Table of Contents
5 Introduction 7
SECTION 1 INDUSTRIAL DESIGN STUDIO AND MACHINERY INFORMATION
8 Safety in the Shop 12 Drill Press 14 Sanding Machines 16 Band Saw 18 Table Saw 22 Mitre Saw 23 Panel Saw 24 Router 26 Jointer 28 Thickness Planer 30 Wood Lathe 32 Welding 34 Metal Working Machines
37
SECTION 2 DEMO NOTES
39 Measuring Systems 40 Shop Drawings and Orthographics 42 Bill of Materials 44 Cutting Schedule 46 Plan O’Attack 48 Model Making 49 Modeling Materials 50 Adhesives 52 Abrasives, Sanding, and Filling 56 Finishes 58 Veneers and Veneering 60 Jigs and Jigging 61 Molds and Mold Making 62 Thermoforming 63 Bent Ply 64 Screws and Screwing
67 Conclusion 69
SECTION 3 COMPETENCY PROJECTS
70 Project: Picasso 72 Project: MDF Box
75 APPENDIX
76 80 84 86
A1 The Skateboard A2 Definition / Thesis of Your Piece A3 Suppliers A4 Basic Tools and Equipment Kit
Introduction Welcome to the Industrial Design Studio and the ID Shop Manual. Des 300/301 is a project-based class that requires students to create drawings, models and prototypes of their designs. This workbook is intended as a reference to the technical aspects of this work. Included in this booklet are three sections, then additional helpful information in an appendix:
>> SECTION 1 INDUSTRIAL DESIGN STUDIO AND MACHINERY INFORMATION
>> SECTION 2 DEMO NOTES
>> APPENDIX
This section refers to the planning,
of the previous information. This
This section describes the facilities
the materials and the physical
is strictly FYI: none of this will
and machinery that you will be using.
processes that the technicians will
be on the test.
Each student is required to complete
demonstrate. This is your How-To
tests (see below) pertaining to the
Produce Designs In The Shop section.
machinery they wish to use. Many of the machines will not be necessary during your 300 level, though they are available to you and will be taught and
The final section integrates much
The Skateboard Project is a hypothetical design project that
>> SECTION 3 COMPETENCY PROJECTS
allows you to experience the entire design process on your own, at your own speed towards
demonstrated as required or requested.
These two projects will allow you to
It is highly recommended that for
experience the studio and its equipment
your own priorities.
every project you quickly review each
without the stress of being marked.
The Definition / Thesis of Your
machine section during your design/
These are simple follow-the-instructions
Piece describes one method
research work. This section teaches
projects. You are required to complete
of ensuring your design in tied
you how to work safely.
these projects before you proceed.
together with a unifying theme. Suppliers: Materials and Processes is a short contact list of retailers and companies that students often use for materials and services. The Basic Tool and Equipment Kit is a list of the basic tools and supplies that will be required to produce your studio work.
Horne 5
Section 1
Industrial Design Studio and Machinery Information
Horne 7
Safety in the Shop >> PERSONAL PROTECTIVE EQUIPMENT >> GENERAL RULES >> FIRST AID >> BEFORE YOU USE THAT MACHINE
>> PERSONAL PROTECTIVE EQUIPMENT In cooperation with the University of Alberta’s Personal Protective Equipment initiative, the use of appropriate PPEs will be mandatory. Due to the varying nature of our studio
>> BEFORE YOU USE THAT MATERIAL
the appropriate level of PPE use will change depending
>> BEFORE YOU USE THE SPRAY BOOTH
on the materials or processes being employed.
>> AFTER YOU USE THE FACILITIES Safety goggles must be worn at all times in the studio, over bare eyes or over glasses. Prescription glasses are not listed Machinery and Safety Tests is
as adequate protection. If you want to walk into the studio,
a separate booklet that contains
you must first put on safety goggles.
the tests that you are required to take in order to gain access
People working in the studio must be appropriately dressed.
to the studio and equipment.
Please bring a pair of shoes and work pants to change into.
This booklet will be stored in the technicians’ office.
Safe shoes are those that lace up to the ankle and have a non-slip sole. If working with very heavy materials such as metal, steel-toed work boots are recommended. If you do not have steel-toed boots, we have slip on versions in small to x-large that you may borrow. Breathing sawdust is not healthy; it can be allergenic, toxic and carcinogenic. The sawdust from some woods, such as teak and cedar can be particularly problematic. Wear a dust mask when using machinery, sanding, or sweeping. Dust masks are recommended while involved with any sanding and required during any spraying operation. All spraying must be done in the spray booth. Hearing protection is recommended. The use of vinyl or equivalent gloves is required while using any finishes or irritant liquids.
8 ID Shop Manual
Tie up long hair, and don’t wear loose clothing or jewelry.
As part of the “U. of A. Code of Student Behavior,” no
As many machines and hand tools have a sharp spinning
behavior that is deemed dangerous will be tolerated.
object, there is a chance of getting caught up and drawn into the machine. There are hair elastics in the Tech office.
>> FIRST AID
Each stationary machine has a safety pre-use inspection
Be prepared for accidents. Consider these questions: where
sheet. Read the reminders and wear the appropriate PPEs
is the nearest telephone, the first aid kit, and the nearest
before you turn on the machine.
person who can help. Remember that dialing 911 will reach emergency services, and that the Campus Medi-Center is on
>> GENERAL RULES The spirit of this initiative is intended to provide a safe and
the 2nd floor of S.U.B. Report all accidents to a staff member.
efficient working environment for you and your colleagues. Please remember that your safety, and the safety of others, is a shared responsibility.
>> BEFORE YOU USE THAT MATERIAL Learn what an MSDS (Material Safety Data Sheet) is
Don’t use machinery when you are tired or have consumed
and how to read one. Prevention is the best medicine.
alcohol or are under the influence of drugs, prescribed or otherwise.
Some of the solvents and finishes available are allergenic, toxic and carcinogenic. When first using a material, download
Focus on what you are doing at all times, and take a break if
the MSDS (most can be found online), read and understand
your mind starts to wander. This becomes more difficult as
the safety precautions, and wear the appropriate PPE.
the pressure of deadlines approach, but keep in mind that nearly all shop accidents happen near the end of term for this
There are three eye wash stations in the studio. Two white
very reason. Advice: keep ahead of deadlines so you won’t be
metal boxes (one by the spray booth door, and another by
rushed, have to wait for machines, paint booth, advice, etc.
the metal milling machine, above the spot welder) and one located at the sink, plumbed into the water system.
If it doesn’t feel good, don’t do it. If you are not comfortable
The boxed stations are for immediate flushing, whereas
making a particular cut, or are not sure if it is safe, get advice
the sink system is for continuous flushing. Most chemicals
from a staff member before you try.
recommend 15 minutes of flushing, though the MSDS will have the accurate information. Remember to always read
Never work alone. If you find yourself in the 24 hour space or
and understand the MSDS before using materials so that
the computer lab alone at night you may call campus security
you will know the proper procedure in case of accident.
(Campus 5-0) and they will periodically drop by to check up
Better yet, the MSDS will provide all of the details and
on you. 780.492.5050.
necessary preventative steps.
Horne 9
it is typically safer outside of the booth. If you must leave it >> BEFORE YOU USE THAT MACHINE The main dust extractor/vacuum is switched on and off at the
inside, set it near the back and label it as yours. Do not leave the studio with something in the booth. If need be, you will be asked to remove your stuff to allow the next student to work.
blue post near the big green band saw. Each machine serviced by the vacuum has a gate on the pipe. Open the gate when you
Take out everything you bring into the spray booth. If there
use a machine and close the gate when you are finished. The
are empty spray cans or scraps of wood or paper in the booth,
vacuum system works best when the fewest gates are open.
the power to the studio will be cut until the mess is cleaned. Don’t make your colleagues clean up after you.
The smaller machines have dedicated vacuums with automatic on/off switches. Again, make sure that the vents
Outside of the booth is the Chemical Spill Kit (blue
are open or closed as required. The table saw, panel saw
cabinet.) If there is a paint or chemical spill, either tell a
and wood lathe vacuums are not auto-switched. Please
technician, or if the spill is small follow the instructions on
remember to turn on and off as needed.
the inside of the door and clean with the supplies provided.
The use of machines is limited to those students who have been trained and tested. All students will be trained
>> AFTER YOU USE THE FACILITIES
and tested on the sanders, router, table saw, drill press
Keep the workbench and machines you are using clean. Tripping
and band saws. To use the other machines, first review
over scraps or over cords, slipping on sawdust, or accidentally
the appropriate literature and then make an appointment
knocking a chisel off your bench are very real dangers.
with a technician. The table saw, the jointer/planer, the wood and metal lathes, welding, and the metal mill are
Never clear chips or debris from a machine while the power is on.
complex and potentially dangerous. No student may use
Many injuries are caused by accidentally touching a spinning
one of these machines without the supervision of a tech.
blade, or getting clothing or rags caught in the moving parts.
Use push sticks, feather boards, or other devices to keep your
It is the responsibility of the students to maintain a clean shop.
fingers away from blades and abrasives. It is a good rule to
Cleaning as you work is mandatory. Plan 10 minutes at the
keep your fingers at least 6" (150 mm) away from the cutter.
end of each session to clean your workspace, as well as the common areas of the shop.
>> BEFORE YOU USE THE SPRAY BOOTH There is a Spray Booth on the west wall of the shop. As vapors
After filling a garbage can, carry it to the loading dock and empty it into the dumpster.
can be toxic, flammable, or both, all spraying (including glue) must be done in the booth.
There is no cleaning staff to look after the shop for us. When you have finished for the day, or just need a break, pick up a
The booth is not a storage area. Remove your work as soon
broom and clean up. You and your colleagues will appreciate
as possible, this usually means when it is still wet. Trust me,
your effort.
10 ID Shop Manual
NOTES
Horne 11
Drill Press
Safety
>> FUNCTION
>> BEFORE USE
The drill press is a simple
The danger of kickback occurs with
machine primarily used
the use of these machines. Typically
for drilling holes into
the piece will be grabbed by the drill
wood, metal, plastic, etc.
bit, most often at the end of a cut, and
with accuracy. It can
will then spin around like a propeller.
also be used for cutting
Also possible is that the bit can grab
circles and other simple
the material and pull it up the flutes.
operations. Its primary
The two most obvious dangers are a
advantage over drilling
small sharp piece spinning while you
with a hand tool is that
are trying to hold it with your hand, and
the material can be
a large piece spinning and hitting you in
securely fastened to
the ribs. Both are easily preventable by
the machine through
using proper fixtures.
the use of a vice, clamps, or a special
Always remove the chuck key (used
made fixture. This
to tighten the bit) before you turn
controlled setup allows
on the machine.
for multiple pieces to be cut uniformly, with
Long hair and loose clothing is very
a very high degree of
dangerous on the drill press. Tie up hair
safety. Cuts can be at
and tuck or confine cloths.
angles other than 90° through the use of
RPM (revolutions per minute) refers
an adjustable vise, or
to how many times the drill bit spins
by tilting the table.
each minute. Cutting speed refers to how fast the outside edge of the bit is moving. Speed is relative to the distance to the center. An example would be a racer in the outside lane having to go faster than the racer in the inside lane just to keep up. They both go around the track the same number of times (RPM) but the one
FIG 1–1  DRILL PRESS
12 ID Shop Manual
NOTES in the outside track must cover more
are designed for wood only. Hard metal
distance in the same amount of time,
or plastic will destroy this center point.
therefore; must go faster (km/h). A large diameter drill bit will have a
Make certain that your piece is well
much higher cutting speed than a
secured. If you have clamped the piece
small diameter bit spinning at the
down, give it a good twist to see if it
same RPM. For wood, it is enough to
can be moved. This becomes more
understand that large diameter bits
important as you bore larger holes or
such as hole saws must run at very
holes in harder materials.
low RPM, whereas 1/16" diameter bits must run at high RPM. With metals,
On deep cuts, back out often to clear
there are tables and formulas that
the debris from the bit.
will help you chose the correct RPM. Lighten the pressure as you reach the >> DURING USE
end of a cut. This will reduce the exit wound on wood, lessen the chance of
Once you have penciled where you
breakage with Plexiglas and decrease
would like to drill, mark your piece
the likelihood of kickback (in this case
physically with a center punch. This
lifting and spinning) with metal.
steel tool resembles a sharp pencil. Hammer the punch onto your work.
Drilling metal requires lubricant.
Rather that skate across you work,
As a technician for assistance.
your drill bit will naturally follow the indent created by the punch.
>> AFTER USE
Always position the hole in the center
Use a brush to clean off the table. Never
of the table beneath the drill so as not
clear off metal chips with your hands.
to cut the table. It is usually best to also put a piece of scrap wood between
After you have completed your task
the table and the work piece. This will
please return all bits to their homes and
prevent “exit wound” blow out.
clean the machine.
The common twist bit, with spiral flutes
Sweep the floor and place chips in
and a blunt tip, though designed to cut
garbage. If the can is over ½ full empty
metal will do a fine job in wood and
it into the dumpster outside.
plastic. Bits with a sharp point at the tip
Horne 13
Sanding Machines >> FUNCTION The ID Shop has two large stationary sanding machines. The large belt sander will smooth long straight lines and convex curves. The disk sander will smooth shorter straight and convex curved lines. It also excels at sanding slight angles such as draft angles on molds. The small spindle sander is useful for sanding inside concave curves.
Safety >> BEFORE USE Wear eye protection and a dust mask.
FIG 1–2  DISK SANDER
less skin. Do not be lulled by the ease
thus throw the piece. Be mindful of this
and relative safety of sanding machines.
possibility. Work against the direction of the moving abrasive.
