Furniture design book pdf

 
    Contents
  1. Practical Furniture Design
  2. Furniture Design
  3. SHARE, the Furniture Design edition
  4. Furniture Design PDF books download free

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Furniture Design Book Pdf

soundbefabnavi.tk Furniture Design Book PDF Download Free tags: Guitar Chair With Back Support Video Game Chairs For. Theory and application of furniture design and construction emphasizing the continuing development of proxemics to furniture design (CIDA Professional Standards 3c). - [Cadence] Develop Lark Books. ISBN Miller. won't be found in this book-there is already a lot of information of this kind around , but ciples of design and construction as related to hi-fi furniture. Because a.

We mainly learn about the form and construction of furniture made in ancient Egypt from the perfectly preserved nds, reliefs and paintings that decorate the walls of the tombs of Pharaohs. It was found that many design solutions used by the contemporary artisans are also used today. All retained museum exhibits of furniture of ancient Egypt prove that the Egyptians used many techniques for decorating furniture. Gold plating and ivory incrustation were common methods of nishing the surfaces of furniture. These methods, as well as making legs in the shape of animal paws, became the common practice of carpenters from much later periods. To make valuable furniture, Egyptian carpenters used the wood of the ebony, cedar, yew, acacia, olive, oak, g, lime and sycamore tree, often by importing this raw material from Asia Minor, Abyssinia or Namibia. Exterior elements of furniture were nished off not only with ebony wood combined with ivory, but also metal brass, silver, gold , mother of pearl, lacquer, colourful faience and semi-precious stones Gostwicka Ancient Egypt was familiar with bone glue, which was used in techniques of incrustation and veneering.

The three most important are sketching, sketching, and sketching. He strongly encourages the reader to use quick sketches to explore as many different possibilities as possible before settling on a design approach to develop. The middle section was for me the best part, because it was the area I had the least previous exposure to.

But you should be prepared to argue your case using the vocabulary he is teaching. The book then gently slides into more advanced concepts in a section called Directing the Design. These cover unity, dominance, repetition, contrast, character, and style, and how to use them effectively. Again, like the more elementary concepts, everything is well illustrated with both positive and negative examples. The last section is a set of nuts and bolts appendices — how to draft working drawings, using perspective, building models, and making mockups.

The final appendix is the story of a wine decanting table taken from vague concept through sketches, drawings, mockups, and finally to construction and sale. He includes a bonus picture of a minor construction error and a short discussion of what he should have done to avoid it. This is a book I plan to come back to many times in the future.

This is the book you would go to after having done all your sketches and drawings. You know exactly what the piece is supposed to look like and are ready to make the working drawings you will use in the shop.

Practical Furniture Design

How do you translate your great sketch into shop drawings you can build from? The first section called joints explains the most common and useful joints in furniture construction.

The second section called subassemblies explains how different local design problems can be solved. Examples include how to construct the back of a cabinet and how to attach a tabletop to a table.

The third section called furniture reviews different types of furniture and shows exploded drawings of how they are constructed, along with design variations you could use. It also gives references to where you can download detailed plans for all the furniture presented. If you know what your piece will look like, you should be able to find a piece of furniture in this book that has a similar basic layout and discover how it is put together and use those ideas in your piece.

The exploded-view drawings that accompany every topic are extremely clear and easy to read. This is not a how-to woodworking book. There is no instruction on how to build a mortise and tenon joint, but excellent advice on when to use one. Neither is there any mention of tools, technique, or jigs. But it is the best book I have found in that middle ground and it is one I will be revisiting many times.

Inspiration and Examples There are many books published that survey furniture styles through history — too many to even list them, let alone review them. I paged through several more at the library and decided he was right - this is one of the best.

Next, cut the grooves into which the scrollwork will be inset. But the grooves in the two end panels must be handled differently. Because the scrollwork is only two inches high, stopped grooves are necessary. You can cut these freehand with a mallet and chisel or start them on the table saw and finish them by hand. The scroll is then thicknessed, ripped to width, and profiled on the band saw. Following the procedure discussed in chapter twenty- five, cut the through dovetails joining the end and top panels.

Then, glue-up the riser around the strip of scroll- work, and plug the holes in the ends of the grooves. Due to the circular shape of the dado cutters, a bit of material will remain in the end of the groove.

This is removed with a chisel. Matching figure and color is the first step. Here, two walnut boards with sapwood edges are being matched.

