A cabinet makers guide to veeneering techniques third edition

The Art and Craft of Cabinet-Making

I will always measure out the quantities using a set of digital scales. The pump dispenser system that West System supplies is good but not idiot proof - you have to ensure both pumps are primed and pushed down equally otherwise the ratio will be incorrect and you will be left with a sticky mess that will never go hard. The best applications for this type of glue are laminating and some joints. It is particularly good for laminating as the piece has almost no springback after it has set. If a curve has to be accurate this is the best glue on the market.

It can be tinted using water stain powders and the appropriate filler. Many makers use it on veneering, but I think it is too expensive for this type of work, very messy and hard to clean up. With the right filler it is an ideal choice for repairing sloppy or broken tenons or for gluing a length of steel studding in the place of a tenon on contemporary work, although some would say this is sacrilege.

A couple of tips to help when using epoxy glue: The principal in most applications is to apply a layer of glue on both surfaces, wait for around 10 minutes until the glue is touch dry, then place together and apply pressure. Usually this type of glue does not need clamping and just pressure pushing the two surfaces together is sufficient. The spray version is now being used in contract fitting of yachts, shop fitting and exhibition stands.

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Its ease of application means plastic laminates and veneers can be fitted to complex shapes on site. I have tested this type of contact adhesive and while I can see the benefits I find it to be unsuitable for fine work for three main reasons: Its major drawback, however, is longevity, and it has to be said that most of the brands I have used have eventually failed. These glues have almost unlimited uses, most commonly in gluing back broken edges or lifting veneer. They are available with different curing times and these can be speeded up using an accelerator which will set it almost instantly.

Sprayed with accelerator, the extra-thick version also has a good gap-filling property. Put a small amount of the accelerator into the hole before gluing and then spray with the accelerator to set the glue throughout.

A slight loss of strength occurs the more glue is used and when using the accelerator. Downsides include its ability to glue skin, the fact that the accelerator, when mixed with the glue, turns white and can only be removed with sanding, and the high cost. This type of glue expands as a foam when it cures and therefore can push away the bonding surfaces if not clamped sufficiently. It has very little strength when used as a gap filler and will turn skin temporarily black. The stain can be removed when wet with acetone but this chemical can cause skin irritation.

Electric or gas hot-glue guns which convert glue sticks into a hot, quick-setting glue can be bought in craft shops and general DIY stores, but the strength of the glue is poor and the quick-setting application hinders its use in furniture making. It is however ideal for model making. The second style is hot-setting glue film which comes in sheets of about a metre wide, available from most veneer suppliers. Very useful for small veneering jobs, it can be set with an iron and a hard roller, but the longevity of the cured glue is questionable.

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Care must be taken to ensure the glue has been heated adequately to ensure a good bond; also, a change in moisture content in the room can result in bubbles in the veneer. It is very easy to use and sets instantly. Skip to content [Accesskey '1']. Toggle navigation Newsletter Signup. Essential Glue Guide archive Wednesday 7 December Meet the Titebond family. Cascamite has to be mixed precisely or it will not work. Redwood Innovations are about to supply liquid UF glue in 1kg bottles.

Hot-setting glue film is useful for small veneering jobs.

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Related Articles Wednesday 8 May Workshop Wednesdays - Gluing end grain. Mixed Media Bud Vase. Open Segment Involuted Table Lamp. I have already desi Satinwood, satinwood and rosewood veneers, mahogany and yellow poplar. Collection Yale University Art Gallery. Remarkably, there were six cabinetmakers working in this rapidly developing town in the s: Just what drew so many cabinetmakers to the town is unclear, but partnerships among the Newville cabinetmakers were readily formed, dissolved, and re-formed.

In the early s, Henry Connelly and John Peebles went into business together, and dissolved their partnership in When Peebles returned to his home town of Shippensburg, Connelly immediately joined forces with Newville cabinetmaker John Bratton. That partnership was short lived, as Connelly had left Newville by Though there is no proof that McGuffin performed his indenture in Newville, it is a logical assumption given so many active cabinetmakers in the vicinity. McGuffin had a connection with at least two of the cabinetmakers in Newville.

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If he began his apprenticeship with Connelly at the customary age of fourteen, he would have completed four or five years of service just about the time that Connelly disappears from the written record in Newville in If McGuffin learned his trade from John Fox, he may have witnessed the deed for Fox at the end of his apprenticeship or as a newly minted journeyman working for him.

Printed paper label nailed to the door of the sideboard seen in fig. Having been the seat of the Federal government in the last decade of the eighteenth century, Philadelphia became the financial, commercial, and maritime capital of the nation in the boom years just prior to the War of In the s, veteran collector Walter Morrison Jeffords Jr. It is also possible that it was ordered by his father, Levi Hollingsworth , as a wedding present for Henry and his new bride. At first glance, the sideboard looks fairly simple with no contrasting inlay or complex veneering features, but the form is intentionally conservative and the materials are rich.

The carefully selected branch mahogany veneer on the doors and drawers are from the same flitch, applied in opposing directions on each side. All the horizontal elements are crossbanded with straight-grain striped mahogany. The false and working drawers and doors are edged with ebony stringing, as is the band applied around the lower edge of the case. The silver-plated hardware, including oval handles, door hinges and diamond-shaped escutcheon plates, would have been quite costly in Detail of the rayed top on the card table illustrated in fig.

Note how McGuffin used dark stringing to separate each ray, and placed a dark arc at the wide end of each ray. He also used the same rosewood crossbanding around the edge of the top of the sewing table seen in fig. There is a gap in the written record for McGuffin after However, the inscription on the Connelly sideboard, along with the tax assessment ledgers for and put him back into the historical record, where we can track him into his mid-eighties in New Castle, Pennsylvania.

The second known signed example is a highly inlaid satinwood card table dated fig. One of a pair, these tables probably represent the high-water mark of his career as a cabinetmaker.

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That McGuffin was given the job of executing these extravagant tables shows that he was someone Connelly could depend on for the very best work produced in the shop. The kidney shape of the tables echoes the shape of the sideboard, though the centers are hollow as opposed to serpentine.

The materials are some of the richest seen in any product of an American cabinetmaking shop during the neoclassical period.