Learn how the vacuum system works. Ensure that the vacuum vent is open
Always picture an imaginary line
Loose hair and clothing, including
while you are working at a machine
in the direction of the force you are
gloves, present the greatest danger
and closed when you are finished.
applying. If the board you are sanding
while working on sanding machines. Take all necessary precautions.
should magically disappear would you >> DURING USE
Remember that unlike a clean cut from
The danger of kickback occurs with the
a knife, the wound created by an abrasive
use of these machines. Typically the
is dirty and subtractive: you are left with
piece will be grabbed by the abrasive and
14 ID Shop Manual
be pushing your hand into the abrasive? Design a jig that will eliminate this possibility. Use a fixture or jig to hold small pieces
NOTES when machine sanding. This could be
As the disk sander table has an angle
as simple as hot gluing a stick to your
adjustment, never assume that the
work piece to allow you to keep your
previous user left the settings at 90.
fingers away, and as complex as an
Perform test cuts on scrap to ensure
intricate jig for sanding multiple pieces
proper settings.
to the exact dimension. Most often the best solution for sanding small pieces
On the spindle sander, always select a
is to not use a machine.
spindle considerably smaller that the enclosed curve you are shaping. Make
Use only light pressure – just enough
sure that the insert disk on the table is
to hold the work against the abrasive.
correct for the spindle you have chosen.
On a disk sander, use only that side of
When sanding, keep the piece
the disk spinning down, towards the
moving. Do not simply hold the piece
supporting table.
in one position and apply pressure. The friction will cause heat, burn
On the disk sander, the two cranks below
your piece and the abrasive. This
the supporting tables adjust the angle
is particularly problematic when
and distance of the table to within 1–2
working on the end grain of wood.
mm of the disk. Never sand small pieces without the table being tucked in as close as possible, and use a holding
>> AFTER USE
fixture or jig that allows your fingers to
Wait until the machine has stopped and
be a safe distance from the disk.
use a brush to clean off the table.
Horne 15
Band Saw
Safety
>> FUNCTION
>> BEFORE USE
The band saw is the most versatile cutting tool in the shop. With
Band saws are relatively safe cutting
it you can cut through very large pieces, make curved or warped
tools. The limited chance of kickback
boards straight, as well as cut delicate curves in small pieces.
reduces the chance of surprise, but
It is also a relatively safe cutting tool as there is little chance
never forget that tools that can cut
of kickback. It does not cut large flat pieces well, i.e. sheets of
wood can also cut you. Correct
plywood or MDF, due to the small size of the supporting table.
planning and the use of safety equipment is always the key.
And although the large green Wadkin saw does
Wear eye protection and a dust mask
“cut very straight lines,
while band sawing.
“this cannot be expected of the other, smaller
Always lower the blade guard until it
machines. These are more
just clears the wood you are cutting,
suited to cutting curves.
so that as little of the blade as possible remains exposed. If you are sawing a long board, get someone to give you a hand or set up a support for the board as it comes off the table. Plan your cut. If you have a tight, or complex cut to make, begin by cutting relief cuts through the scrap side so that when you make the final cut, the waste will fall off in small pieces. If you have to cut a notch, make the short cut first, back out, and make the long cut.
FIG 1–3 BAND SAW
16 ID Shop Manual
NOTES This way you avoid backing out through
the line of cut, especially where you
a long distance.
hold the trailing end of a board. Always picture an imaginary line starting from
Never attempt to cut round dowels or
your hand in the direction of the force
rods, or any other objects without a flat
you are applying. If the board you are
bottom, without a holding jig. It can roll
cutting should magically disappear,
out of your hands as the saw starts the
would you be pushing your hands into
cut, or be projected at the end of the cut.
the blade? Use your push-stick!
As this machine has an angle
Avoid backing out of a curved cut as this
adjustment, never assume that the
will pull the blade off of the wheels.
previous user left the settings at 90°. Perform test cuts on scrap to ensure
Take caution at the end of the cut.
proper settings.
Less force will be needed as the blade exits the wood, and the wood
Consider using a hand held jigsaw for
acting as a safety guard is no longer.
large unwieldy pieces. >> AFTER USE >> DURING USE
Make sure the blade has stopped before
If you hear a rhythmic click as the wood
moving the blade guard or cleaning any
is being cut, shut off the machine and
debris/off-cuts from the machine.
call a technician. This usually indicates a cracked blade that is about to break.
Do not throw off-cuts on the ground to become a tripping hazard. Find a
Use a push-stick for guiding/pushing the
garbage can.
wood anywhere near the blade. A pushstick can be any shop made wooden
Sweep the floor and place sawdust into
device that securely guides the wood.
the garbage. If the can is over ½ full empty it into the dumpster outside.
Keep your thumb and fingers out of
Horne 17
Table Saw >> FUNCTION The Table Saw is one of the most common, and more
wide variety of specific cuts and joinery may be accomplished
dangerous tools in the workshop. The primary function of
with the versatile table saw. Before designing with these
the table saw is to cut straight lines, as opposed to the band
features in mind, consult a technician and review one of the
saw that excels in curved cuts. It is the first choice if your
many available texts describing these procedures.
needs are to make long straight cuts (i.e. making an 8' 2 x 8 into two 8' 2 x 4’s), called rip cuts. It can also make short cuts
Kickback is a very real danger on the table saw. Kickback
(i.e. making an 8' 2 x 4 into two 4' 2 x 4’s), called cross cuts,
results when the back of the blade (spinning up from
though there are other machines that can do this and often
underneath the table) catches the work piece, and violently
more safely (such as a hand saw, a chop saw, or the panel
throws it towards the operator. The two most common factors
saw). Through the use of attachments and specialty blades a
for this are: 1) the wood after the cut often wants to squeeze
FIG 1–4 TABLE SAW
18 ID Shop Manual
back together and in doing so pinch the back of the blade, and 2) the wood being fed slightly crooked, not parallel to the blade, and being forced into the side of the blade. Both of these possibilities can be practically eliminated with the use of the splitter. The splitter is the steel sharks fin mounted behind the blade. Never operate the table saw without the splitter unless advised so by a technician.
Safety >> BEFORE USE Consult with a technician before operating this machine.
Although the prospect of having a your work piece thrown at you is not good, even more threatening is the prospect of having your hands
Wear eye protection and a dust mask
jolted into the spinning saw. Kickback is a sudden and violent event:
while using the table saw. A face shield
if your hands are near the blade when one occurs, the results may be
can also be recommended when cutting
tragic. Keep a safe distance through the use of fingerboards and push
certain materials such as aluminum,
sticks, and use the vacuum/guard whenever possible.
acrylic, and melamine.
Our table saw has a very important safety device. A sensor in the
Raise the blade to a point where
saw detects when a conductive object (i.e. your finger) comes in
three teeth, about ¼", are fully
contact with the blade and stops the blade. The downside to this
above the work piece.
feature is that if you make a mistake and hit something conductive (a tape measure or a nail etc. or a wet piece of wood), the safety will
Use the splitter for every cut possible.
activate. This is an expensive mistake to make. Make certain that the
In very few situations the splitter cannot
technician is aware of any conductive materials that may be contained
be used, as it will impede the material.
in your piece. The safety may be disconnected if needed. Only a
This is rare.
technician may do this. Turn on the vacuum You must first consult a technician before using this machine. The
before using the machine.
technician will first check your plan and set up, and will advise or assist if needed or asked. Only after this approval will you be allowed to use the machine. Everyone will be treated the same, so please do
>> DURING USE
not feel insulted by having to ask permission to do something you may
Use a push-stick for guiding/pushing
have done many times before.
the wood anywhere near the blade. A push-stick can be any shop made
Woodworking machinery is well represented in texts. Using the
wooden device that securely guides
Edmonton Public Library search function, a search for “Taunton” will
the wood.
result in many fine and current books on the topic. Go to the library and browse. The complexity and inherent danger of these machines,
Keep your thumb and fingers out of the
as well as the efficiency and productivity they provide, suggest that
line of cut, especially where you hold the
research and practice will be well rewarded. Taunton’s Complete
trailing end of a board. Always picture
Illustrated Guide to Table saws is highly recommended.
an imaginary line starting from your
Horne 19
hand in the direction of the force you are
one cut near the middle will make the
applying. If the board you are cutting
following cuts much easier.
should magically disappear, would you be pushing your hands into the blade?
>> AFTER USE
Always stand to one side, never directly
Make sure the blade has stopped
behind the saw blade.
before adjusting the blade or fence,
Boards less than 2 m long can be
or cleaning any debris/off-cuts from
safely crosscut on the table saw using
Watch carefully what you are doing.
a crosscut boat. This jig is a flat panel
Avoid distractions, and never look
with rails on the bottom and a fence
around while operating a saw.
90° to these rails. The rails slide in the
the machine. Take out the key when you are changing blades or working near the blade.
slots in the table saw. You place your
Never reach over the blade to retrieve
wood on top of the jig, and slide the jig
a cut part. Walk to the side of the
across the table. This is a very safe and
machine if necessary.
accurate way to crosscut.
Replace any jigs/boats when finished. Throw out scraps, put away off-
Never use the rip fence and miter gauge
cuts, and sweep the machine and
Do not crosscut a long board on the
at the same time, i.e. to make multiple
surrounding floor space.
table saw. The heavy unsupported
parts. Ask a tech to demonstrate a safe
length is difficult to control even with
alternative to accomplish the same task.
Turn off the vacuum when you are done.
handled on the panel saw. Handsaws
Never pull or have a helper pull a
Once you have filled the garbage to
are a safe and convenient option to
piece through the cut. If kickback
½ full, take the can to the dumpster
break down otherwise awkward pieces.
should occur, the helper’s hands
outside and empty it.
If a board it to receive many crosscuts,
may be pulled into the blade.
a helper. Large crosscuts can be safely
20 ID Shop Manual
NOTES
Horne 21
Mitre Saw >> FUNCTION The Mitre Saw is a small crosscutting tool: its only purpose is to cut long material shorter. Our large green saw features a sliding table that allows for cuts of up to 12" (300 mm). It has the ability to cut at any angle from 45°–135° measured from the top view, from the side view, or from both views at the same time, a compound angled cut. Be aware that any cut other than a simple 90° involves considerable planning and trial: there is nothing simple about a simple picture frame.
Safety
FIG 1–5 MITRE SAW
pressed against the fence is flat or
Cut slowly and carefully. Job site
curved away from the fence |(. Worst
ninjas seem to love to slam the saw
case scenario is if the work piece is
down onto a 2 x 4. This is a very bad
As this machine has an angle
bowed towards the user, away from
idea, specifically for the health of your
adjustment, never assume that the
the fence |). In this case, as the piece
fingers.
previous user left the settings at 90°.
is being cut, it will collapse into the
Perform test cuts on scrap to ensure
middle of the blade, jamming the saw,
If cutting long heavy boards,
proper settings.
often with a violent result.
ensure that the cut pieces
Small pieces are dangerous. Never cut
Warped or otherwise unwieldy
material shorter than 8" (200 mm).
boards can be safely, and surprisingly
>> BEFORE USE
are properly supported.
quickly, crosscut with a handsaw. If you need to hold on very tightly God is telling you that the piece is too short. Harder materials must be longer than
>> AFTER USE Throw away any off-cuts, unclamp any
>> DURING USE
stops, and reset the machine to 90°.
shorter pieces to be safely cut on the
Cut across the grain of real wood.
Sweep the floor and toss the dust into
mitre saw.
Never cut with the grain, this will
the garbage. If the can is over ½ full
cause kickback.
empty it into the dumpster outside.
Ensure that edge of the work piece
22 ID Shop Manual
Panel Saw >> FUNCTION The Panel Saw is a large crosscutting tool. It is similar in use as the mitre saw, though large enough to handle large sheets of plywood. Its main purpose is to break down large materials to be then further processed/finished on smaller machines. The great advantage of the panel saw is that the operator does not hold the wood or push the tool: The heavy material simply sits on the rack and turning the wheel moves the tool. It is a safe and easy way to break down large heavy materials such as sheets of MDF that typically weighs over 40 kg. The panel saw can leave a rough cut, especially when cutting plywood against the grain.
Safety >> BEFORE USE
FIG 1–6 PANEL SAW
is supported in the middle, not on the
tendency to drive the tool through the
ends. The board should look like it is
material too fast. The feed rate should
smiling at you, not frowning.
be fast enough not to burn the wood, but
Small pieces are dangerous. This is a
slow enough not to slow down the motor.
machine for large pieces; small work
Warped or otherwise unwieldy
should be done on other machines.
boards can be safely, and surprisingly quickly, crosscut with a handsaw.
The work piece should only be supported on the rack. If you feel the need to secure it to the rack, use a clamp. Do not hold onto the work piece with your free hand. If you are cutting a large plank of wood,
Take any off-cuts away with you. >> DURING USE
Turn off the vacuum.
Turn on the vacuum before using the saw. You may need to switch on the vacuum
Sweep the floor and toss the dust into
before you place a sheet on the rack.
the garbage. If the can is over ½ full
check to see if there is any warp to the board. If warped ensure that the board
>> AFTER USE
empty it into the dumpster outside. Like with the mitre saw, there is a
Horne 23
Router
Safety
>> FUNCTION
>> BEFORE USE
The router is a versatile cutting and shaping tool. The router is simply a
Wear eye protection, hearing protection,
motor unit that holds a cutting tool. Our routers can typically be used in a
and a dust mask while routing
table (with the bit pointing up) or hand held (with the bit pointing down). The most common uses for the router in the ID shop are to make duplicate
Unplug or key-off the machine before
parts, and to treat edges with round-overs, coves, and chamfers.
changing bits, and make sure that the switch is OFF before plugging in.
Though a router is able to do amazing and accurate work, especially when used in combination with jigs and fixtures, be aware that often the
The tool bit is held into the router with
time necessary for the creation of these jigs and fixtures can be lengthy.
a collet. The bit must be securely held. Loosen the collet with the wrench, push
Woodworking machinery is well represented in texts. Using the
the bit all the way in, then back it out a
Edmonton Public Library search function, a search for “taunton” will
couple of mm.
result in many fine and current books on the topic. Go to the library and browse. The complexity and inherent danger of these machines, as well
If you are routing a long board, get
as the efficiency and productivity they provide, suggest that research and
someone to give you a hand or set up
practice will be well rewarded. Taunton’s Complete Illustrated Guide to
a support for the board as it comes off
Routers is highly recommended.
the table. Working with small pieces is very dangerous. Devise a holding system that allows a safe distance between the cutter and your hands. Ask for assistance from a technician before proceeding. A template must be securely fastened to the work piece. This may mean a
FIG 1–7 ROUTER TABLE
24 ID Shop Manual
NOTES couple spots of double-sided tape for
should magically disappear, would you
3 mm Sintra to heavy screws for Baltic
be pushing your hands into the blade?
birch plywood or hardwoods. The more
Also be aware that the bit can grab the
resistance the material places on the
wood and toss it (kick back). Remember,
cutter the stronger your fastening
the flying piece of wood is not the
system needs to be.
greatest concern. The greatest risk is that the bit is now uncovered and your
Trim the work piece to within 1–3 mm
hands may be flung towards it. Keep
before template cutting.
your hands a safe distance from the bit.
