Charles h. hayward woodworkers pocket book pdf download

Many of the antiques of the Queen Anne and mahogany periods of which we think so highly had wretched backs. I myself spent a good many years in a repair shop, and I can speak feelingly of the hours I devoted to gluing strips of canvas across gaping splits in panels and across open knot holes. An extraordinary inconsistency. Apart from its having no strength, the whole thing was bound to shrink and split. Yet when we come to that much abused period of Victoria, we find exactly the reverse.

Probably no finer cabinet backs have ever been fitted into furniture. Open the door of one of those huge Victorian wardrobes there are plenty of them knocking about in seaside boarding houses. You will find the mirror back more strongly made than many a modern wardrobe door, and the carcase back a finely panelled framework often with moulded stiles or flush panels.

Perhaps one reason why there has been a tendency to fit lighter backs since Victorian times apart from the all-round cheapening of materials and construction is the introduction of plywood. It seems such an obvious use for ply, a material which is free from shrinkage and obtainable in such large sizes. Undoubtedly it is perfectly suitable for the purpose, providing the carcase is strong in itself, and does not rely upon the back to make it rigid.

There is, for instance, the question of size. Apart from this, however, the first consideration should be: does the job rely upon the back for strength, or will the back serve merely to enclose a space? At A the back is needed to prevent racketing and to stiffen the carcase generally.

At B, however, the carcase is already strong, and only a light back is needed. In the latter connection, of course, it is sometimes an advantage to build in the back with the carcase. Items such as sideboards are often made in this way. As a general rule, however, it is better to make the back separately, because it simplifies the subsequent fitting-up.

It is perfectly rigid and is free from all shrinkage complications. It should always be used for pieces such as cupboards with large, heavy doors, which are particularly liable to distortion unless provided with a stiff back. Fig 2 shows the usual form. The whole thing is put together with mortise and tenon joints, and the panels are grooved in.

One point to note is that if there is a shelf in the cupboard, the middle cross rail should be arranged opposite to it if possible. It may not always be practicable, of course, but the advantage is that it gives a level surface against which the back of the shelf can face see B, Fig 3. If this is not done there will be gaps opposite the panels as shown at A. The better plan is that in Fig 4, in which the panels are flush with the framework at the inside.

It necessitates fairly thick panels, of course, but it gives a far neater result than cutting out the back edge of the shelf to fit. It is nowhere near as strong, and is rather a doubtful member of the family. The ends of the muntins are cut away as shown inset, so that the panels can be fixed directly to the back of the carcase.

Now, as the panels are generally about 9—10 ins. Consequently it is a mistake to drive in nails right across the width because the wood would split in the event of shrinkage.

The better plan is that in Fig. The edges extending into the muntin grooves are free so that they can draw out.

Note that the heart side is outwards so that the free ends are pressed tightly against the carcase by the natural twisting tendency of the wood. If, owing to the presence of a number of shelves, it is desirable for the back to be entirely flush on the inside, the muntins can be rebated instead of grooved as shown in Fig. The beads along the rebates are not entirely decorative, but they serve to render the gaps less noticeable in the event of the panels shrinking.

All these details about shrinkage apply only when solid wood is used, of course. In the case of plywood it does not matter.

Speaking of plywood brings us to another variation of the muntin back. In its simplest form the plywood back is nothing more than a sheet of plywood nailed or screwed in a rebate. For quite light jobs this is satisfactory enough, but to give a neat finish the back in Fig. A series of grooved and rounded horizontals is screwed on. They can be arranged level with the shelves as shown. The plywood panels fit between them in the grooves.

For a flush effect the rails can be rebated instead of being grooved see D. One of two methods can be followed. That shown in Fig. The back is really a series of matched boards, tongued one into the other, with either a bead or a V worked at the joints. The boards are screwed or nailed directly to the top and shelves, and at the bottom to a rail specially fitted for the purpose. In the second method, Fig. The wide rails give rigidity, the matching merely filling the space, so to speak.

It can be either very thin as at A, or it can be stouter, the ends being tongued as at B. Incidentally, a detail applying to all backs of any thickness is that the rebates in the ends should slope as shown at A, Fig. If this is not done the projecting portion is liable to curl as shown at B.

This is a problem that faces every man who does woodwork. At the same time they must be easily to hand when needed. Quantity in Cart: none Code: AQ Free returns for six months.

Learn more. Hayward, who lived from , was a classically trained woodworker with a staggering array of talents as an illustrator, writer, designer and teacher.

Hayward served as editor-in-chief of The Woodworker from - , a long stretch that spanned the transformation of woodworking and indeed the transformation of British industry and craft. It is no exaggeration to say that Hayward is indisputably the most important woodworking writer of the 20th century.

Volume I focuses on tools and Volume II on techniques. Volume III focuses on joinery and Volume IV on the design and construction of Western furniture and also includes some philosophical pieces about the role of craft in society. QTY: 0. An Error has occured, please try again. Yes, take me to Lee Valley Canada Cancel. You can also style every aspect of this content in the module Design settings and even apply custom CSS to this text in the module Advanced settings.

Facebook Twitter. The Complete Book of Woodwork contents are: introduction 1. We need to have The Woodworker's Pocket Book. Joy Rodriguez: That e-book can make you to feel relax. That book The Woodworker's Pocket Book was colorful and of course has pictures on there. As we know that book The Woodworker's Pocket Book has many kinds or style. Start from kids until teenagers. Create beautiful wooden animal portraits on the scroll saw with Woodworker's Pattern Book.

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Woodworker's Guide to Joinery, Book. Skip to the beginning of the images gallery. Product Description.