CHAFING DISH.

COPPER WORK

A Text Book for Teachers and Students

IN THE

Manual Arts

FULLY ILLUSTRATED

BY

AUGUSTUS F. ROSE

Providence Technical High School and

Rhode Island School of Design

THE DAVIS PRESS

Worcester, Massachusetts

1906

Copyrighted, 1906

By Augustus F. Rose

[TABLE OF CONTENTS.]

[PREFACE.]

In this book the subject of Copper Work, as it may be introduced into the public schools, is treated to the extent of specifying an equipment and suggesting some of the possibilities of a course. Not only will there be found an abundance of illustrative material on this subject, consisting of drawings and photographs of various objects executed by upper grammar and high school pupils, but also a detailed description of the processes necessary for the execution of many of the designs. It is not expected that the problems as given will be slavishly copied, but rather that they will make clear the methods and processes that may be applied in the working out of similar problems. It is hoped that this volume will be especially helpful to teachers in the Manual Arts who are trying to introduce Metal Work into the regular school course.

The author is indebted to Charles J. Martin and Antonio Cirino, for valuable assistance in making some of the illustrations.

AUGUSTUS F. ROSE.

[LIST OF ILLUSTRATIONS.]

PLATES.

FIGURES.

[Chapter I.]

INTRODUCTION.

During the past few years many experiments have been tried in the development of Manual Training Courses and much time has been spent in discussing of what lines of work they should consist. Wood and iron were the first materials used and are yet indispensable, but experience has led those who are developing this work to believe that there are other materials as well adapted to Manual Training work in all its various forms. Clay, used not only for modeling but for ceramic work as well, leather, brass and copper are materials that have also been put to the test and found satisfactory in many ways.

In ancient times copper was known as a useful metal, and down through the ages it not only held its own but increased in usefulness. Among its valuable properties may be mentioned toughness and ductility; its toughness enables it to be beaten into thin strong sheets, while its ductility enables it to be drawn out into fine wire. Copper readily forms important alloys, such as brass from copper and zinc.

Work in sheet copper and brass has been introduced into the public school course with gratifying results. It has proved itself to be a valuable departure from other branches of Manual Training work and gives promise of being permanent. Sheet, copper and brass offer possibilities for various kinds of treatment, either in the flat work which includes saw piercing, embossing and enameling, or in the raised work.

There is something about this work that appeals to pupils and holds their interest. The nature of the material, hard enough to offer some resistance and yet pliable enough to allow its being wrought into many forms, the durability of the object when completed, and the variety of colors that may be obtained, especially with copper, all tend to make the subject not only interesting but fascinating.

All exercises in sheet metal should be of some real value to the pupil; no time should be spent on work done simply for practice, but the various steps should be learned in the making of useful objects of artistic worth. In this, as in other work, it seems best to give each member of the class the same work for a while until he has become acquainted with the different tools and learned the limitations of the material. When this has been accomplished, each pupil may be allowed to work out his own designs. In this the educational value is very greatly increased. The pupil conceives the idea and makes several sketches of it, carrying it through repeated changes until it is brought to the perfected design appropriate in every way to the idea. Some may not be fortunate enough to get a full equipment so that all of the various kinds of metal work may be done, but such may be able to make a beginning by doing light work in saw piercing, which requires a very limited equipment.

EQUIPMENT.

The equipment necessary for a start in Copper work need cost but little if the teacher is somewhat ingenious, for the patterns of the various anvils may be made by him; from these patterns the castings can be made at any foundry for three or four cents per pound. It is better to begin with a few anvils and tools and to add one or two at a time as the need is felt for a more varied supply. If the work can be done in a room already fitted with benches and vises, it will reduce the first cost considerably. Any home-made bench will do if a regulation one is not to be had. One that has given satisfaction was made of 2" × 4" studding with plank tops in lengths of 12 feet, giving space for four vises at each bench. A swivel vise that may be turned at any angle will be found satisfactory.

Figure 1.