Template routing angles less
Ensure that the work piece is not in
than 45° is dangerous. Ask for a
contact with the cutter before you
demonstration from a technician.
turn on the machine.
>> DURING USE Try not to take off too much material
To prevent kickback, always push materials against the direction of the spinning bit.
with one cut. If you need to cut a deep groove, work with multiple passes. The depth of cut is controlled by how much
>> AFTER USE
material is exposed to the bit in both
Routers generate a lot of waste.
the vertical and horizontal.
Clean up after yourself. The table and the surrounding floor should
Keep your thumb and fingers out of the
be cleaned after use.
line of cut, and a safe distance from the spinning bit. Always picture an
Once you have filled the garbage to
imaginary line starting from your hand
½ full, take the can to the dumpster
in the direction of the force you are
outside and empty it.
applying. If the board you are cutting
Horne 25
Jointer >> FUNCTION The Jointer is a large stationary machine that allows you to flatten a piece of solid wood. Typically, the jointer will flatten one face (the width of the board) and then flatten one edge to exactly 90 degrees. A jointer cannot produce parallel surfaces. Once the board has a flat face and a perpendicular edge, you will take the board to other machines to work the other face and edge, and square off the ends. The basic components consist of an in-feed table, a drum with flat blades, and an out-feed table. The in-feed table is set lower than the blade height, and the out-feed table is set to the height of the blades.
advise or assist if needed or asked. Only after this approval will you be allowed to use the machine. Everyone will be treated the
You must first consult a technician before using this machine.
same, so please do not feel insulted by having to ask permission
The technician will first check your plan and set up, and will
to do something you may have done many times before.
FIG 1–8a JOINTER FUNCTION DIAGRAM from the Canadian Centre for Occupational Health and Safety FIG 1–8b JOINTER
26 ID Shop Manual
Safety >> BEFORE USE Consult with a technician before
NOTES If you are jointing a long board, get someone to give you a hand or set up a support for the board as it comes out and off the table.
operating this machine. There is a sliding guard that covers the Be certain that long hair is secured under
blades. Ensure that the guard is open
a hair net or is tightly tied back. Long hair
only as much as is needed and that the
is a serious danger with this machine.
excess is folded down. A technician will be able to assist you with this.
Be certain to roll your sleeves up, and ensure that you have no other loose or
Turn on the vacuum.
dangling clothing. Solid woods only. No ply-woods, MDF etc.
>> DURING USE Always use a push-stick or push block.
Never joint a board shorter than 300 mm / 12" or thinner than ½" (13 mm). Also, never joint end grain. Small pieces are always dangerous.
>> AFTER USE Wait for the machine to come to a complete stop before adjusting or
The depth of cut is controlled by the in-
cleaning.
feed table. It is safest to start with the infeed table at its highest position. Though
Always use a brush or a stick to clean the
the process will take longer, you need to
machine after use. Never use your hands.
pass the wood through more often, there is less of a chance that you will take off
Turn off the vacuum.
too much, or repeat a mistake. You would typically lower the in-feed table (to take
Sweep the floor. Once you have filled
a deeper cut) slightly when working on
the garbage to ½ full, take the can to
the edge of a board.
the dumpster outside and empty it.
Horne 27
Thickness Planer >> FUNCTION The purpose of the thickness planer is to smooth wood and to cut it to a uniform thickness parallel to the opposite, previously jointed, surface. The planer will not correct or straighten warped stock. The pressure of the in-feed roll will momentarily flatten a warped board as it moves under the cutter head, but the board will return to its warped state as soon as it leaves the out-feed rolls. Therefore one face of a warped board must first be flattened on the jointer. The shortest piece that you can send through the planer is 18" or 450 mm. During the planning stages of your project ensure that you plane your wood prior to crosscutting too short. You must first consult a technician before using this machine. The tech will first check your plan and set up, and will advise or assist if needed or asked. Only after this approval will you be allowed to use the machine. Everyone will be treated the same, so please do not feel insulted by having to ask permission to do something you may have done many times before. Woodworking machinery is well represented in texts. Using the Edmonton Public Library search function, a search for “taunton” will result in many fine and current books on the topic. Go to the library and browse. The complexity and inherent danger of these machines, as well as the efficiency and productivity they provide, suggest that research and practice will be well rewarded. FIG 1–9a PLANER FUNCTION DIAGRAM from the Canadian Centre for Occupational Health and Safety FIG 1–9b THICKNESS PLANER
28 ID Shop Manual
Safety >> BEFORE USE Consult with a technician before
The shortest board to be run through a
Never stoop down to watch a board
thickness planer must be no less than
being surfaced.
18" or 450 mm long.
operating this machine. Be certain that long hair is tightly tied up,
Be especially careful of your fingers Planning thin wood (< 13 mm) is
when surfacing a short board.
dangerous. Use purpose made jigs.
Sometimes the in-feed rolls will tip the
sleeves are rolled up, and ensure that you have no other loose or dangling clothes.
board up and then down quickly so that Turn on the vacuum.
your fingers get pinched between the tabletop and the stock.
The thickness planer is LOUD. Wear ear protection.
>> DURING USE A Do not take too deep a cut (> 2 mm).
>> AFTER USE
Check the wood for large cracks and
Planners also have a difficult time
Wait for the machine to come to a
knots. Defective wood can split or
pulling the board through the machine
complete stop before adjusting or
create projectiles.
if the cut is < 1.5 mm.
cleaning.
Never surface painted, varnished or
Always stand to one side of the
Always use a brush or a stick to
used wood. It is both damaging to the
machine. Kickback is unlikely, but
clean the machine after use. Never
tool, and may again create projectiles.
it is possible.
use your hands.
Solid woods only. No ply-woods, MDF etc.
As the wood is slowly pulled, allow
Turn off the vacuum.
the machine to do the work. Take your Make sure that the board to be surfaced
hands off of the board.
has one true (flat) face. The true face will
Sweep the floor. Once you have filled the garbage to ½ full, take the can to
lie down on the bed, and the rough, upper
If a board gets stuck in a machine, turn
face will be cut true and parallel to it.
off the power, and then lower the table.
the dumpster outside and empty it.
NOTES
Horne 29
Wood Lathe >> FUNCTION The Wood Lathe is a large stationary machine that spins
Although lathe work is not necessarily tricky, mistakes can
a block of wood, that is then cut with a hand held chisel or
be dangerous. You must first consult a technician before
a cutting tool secured to a moving carriage. The lathe can
using this machine. The technician will first check your plan
then produce round or cylindrical wooden pieces. Typical
and set up, and will advise or assist if needed or asked. Only
lathe work includes bowls, spindles, and molds for casting
after this approval will you be allowed to use the machine.
and vacuum forming. Wood may be installed with the
Everyone will be treated the same, so please do not feel
grain parallel to the bed (spindle turning) or with the grain
insulted by having to ask permission to do something you
perpendicular to the bed (bowl turning). Examples of spindle
may have done many times before.
turning include baseball bats and table legs. Examples of bowl turning include platters and stool seats. A shape like
Available at the Edmonton Public Library, any of the books
a Champaign flute may include a bowl turned base and a
and videos by the following authors will prove valuable:
spindle turned stem. Spindles are traditionally held onto
Richard Raffan, Keith Rowley or Ernie Conover. Woodturning:
the lathe between centers (spurred and or pointed shafts of
A Foundation Course by Keith Rowley is the perfect place to
steel held in the head and tail stock). Bowls are screwed to
start. Turning Wood and the Complete Illustrated Guide to
a faceplate. The use of chucks (round vice like clamps) has
Turning by Richard Raffan are excellent reference materials.
replaced both centers and faceplates in many operations.
The DVDs The New Turning Wood and Turning Projects also by Richard Raffan are invaluable as visual references.
FIG 1â&#x20AC;&#x201C;10â&#x20AC;&#x2021; WOOD LATHE
30 ID Shop Manual
Safety
Starting such a piece at a high RPM could
Never adjust the tool rest while the
result in a serious injury.
machine is running.
Consult with a technician before
Review Rowley’s Laws of Woodturning
Use only sharp tools. Let a technician
operating this machine.
prior to every project.
assist you in tool selection and sharpening.
>> BEFORE USE
There is a great danger of loose clothing becoming caught in a lathe. Be certain
>> DURING USE
Swing the tool rest away before sanding.
not to have any loose or dangling hair/
If a work piece is going to fly off of the
Lathe work can create a great deal of
clothes/jewelry/etc.
machine, it will most likely happen on
debris. Periodically sweep the machine
start up. Stand to one side when you
and floor to remove trip hazards.
Lathe work is messy. Chips and dust will
flip the switch “on.”
fly so be certain to wear a face shield. Be certain that the wood is securely
>> AFTER USE
Select the appropriate RPM. Cutting
attached to the head-stock. Whether
Lathe work can create a great deal of
speed is relative to the RPM and the
using a faceplate, a chuck, or centers,
debris. Periodically sweep the machine
radius of the part. To keep the cutting
check by hand to make sure that it
and floor to remove trip hazards.
speed reasonable on a large block, you
is secure, and that it will spin freely.
need to reduce the RPM, for a narrow
Periodically during the cutting process,
Return all tools and accessories to
block you increase the RPM.
turn off the power, wait till the wood
their proper places before leaving.
stops spinning, and check that it has The Wadkin has a 4 speed shift. The
not worked itself loose.
Report dull tools to a technician.
speed unit. Ensure that the RPM is low
Typically keep the tool rest as close to
Sweep and shovel debris into a garbage
before starting. This is critical at the
the wood as possible and slightly above
can. Once you have filled the garbage
beginning of a job as the work piece may
the centerline. Learn through trial how
to ½ full, take the can to the dumpster
not be in balance or may have structural
the tool rest moves and how different
outside and empty it.
defects that eluded your inspection.
heights affect the cutting process.
Vicmarc lathe has an electronic variable
NOTES
Horne 31
Welding
Safety
>> FUNCTION
>> BEFORE USE
Welding is the process by which two metal parts are heated at an edge
The welding process is BRIGHT by its
to the point of becoming a fluid, are fused together, and cooled, thus
very nature. Always wear the proper
forming one new part. (Brazing or soldering, on the other hand, uses a
face/eye protection and be sure you
second material to stick together the two objects, much like two pieces
understand how the shield works before
of wood and a layer of glue between them.) There are various ways
welding. The flash can also burn your
to perform this task, but the final result is the same. In some forms of
exposed skin much like sunburn. Never
welding, where the two parts are not in direct contact with each other,
weld in short sleeves. Never look into
a third material (filler rod) is added to help bridge the gap.
the booth while someone else is welding.
The Miller welding web site has a wonderful
Welding can be a messy business. Slag
educational component. Review the processes
and sparks may fly at you during normal
you will be working with before going into the
operations. For the most part, these tiny
welding booth.
particles cool before they reach you, but a larger hotter piece may hit you from
Visit: http://www.millerwelds.com/
time to time. As long as these sparks
resources/improving-your-skills/
bounce off of you there is no problem. Leather repels the best, followed by cotton and wool (natural materials.) Synthetic materials (plastic) can be melted by these particles, making matters worse. Do not wear any synthetics (especially shoes) while welding. The ID Studio has a variety of welding machines available to students. Each process has its advantages and disadvantages, as well as unique techniques and dangers. Be prepared to spend some time being instructed and then practicing the process you need to apply. Plan ahead. Welding is not a skill that can be picked up and utilized in an hour. That being said, each student who has wished to weld has been able to
FIG 1â&#x20AC;&#x201C;11â&#x20AC;&#x2021; MIG WELDER
32 ID Shop Manual
acquire the necessary skills without too
to touch it with your hands. It is very
24 hours a day) touch the screen on
much difficulty.
easy however to forget that a few
the vent. You should be able to feel the
minutes later, while it may look cool, it
up draft.
Never weld galvanized metals.
is still burning hot. Always wear your
Galvanized steel has a frosted
gloves; though if by chance you do burn
Never use plastic clamps, squares,
appearance and is typically used in
yourself, remember that LOTS of cold
tools etc. in the welding booth.
air venting and electrical conduit.
water is the best remedy. Immediately
When heated it gives off a green
go to the sink and run cold water over
(poisonous) vapor and will leave a green
the burn for longer than youâ&#x20AC;&#x2122;d think
residue on the metal. If you cannot
necessary.
recognize galvanized, ask a tech.
>> AFTER USE Clean up after you have finished. Just because you are behind a curtain, does
Heating materials to the extents
not mean that no one will notice that
encountered with welding may produce
you left a mess for the next student
toxic gases. Welding should always be
to clean for you. The quickest way to
The welding process is, by its very
performed in a ventilated area. The east
alienate yourself from your colleagues
nature, HOT. While the piece is red
wall in our welding booth is a vent. To
is to expect them to be your mom.
hot, you are not likely to be tempted
make sure it is running (as it should be
>> DURING USE
NOTES
Horne 33
Metal Working Machines Metal working machines in the studio primarily consist of
All of these machines have a green cover. When you wish to
cutters, grinders, lathes and mills. These machines are gear
use a machine: remove the cover, use the machine, clean/
driven and as such are very strong. It would be very dangerous
vacuum/wipe up any mess you have created, return the
for a loose sleeve or long hair to get caught in a spinning part.
accessories/cutters to their spots, and replace the cover.
Never try to stop a machine manually. Wait for the machine to
Please ensure that the next person to remove the cover is
stop on its own accord before measuring or cleaning chips.
coming to a ready to use machine.
These machines are invaluable in the production of fasteners,
These are complex and dangerous machines. The textbook
articulating, or detail parts, but can be difficult to use. Allow
Technology of Machine Tools is available in the Technicians
yourself some time to be instructed on the use of these
office. Read the appropriate chapters and consult with
machines. Like the table saw, you may not use these
a technician prior to any use.
machines without consulting a technician.