These two pieces of cherry were both cut from the same board, assuring a consistent color. Also, making the joint at the edges of the board where the lines of figure cluster close together helps to pro- duce an invisible glue line. Once you have matched or, as in this case, contrasted color and grain, form glue joints the lowly butt joints on the edges of each board.

You can create the joint by hand, using a jack or jointing plane. However, this is fussy work requiring experience and a steady hand. You can also create the joint on the jointer, a stationary power tool designed to perform this very task.

After cutting the joints, coat each edge with glue and align them in pipe or bar clamps. These are necessary in order to bring the joints tightly together.

Clamp arrangement should follow the pattern shown above. Position them no more than 12"" apart on alternate sides of the panel. After a couple of hours, you can remove them; within eight hours, you can work the panel.

This rabbet will ultimately receive the glass and the glass backing. Form a radius on the two front edges of the frame stock. Then miter the frame parts. You can do this on a miter box or a table saw or radial arm saw using a very fine- toothed blade.

At this point, cut the slots for the feathers that will later join the frame parts. You can cut these by hand with a tenon saw or on a table saw fit with a hollow- ground planer blade, using a Universal Jig to control the stock as it is passed over the blade. Precision is important in the cutting of both the miters and the feather slots as these joints comprise the entire inventory of joinery in the mirror frame.

Any error in these processes is very difficult to hide. The feather stock is then thicknessed and slid into the slots, marked, and cut. The frame is assembled with glue. The hanger consists of only three parts: Fashion the blade first. After cutting its shape on the band saw, facet the top edges. Do this by hand, guided by a marking system similar to that used in the hand manufac- ture of the raised panel in chapter one. First, draw a line down the center of each edge to be faceted. Then draw lines on the front and back faces of the blade adjacent to these edges.

Then, by using a wood file to create planes, join the lines down the center of the edges and the lines The walnut wedges in the mirror frame corners are not only beautiful, they also add structural support.

You could create these planes freehand, but the reference lines make it much easier to produce regular shapes. Then profile the shelf front on the band saw and facet all except the top edges in the same manner as that used for the top edges of the blade. Glue this to the front edge of the shelf. After sanding and finishing the wood parts, place the mirror glass and a matt board backing inside the rabbet cut in the back side of the mirror frame.

Hold both in place with the protruding heads of a half-dozen wood screws turned into the sides of the frame rabbet.

The same faceting is used on all but the top edges of the shelf front. Several of those—for example, hot melt glues—are available in different formulas for different applications.

These different formulas increase the actual number of choices to sixteen. Sixteen kinds of glue? Without devoting significant time to study and exper- imentation, no woodworker is likely to make the perfect adhesive choice for any particular application. And who wants to spend hours studying adhesives? In my shop, except for specialized applications for example bonding Formica-like products to wood , I've reduced the adhesive inventory to three choices: Each of these three types forms a bond that is stronger than necessary for wood furniture.

The primary differ- ences are the amount of working time they allow, the ease with which joints they've bonded can be disassem- bled, and the convenience of their application. Hide glue allows for relatively easy disassembly when making repairs and also offers the woodworker the long- est working time. It's available in two forms, each of which, unfortunately, has its own set of drawbacks. Then, after a few days, it must be thrown out and a new batch mixed because, once mixed and heated, it quickly loses its strength.

All of this is a signifi- cant inconvenience for the owner of a small shop. The other form comes premixed in squeeze bottles just like white and yellow glues. Unfortunately, however, its shelf life is shorter than white or yellow glue and much shorter than the dry form of hide glue.

In terms of convenience, both white and yellow glue are clearly superior to hide glue. They come premixed in easy-to-use squeeze bottles. They have long shelf life if kept from freezing, and they form an all-but-unbreak- able bond between two pieces of joined wood. There are, however, drawbacks to their use.

First, because the bond they form is all-but-unbreakable, a piece assembled with these glues is very difficult to repair.

If a yellow- or white-glue-assembled chair comes into my shop needing a new rung, I have to explain to the customer that I can't predict the cost of the repair.

Whereas a chair assembled with hide glue can be disas- sembled by applying warm water to a tight joint, thus allowing a fairly predictable repair time, the same chair assembled with white or yellow glue may resist my best efforts at disassembly. On more than one occasion, I've broken the slab seat on an old Windsor trying to break loose parts that have been joined with white or yellow glue. The second problem associated with the use of white and yellow glues is short assembly time.