An annealing tray made of a piece of sheet iron in the shape of a box about 18" square and 3" deep, with the corners lapped and riveted and filled with slag, answers very well, but one similar to the illustration, Figure 1, is better. In this the top is circular and rotary, which is an advantage. A pair of light long nose-tongs are needed to handle the work. Any ordinary foot bellows and blow-pipe will do.

Figure 2.

Plate 1.

A box, Figure 2, large enough to hold two 2-gallon stone jars and about half a bushel of sawdust, is needed. One of the jars is for water in which the object is cooled after being annealed; the other is for pickle which is used to clean the work. The sawdust is used to dry the object after it has been dipped in the water.

[Plate 1] illustrates forms of anvils that have been found most useful.

[Plate 2] shows a variety of hammers needed.

[Plate 3] shears and plyers.

The following tools are also necessary:

Cutting shears—straight and curved.
Steel square 12".
Jeweler's saw frame. [Figure 3]
Piercing saws.
Breast drill and assortment of drills.

Plate 2.

Plate 3.

Figure 5.
Chasing tools and punches for embossing.

Figure 6.
Engraving tools.

Compasses.
Calipers.
Surface gauge.
Surface plate.
Assortment of files.
Sand bag or engraver's pad. [Figure 4.]
Pitch block.
A set of chasing tools and punches. [Figure 5.]
A set of engraving tools. [Figure 6.]
A set of dapping tools and dapping die. [Figure 7.].
Plyers—flat nose, round nose, and pointed.
Cloth and felt buffs.
Borax slate.
Two 4-gallon stone crocks.
Mortar and pestle (Porcelain.)
Mouth blow-pipe.
Bench pins.

Figure 7.

MATERIALS.

Copper is the material best suited for the work outlined in this book, although the processes as described may be applied to brass or silver. Brass may be used successfully in the flat work, but for raised work copper is the best material for the beginner.

Copper is obtainable in different thicknesses and in various grades but the best grade should be used. For most of the work from 18 to 24 gauge is used, while metal from 12 to 18 gauge is used occasionally.

Copper wire is used in several sizes for making rivets.

No. 22 and 28 iron wire is indispensable for binding when soldering.

Easy running silver solder may be made by the user, but as a small piece will solder many joints, and as it is not practical to make it in small quantities, it is better to buy it ready made as desired.

Powdered or lump borax is used as a flux in soldering. Charcoal or asbestos blocks are used when soldering small work.

Cut-quick and rouge are used for polishing.

Nitric and sulphuric acids are used to clean work.

PICKLE.

Pickle is a trade name given to solutions used in cleaning work. Different proportions of acids are used according to the work to be cleaned. For copper and silver a dilute bath of sulphuric acid is used of 1 part acid to 15 parts of water. The solution may be used cold but when used hot it becomes much more effective. When used hot a copper dish is necessary. The object being placed in the dish with enough pickle to cover it, it is then placed over a gas plate and allowed to come to boiling heat. The pickle is then poured off and the object rinsed in clean water. A dilute solution of nitric acid is used for brass.

GAUGE.

Gauge, as referred to in this book, is a term used to denote the thickness of sheet metal. The Standard Wire Gauge is divided in gauge numbers from 5 to 36; and is used for measuring the thickness of wire and sheet metal. It is usually a plate of steel having round its edge a series of notches of standard openings.

[Chapter II.]

PROBLEMS.

ESCUTCHEONS.

Escutcheons may be made of any metal; but copper, brass, and iron are most used. The size and shape of the escutcheon are determined by the size of the lock and the space at our disposal. The outline may be circular, square or rectangular, or it may be modified somewhat, care being taken to keep it in harmony with its surroundings.

Figure 8.

Plate 4.

Plate 5.