>> BAND SAW
The large contour saw, by the welding booth, is used for sheet
Typical uses are to shape parts to fit before welding, to grind
metal much like a wood working band saw, though primarily for
off sharp edges after cutting, and to clean welds. The grinders
straight cuts or very gentle curves.
in the studio are either mounted on a stand (bench grinder) or
>> LATHE AND MILLING MACHINE
hand held angle grinders. It is important to make sure the rest on the bench grinder is set near the wheel, just as the table
The metal lathe is primarily used to make round parts and
is set near the disk on the wood working disk sander. Always
the mill to make flats. That being said, they are very complex
use the front of the wheel, never the sides. No loose clothing
machines whose safe and efficient operations are filled with
(especially gloves) and of course wear eye/face protection.
absolute rules. Unlike the belt driven wood working machines, these machines are driven through geared transmissions
>> POWERED TUBE ROLLER
about equal in size to your Honda Civic. Getting caught in one
The tube roller creates large radius bends in steel. The most
of these machines can be fatal. Personalized instruction is
successful material is round cold rolled steel tube although
required before the use of these machines is permitted.
other materials such as rectangular tubing and angle iron may
>> GRINDERS
also be rolled. The result is always a constant radius curve: it can only do a section of a circle; it cannot do a section of
Grinders are used with metal much like sanders are used with
an ellipse. Though the tube roller is a slow and nearly silent
wood. Ferrous metals can be shaped, trimmed and cleaned
machine with no cutters or sharp knives, there is a real danger
with grinders. Never use a grinder on non-ferrous metals (i.e.
of losing fingers that get caught in the dies. Keep hands well
Aluminum which can clog the wheel and cause it to shatter).
away from the machine while operating.
34 ID Shop Manual
>> COLD CUT SAW This saw is used to cut lengths of long stock, such as tube and bar. This saw has an adjustable stop gauge that can be set to cut multiple
Safety
parts to a common length. Angled cuts are easily accomplished. This saw is equipped with cutting fluid that automatically is dispensed
The use of a center punch, as described
onto the turning blade. Any fluid spills must be mopped up after your
in the drill press section, is critical with
work is complete. There is a work vice that secures the work piece to
metal work.
the bed. Ensure that the work is being firmly secured before cutting. Though this tool resembles a carpenter’s chop saw, you need to be
Cut metal often presents very sharp
aware that cutting metal is unlike chopping through two by fours.
edges. Think of these burrs as razors
Never force the saw down onto
glued to the end of a stick. Hand files
the work piece. Use a slow and
will smooth off the rough edges. A
even feed rate. Though the cut
deburring tool is used to soften the
is very clean, a sharp burr and
edges inside a freshly cut tube.
edges will likely be produced. It is good practice to remove all
Hand files are the sanding sticks of
burrs and soften all edges before
the metal trade. Just as abrasives are
any further processing or use.
available in different grits, files come in different cuts. Deeper cuts remove materials quickly leaving a coarse surface. Shallower cuts remove material slowly leaving a smooth finish. The use of a coarse followed medium and fine files is the most efficient, just as it is with sanding. Each style of cut has its own name. If I were to buy only one, I’d buy a 10" Flat Bastard… seriously.
FIG 1–12 COLD CUT SAW
Horne 35
Section 2
Demo Notes
Horne 37
Demo Notes >> MEASURING SYSTEMS
This series of notes is designed to accompany the workshop
>> SHOP DRAWINGS AND ORTHOGRAPHICS
demos provided in class and to be used as a reference while
>> BILL OF MATERIALS
are a brief introduction into a wider field that will be the
>> CUTTING SCHEDULE
studentsâ&#x20AC;&#x2122; responsibility to learn. I hope to point out the
>> PLAN Oâ&#x20AC;&#x2122; ATTACK (PRODUCTION SEQUENCE)
important topics that will require further research and
>> MODEL MAKING
been the thesis of many volumes. These Demo Notes do not
>> MODELING MATERIALS
represent research, but simply a list of topics that will require
>> ADHESIVES
further work and understanding for the student to intelligently
>> ABRASIVES, SANDING, AND FILLING >> FINISHES
working on your Competency Projects. For the most part they
testing. Often I will give only a sentence to a topic that has
choose and apply the materials and processes discussed. Proficiency at any of these skills takes study and practice. Read some books, acquire some cheap materials, and practice.
>> VENEERS AND VENEERING
Most of my examples use wood as the medium. Change the
>> SCREWS AND SCREWING
material and the logic remains. Once you have learned how
>> JIGS AND JIGGING
to research and process one material, nothing should get in
>> MOLDS AND MOLD MAKING
your way from transferring this process to another material.
>> THERMOFORMING >> BENT PLY
I recommend reading these notes more than once. Not simply for my wit and wisdom but as you progress though these skills your perspective changes. Elements that either confused you or were not relevant previously may now be helpful. After these introductions, investigate more thoroughly the subjects that interest you. All of these topics are more professionally covered elsewhere in serious texts and articles. This series of notes represent the observations of a technician. These observations are far from indisputable and are not, unless introduced by your professor, formal elements of your curriculum. For the most part the information has been gleamed from experience, research, and the invaluable input of my colleagues and the students. Remember, there are always exceptions to the rule and the right way is always the way that you have developed yourself to suit yourself.
38 ID Shop Manual
FIG 2–1 KENNY’S POCKET RULER Imperial, 6 inch ruler
>> MEASURING SYSTEMS We might as well deal with this early. A designer in North America must be fluent in both the metric and imperial systems of measurement. This is not an exercise in which system is better, more organic, or just plain stupid, the simple truth is that a designer in North America must be fluent in both. I will assume that you are familiar with the metric system. The only thing that I can add to this is that professional construction drawings are measured in millimeters (mm). Grade school students use centimeters (cm); designers use millimeters (mm). The imperial system is more complex. Though there are many units of linear measurement, the only two that concern us are inches (") and feet ('). There are 12 inches in a foot. 3'4" (spoken three foot four) would equal 40" or (3 x 12) + 4 = 40. It becomes more confusing when measuring less than one inch. Metric is a dividedby-ten system. Imperial is a divided-by-two system. One inch ÷ 2 is a half (½") inch. A half-inch ÷ 2 is a quarter (¼" inch. A quarter inch ÷ 2 is an eighth (1/8") inch. A sixteenth (1/16"), a thirty-second (1/32") and a sixty-fourth (1/64") round out the family of fractions that we care about. That’s right. You’re gonna have to remember how fractions work. The imperial system also uses decimal measurements, measured in thousandths of an inch. A quarter inch is referred to as 0.250 or 250 thou. Nearly all of metal working in North America is measured in thousandths of an inch. I regularly use four sets of drill bits. A metric set, an imperial fractional set (½ to 1/16th), an imperial numeric set (1–60), and an imperial alphabetic (A–Z). A 5/16"-24tpi (threads per inch) fine thread hole needs to be tap-drilled with an “F” bit which measures out at 0.272" or 272 thou. Grab a tape measure and learn how it works. Nothing screams amateur louder than a designer who can’t produce a quick paper and pencil sketch, or says that the widget measures seven ticks after the three.
Horne 39
40 ID Shop Manual
FIG 2â&#x20AC;&#x201C;2 SOLID WOOD END TABLE SKETCH from which the sample Bill of Materials refers to
>> SHOP DRAWINGS / ORTHOGRAPHICS Shop Drawings are a form of Orthographics. As the name implies, shop drawings are used in a fabrication facility (shop) by the person building the object. They are most useful when drawn full size. They may not be as formal as an orthographic drawing as redundant views and information are often omitted: full size drawings need no dimensions, and on a square table where side and end views are identical one of these views may be omitted. An example of a complex joint would be drawn completely and accurately once and omitted though noted on all subsequent occurrences. Views are often superimposed. This ensures accuracy, and allows a large object to be drawn in all three views on one piece of paper. For a design student, shop drawings are for your use only; therefore, you create the standards to which these drawings conform. From experience and observation I humbly suggest the following: full size drawings or prints are at least 7 and 15/64th times more useful than scale drawings, and completely draw all methods of joinery be it glue, weld, or fastener. And do yourself a great favor, now is the time to test your joinery methods full size on actual materials. Ill assumptions may be caught and reconsidered before cutting out expensive materials, only to find out later that your assumptions were wrong, and your parts are now too short. Design, test, redesign if necessary, test again, complete design only when you are satisfied it works, then proceed.
Horne 41
>> BILL OF MATERIALS The Bill of Materials is a list of all the parts and materials that will be used to create an object. The Bo’M is valuable as a shopping list. It also helps to inform you on how to logically cut your parts out of larger materials. The Bo’M also provides the opportunity to double check your Shop Drawings/Orthographics. This first example is for the Competency Project “MDF Box.” QUANTITY
PART
LENGTH
WIDTH
THICKNESS
MATERIAL
NOTES
2
Sides
18"
4 ½"
½"
UL MDF
2
Ends
8"
4 ½"
½"
UL MDF
1
Bottom
17 ½"
8 ½"
½"
UL MDF
8
4 x 20 mm Dominos
—
—
—
—
2 per joint
yellow glue
—
—
—
—
for construction
Ultra Light Medium Density Fiberboard
There are some Orthographics and Bills of Materials that will not illustrate the joinery, nor list any dimension other than those visible on the finished piece. In this case the designer trusts the manufacturer to choose their own appropriate joinery and alter the drawings and Bo’M to suit. As you will be both the designer and manufacturer, it is best to both draw and list all of the joinery lest you end up with a bucket of parts that are too short. The second example is for a mythical “Solid Wood End Table.” FINISHED
ROUGH
QTY
PART
LENGTH
WIDTH
THICKNESS
LENGTH
WIDTH
THICKNESS
BDFT
MATERIAL
1
Top
16"
16"
¾"
18
18
1
2.25
Cherry
4
Apron
12"
43"
¾"
14
4
1
1.56
Cherry
4
Legs
28"
1 ¼"
1 ¼"
30
2
2
3.33
Cherry
42 ID Shop Manual
The use of solid wood requires an extra set of fields for the rough dimensions. These rough dimensions represent the actual size of wood you will need to buy to produce the finished piece. The calculations for materials required, your shopping list, use these dimensions. Typical furniture grade wood is sold as either 1" or 2" thick boards (referred to as 4/4 or 8/4 respectively.) The legs for example have a finished thickness of 1¼" (5/4). As this can only be achieved with 2" (8/4) rough stock, you are looking at nearly 40% waste. That waste must be budgeted for. The oversize width and length estimate is dependent on many factors such as wood species, machine capabilities and user experience. These three dimensions, along with the quantity, will give you the Board Foot (bdft) measurement. Solid wood is sold as a quantity of bdft. This refers to the volumetric measurement and is arrived at by multiplying the TxWxL (thickness, width and length) then dividing this product by 144. An example would be a 1" thick board 12" wide and 12" long – (1 x 12 x 12) / 144 = 1 bdft. If this board were 2' (24") long it would measure 2 bdft. A 1" board 6" wide and 24" long (1 x 6 x 24) / 144 = 1 bdft. Four legs 2" square and 30" long would measure [4 ( 2 x 2 x 30) ] / 144 = 3.33 bdft. These two examples are for wood projects. They differ slightly due to using different forms of wood, sheet and solid. Other materials such as metals and plastics may require modifications to this format, but the principals remain the same.
FIG 2–3 SOLID WOOD END TABLE SKETCH from which the sample Bill of Materials refers to
Horne 43
>> CUTTING SCHEDULE A cutting schedule is a scale drawing of your rough materials (i.e. a sheet of MDF or a board of cherry) showing how your parts could be most effectively and efficiently arranged for cutting out. This is simply an exercise on paper when dealing with sheet stock such as MDF or plywood, a way to prove to yourself that the materials will fit, as well as an opportunity to visually arrange the pieces in a manner that will produce the most effective way of cutting the parts out, and to also use the materials most effectively. Unless your material is very expensive, ease of cutting will usually trump effective use of material.
FIG 2–4 CUTTING SCHEDULE for the project “MDF Box.” ½" x 19" x 24" Ultralight MDF
44 ID Shop Manual
A few tips to remember are that you draw the parts on a scale drawing of your material, not on the material itself. This is always true with sheet stock. Solid wood is a little different. Due to the random nature of the material, in both size and quality, each piece may be considered individually. It is common to buy a bit too much wood and roughly sketch up the parts onto the rough board using chalk, taking best advantage of the size grain and beauty of the wood. (For economy use the parts of the boards only slightly larger than required. A board with cross grain or knots would not be strong enough for legs. Use the prettiest boards for the most visible parts such as a tabletop. ) Also, do not forget that saws turn some of your material into sawdust. The void that the tool creates is called the kerf. This is typically 1/8" or 3 mm. Therefore a 10" board cannot be cut into two 5" boards. If you get one at 5" the other will be 4 7/8".
FIG 2–5 CUTTING SCHEDULE for the example “Solid Wood End Table”
This may not be the best place to add this warning, but also remember that the described dimensions of materials are often a lie. An eight foot two by four is not: it may be closer to 93" long and 1 ½" thick by 3 ½" wide. ¾" Plywood practically never is either. Even rough solid wood is smaller than you paid for: they call it shrinkage.