When using these products, a woodworker may have only ten or fifteen minutes to get parts aligned and clamped before the glue grabs and adjustments become all but impossible to make. The time constraints applied to the assembly process by white and yellow glues add stress to an already stressful procedure.

In my shop, I follow these guidelines when choosing an adhesive: For large, complex pieces with a high dollar value pieces for which one could justify the cost of making repairs , I use hide glue. For pieces requiring lengthy assembly time, I use hide glue. For all other applications, I turn to the ease and convenience of white and yellow glues. For example, all the pieces in this book were assembled with one of those two varieties, the choice being determined by the prox imity of the glue bottle to my hand when it was time to glue something up.

Next, fashion the legs. Rip and joint the leg stock to 1" X 1", and draw the tapers on the front and side of each leg. At the base of the apron, these two faces measure the full 1" X 1". Then cut the tapers on the band saw, keeping the blade well to the waste sides of the taper lines.

Finish the taper with a hand plane, while holding the stock in a vise.

Furniture Design

Next, center the leg stock so that it can be loaded into the lathe prior to turning the feet. On the narrow end of each leg, this is simply a matter of drawing diagonals across the end grain. On the other end of the leg, however, finding the center is a bit more complicated because you don't want the actual center of the 1"X 1" end grain square. Draw diagonals on this square to find the center.

The thin contrasting band inlay adds the perfect touch to this tabletop. Then mount the leg in the lathe. In order to eliminate the fraying of corners that can occur when a round shape is turned immediately adjacent to a square shape along the length of a turned part, relieve the four corners of the leg with a knife just above the turned foot.

Blend this cut into the round tip of the leg with a lathe tool. Finally, clean up with a chisel, knife and sandpaper. Next, cut the mortises that will receive the tenons on the ends of the apron parts and drawer rails. Are you sure you want to Yes No. Charlie Todd Download link http: Marthas Hospital at Vydehi institute of medical sciences.

No Downloads. Views Total views. Actions Shares. Embeds 0 No embeds. No notes for slide. Thinking your cuts and movements through before acting can help save both fingers and scrapwood. Keeping your shop clean will help protect you, and your tools, from tripping hazards. Looking up to watch the shop TV or visitor can result in your hand contacting the blade. Always wait until you have completed your cut before you take your eyes off the blade. Mistakes happen when we rush to complete a job.

A misaligned rip fence or improperly seated throat plate can sometimes cause a board to get stuck in mid cut. Forcing the board in these situations may cause kickback or contact with the blade.

Take a moment to evaluate the situation and determine the problem. Goggles, Ear Protection, and Lung Protection should be used when operating tools. Use push sticks when working close to the blade and make sure the tool's safety features are in place. Even without power, the spinning blade can still do a lot of damage. Care should be taken to ensure a supply of fresh air and use only explosion proof vent fans.

The lid has beveled edges tapering so they can slide in grooves cut into the inside faces of the box's sides and one end. A carved, inset pull adds a decorative touch as well as providing a means for easy sliding of the lid.

After the lumber is milled to the required thicknesses, widths and lengths, cut grooves to receive the top and bottom panels.

Next, cut the through dovetails at each corner this procedure is discussed in chapter twenty-five. Bevel the top and bottom panels and assemble the case around the bottom panel, which is left unglued so that it can expand and contract across its width in response to seasonal changes in humidity. Complete construction by fitting plugs into the openings left at each corner at the ends of the grooves.

SHARE, the Furniture Design edition

The open top of the candlebox lid reveals the grooves the lid rides in. Make a second line on the lid's top 1 'A" from the outside edges. The bevel will connect these two lines. Plane the bevel across the end grain first so that any tearout occur- ring at the end of the plane's stroke will be removed when the adjacent bevel is formed.

Although a jack plane can be used to make this bevel, it may be nec- essary to finish with a block plane which, with its lower cut- ting angle, produces a cleaner surface across end grain. Posi- tion the stationary leg of a compass on that line halfway across the width of the lid.

Draw an arc with the compass's pencil point. Using a wide-sweep gouge, make cuts from the arc back toward the scored line. Carefully lever up chips. Once the depression has been formed, you can give the pull a smooth surface, or, as I've done here, you can give it a bit of texture. Included in the article was a sidebar in which Maloof discussed several technical issues, closing with the recipe for his finishing mix. My dad—who designed and built several of the pieces displayed in this book, including the crotch-grained chess table—began experimenting with MalooFs finish and found it wonderfully adapted to the small shop.

