The Project Gutenberg eBook, Advanced Toy Making for Schools, by David M.
Mitchell
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org
Title: Advanced Toy Making for Schools
Author: David M. Mitchell
Release Date: July 22, 2011 [eBook #36815]
Language: English
***START OF THE PROJECT GUTENBERG EBOOK ADVANCED TOY MAKING FOR SCHOOLS***
E-text prepared by Chris Curnow and the Online Distributed Proofreading
Team (http://www.pgdp.net) from page images generously made available by
Internet Archive (http://www.archive.org)
Note: Project Gutenberg also has an HTML version of this
file which includes the original illustrations.
See 36815-h.htm or 36815-h.zip:
(http://www.gutenberg.org/files/36815/36815-h/36815-h.htm)
or
(http://www.gutenberg.org/files/36815/36815-h.zip)
Images of the original pages are available through
Internet Archive. See
http://www.archive.org/details/advancedtoymakin00mitc
Transcriber's note:
Text enclosed by "pound" or "number" signs is in bold
face (#bold#).
ADVANCED TOY MAKING FOR SCHOOLS
by
DAVID M. MITCHELL
Instructor Manual Arts
Willson Junior High School, Cleveland, Ohio
[Illustration]
The Manual Arts Press
Peoria, Illinois
Copyright 1922
David M. Mitchell
12 B 22
Printed in United States of America
PREFACE
Toys are today regarded as educational factors in the life of boys and
girls. New toys come into demand at frequent intervals in the growth and
mental development of the child. On account of the unfailing interest on
the part of the pupils in toys and because of the unlimited educational
possibilities contained in toy making, this work is rightfully taking an
increasingly important place in the manual arts program in the schools.
This book is the outgrowth of toy-making problems given to junior-high
and high-school pupils. The author claims no originality for some of the
toys. However, most of them have been originated or improved upon in the
author's classes.
While it is entirely satisfactory to have any of the toys mentioned in
this book made as individual projects, they are here offered as suitable
group projects or production projects, and it is hoped that the
suggested form of shop organization for production work as treated in
Part I is flexible enough so that the plan can be applied to most any
shop conditions.
The drawings of toys in Part II will suggest a variety of articles which
may be used in carrying out the production work.
Of course, the success of organizing and conducting classes for this
kind of work depends largely upon the instructor. He must know
definitely what he is trying to get done. He must adopt and pursue such
methods of dealing with both the members of the class and the material
as will contribute directly towards the desired end.
Toy making carried on by the so-called productive plan, if handled
properly, will bring out many of the essentials of an organization
typical of the commercial industries. Together with its educational
possibilities and its power to attract the attention of those engaged in
this activity, toy making will rightfully take its place alongside other
important subjects offered in a complete industrial arts course.
The author wishes to acknowledge his indebtedness to William E.
Roberts, supervisor of manual training, Cleveland Public Schools, for
valuable suggestions and inspiration; to Joseph A. Shelley, Jersey City,
N. J., for suggestions on finishing kiddie car wheels; to the Eclipse
Air Brush Company, Newark, N. J., for valuable information and
photographs of air brush equipment; and to the American Wood Working
Machinery Co., for the use of the illustrations showing the operation of
the turning lathe, universal saw, and other woodworking machines.
D. M. MITCHELL
Cleveland, Ohio, 1921.
CONTENTS
PART I
OPERATIONS IN TOY MAKING
CHAPTER I. PRODUCTIVE WORK 11
1. Suggested plan for shop organization. 2. Grouping
of students. 3. The time clerk and tool-room clerk.
4. Recording attendance. 5. Time cards. 6. Using time
card. 7. Grading students. 8. Preliminary discussion and
preparation for shopwork. 9. Bazaars, toy sales, etc.
CHAPTER II. COLORING TOYS 21
10. Sanitation emphasized. 11. Preparation of surfaces.
12. Application of water colors. 13. Analine water stains.
14. Formulas for analine water stains. 15. Oil stains.
16. Shellacking. 17. Varnishing. 18. Points on Varnishing.
19. Colored varnish. 20. Another suggestion for finishing.
21. Use of paint. 22. Ingredients of good paint.
23. Application of paint. 24. Preparation of surface.
25. Tinting materials. 26. Mixing paints. 27. Paint formulas.
28. Formulas for making tinted paint. 29. Enameling.
30. The dipping method. 31. Polishing by tumbling. 32. Care of
brushes. 33. Paint application by means of compressed air.