Horne 45
>> PLAN O’ ATTACK / PRODUCTION SEQUENCE Each project must be carefully planned as to its sequence of manufacture. Every semester more than one student will ask how to approach the next process on his or her project and it will become obvious that no logical sequence of events was considered before the moment of the roadblock. Let me begin with my well-worn example. Imagine you start with a block of wood that your final piece would be egg shaped object with a hole drilled through it at a specific place and angle. If your first step were to carve the egg out of the block you would be stuck. You would now have no reference points to locate where on the egg the hole must go, and the odd shape would be nearly impossible to hold if you could plot where the drill would be applied. The correct sequence would be to plot the location and angle of the hole onto the regular shaped block, drill the hole, and then carve the egg. The way I accomplish this Plan o’ Attack is to write out each step or process and ask myself, “can I do this considering I have done the steps listed above?” Obviously, the first step is a gimmie, but from that point on you may have literally painted yourself into a corner. With luck the answers are obvious, i.e. start painting the floor at the far corner of the room and end near the door, but often the choice is between multiple options, each contradicting the other. E.g. you have a multi coloured piece of furniture. Painting the elements before construction makes the painting easy. Constructing the elements first allows for easy filling and sanding of mismatched joints. These will then be judgment calls that you will be called upon to make just prior to your having the experience to make that particular judgment. Luckily, you will probably only choose an answer that is marginally worse than the other but at least you have thought the sequence logically though, and best case would be that you now redesign your product that will allow you to avoid this lesser-of-two-evils choice. The key is to write it out. In your head everything makes sense and you will allow yourself to gloss over the tricky points. The more detailed the step by
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FIG 2–6 EGG WITH DRILLED HOLE EXAMPLE sketched out to understand Production Sequence.
step sequence is, the less likely you are to fall into a roadblock that forces you to make a lousy decision. Please don’t be the person to whom I have to say, “You know it will be quicker, easier, and produce a better result if you simply throw away what you’ve done and start again.” The following example is for a simple “MDF Box.” 1. From your 19" x 24" piece of ½" MDF, on the table saw cut three 19" strips at 4 ½". (These will later be cut to length for the sides and ends.) 2. Crosscut one 19" strip at 8 ½". (This will later be crosscut to length for the bottom.) 3. Crosscut the front, back, right end and left end, and bottom to length. (See Bill o’ Materials for dimensions.) 4. Cut the bottom groove using the router table. Check that the groove is large enough for the bottom to easily slide in. 5. Mill the domino slots into the sides and ends. 6. Glue dominos into the slots and clamp/nail three sides together. Ensure that the groove is on the inside of each piece and that they all line up. 7. Slide the bottom into slot; no glue is needed. 8. Domino, glue and clamp/nail the other end to the two sides. You will now have a five-sided box. 9. Block sand all joints to make certain that all faces are perfectly flat. (Sand the construction after it is built. Never sand adjoining faces before you put them together, you will wreck the joint.) 10. Gently sand the corners either as a slight round over, or slight chamfer. This will strengthen the corners, making them much less likely to chip out. 11. If you feel so inclined, apply three applications of a finish, gently sanding between coats. 12. Finis!
Horne 47
>> MODEL MAKING In many ways, everything we do here is model making. From paper sketch models to 3-D computer models and prints, to full sized prototypes, these are all in some way representations of what we imagine a manufactured version to be. Models are a medium to inspire and inform design decisions, and are communications devices to share your ideas with others. As part of the design process, they aid in understanding form, proportion and mass, as well as well as issues of construction and structure. Once the design has reached a conclusion, presentation models and full sized prototypes allow for clear communication your design with others as well as giving the ability to interact with the object and gain feedback from it. The materials that may be used for model making are nearly endless. The decision of material often arrives from the purpose of the model. Greigg Rasmussen builds initial sketch models with hand torn cardstock and hot glue. This rather crude approach is perfect for the purpose in that it is quick and will never be mistaken for precious. At this stage you want ideas to flow freely but with enough permanence to be both critiqued and to be useful as preliminary structure studies. Once you have finalized the design, you will need to test some of the technical challenges. Joinery and finish problems need to be solved before you draw up final orthos, cutting lists etc. Full sized models of a typical joint will teach you how create the joint while using less precious materials. Testing or modeling the finish is more difficult as a true test can only be proven on the full sized piece. This does not mean that you should not test colour, chemical compatibility and technique before hand. The way your finish looks and covers your material will inform you of design and construction details. Again, you need this information to prove that your ideas are sound before you finalize your design. Models beyond preliminary sketch models are built to scale. This simply means that they are (usually) proportionally smaller than the final piece. Typically furniture is quarter scale or 1:4. This means that each unit of measure on the model represents four units of measure full sized. Confusingly, many architectural models are also labeled as quarter scale, though in this case Âź" represents one foot (12") or one
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FIG 2â&#x20AC;&#x201C;7 SOLID WOOD END TABLE SKETCH from which the sample Bill of Materials refers to
inch represents four feet (48") or 1:48. Using the metric system this scale is typically rounded to 1:50. Full sized models or prototypes are 1:1 scale. When picking a scale choose one that is large enough to both inform upcoming design decisions and communicate your ideas to others. Choose nice round numbers. 1:5.73 is both a brutally complicated ratio to work with and for a viewer to read.
>> MODEL MAKING MATERIALS Depending on the purpose of the model— whether it be initial sketch, form study, structure or mechanical proof, or client approval— model making may incorporate nearly any material. Greig’s card and hot glue is appropriate for initial sketches. Some people use wire, foam-core, or clay. Initial form studies may be blue foam, MDF, or balsa wood. Final form studies can be accurately and beautifully represented with a 3-D print, though this is a costly process in time and money if applied too soon. Structure models are better represented with similar materials to the final product. A table made of solid wood should be modeled if solid wood, like balsa or bass. Paper mimics sheet metal nicely, plastic rod for steel tube, etc. Full sized structural models, i.e. a sample joint, should be constructed using the exact materials and techniques that you intend for the full size prototype. It is important to solve what you feel will be the most difficult process before you proceed to deeply into the design process. It is typically a waste of time to carry on with the thought that, “I’ll figure that tricky part out when I get to that point of construction…” Sometimes it makes sense, though usually once you have solved the problem you realize that most of your previous work has been in the wrong direction – a waste of time. You have been warned .☺ Final models such as for client approval – money – are rare. They are fine scale models that represent as much as possible in miniature. They are both time consuming and expensive. Typically used by architects for both exterior and interior representations, they are constructed with whatever materials fit the bill. Any material that looks right is right. The plastic model community as well as model railroad enthusiasts are masters of this. There are many books, websites and videos out there describing their craft. It does not take too much imagination to translate their models to ours. The hobby stores that cater to their needs are wonderful sources of materials. Bottom line; use materials that will be most beneficial to your current needs. Models teach you about your design as you develop your design. Don’t lose out on that learning experience because you’re too lazy to go out and get the appropriate materials. Your final product is a reflection of this journey.
Horne 49
>> ADHESIVES
Yellow/White (Polyvinyl Acetate PVA) glue: typical
One of the most common and difficult problems a designer
fibrous materials such as wood. Both types produce
faces in manufacturing is, â&#x20AC;&#x153;How do I effectively, efficiently
a bond stronger than the wood, so the decision as to
and attractively attach this piece to that?â&#x20AC;? Common solutions
which to use is based on the drying time (yellow
are through welding, using fasteners (i.e. nut and bolt, rivet
typically dries faster but read the instructions on
etc.) and the specific molding of parts (the click of a cap
the bottle to be certain) and the colour of the bond.
onto a marker.) Adhesives, glues and tapes, are perhaps the
Perfect for woodworking, though they are neither
most common; and becoming more so as new adhesives are
water nor heat proof. (Any hardware store will
always being developed. Unlike welding where three identical
have a variety of PVAs.)
school or carpenters glue is the glue of choice for
materials (two pieces and filler material) are melted together forming one continuous piece, adhesion takes two pieces and
Pros: inexpensive, strong
sticks them together with the third material.
Cons: will not glue large pieces of blue foam, non-reversible.
Adhesives come in a huge variety; there are certainly dozens of common household types that are very useful for
Epoxy: two part epoxy glues are the answer to most odd
designers. We can reduce the list to a few archetypes.
gluing situations, such as dissimilar materials, less than airtight joinery, hard to clamp objects, etc. Epoxies come in two packages, one resin and the other hardener. You typically mix equal parts thoroughly and wait for the two to react and cure. The cure time is dependent on the formulation, but 5-minute epoxy is the most common. There are many types of epoxy all with their own properties and applications. Further research on these materials could provide many solutions to any number of design problems. (Purchase 5-min epoxy from a hobby store or Home Depot. Get the type sold in two small plastic bottles rather than in a dual syringe dispenser. The more specialize epoxies can be sourced from Lee Valley, Boatcraft, Holdtite Adhesives, Acklands, Gregg Distributors etc.) Pros: very strong, quick setting Cons: expensive for large pieces, physical irritant, non-reversible
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Cyanoacrylate (commonly referred to as CA or Super-glue):
Hot Glue: Extruded through a heated gun, this adhesive is
very handy glue that cures quickly (from seconds to a
great for quick and dirty model making. It is not very strong,
minute or so.) Best used on small non-porous objects like
will often fall apart if exposed to extreme weather changes
plastics but can also glue woods, metals, leathers etc. CA is
(a model built at home and carried to school in the winter
particularly useful for model making. Different formulations
may not survive), it is unacceptably thick and yucky looking,
are thin, medium, and thick where the thick version fills gaps
and it has a habit of burning you but nothing beats it for
in imperfect joinery but cures more slowly, thin having no
getting ideas into 3-D quickly. (Purchase Hot Glue from a
gap-fillers and cures almost instantly. Also available is an
hobby, craft or hardware store.)
accelerator to speed up the curing process, and a de-bonder to reverse the process. The de-bonder should be considered a
Glue Stick: Most useful for gluing paper, such as paper
must, as it will allow you to unglue your fingers etc. Be aware
templates to wood or sandpaper to blocks. There is a
that the de-bonding process will take time, say 10 minutes
restickable variety that creates an adhesive surface
to release fingers that were glued together in a fraction of a
like that of repositionable “yellow sticky pads.” Most
second. CA should be used with great caution as the adhesive
can be un-glued with rubbing alcohol. (Purchase
powers as well as the curing vapors are dangerous. Goggles
Glue Stick from a stationary store.)
are a must and vapor masks are recommended. (Purchase CA from a hobby store.)
Spray Mount: A handy, quick tenacious adhesive. Expensive (hint… don’t lend people your can) but
Pros: very quick setting, reversible though slowly
invaluable for jigs, templates, sanding blocks
Cons: expensive and dangerous (sticky and fumes)
and the like.
Contact Cement: this cement works by coating both surfaces
Double Sided Tape: All tapes are nice to tie things together,
to be bonded with a light coat and when both surfaces have
but 2x tape is exceptionally useful. Used like contact cement,
dried, they are joined together for an instant bond. All adhesives
but without the mess or drying time. There are many different
love surface area, the more the better, but none more than
types from stationary (scotch tape without the plastic face) to
contact cement. Its usefulness lies in its ability to glue large
carpet tape to foam tapes. Each is very handy in its own way.
surfaces together without the need of clamps. Veneering and gluing up blocks of foam are typical uses. The water based variety is by far the most useful formulation. (Any hardware
READ THE DIRECTIONS: most of the
store will have a variety of contact cements.)
products listed above are so common that they appear to need no explanation.
Pros: water based does not eat foam, good for blue foam as it
Each manufactures’ product will have
dries prior to assembly, inexpensive
its own clamping, curing, and safety
Cons: weak unless gluing over large surfaces
requirements. READ THE DIRECTIONS!
Horne 51
>> ABRASIVES, SANDING, & FILLING
Abrasives are classified by their grit. The lower the number
Sanding is the act of pushing an abrasive over an object with
deeper the scratch it will produce. X is the abbreviation for
the goal of shaping and smoothing, and is one of the most
grit; therefore, 220x is finer than 60x.
the coarser the grit, the larger the abrasive particle, and the
common processes. There will be few projects where you do not apply an abrasive at least some point. Often sanding will
Abrasives are also classified by the type of abrasive particle
represent the bulk of time spent building a project. Though
and the type of backing paper.
it is a slow, tedious, and potentially dangerous activity, the finish of your project is often the make or break element.
A sanding sequence will most commonly be in the use of
I know, â&#x20AC;&#x153;the design is revolutionary, the materials are
coarse, medium and then fine abrasives.
exquisite,â&#x20AC;? but if the finish is crap, the rest of your effort and money will go unnoticed. What makes a good finish is the
Coarse grits are to bring the object to its final shape quickly.
work you have done in preparation. This work will most often
The medium grit is not to shape but only to remove the
come in the form of sanding.
scratches left by the coarse. The fine grit is to remove the scratches left by the medium.
This is a long and less than thrilling section, though from the amount of sanding and finishing that occurs in the studio, I
When sanding, remember that you are not trying to sand out
suggest that itâ&#x20AC;&#x2122;s a relatively important one. It might be more
the scratch, but to reduce every area of the surface down to
useful to refer to this as you are playing around with a sketch
the level of the bottom of the scratch.
model than to simply read though for entertainment. Sanding is used to shape and smooth exterior surfaces The following includes some basic rules or truths of abrasives
only. Never sand the joining faces of a part, the inside of the
and sanding, a couple of visualizations or definitions, and an
joint. Sanding never needs a true flat surface as is required
example of how it all works. Hopefully once you have read,
in joinery. The disk sander is the tool most often chosen by
understood and tried the example exercise, you will be able
students to ruin a joint.
to transfer this knowledge to the use of machine sanders and grinders on a variety of different materials.
The surface produced is directly linked to the shape of the sanding block or machine used. Always use some sort of
Abrasives are used to finalize the exterior shape of objects
block (be it flat, round or specifically shaped) that the paper
and to prepare surfaces for finish.
is attached to, never rub an object with a scrap of paper and your fingers.
Sanding produces dust, and dust is a dangerous product, often a carcinogen. Read the MSDS on the product you are about to
Simple flat or convex shapes are easy, complex concave shapes
sand (yes Western red cedar, and every other tree, has a MSDS)
are very difficult. Often abrasive bound to a thin soft foam or
and wear the appropriate mask to protect yourself.
cloth will help here.
