Problems in furniture making

This book is presented to the public to assist those who are interested in the design and construction of simple furniture. It is planned, also, to be of assistance to instructors and students as a partial text, but more particularly as a class reference book. Many of the problems have been worked by eighth grade pupils. It is believed that all are capable of solution by the average high school pupil after he has had one year's experience in bench woodwork.

The particular value of the revised over former editions of “Problems in Furniture Making” is in the rewritten and enlarged printed portion of the book together with what is believed to be a better selection of problems, both new and old.

While many of these problems are new, some are familiar because of their long use as school projects. These are included, with modifications, as it is difficult to replace them with better ones.
The author is indebted to his many friends who have offered helpful suggestions in the design and selection of problems. Those marked “F. D. C.” are, in many cases, original only in the sense that the general proportions and dimensions are of the author's selection.

Since writing the chapter on "Design" for the first issue of "Problems in Furniture Making," the author has given considerable additional attention to this subject. The chapter on "Form and Proportion" in "Problems in Wood-Turning" was the result of subsequent study and experience. While all the principles involved therein are not applicable to furniture design, it will be of great help if the user of this book will familiarize himself with them. At the close of this present chapter a chronological summary of steps taken in the design of a piece of furniture is given. The formal arrangement of these steps is the result, also, of the work of recent years.

In order that intelligent modifications of the completed designs herein presented may be made, and that initiative on the part of the pupil may be secured in the making of new designs, the following suggestions on design are given:

1. General lines and proportions. The general character of the lines will be largely dependent upon the lines in the pieces of furniture with which the one you are designing is to be associated; there should be a general harmony of line, a re-echo of line, in the room as well as in the single piece of furniture. The general proportions will be determined by the space your piece of furniture is to fill and its use. In case it has no particular place in the home or there is not a decided need for it, a design is not called for. It is believed that much of the furniture of either poor or mediocre design is the result of a misdirected effort due to a misconceived or purely mercenary demand.

2. Construction. The shape of the piece of furniture will generally determine its construction. One will hardly make a mistake in the selection of joints to be used, but there are many forms of some of the principle joints, such as the tenon-and-mortise joint, from which to select. Here, again, one must be governed by that fundamental law of design, viz., there must be harmony. If the general design is a severe one, then the protruding form of joint will be appropriate, such as, for example, the open or pinned tenon-and-mortise joint instead of the closed one or the screwed construction instead of the nailed butt-joint, etc.

Construction is no less an important factor in the ultimate beauty of a piece of furniture than is its design. The best-designed article may be ruined by poor construction. Makeshifts such as glued-on parts to represent protruding tenons and pins are deprecated. The butt-joint fastened by means of screws or lag bolts may be an appropriate form of construction and serve as a means of decoration, but it should not be used as a general substitute for the tenon-and-mortise. It is a false interpretation of honest construction and is one of the many things in manual training which helps to swell the number of those who condemn the subject for its insufficiency and impractical methods.

3. Decorative features. Simple carving, upholstering or textile or leather paneling is often the thing needed to give a piece completeness in appearance, but, ordinarily, good lines, good proportions and good finish are quite sufficient to fulfil all esthetic requirements. The simple modeling of the top or bottom of a post and the introduction of broken or curved lines in some of the rails and stiles is sufficient decoration.

In addition to these three considerations, it is desired to call attention to two others dependent upon one or all of these three:

(a) There will constantly arise as one works over a design the question of widths and lengths of certain parts. Some of these will be definite because of the use to which the piece of furniture will be put, but many will be indefinite. These indefinite dimensions may be determined with some degree of accuracy if one will carefully consider the three following laws governing arrangement.

(1) Uniform spacing of similar parts is usually unsatisfactory.

(2) Wide masses and narrow openings should be made near the bottom of a piece instead of near the top to give the feeling of stability.

(3) The center of weight in a design should be directly below the center of gravity.

(b) The satisfactory filling of space areas is often difficult. This is largely a problem in decoration, although it may be one in construction when the strength of the piece of furniture is an important factor in the design. As an aid toward a satisfactory arrangement of parts in a given area the designer should become familiar with the term "measure" and the principles in design effecting it, viz., rhythm, balance and harmony, as set forth in E. A. Batchelder's book, "The Principles of Design."