34. Uses of pneumatic sprayers. 35. Construction of pneumatic
painting outfit. 36. Special attachments for different surfaces.
37. Cleaning pneumatic machines. 38. Directions for cleaning
machine. 39. Directions for operating pneumatic equipment.
40. Preparing colors.
CHAPTER III. COMMON WOODS USED IN TOY MAKING 42
41. Economy in selecting material. 42. Qualities of
different woods used.
CHAPTER IV. USE OF JIGS AND FIXTURES 43
43. Value of jigs and fixtures. 44. Cutting small wheels.
45. Turning wheels. 46. Use of wheel cutter. 47. Use of
coping saw. 48. Cutting sharp corners. 49. Removing the
saw-blade from frame. 50. Making heavy wheels. 51. Designs
for wheels. 52. Cutting wheels on band-saw. 53. Boring
holes in wheels.
CHAPTER V. OPERATION OF WOODWORKING MACHINES 54
54. Importance of machine operations. 55. Operating the
lathe. 56. Face plate turning. 57. The universal saw.
58. The hand jointer. 59. The sander.
PART II
DRAWINGS FOR TOYS
PAGE
Plate 1. Fox and Geese Game 64
" 2. Ring Toss 65
" 3. Baby's Cart 66
" 4. Hay Cart 67
" 5. Horse Head 68
" 6. Horse on Wheels 69
" 7. Kido Kar Trailer 70
" 8. Auto Roadster 71
" 9. Auto Racer 72
" 10. Passenger Car 73
" 11. Milk Wagon 74
" 12. Table for Doll House 75
" 13. Chair and Rocker 76
" 14. Buffet 77
" 15. Toy Wheel-Barrow 78
" 16. Horse Barrow 79
" 17. Doll's Carriage 80
" 18. Noah's Ark 81
" 19. "Bean Bag" Game Board 82
" 20. Child's Swing No. 1 83
" 21. Child's Swing No. 2 84
" 22. Doll's Bed, No. 1 85
" 23. Doll's Bed, No. 2 86
" 24. Adjustable Stilts 87
" 25. Scooter 88
" 26. Steering Coaster 89
" 27. Kido Kar 90
" 28. Kid Kar Junior 91
" 29. Pony Kar 92
" 30. Duplex Speedster 93
" 31. Rock-a-Doodle 94
" 32. Sled 95
" 33. "Sturdy Flyer" Sled 96
" 34. Ducky Loo 97
" 35. Duck Rocker 98
" 36. Jitney 99
" 37. Junior Roadster 100
" 38. Details of Junior Roadster 101
" 39. Senior Coaster 102
" 40. Details of Senior Coaster 103
" 41. Auto-Kar 104
" 42. Choo-Choo-Kar 105
" 43. Teeter-Totter 106
" 44. Teeter Rocker 107
" 45. Checker Board 108
" 46. Child's Costumer 109
" 47. Baby's Chair 110
" 48. Children's Sand Box 111
" 49. Sand Box No. 2 112
" 50. Doll's House No. 1 113
" 51. Doll's House No. 2 114
" 52. Doll's House No. 2 115
" 53. Dumb Bell & Indian Club 116
" 54. Bats 117
SUGGESTIONS TO TEACHERS
Where the work is to be done on the so-called productive basis, it is of
utmost importance that, before starting, the classes should be so
organized as to allow the work to be carried on in the most efficient,
progressive manner. The form of shop organization suggested in this book
is recommended. However, the instructor may, particularly if he has had
good practical shop experience, employ other methods of organization
that are just as good and possibly even better for his particular class
and the conditions under which he has to work.
It is also of great importance that the instructor should acquaint
himself with the processes involved in the making of each toy before
allowing the class to begin it. This may be accomplished by the making
of a sample of the contemplated project, carefully analyzing its
different parts and arranging the operations in a logical sequence.