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FIG 2â&#x20AC;&#x201C;8 SURFACE SCRATCH cross section diagram
To understand how to successfully smooth or shape a surface, first visualize how the abrasive is working, and secondly, what it means to create a smooth surface. Abrasives are tiny sharp objects that are bound to a substrate like paper (e.g. sandpaper), cloth (e.g. belt sander or grinding disks), or more abrasive (e.g. sharpening stones or wheels). The coarser the grit, the larger the particle, or the farther the particle will project from the substrate. The resultant scratch is relative to this depth. Coarse grit, deep scratches: fine grit, shallow scratches. To create a smooth surface, you are not sanding out the scratch, but rather sanding everything else until it is reduced to the depth of the scratch. If you concentrate on the scratch rather than the entire surface, you will eliminate the scratch, but you will bowl out the surface. Your surface will be smooth but not flat or round or whatever the intended shape was to be. To bring the entire surface down to the bottom of the scratch is a lot of work. This is required with a clear finish: if the surface is to be painted, the scratches may be filled. The trick to remember is to stick with the coarse grit for as long as you can. The coarse grit will be the only grit you use for shaping (which includes making the object flat, round or something in between). Only after you have done as much work as
Horne 53
possible with the coarse grit (i.e. the object is the exact shape
grit) abrasive. This is coarse enough to quickly blend the
you want it to be) do you switch to the medium grit. You will
joined pieces together, smooth curves, and eliminate process
spend much too much time if you switch too soon.
marks such as saw, rasp and file cuts (the coarse-mediumfine tools of the assembly process). This step is to bring the
The following example of bringing a wood object from a
wood to final shape, not to make it perfectly smooth. If gaps
rough shape to a quality painted finish could also apply to
and gouges remain, leave them; this is the job of the putty
bringing wood to a flat oil finish, a 3-D print to photo ready
to fix. Next step would be a 220x block to smooth out the
form, or a chisel to a razor sharp reflective finish. For each
scratches left by the120x abrasive. Remember, you are only
step, you will typically follow a three-step sequence of
trying to remove scratches and thus only reducing the size of
starting with a coarse grit to bring the object to the required
the object by thousands of an inch (hundreds of a millimeter).
shape, then a medium and finally a fine grit to eliminate the
Once the 120x scratches are gone, repeat the process with
scratches created by the coarse grit. Depending on the task,
320x to remove the 220x scratches. This final step should be
you will choose a different starting grit. This is the only tough
relatively quick, perhaps only a half dozen strokes. Depending
decision to make. Too coarse and you will spend too much
on how much filler will be needed, perhaps it could even
time removing unnecessarily deep scratches, too fine and you
be ignored. The point of using coarse-medium-fine grits is
will spend too much time bringing the part to the required
to reduce the total number of sanding strokes. You could
shape or surface quality.
possibly be successful using only 220x for the entire process but it would take you much longer and result in a not so
This example represents the easiest and quickest route.
smooth surface. You could also progress to finer grits, but
Skipping steps, or grits, will make the job a more difficult,
that effort would be wasted as you apply filler into the cracks
and time consuming. Trust me, I hate to sand. I need this
around your glossy smooth surfaces. With experience you
process to go as quickly and successfully as possible.
will learn how much to sand and with which grit to start and finish. From this point the shape and size of the object will
Shaping an assembled wood object in preparation for the
never change, only the quality of the surface.
application of filler putty. In this step the object will be brought to its final shape. Any gaps, holes, or deep scratches
Application of the filler. Filler is applied so that you may
will then be filled with putty, as any further sanding would
avoid the bulk of the work illustrated above. Filler also allows
take off too much material thereby negatively altering the
you to maintain the desired shape of the object that excessive
shape. Begin with a block of 120x (x is the abbreviation of
sanding would ruin.
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There are many types of filler available though I prefer the
scratches will present themselves. Lightly apply filler to the
red glazing or spot putty available in the automotive paint
low points. Sand off the dry excess filler and prime again. Once
section of Canadian Tire. Different coloured wood fillers are
dry, lightly sand. The remaining hollow spots and scratches
available for use with clear finishes, though I humbly suggest
will present themselves. Lightly apply filler to the low points.
that they look worse than no filler at all. Test all finishes and
Sand off the dry excess filler and prime again. Once dry, lightly
materials on scrap: decide for yourself what looks best.
sand. Continue this sequence until the surface has reached the quality level required. For a highly reflective painted surface
Filler is best applied with a putty knife, or my favorite, the
such as gloss black, you may need to repeat the entire process
artistsâ&#x20AC;&#x2122; pallet knife. Do not use your fingers, as the soft pad
using 400x, 800x, 1200x as your coarse, medium, and fine
will only coat the walls of the defect, rather than fill it flat to
grits. Determine this level and do not exceed nor quit too soon.
the surface.
Your time is precious. There is no value in over processing a quick sketch model. Similarly if you want that killer finish,
Use only as much filler as is necessary. Too much will simply
donâ&#x20AC;&#x2122;t get lazy and hope that the paint will fill the defect. After
add work, dust and drying time. Waiting for filler to dry is a
all that time and effort designing and building your piece, all
killer, and no, there is no way to speed the process.
anyone will see are those scratches highlighted by gallery lights reflecting off of that otherwise perfect liquid gloss finish.
Sanding off excess filler in preparation for priming. Begin with 120x to remove the bulk of the filler. You should really not be
These are not hard fast rules and you will observe me
touching any wood with this grit as the object is already the
breaking them from time to time. Each material being
correct size and shape. Once you are very close to the wood
processed and the requirements of every task are
switch to 220x. This should allow you to seamlessly blend the
different. However, if you follow my suggestions you will
filler with the wood. Finally, lightly smooth with 320x.
gain the experience required to make judgment calls, on where and when to cheat or skip steps. Before you gain
Prime-sand-putty-sand-prime. This last step will be repeated
experience, consider yourself judgment impaired.
probably three times; less if a matte grey volume study model is required, more if high gloss automotive quality model is
A final note on abrasives: good sandpapers are expensive, and
required. Typically I will spray prime (be aware of the dangers
cheap sandpapers are useless. Norton 3x brand available at
inherent with applying finishes to some plastics and blue
Home Depot and other retailers is a very good common brand.
foam) and then lightly sand. The remaining hollow spots and
Horne 55
>> FINISHES The purpose of a finish is to both protect the work and to accentuate the form and figure of the design and material. Though you have been painting objects since pre-school, it would be unwise to assume that the selection and application of commercial finishes can be relegated to the final steps of the design process. Indeed, knowing how you are to finish an object should be decided early in the design process.
Evaporative – These finishes cure through evaporation. As the solvent evaporates only the solids remain. This process is reversible. Add solvent to the dry finish and it melts, or becomes a liquid again. Shellac and Lacquer are evaporative finishes. Shellac would be a poor choice for bar tops as each spill of alcohol would dissolve the shellac. This is also why you want to apply fingernail polish (lacquer) in one bold stroke. Don’t like the colour? Apply some fingernail polish remover (lacquer thinner) and the hard finish dissolves. Technically these are of the thermoforming plastics family.
The key to finishing is the prep-work, the foundation that you have developed from the very outset of the project. Only if you have milled your rough wood straight, square, and true will your joinery go together smoothly. Only if your joinery is competent will your finish sanding leave you with the smooth true shape that was intended. Only if your sanding process is complete will your finish accentuate the good rather than the sloppy. Though this example uses wood, the truth remains whether the material is metal, plastic or what-have-you. Visually, finishes come in three basic types: transparent (clear coats such as varnish, polyurethane, lacquer), semi-transparent (stains and dyes), and opaque (paint). Chemically, finishes come in two types: evaporative (shellac and lacquer), and reactive (varnish and polyurethane). Finishes leave different sheens, typically gloss, semi-gloss, and matte or flat. Make sure you familiarize with the terms in this section as they are commonly misused or misunderstood.
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Reactive – These finishes cure through chemical reaction. This is a process that cannot be reversed. Paint remover/stripper release the bond between the materials and the finish, rather than dissolve the old finish. Polyurethane, varnish, and catalyzed lacquer are some common reactive finishes. These are thermoset plastics. Clear coat – a transparent finish that does not change the colour of the material underneath. (Alas, this is not entirely true as most clear coats will darken most woods and add an amber tone. Water based clear coats normally do not create an amber tone, though they are not as clear a lens, and often look foggy or hazy.)
Stain – a clear with some pigment added. You could also look at it as enamel with a whole bunch of clear added. Most stains require a final application of a clear coat though some are marketed as two-in-ones.
One final warning: use the same brand and series of primer and paint or sealers/ stains and clear coats. If you must mix brand names, TEST on something first. Never try out a new product or technique on an otherwise finished project. Nothing can make a project look like a work of genius better than a killer finish.
Dye – Unlike stain where the pigment is suspended in solution (think snow globe), dye has the colour evaporated in the solution (think Cool Aid). Dyes therefore add more “pop” to a finish though they equally accentuate the negative. All dyes require a clear coat. Enamel – is simply any kind of pigmented opaque finish – a fancy word for paint.
There is a learning curve with finishing, but the results allow you to present your design exactly as you intend. Michael Dresdner and Bob Flexner have both written very accessible books on this topic. I recommend reading these authors and experimenting with different situations often if you wish to move beyond the very basics. Your designs, marks and job prospects will thank you.
Primer – is the groundwork for paint. It has some body and in parts as a final filler. More importantly, primer sticks to stuff and paint sticks to primer. Plenty of smart chemists have perfected this relationship. For paint to look good the sand-fill-sand-prime-sand cycle must be completed to satisfaction. Paint accentuates what you’ve got. That includes scratches, cracks, gaps, dings…
Horne 57
>> VENEERS AND VENEERING Veneer is a thin slice of something that covers a substrate. I suppose wallpaper could be considered a veneer. Paint could be considered a liquid veneer. But for our purposes veneer is a thin (<.5mm) slice of wood. Veneer is typically used to cover an object made of less desirable materials. Veneers are typically sold with or without a paper backing. Retail stores such as Windsor Plywood sell the non-paperbacked version and although is has its specialized uses the paperbacked version, available from wholesalers such as P.J. White, is almost always the better choice. Bonded to a thick paper, this veneer does not split and is easier to glue. Before veneer is applied to an object, the surfaces must be properly prepared. Though slight cracks and coarse grit sanding scratches will be hidden with veneer, miss-matched joints or large gaps will not. For the cement to hold these fragile veneers, the surfaces must be perfectly flat or a simple curve (veneer cannot stretch around complex curves) and the edges sharp. Veneer is typically attached to a substrate with contact cement. As described in the Adhesives section, contact cement adheres on contact. This means that you cannot slide the veneer into place. You therefore only get one chance to lay the veneer on the right place. Because of this you must always cut your veneers oversize and trim the excess. On larger, more complex shapes, you will want to hedge your bets by cutting even larger (though more wasteful) veneers. Once the job gets complicated, it is a good idea to enlist the help of friends. Veneering is rarely a solo activity.
58 ID Shop Manual
FIG 2â&#x20AC;&#x201C;9 VARYING SAMPLES OF VENEER
Once the veneer is adhered the excess may be trimmed off. Knives, sanding blocks and files may be used for this operation. Veneered corners are very weak, as you will discover with the Shop Project Tool Tray. For this reason take care not to cut into the substrate of the adjoining edge or round over this edge with a sanding block.
FIG 2â&#x20AC;&#x201C;10 VENEERING CORNER DETAIL SKETCH
Finishing a veneered surface is similar to that of solid wood with a couple of caveats. Try not to allow penetrating oils to pool for long on veneers as the solvent may soak into the corners or even through the veneer and break down the contact cement. Also remember that veneers are thin. Unless they have been damaged by clumsy handling veneers should require little sanding. Sanding through a veneer is both unattractive and irreversible.
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>> JIGS AND JIGGING Jigs, fixtures and tooling are user made devices to aid in manufacturing. Jigs help reproduce shapes, fixtures hold materials for processing, and tooling is a custom made object with which to process materials. These are loose definitions and often one apparatus may contain all three functions and be referred to as any one of these names. Their value lays in their repeatable function. Jigs (as I will now refer to the lot of them) allow the manufacturer to reproduce an identical element for as long as the jig survives.
FIG 2â&#x20AC;&#x201C;11 ROUTER JIG On the jig, the bottom is the template, the middle is a safety guard and the top piece is a handle. The elliptical piece is the result.
Router jigs (as shown in the picture), are used to create multiple parts of the exact same shape. Very common jigs in the I.D. Studio include router templates for repeating identical shapes, circle cutting jigs for use with the band saw, molds, holding jigs for safely processing small objects, the finger joint jig for the table saw, sandpaper glued to a dowelâ&#x20AC;Ś
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>> MOLDS AND MOLDMAKING Pulling multiple parts off of a mold is one of the cornerstones of industrial production. Common examples of the process includes casting (i.e. an ice cube), positive/negative press (i.e. a bent-plywood skateboard deck), vacuum forming (i.e. product packaging), and molding (i.e. blow molded pop bottles). There are a few cardinal rules regarding the design of simple molds. To enable the part to be pulled from a mold there must not be any undercuts. What this means is that the largest part of the mold must be the opening. Examine an ice cube. In fact it is not a cube, but a truncated pyramid. That the sides converge towards the bottom allow for the block to be popped out of the mold easily once the seal is broken. These angles are called draft angles. If it were indeed a cube you would have a difficult time to push the block out. If the opposite were true, and the sides diverged from the opening, the bottom of the block would be larger than the opening. Short of melting the ice, you would never be able to get the block out of FIG 2â&#x20AC;&#x201C;12 DRAFT ANGLES ensure that the part can be removed from the mold.
the mold. This is a classic undercut. Generous draft angles allow for easy removal of part from mold. Though top heavy and therefore tippy when full, the foam coffee cup (a truncated cone) is designed to eject off of the mold easily, to the detriment of functionality. The release may also be aided with a mold release agent such as oil, wax or talcum powder: a good reason to wash your new products before use. The separating of the part from the sheet, be it vacuum-formed plastic or bent-ply, is often a tricky business. Effort should be made during the design phase to ease this process. Scribe lines in your vacuum form mold and elevating the mold off of the platform often help. With bent ply it is often difficult to plot exactly where on the bent sheet to cut your part from. By carefully laying your sheets on the mold the edges may be useful as registration points. Consultation with a technician or your instructor may prove valuable during this stage.
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>> THERMOFORMING For vacuum formed plastic pieces there are a few simple rules and suggestions. A warning from the start might be to expect some miss-pulls from the beginning. Vacuum forming is mostly science, but also a good degree of art. Practice and observation are important here. Draft angles and undercuts work the same in plastic, though there are some new concerns. Webbing looks like it sounds, where the plastic does not pull down tight against the mold, but rather drapes from a point much like the web on a ducks foot. This occurs when the mold has a sharp point (i.e. corner), the plastic was not hot enough, or there are multiple points too near each other. How you draw the vacuum is also important. Typically you open the valve slowly to allow the plastic to stretch: open too quickly and you will suck a hole through a weak point before the rest of the plastic has a chance to form. That there are so many thermoforming plastics available is both an advantage and disadvantage. Each has unique properties that need research and trial. As a note thermosetting plastics cannot be thermoformed. Suppliers of plastics can be found on the final page of this booklet.
