a de up ard or downward %Fig sign to use a unit of measure in securing the most T his means a constant increasing e - r agreeable forms. T h quarter inch squared paper or decreasing ratio in diamete s i s s s use t s s . I . I n t s ati factory to for hi purpo e t should and distances o her word , not be supposed that all distances and measure difference in profile must aecom s st s s . n ff s s ment mu be exact multiple of thi unit The pa y di erence in length or di tances. Such is s t as i s to . e s s unit elec ed only a mean an end , viz , uniform chang in ratio called measu re se s m . plea ing for and proportion qu ence. T he selection of a unit measurement is of little The three principles involved in the last two importance if it is not accompanied by t wo other paragraphs make for what we most need in any F O R M AN D PR O P O R T I O N e n l % B s I d sign , tu r ing inc uded unity.