After years of spraying lacquer, a toxic experience inevita- bly preceded by the emotionally toxic experience of attempting to vacuum every particle of dust from every shop surface, he found in Maloof's formula a finish that not only produced a very appealing surface but also, just as importantly, was impervious to dust contamination.

Preparation is no different for this finish than it would be for any other. Scrape the wood, then sand it with a variety of grits, finishing with a thorough sanding using paper no coarser than grit. Then wipe the wood clean with a tack rag. Maloof's recipe calls for equal parts mineral spirits, boiled linseed oil, and polyurethane varnish an extra dollop of varnish seems to add body to the dried film. Brush on this mixture liberally with only minimal concern for drips and runs—coverage is the focus at this stage.

Allow the finish to set until it gets a bit tacky. Depending on temperature and relative humidity, this could be anywhere from ten to sixty minutes. Wipe the surface with clean rags to remove any excess that has failed to penetrate into the wood.

As the finish dries, it lifts wood fibers and hardens them producing a rough texture. This first coat acts as a sanding sealer.

Again, depending on temperature and relative humidity, this could take anywhere from one to three days. In humid Ohio, I've found it best to wait three days before sanding that first coat.

Otherwise, areas of raised, roughened grain may not make their appear- ance until after the last coat has dried. The thinner clots the re- moved material into a slurry which may help to smooth the surface; however, my reason for dunking the paper in mineral spirits is to unload the grit in order to get more mileage out of each piece of sandpaper. Once you have sanded and thoroughly cleaned the surface with a tack rag, apply a second coat of the three- part mixture.

It is particularly important that this coat and any subsequent coats be wiped clean. Any residue remaining on the surface will dry there and leave a roughened area.

Sam Maloof tops this finish with a layer or two of boiled linseed oil into which he's mixed enough shaved beeswax to achieve the consistency of cream.

He applies the wax, allows it to dry, then buffs it out. You can achieve similar effects with a number of commercially prepared waxes.

This can be fabricated from any scrap that can be glued together to make up a sufficient thickness. This is then band sawn and sanded to the inside profile of the finished box. Undercut the face of the bending form at one point to allow for the thickness of the lapped material underneath the box's glue joint.

Screw a thin strip of metal I used a scrap of aluminum siding to the form underneath which an end of the sidewall material should be inserted prior to being wrapped around the form. At this time, saw a clamping caul see photos, below with a slightly greater radius than the bending form from scrap material. This caul will protect the sidewall material from the clamps. The next consideration is the sidewall material itself.

Furniture Design PDF books download free

There are three possibilities. I would recommend using one of the new waterproof glues between the lamina- tions, although I have built boxes using regular aliphatic resin glue to bond the thicknesses of veneer.

Then, soak the sidewall stock in a tub of cool water for twenty-four hours; dunk it briefly in warm water and take it directly to the bending form. Tuck one end of this softened, plasticized material under the metal strip on the bending form. Wrap the remaining length around the form and secure in place with clamps and the caul. Four or five days later, remove the sidewall material from the form and cut the profile of the lap joint. A bench extension to which is nailed a piece of scrap sawn to the inside radius of the box simplifies the cutting of the joint.

Then, glue the lap, wrap the sidewall material around the form once again and clamp with the aid of the caul. This time, however, do not insert the end of the sidewall material under the form's metal strip. The clamping caul is visible on the right. A lap joint is be- ing cut on the bench extension. Here, the glued lap joint is being clamped with the aid of the caul. Notice that the end of the sidewall material is not positioned under the metal strip as it was during its initial clamping for shape.

Screw a faceplate to a band-sawn turning blank with large y sheet metal screws. Then, install it on the lathe. Above the bead, notice the flange that will fit inside the box's sidewalls. Before removing the parts from the lathe, sketch pencil lines on the lid approximating the shapes to be created. Then with gouges of various sweeps, define those lines shown above.

Remove material below the line as shown above , and create the stippled texture by repeatedly tapping a nail set into the surface of the wood. The repeti- tion of these angles—in addition to the consistent color of the walnut—unifies this piece. Construction begins with the two sides the faces of the table showing the wide sides of the legs. Fasten the apron parts to the legs with wide tenons glued only halfway across their widths in order to minimize the potential for cracking as these cross-grained constructions expand and contract in response to seasonal changes in humidity.

The creation of these joints is complicated by the com- pound angles at which the legs meet the tabletop. The dovetailed ends of the stretcher are simpler to lay out, as these can be marked once the apron tenons have been dry-fit into their leg mortises.

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