The requirements of the individual problem must always serve as the basis for conclusions, but the three laws governing arrangement given above and the principle of re-echo or harmony of line will prove helpful guides.

For a more detailed consideration of the principles of design in connection with problems in furniture construction, reference is here made to an article by the author on "Furniture Design" in the April, 1906, number of the Manual Training Magazine; also to a series of articles by Prof. Chas. R. Richards on, "A College Course in Constructive Design," Manual Training Magazine, Vol. IX, Nos. 2 and 3. Attention is called also to the chapter on "Form and Proportion" in "Problems in Wood-Turning" by the author. Many of the principles set forth in this chapter, especially those referring to mass divisions and combinations are applicable in the design of furniture.

Steps to Take in Designing a Piece of Furniture.

1. In response to a need for a piece of furniture consider carefully its detailed use.

2. Determine the material to be used in construction. In general, close-grained and fine-textured woods are most suitable for furniture which has a limited use such as parlor and bedroom pieces. The coarser-grained woods have their principle use in living and dining room furniture.

Again the close-grained and hard woods are best suited to pieces of furniture having many curved lines formed either by modeling or turning. The coarser- grained woods should be used principally in furniture of severe design.

3. Determine, if possible, the place the piece of furniture will occupy in a room. This will fix some of the definite dimensions and will enable one to make a wise selection of the kind of lines to be used that the piece may be harmoniously associated with its companion pieces.

4. "Block in" the design so as to make the piece of furniture harmonize with the general "make up" of the room. Secure harmony by having a re-echo of line.

5. Consider now the indefinite or detailed dimensions to make all parts of the piece members of one family. This will result in unity. All details such as the modeling of top and bottom rails, the use of curves in stiles and legs, the modeling of feet and top of legs or posts, and the making of metal fittings, etc., will affect this element an all important one in the design.

6. Make good construction and proportion serve as an important factor in the decoration of the piece.

7. Before considering the design complete, give careful attention to the three fundamental elements of design: viz.: rhythm, balance and harmony. If the several parts are so arranged and formed that there is movement as the eye passes from one part to another in the design, then rhythm has been secured.

If, by having the whole arranged symmetrically with respect to an axis or by a judicious arrangement of parts, the whole seems to stand or hang truly, there is balance.

If the design as a whole does not "jar" upon one; if all parts seem to belong together, then there is har- mony. The design is a unit.

It is believed that no better line of work can be introduced in conjunction with woodwork than that commonly called "Decorative Metal." Many woodwork constructions are enriched by the addition of some escutcheon a strap, a hinge, a pull or a corner plate. The making of these metal fittings may be considered a legitimate part of a course of study in woodwork, especially one in which emphasis is laid upon the de- sign and construction of furniture. It is believed there is no line of work which offers a greater opportunity for the teaching of the principles of design and for their application than this. There is, too, not only an opportunity but a demand for close and natural correlation between furniture making and its associate, decorative metalwork.

It is taken for granted that the users of this book have had some instruction in the use of tools. It is hoped that classes in manual training will undertake to construct but few of the projects herein suggested until they have had at least the equivalent of the aver- age bench woodwork of one school year. It is not proposed, therefore, in this chapter, to dictate in detail any method of using tools, but to give in the few following pages some specific suggestions for the cutting of certain joints and the method of working up stock for certain classes of work, in the hope that they may be helpful.

It is believed that the working drawings in this book show the method of construction, as a rule. It is supposed that the best method of construction is desired in any piece of furniture and the author has given what he believes to be the best appropriate method in each individual case. It will be found that the butt-joint is used in all pieces where lag screws, blue-headed screws or wooden pins are called for. Such pieces should be measured and squared for length by holding them together by means of a clamp during this process. The fact that the butt-joint is herein mentioned does not mean that it is recommended. It is supposed that in planing stock the workman will establish a joint edge and face edge from which all squaring will be done.

Assuming that one year of bench woodwork has been done by most pupils who will undertake any but the simpler problems in this book it is to be supposed that woodworking machinery will be used to get out stock. Except for enough hand planing to take off machine marks, the planer and the circular saw may be used to prepare most pieces of a project ready to be put together. This refers both to cutting to length, width and thickness and to cutting joints. The following suggestions are given, therefore, for the order of work on machines.