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>> BENT PLY Bent plywood involves taking thin sheets of wood, either solid veneers or thin sheets of plywood, rolling a thin coat of glue to all mating faces, and pressing these sheets onto a mold. Once the glue has cured, the sheets will maintain the shape they were molded to. A limitation of plywood is that it will only form around simple curves. Unlike plastic, wood does not stretch, and will in fact only bend so tightly before it breaks. You must discover the breaking point of your material, the smallest radius, BEFORE you design and make your mold. Spring-back is common with bent ply. This refers to the amount that the bent wood pulls back from the mold after the molding process is complete. This is a result of the material wanting to return to its original shape. Tight radius bends typically produce more spring-back. Usually this is not a problem as the piece can be pulled back into the proper shape as part of final construction, or perhaps the exact curve is not critical such as a chair back. Where the shape is critical, spring-back must be considered before the mold is made. For one-off prototypes like we usually build here, this amounts to making the best guess possible. Bent ply relies on the cured glue lines to hold its shape. The more glue lines, the more the shape will hold. Two glue lines, three sheets of wood, are minimum. With 1/8 inch (3mm) Baltic birch plywood, a 3/8 inch part will be very strong and hold a FIG 2â&#x20AC;&#x201C;13 SPRINGBACK DIAGRAM
shape well. More sheets will be used only when strength or aesthetics are required. Pay close attention to how the thin sheets bend. Both plywood and veneers bend much more in one direction than the other. Before you cut up your sheets ensure that you are cutting them in the correct orientation. This is a quick and expensive way to ruin your materials before you have even began. For press type bent plywood molds (including vacuum bag) mind that the mold be made bigger than the sheets to be bent, and that the sheets be cut larger than the final part.
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>> SCREWS AND SCREWING Wood screws are particularly useful in attaching parts. Used in conjunction with glue they work both as a clamp and a physical reinforcement. Used without glue they allow a joint to be disassembled. Wood screws are identified by: Head type (most typically round or flat) â&#x20AC;&#x201C; When round head screws are used the head of the screw will finish above the surface. This is most useful when attaching a thin piece such as sheet metal. They are also nice when centering the holes accurately is difficult. Round head screws hold more strongly than flat head. Flat head screws are driven into counter-sunk or counter-bored holes so that they finish flush or beneath the surface of material. They are self centering, so the pilot holes must be accurately drilled. Many other head types exist and they may be worth researching for technical or aesthetic reasons. Drive type - (most typically slot, Phillips, and Robertson) Phillips drive (+ shape) has no value whatsoever. Designed to cam out under pressure, a dubious value even in their intended use of automotive production, they are difficult to use and commonly result in a scarred finish to your piece and a stripped screw head. Slot drive (- shape) has no modern application. They have historic value for restoration or reproduction work. They carry an aesthetic of old time values if that kind of thing fits your needs. Robertson drive (or Square drive as those south of the border insist on calling them) is the most appropriate choice for every common need. One of their more amazing qualities is that they are designed to lightly stick into the screwdriver head. You need not hold the screw onto the driver. The recess comes in five sizes (#00, #0, #1, #2, #3). Only use the matched driver to prevent damage to both the screw and driver.
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There are many other drive types such as Torx, Allen, Security etc., which may fit your needs. Gauge – this refers to the outside diameter of the shaft. A #6 screw is thinner than a #14. Thick screws hold better than thin. Length – this dimension refers to the distance the screw will penetrate the work. For a round head that distance is from the bottom/flat face, for a flat head, that distance is from the top/flat face. Material – typical materials include steel, brass, stainless steel… Screws in use: Think of a wood screw as being a round axe. As you turn it into the FIG 2–14 WOOD SCREWS are used to attach one object “A” to another, “B”.
wood, the wedge draws deeper until the wood splits. To prevent this, pilot holes need to be drilled. Wood screws are used to attach one object “A” to another “B.” “A” may be a piece of hardware or another piece of wood, whereas “B” is most always a piece of wood. The key to pre-drilling is that the hole in “A”, the clearance hole, must be larger than “T” and the hole in “B”, the pilot hole, must be equal to slightly larger than “S”. The hole in “A”, the clearance hole, must not be equal to “S”: the screw must be able to freely slide through “A.” These concepts hold true with metal and plastic work as well. The size of the holes is a more exact science with metals. There are numerous tables calling out the pilot hole size for different gauges and thread patterns.
FIG 2–15 WOOD SCREWS have gradual changes in diameter along their length.
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Conclusion Marco Zanuso expresses the need to design with physical, real materials in hand as, “… working on familiar terms with the materials and to be guided by those materials to their final form. This love and feeling for the materials from the beginning of the creative process is a very Italian tradition. To be guided by the material is a way of interpreting reality while acquiring more experience.” (Product Design Models by Lucci and Orlandini p vii.) Mike Ashby and Kara Johnson stress “An understanding of materials and manufacturing (M&M) is a core element of the design process. (p 1),” and “Inspiration – the ability to stimulate creative thinking – has many sources. One of these is the stimulus inherent in the materials. It is one that, since the beginning of time, has driven humans to take materials and make something out of them, using their creativity to choose function and form in ways that best exploit their attributes.” (Materials and Design Ashby and Johnson p. 173)” Take materials. Make something out of them. Build toys. Learn a new tool. Try using that ubiquitous free material for something ridiculous. If someone asks, “What are you doing?” you can proudly reply, “Playing!” Play with materials, stick things together to see how they work. These and all other sorts of random chaotic adventures with materials and processes will inform, encourage and inspire you towards your love of design. Kenny Horne Summer 2015 This edition comes with many thanks to my colleagues Ray McAdam for his thorough and accurate editing and Ashley Truong for her way-beyond-font-and-grid design work.
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Section 2
Competency Projects These two projects are designed to introduce you to the Industrial Design Studio and ensure that you have had some introductory instruction on the most basic set of machinery. Though there are many further processes that you can explore in DES 300/301 it is entirely possible to complete your projects to an â&#x20AC;&#x153;Aâ&#x20AC;? standard using only these.
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Project: Picasso
Lessons >> COMPREHENSIVE LESSONS
The first project has been nicknamed “Picasso.” In this project you
To read and write in the Imperial
are asked to lay out points and lines onto a small rectangle of ½" MDF
system of measurement.
board using Imperial measurements. Once completed, you are asked to cut out the prescribed shape using basic machines.
Lay out points on a work piece. Hand and stationary power tools usage.
>> IMMEDIATE LESSONS To be able to use the following hand tools: Tracing template Protractor Imperial tape measure Center punch Purpose made sanding blocks Hand drill
To be able to use the following machines safely and efficiently: Mitre saw >> REFERENCE Read the section on Measuring Systems and familiarize yourself with an Imperial ruler/tape measure. Complete the tests for the Drill Press, Sanding Machines, Band Saw, and Miter Saw.
FIG 3–1 PICASSO SKETCH AND PLAN for Competency Project 1.
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Band saw Drill Press Belt sander Spindle sander
Plan
NOTES
Use the following order of operations
Using the small band saw cut both
to complete this project:
the long taper and the curved line. Using the mitre saw for the tapered
Plot the center of the board using
cut would be very dangerous as there
diagonal lines.
is not enough material at the bottom to support the board against the
Plot the center point of the three other
fence.
holes. (There is no need to draw the circles, simply find the center.)
Use the spindle sander to clean up the band saw cut on the curved line.
Mark the 3" and 5" points from the top left corner of the board.
Use the small belt sander to clean up the tapered cut.
Using a protractor draw out the 30° line on the top left corner.
Using a center punch, mark the center points of the four holes.
Mark the 6" point on the right side of the board and draw the line joining this
Using a hand drill, drill the ¼" holes
point to the 5" point on the top.
all the way through the board. Make sure that you have a backer board so
Using the template supplied by the
you do not drill into a bench.
technician, trace the curved line on the bottom right.
Using a drill press cut the 2" holes. For the top hole set up the press to
Set the yellow mitre saw to 30° and cut
only cut ½ way into the board.
off the top corner to the line.
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Project: MDF Box Woodworking is generally separated into the creation of frames (chairs,
Lessons >> COMPREHENSIVE LESSONS
ladders, frame and panel doors, tables, etc.) and carcasses, (boxes,
The use of orthographic/shop drawings,
cabinets, cases, drawers, chests, etc.) This carcass is a tray, but put a lid
bill of materials, cutting schedule, and
on it and it’s a box/chest, tip it up on its side and put a door on it and you
plan of attack.
have a cabinet, slide it into a cavity and you have a drawer. The use of sheet materials. Hand and stationary power tools usage to produce multiple predictable results. The basics of joining multiple elements. MDF as a construction material.
>> IMMEDIATE LESSONS To be able to use the following machines safely and efficiently: Domino Joiner >> REFERENCE Complete the tests for the Table Saw and the Router. For more details pertaining to this project read the sections: Shop Drawings/ Orthographic; Bill o’ Materials; Cutting Schedule, and Plan o’ Attack. For an introduction to glues and all things sticky read the section Adhesives. For information on applying paint or clear finish read the sections: Abrasives, Sanding, and Filling and Finishing.
FIG 3–2 MDF BOX SKETCH for Competency Project 2.
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Table Saw Router Table
Plan
NOTES
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APPENDIX The Appendix includes four parts:
A1
THE SKATEBOARD
A3
SUPPLIERS
A hypothetical project that you may
List of commonly used suppliers
do if you like. Even if you have no
of materials and services.
interest in building a skateboard, the design process laid out in this project is universal, and may be useful for you in the future.
A2/
DEFINITION / THESIS OF YOUR PIECE
A4
BASIC TOOLS AND EQUIPMENT KIT
An even more hypothetic look on
A short list of things that you
that which ties your design together.
will need to supply for yourself to complete this course.
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A1 The Skateboard This project is purely for your interest and fun. It is not a requirement of the Industrial Design program and there is nothing that we will deal with here that won’t eventually be dealt with in an ID class. There will be no class time allotted to this project. That being said, the opportunity to work at your own pace and to advance a design through multiple iterations may come as a refreshing change to the tight schedule of class work.
Design >> THE DESIGN PROCESS >> TECHNICAL DESIGN >> AESTHETIC DESIGN >> MATERIALS AND PROCESSES EXPLORATION >> FINISHING >> REFERENCES Design Process – define, research, develop, build, evaluate, present, repeat …Technical design – where the choices you make affect the functional response of your product. How your physical decisions affect how your skateboard rides. Aesthetic design – where the choices you make affect the emotional response to your product. How the shape and any decoration make you feel. Materials and processes exploration – where you will be able to explore 3mm (1/8") Baltic Birch plywood, adhesives, and woodworking processes including bent ply, jig making, routing, sanding… Finishing – discussion on this topic will be short, though your personal exploration into finishes and materials can go forever.
APPX–1 MDF BOX SKETCH for Competency Project 2.
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Skateboard – a deck with trucks and wheels attached. The first skateboards were simply a plank of wood with roller skate wheels screwed onto the bottom. Skateboards come in many different flavours, including; long, freestyle, vert, street, slalom, cruising, racing… They are all skateboards. Designing a skateboard includes designing and building the deck and choosing the appropriate trucks and wheels.
>> THE DESIGN PROCESS Define or clearly state the problem you wish your product to solve, i.e. I want a skateboard for basic transportation that is easy to ride in traffic, over rough surfaces, and that references 60’s surf culture. Research. Look at longboard building forums, books, magazines, and films, play with some 3mm Baltic birch plywood, bend it until it breaks… whatever will inform you and allow you to reach your stated goals. Develop the idea. Begin designing once your research has answered the problems
Deck – the wooden part. You will be designing a skateboard, and building a deck.
you have defined. Sketch out shapes, imagine how structure such as concave and camber will affect the ride, make compromises such as how long it should be (longer looks surfier, shorter is more agile in crowds) and determine what proprietary equipment (trucks and wheels) you will be using. Once you think you’ve
Truck and Wheels – the trucks are the deck mounting baseplate/ steering/axle hardware that holds the wheels. Trucks include bushings. These are polyurethane do-nuts held between the axle and the mounting plate. They allow you to turn as you lean. Wheels include bearings that make them spin.
figured it all out, draw it up. Build your deck. If you are going to make your own mold, now’s the time. Glue up the layers and press your deck. Transfer your shape and bolt holes to your deck then cut and sand. Evaluate. Go for a ride. Take notes recording how well and poorly your specifications have been met. Presenting and sharing your experience with others is an important step. Everyone meeting some Sunday morning in the FAB parking lot and riding each other’s boards would be both fun and informative. With the first prototype completed and evaluated, go back to the beginning. With what you now know, does your definition need a re-write? Return to your research concentrating on where your original design fell short. Create a new design or iteration reflecting the improvements. Build and evaluate the new deck. Repeat repeat repeat. Your definition could be highly specific or as simple as “I want a long board that I can ride.” In that case really all you need to do is cut up some Baltic Birch, press
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it on an existing mold, find someone else’s top template, cut it out, ride it and see how you like it. Congratulations, you have still produced something employing the design process, you have learned some cool materials and process lessons, and you have a seriously fun product to evaluate and show off to your friends. That in a nutshell is the design process. Not just for skateboards but for everything. You will find variations of this everywhere. In academic fairness I should note that I stole this version from a Rhode Island School of Design textbook (Stem, Seth. 1989. Designing Furniture. Taunton Press, p 3.)
>> TECHNICAL DESIGN What I refer to as technical design are those decisions that affect the pure function of the product. Much of this has to do with the shape of the deck. How long is it, how wide, how deep and what shape is the concave, will there be any camber or will it be flat…? Research and evaluation will reveal the answers to these questions. Some of the concepts are covered in “I’m a Longboard,” but few are answered. Another element of this design stage is the selection of proprietary elements. In this case you must choose which trucks and wheels will best meet your original definition. The bad news is that researching this can be tough. Fourteen-year-old boys on web forums are a dubious source of unbiased information. The good news is there are some basic truths. Big soft wheels go over pebbles and cracks; hard small wheels slide more easily. In my very limited experience I have tried a variety of combinations and everything works. Some work better than others. The key is whether or not the combination meets your stated requirements. Most decisions will be a matter of compromise, and your design will reflect your best guesses towards fulfilling your design requirements. As to whether you were successful will not be revealed until the evaluation step. Remember, there is no perfect design only one that best meets your definition.