First make a careful drawing of the design. Take a piece of metal a little larger than the drawing calls for, and of the desired gauge, from 12 to 20 gauge is all right for such an exercise. The design is then transferred to the metal by the use of carbon paper, or a tracing is made on rice paper from the drawing and pasted on the metal. Then take a metal saw (No. 2 or 3) and saw about the design [Figure 8], [8A]. To saw the key whole, a hole must be drilled through which the saw can be placed to follow the line. Before drilling use a center punch, making a slight depression as a start for the drill. After the sawing is completed, a file is used to true up the outline and to smooth the edges. The holes for the nails are next drilled. After using a little emery paper about the edges, it is ready to finish.

Figure 8 A.

The metal, as it comes from the rolling mill, is perfectly smooth. If, in this piece of work, it is desired to make the surface a little more interesting, it may be done by taking any hammer with a smooth domed face and going over the surface. This, however, should be done before sawing. As the hammering stretches the metal somewhat, if it is left till after the sawing is done, it means more filing to get the design into shape. For a beginning this exercise has proved very satisfactory, as it gives the pupil an acquaintance with the metal and uses but a small piece of material.

HINGE TAILS.

These plates represent suggestive designs for hinges and may be given among first exercises in sawing; when so used, they should be treated like the escutcheon already described.

Plate 6.

Plate 7.

Plate 8.

[Chapter III.]

DRAWER AND DOOR PULLS.

Pulls generally consist of two parts, the handle and the plate to which the handle is fastened. Some pulls are stationary as in [Figures 9], [10], while in others the handle swings from either one or two points, [Figures 11], [12], [13]. In this case the handle may be made by taking a rod as great in diameter as the thickest part of the handle, and either drawing it out by hammering or filing it down to the required taper. After it is tapered to the required size as at [Figures 14], it is then bent into shape according to the design. If the handle is to swing from one or two points, it should be fastened by any one of the following methods.

Plate 9.

Plate 10.

Plate 11.

Plate 12.

Method 1. If it is possible to have the handle support go through the drawer or door, the support may be made from a piece of square rod of the length desired, a hole being drilled through one end, the size needed, as at Figure 15[Figure 15], A. A shoulder is then made by filing the rod down to the size of the hole in the plate. In making the shoulder the remainder of the rod which is to go through the drawer front may be left square or filed round; as the hole is round that is drilled to receive it, this last is the better way. It is also easier to fasten it on the inside of the drawer when it is made in this way, for it may be simply headed up as in making a rivet, Figure 15 B, or a thread may be cut and a nut used, Figure 15 C, D. The latter method is better where taps and dies are at hand. When it is fastened by riveting, a circular or square piece of metal called a washer, Figure 15 E, a little larger in diameter than the bolt, with a hole the size of the bolt, is placed next to the drawer front on the inside; this makes the riveting more secure.

Figure 15.

Method 2. Another method for fastening this style of a handle is to cut a slot through the plate about 1/16 inch wide and length called for by the design, [Figure 16 A]. Then take a strip of copper in length 7 times the diameter of the handle end and as wide as the slot in the plate is long, [Figure 16 B]. This is then bent circular a little larger in diameter than the end of handle as at [Figure 16 C], and placed in the slot as at [Figure 16 D], and clinched on the back of the plate as at [Figure 16 E]. The plate is in this case fastened to the drawer or door by nailing or riveting.

Figure 16.

Method 3. When it is desirable to make the plate and handle support all in one piece, it may be done in any one of three ways. First. By allowing enough metal in the center of the plate to form the handle support as at [Figure 12]. Second. By allowing metal at the top of the plate to bend over handle as at [Figure 11]. Third. By allowing metal at the sides to be turned up at right angles to the plate to form the support as at [Figure 13]. In this case holes are drilled in the side pieces and a rivet is put through from one side to the other to hold the handle. For this one the handle must be either bent around the rivet or drilled to receive the rivet. In all three of these cases the plate is fastened to the door or drawer by nailing or riveting.

HINGES.

[Plate 13], Various outlines of the same hinge.
[Plate 14], Hinges of same outline with interior variations.
[Plates 15], [16], [17], Butt and Strap Hinges.

In a hinge, the joint is the important feature. The size of the hinge, the strength required, and the decoration must also receive attention. After these have been determined, a drawing should be made giving a development of the joint. Whatever the size of the hinge, the following principle in regard to the joint must be kept in mind. There must be alternating projections left on the inner ends of each leaf of the hinge to fit into one another so that the pin may pass through them and allow the hinge to swing. The method of making these projections is determined by the size of the hinge.

In hinges of any considerable size, the projections are left attached to the hinge proper; in allowing for them there will be an even number on one leaf and an odd number on the other. To obtain the strength desired, the width of the projections on one leaf should equal the width of the projections on the other leaf. This applies to any number of projections. Their length should be determined by the diameter of the joint, three times the diameter is the approximate length.

In making small hinges the projections may be bent into position by the use of the round nose plyers. In larger work the projection is fastened in the vise and beginning at the end is bent around the pin a little at a time using the raw-hide mallet to work it into shape.

For small joints or hinges, such as would be used on a match box, stamp box, bon-bon box, or ink pot, the joint should be made of small tubing as described on page [110]. This tubing is sawed into the required lengths and soldered to the leaves to be hinged. The parts to receive the joint are sometimes filed out.

Plate 13.

Plate 14.

Plate 15.

Plate 16.

Plate 17.

[Chapter IV.]

FINGER PLATES.

The finger plate used on the edge of a door to receive the wear of the hand serves as an excellent exercise in sawing and filing. The design is transferred to the metal by use of carbon paper. The sawing is done as in the escutcheon. The surface may be left smooth or it may be gone over with a hammer having a face somewhat rounded. If the design calls for any repousse work, it is done as described on page [74].

Plate 18.

Plate 19.

PAD CORNERS.

Desk pad corners while not difficult to make, are very useful as well as ornamental. The design may be carried out in any one of three ways: pierced, embossed or enameled.

In making the pattern for the pad corner, an allowance must be made for the thickness of the pad, as at A, and also for laps as at B, that are to go under the pad to hold the corners in place. The corner may be riveted to the pad at the back or the laps may be bent in such a way as to clamp them to the pad, and permit of their removal at any time.

When the design has been pierced or embossed, the laps can be bent over a piece of metal equal in thickness to that of the pad. If the design is to be carried out in enamel, all bending must be done before enameling as any expansion or contraction of the metal will crack the enamel.

Plate 20.

BOX CORNERS.

Box corners serve primarily to protect the corners of the box and to increase its strength, but they can be so made that they give character to the box. The corner should be designed to suit the particular box or chest to which it is to be applied. The method of making a box corner is slightly different from those previously described. After the design has been drawn, a pattern made from it in heavy paper will be found helpful, for this pattern may be used to mark out the design on the metal. In this way irregularities in the design are less likely to occur than when the design is transferred with the carbon paper directly to the metal. The decoration may be pierced or embossed, according to one's choice. After the sawing or embossing has been done, it should be filed carefully and smoothed up with fine emery cloth to do away with crude and sharp edges.

The holes for the rivets are then drilled and the burr that is made by drilling is removed with a larger drill. The two edges, A A. [Plate 21], that are to come together when in place on the box should be beveled a little so that they will form a better corner. After this is done, the sides are bent down over a block of wood or metal placed in the vise. A rawhide hammer should be used to avoid marks on the face of the corner. In this as in other work, if it is desired that the metal have a hammered surface, the effect must be given before the design is cut out.

Suitable rivets are next made as described on page [108] and illustrated on page [109]. After being colored or polished the corner is ready to be applied to the box.

Plate 21.

Plate 22.

STAMP BOXES.

Stamp boxes may be made in various ways, three of which are described below:

Box No. 1 and 2, [Plate 23].

On a piece of 20 gauge metal, lay out or draw the pattern as shown on the plate; first with pencil, then with a scratch awl to insure permanency, going over the lines lightly on the metal. By the use of a saw frame and a No. 3 saw the corners of the square are cut out.

Figure 18.

The edges that form the corners are next filed up, keeping all edges straight and at right angles; after this, the edges are beveled a little, forming a mitre which, when soldered, makes a better joint than otherwise.