>> AESTHETIC DESIGN What I refer to as aesthetic design are those decisions that affect the emotional response to the product. From my definition above, how could I best visualize ‘60s surf culture? Research again will point you in the right
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direction. Watch movies, check out some ‘60s California music from the library, heck even flip through a Google images search. Make a mood board. Sketch.
>> MATERIALS AND PROCESSES EXPLORATION I recommend using 3mm Baltic birch plywood and Titebond III waterproof glue for your first deck. If your design is fairly close to a deck we have previously produced here, you can pretty much assume that it will press without cracking and that it will ride well. Once you enter into designs with kicks or drop decks, you will need to test the material to see how it reacts to the bends you wish it to conform. Baltic Birch plywood is not the best material for the job. It excels in being both inexpensive and locally available and I have been pleased with each board that I have produced with it. That being said, I have found that it is limited in its bendability and I do not like that I have no control over the two glue lines within each sheet. That it is cheap and easy means that you can produce many iterations freely, without any reservations as to whether you should be wasting nice materials on an unproven design. That freedom of thought and production is critical. What you wish you had was a huge stack of 1/16" maple veneers. Real decks are made of this (unless of course they are made of bamboo, or carbon fiber or
Some of many web sites. Check out manufacturers like Rayne, Landyachtz and Bustin. Careful though, you will soon wish you had access to every exotic material and process known to man. Silverfish Longboard Forum - “I’m A Longboard” was copied from the Silverfish site. For a copy look in the ID-Vault drive Des-300 folder. > http://www.silverfishlongboarding.com/ forum/forum.php > http://www.silverfishlongboarding.com/ forum/longboard-board-building-q-discussions/ > http://www.silverfishlongboarding.com/ forum/longboard-board-building-pro-division/ > http://www.silverfishlongboarding.com/ How_To_Cut_Your_Own_Deck_From_A_ Pressed_Blank Rodney Mullen - Pop an ollie and innovate! > http://www.ted.com/talks/rodney_ mullen_pop_an_ollie_and_innovate.html Rodney Mullen How Almost Skateboards are Made > http://www.youtube.com/ watch?v=FOtbEfdfk9o
aluminum…). You would also like a large variety of adhesives. Which epoxies flex, which ones are stiff? Can you compensate structural shape with a more rigid adhesive? Can a slippery-when-wet adhesive allow tighter bends? After building about a half dozen Baltic Birch decks, you will probably have enough experience to
Madrid Longboarding – pretty people riding pretty streets > http://www.youtube.com/ watch?v=coyi-iubCJo
analyze these advanced questions. Roarockit - tutorial > http://www.youtube.com/ watch?v=8E1Wvu-D6_w
>> FINISHING Finishing a deck is nothing but fun. I would suggest that a bare minimum is that you give it a coat of exterior rated polyurethane. You are limited only by your imagination and skill. Skateboard decks provide a lovely opportunity to play with art. They will soon get scratched up, and will eventually get broken and thrown out: the opposite of precious.
13 Skateboard Barrie Ont. – another how to video > http://www.youtube.com/ watch?v=CGjG0UWJVOs JART in Spain - High tech production > http://www.youtube.com/watch?v =rkqGxyq1SxM&list =PL127298D4C8A3948D
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A2 Definition/Thesis of Your Piece >> WHAT DOES YOUR PIECE WANT TO BE WHEN IT GROWS UP? The following is the long answer to the eternal questions students will forever bring to the tech office, “Should I chamfer or round-over these edges,” or perhaps, “Should I use a matte or gloss finish?” Of course the short answer is round-over and matte, but if you care enough know how to come to that conclusion yourself… The first step in the design process is often the hardest. Just as a written paper needs a thesis statement, so to does your design. A paper needs this focal point without which it is simply a disjoint ramble of possibly interesting points. A welldesigned piece of furniture will have all the elements of style, form, detail, finish, and function working together in a coherent manner. For me, the easiest way to explain this is to look at the example of the spiritual and philosophical views of the Shakers. The Shakers were a religious sect located in 19 communities throughout the north eastern and mid-western regions of the U.S. Though I believe one or two Shaker sisters remain, they were most vibrant during the period that straddled the pre and post industrial revolution ages. The Shakers were a technologically progressive sect with many important inventions credited to them including two of my favorites, the flat corn broom (credited to a Shaker brother) and the table saw (credited to a Shaker sister.) They were however against any form of selfaggrandizement, indeed they were a celibate group. God alone, the belief in God and the gifts given from God, were beauty enough. With this in mind examine Shaker furniture. There are no fancy moldings, no ornate scroll work, no glossy finishes. What you will see however are thoughtful choices of wood species, grain and figure, appropriate construction techniques, and an ageless sense of harmony and proportion that create “prayerfully crafted expressions of the Shaker’s religious faith.” These central elements of their faith define their work with grace and unity. Not all of the results are perfect. Some look clumsy and others have not reached the subtle beauty of their finest work. The masterpieces however are icons of American design, many of which are still studied, and still influence so much of what is produced today.
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By examining the artifacts and learning of their spiritual philosophy, you begin to understand each choice the designer has made. It is the strict adherence to their spirituality that unifies these choices into enduring examples of architecture and design. Go ahead, go to the public library and take out some books. Learn about the people and then examine their design. What makes this a nice beginners exercise is that their entire ethos was formed around this world view, and indeed next-world view. Their cloths, architecture, food, music, interpersonal relationships, work; all were designed around these central beliefs. The goal here is not to fall in love with Shaker design, nor indeed to commit yourself to a celibate existence, but to understand that each choice a designer makes in a project should advance the designers thesis, or definition of the piece. This exercise may be done on many modern examples as well. You will be asked during your studies to examine a designer, a corporation, an environment, even yourself, and incorporate these design philosophies or requirements into a design APPXâ&#x20AC;&#x201C;2 SHAKER SIDE TABLE
of your own. An example: An architect requires an end table design for a library/lounge in a mountain chalet. The tables will sit beside near leather-upholstered chairs, nearer to the wooden bookcases than the fireplace. There is a possibility that the design, or elements of the design, will be incorporated in the guest rooms and other waiting areas. The following are possible choices a designer may make and the reasons why. Material: solid wood, either cherry or walnut. Why? The table will be surrounded by natural elements; wood, fire, leather, paper. Solid wood will imbue a quality of luxury and permanence that would justify the extra expense on a small piece of furniture. Both cherry and walnut are darkish yet have warm golden tones that would reflect the peaceful purpose of the room and the warmth of the fireplace. Maple may be too harsh in its brightness. Though a bit of a stretch, I feel that an imported wood such as Honduras mahogany, though beautiful, would look out of place in a rustic North American setting. Softwoods native to the area are all too fragile, and the local hardwoods such as birch and poplar really are not pretty enough for a high end piece. Walnut is native to the west coast, is beautiful, and strong enough to enable a delicate design. Plastic would be completely out of context and metal too cold.
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Finish: Shellac prime coat followed by four or five coats of polymerized tung oil. Why? The shellac will provide a perfect first coat, penetrating into the grain and creating a clear reflective lens to extenuate the colour and figure of the wood. The tung oil will add durability and depth. (Shellac alone being alcohol based will dissolve underneath a glass of scotch.) Both finishes are golden in undertone which would be a nice fit with the material and the reflecting fire. This would be the perfect finish for a couple of tables. If however the design would be used throughout the chalet, a sturdier, less time consuming lacquer finish may be a reasonable compromise. Style: contemporary yet timeless. Why? Reading books is a contemporary yet timeless exercise. I wouldn’t want to mimic any historical or modern style, however I would like to know that this piece was designed and built in this era. Yes, these requirements may seem contradictory, but hey, no one says design is easy. This is the beginning of the definition of this piece of furniture. What about the client’s or the designer’s attitudes toward sustainability? Should the piece be heavy or light, curvy or rectilinear? If it were alive, would it be a bear or a deer, would it be your butler or your lover? What scale of budget is allowed? How will the details reflect the tone of the piece? Would chamfered edges fit with the rectilinear design or, for a warm piece such as this, would a gentle round over be the better choice? Do all of these elements work in agreement or are there contradictions? Do the contradictions belong or are they mistakes to revisit? Like the Plan o’ Attack, I suggest that you write your definition down. Don’t be afraid for it to sound silly, or like philosophical nonsense. No one but yourself need see these notes, but writing it down forces you to fully explore the idea in a logical and concrete manner. Plus, once it is written down, you can refer to it when you encounter style roadblocks. More often than not, when a student asks me about a choice of detail, or material, or finish, etc., I will reply with the question, “I don’t know. What does your piece want to be when it grows up?” Only after the definition, or thesis, has been well developed, will you be able to answer the detail questions. The nice thing is all those solutions will now come easily.
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NOTES
Horne 83
A3 Suppliers WOOD SUPPLIERS
Viking Plastics retailer of rubber mold
solid woods, sheet and veneers.
and resin compounds
Glues and cabinet hardware
780.484.6827
P.J. White Hardwoods
Allwest Plastic Fabricators
a wholesaler of wood and hardware
â&#x20AC;&#x153;We make things out of Plexiglassâ&#x20AC;?
780.454.6561
780.455.0916
McKillican
Johnston Industrial Plastics
a wholesaler of wood and hardware
retailer of sheet plastics
780.451.1205
780.465.0431
W.G. Chanin Hardwoods
Boatcraft
more expensive but HUGE selection
epoxy resins and carbon fiber mats
780.447.4888
780.437.4919
Windsor Plywood (5 locations) most expensive but allows you to
METAL SUPPLIES AND SERVICES:
purchase a small amount of hardwood
Metal Supermarket
rather than the entire board.
supplier and custom cutter of metal 780.454.6385
PLASTICS SUPPLIERS: sheet, resins, solvents,
Precision Laser Cut 780.434.7014
polishes, cutting service
Technical Cutting Solutions water jet cutting
Sabic Polymer Shapes
780.465.6553
sheet plastics (will cut to size!) 780.451.1650
Arrow Welding & Industrial Supplies 780. 483.2050
84 ID Shop Manual
FINISH SUPPLIES AND SERVICES: Days Paints
Great Hobbies
Gregg Distributing
South East
(South and West locations)
780.466.3305 Acklands Grainger
custom lacquers 780.426.4848
Michaels
(multiple locations)
(four locations) Walls Alive
Princess Auto
commercial finishes and equipment
Comex Hobby
780.392.0027
780.487.5886 WEM 780.477.5889 Kingsway Mall
Perfection Powder Coatings 780.413.7578 Carlson Body Shop Supplies
780.438.0808
Caster Town
North
casters and other things
780.452.4421
for the ends of legs 780.478.3486
FASTENERS AND ADHESIVES: Edmonton Nut & Bolt
Commercial Bearing
Marshalls Discount Fabrics 780.436.3739
780.465.1466 Tandy Leather
belts and bearings 780.439.2026
ASSORTED:
Alberta Hobby Center
Custom spray cans, fine sanding and finishing supplies
(South and West locations)
Bolt Supply House
780.487.7979
780.451.1220 HOBBY STORES: 5-MIN EPOXY, SMALL TOOLS AND MATERIALS
Holdtite Adhesives
Bedrock Supply
780.437.3253
CA and other commercial adhesives
jewelers tools and supplies 780.434.2040 Hobby Wholesale
INDUSTRIAL TOOLS, EQUIPMENT AND SAFETY SUPPLY:
South
KMS Tools and Equipment
780.434.3648
780.455.8665
Horne 85
A4 Basic Tools and Equipment Kit The following are lists of basic supplies that will be required to produce the projects assigned to students in the 300, 400 and 500 levels of the Industrial Design program. The items listed in bold are those which you will need to accomplish 300 level projects, and of course will use in 400 and 500 levels. The items not in bold will are those that you will very probably need. In either case these items will not be provided for you. Each student is responsible for their own equipment, and it is very strongly recommended that you label your things and have a tool bag or case in which you can safely store them. The basic supply kit should be obtained at the beginning of program study and replenished as necessary. This list is a minimum. Individual courses may provide more detailed lists of tools and equipment required. If the student finds that they are using a tool frequently, it is to their benefit to purchase that tool. The student is responsible for all project and material supplies. Label all supplies and materials with your name.
>> SUGGESTED SUPPLIERS Home Depot/Canadian Tire – HD Hobby Store - HS Princess Auto – PA Lee Valley - LV Dollar Store - $ Michaels/Craft Store –CS Staples/Office Supply– S
86 ID Shop Manual
>> PERSONAL PROTECTIVE EQUIPMENT (PPE)
>> ADHESIVES
goggles (PA,LV)
white/yellow glue (HD,LV)
disposable dust and mist respirator (PA,LV)
five-minute epoxy (HS,LV)
disposable latex gloves (PA,LV)
Cyanoacrylate (HS,LV)
disposable ear plugs
duct tape (HD,LV) double-sided tape (carpet and “Scotch”) (HD,LV)
>> TOOLS tape measure (ie 16ft./5 m) (HD,PA,$)
masking tape (S) contact cement (HD) hot melt glue sticks (HD,S,CS,$)
Picquic multi-screw driver (HD) 5-pack sandpaper, assorted (if you wish to use hand orbital or hand belt sanders, bring your own disks or belts) HD sells Norton 3X sandpaper. It would be my suggestion to use this brand. Sharpie felt markers (black, silver) (S) utility knife ( ie Olfa retractable snap-off blade type) (HD,PA) drill bits (1/16" – ¼" set) (HD,PA,$) scissors (S,CS,$) metal ruler (6", 12", 18") (S,LV) geometry set (compass, triangles, protractor) (S) pencils (S,$) house painting brush (1", 2", 3") ($,HD) medium needle nose pliers (HD,$,PA) digital calipers (PA) hot-melt glue gun (S,HD,PA) adjustable square (HD,PA) needle files (PA) calculator (S,$)
Horne 87