The sides are next bent up over an iron block placed in the vise as at Figure 18. The corners should be brought well together, using a rawhide hammer, No. 1, [Plate 2].

Plate 23.

A piece of iron wire about No. 24 is then placed around the box and twisted tight enough to hold the corners in place while being soldered, [Figure 19]. Borax and solder are next applied and the soldering done as described on page 63. In this case, however, all of the corners should be prepared at the same time for soldering. If but one corner is prepared and soldered, the heat necessary for soldering causes the copper oxides to come to the surface at the other corners which must be removed before they can be soldered. This is remedied by coating with borax and placing the solder at all corners before applying any heat.

After the soldering is done the box is pickled. Surplus solder is next removed by filing. The box is again placed over the iron block which is held in the vise; the corners and bottom edges are squared up, using the round end of hammer shown at No. 2, [Plate 2], and the top is filed off level. This completes the body part of the box.

The cover is made in the same way as the box. Much care must be taken to have the pattern carefully and accurately drawn so that when the cover is finished it will fit closely to the body. The design, if there is any, whether it is embossed or enamelled, must be carried out before cutting it to size.

Box No. 2, although of different proportion, is made in the same way as No. 1.

Box No. 3, [Plate 24].

Plate 24.

Plate 25.

Take a strip of metal as wide as the required depth of the box and as long as the sum of the four sides. The length of each side is measured off on this strip and a line scratched at right angles to the edge. The strip is then placed over a block of metal and, with a rawhide hammer bent at right angles at scratched lines, making three corners, leaving the ends to meet at the fourth corner where they are to be soldered. These ends should be mitered as in Box 1, before soldering. After the corner has been soldered and the box pickled, it is again placed over a block and trued up square. Having decided which is to be the top and which the bottom of the box, file the bottom edges level and at right angles to the sides. A piece of metal is then cut for the bottom large enough to allow about 1/16" to project on all four sides.

It is then prepared for soldering and bound together with iron wire, [Figure 20]. The solder should be cut in small pieces and placed about the inside edges. In soldering the bottom, care must be taken not to unsolder the corner. This may be avoided by keeping the flame away from the soldered corner until the rest of the solder has run, applying it to the corner at the last and only for a fraction of a minute.

After the soldering, the box is pickled and the edges of the bottom filed square. The 1/16" that was allowed to project may be filed flush with the sides of the box or left to project a little.

The cover is made by taking a strip of metal about 3/16" wide and long enough to fit around the inside of the box. The length of the sides (inside measurement) is laid out and then bent over a block as previously described. The corner is soldered and the upper edges are filed off level and soldered to a piece of metal, forming the top. This strip on the inside keeps the cover in place. If the design on the cover is to be carried out in enamel it should be done after the cover is completed. If the design is to be embossed, it should be done before the strip which holds the cover in place is soldered on.

Plate 26.

Box No. 4, [Plate 24].

The body of this box may be made like either No. 1 or No. 3. An addition is shown on this one which allows the stamp to be taken from the box more easily. A strip of 20 gauge metal 1/16" wide is soldered on the inside next to the top edge extending from one end to the other as shown in the section at D. Another piece of the same gauge metal is cut, in length equal to the inside length of the box and about 1/4" wider than the box. This is placed inside the box and sprung into place as shown at C in the section. This device may be applied to either of the other boxes.

The cover of this box is made of but one piece and hinged with a strap hinge, which also forms the cover decoration.

To give the surface of the metal of this box a bold hammered surface adds much to its attractiveness.

MATCH BOX.

The Match Box may be made in the same way as the Stamp Box with the exception of the cover. It seems better to have the cover of the match box hinged. The hinge may be made so as to form a part of the decoration of the cover by making it a strap hinge as shown at [Plates 15], [16], [17]. The hinge may also be made of tubing and extend across the back of the box. This method leaves the cover to be decorated in some other way, either by embossing or by enameling or by both.

Plate 27.
Match Boxes.

Plate 28.