This phase of the work may be done during class discussions and
demonstrations at which time the different jigs and fixtures needed for
progressive production may also be developed.
The different methods of coloring toys have been suggested with the hope
that the student will gain a realization of the importance of finishing,
from both the artistic and the practical point of view. The application
of paint by means of compressed air is the latest development in the
coloring of toys, and an equipment in the school shop illustrating the
principles of compressed air as applied to productive finishing of toys,
is a step forward in making school shops function as they should.
The working drawings in this book should serve as suggestions. They have
been so constructed as to be free from unnecessary technicalities, and
to leave as much opportunity as possible for the exercise and
development of the student's judgment.
It will be found that toy making offers itself readily to the desired
co-operation and correlation with other departments in the school. For
instance, the art department may aid with the designing and color scheme
to be used on toys; the general metal shop may help in the making of
necessary metal parts: the mechanical drawing department can co-operate
in the making of working drawings; the mathematics department can figure
the costs of production, etc., etc.
It is hoped that the purpose of this book is not merely to set forth a
few plans and drawings for the construction of toys, but to give the
work the broadest possible application; creating a constructive
influence on the minds of the students, in which case it will also act
as a means of bringing into closer relationship their life outside of
school with the work in school.
[Illustration: TOY MAKING ON A PRODUCTIVE BASIS EMPLOYING FACTORY METHODS]
PART I
OPERATIONS IN TOY MAKING
CHAPTER I
PRODUCTIVE WORK
#1. Suggested Plan for Shop Organization.#--While it is entirely
satisfactory to have any of the toys mentioned in this book made as
individual projects, they are here offered as suitable group projects or
production projects. Production work may be defined as work done by a
class to turn out a number of similar projects that have a marketable
value, with the aid of jigs, fixtures, and other means of duplication,
illustrating the industrial or practical application to the tasks in
hand, Figs. 1, 2, and 3. This does not mean, however, that the school
shops be transformed into a factory in the full sense of the word. It
should differ from a factory in that the education of the student is the
major part of the product, while in the factory production is the
foremost aim.
In doing work by the productive plan two important problems will present
themselves at the outset; first, the time element; and second,
industrial or practical application to the tasks in hand.
A brief explanation of the plan of organization in one of the author's
classes will attempt to show how nearly these problems can be solved.
[Illustration: Fig. 1. Material for toys, prepared on a large scale]
#2. Grouping of Students.#--Classes are divided into groups of between
four and six boys, with a boy foreman appointed at the head of each
group. The foreman is held responsible for the work turned out by his
boys. He is to see that they understand just what is to be done and how
it is to be done. All the group foremen are directly responsible to the
general foreman who in turn is responsible to the instructor. The
general foreman is to act as an inspector of finished work after it has
received the group foreman's O.K. He is also held responsible for the
condition of the shop during his class hour. This includes looking after
all material, the manner in which stock is put away after class, and
adherence to all shop rules that have been adopted to help in the
efficiency of shop procedure.
[Illustration: Fig. 2. A large order of toys partly constructed]
#3. The Time Clerk and Tool-Room Clerk.#--A "_Time Clerk_" is appointed
to take charge of the time cards. He is also held responsible for all
the clerical work that is to be done in the shop.
A _Tool-Room Clerk_ is appointed to take charge of the shop tool room.
He is to keep check of all tools given out and taken in. His spare time
should be devoted to the care of tools.
If possible, each boy in the class should be given an opportunity to act
in each capacity that has been created, so that he may get the most
varied experience in shop procedure. This will necessitate the changing
of boys from one group to another; the changing of foremen, clerks,
etc., at intervals which will of course be governed by the size of the
class and the number of hours devoted to the work.
[Illustration: Fig. 3. Milk wagons completed by the production method]
#4. Recording Attendance.#--Boys, upon entering the shop, register their
presence at the Time-Card Rack, Fig. 4. This is done by turning the time
card shown in Fig. 5, so that the back side, which has the word present
printed at top, is exposed. The time clerk then inspects the cards and
notes those that have not been turned, and records the absences. He then
fills in the date and passes the cards out to the boys in the shop.
Toward the latter part of the period, a few minutes time is given the
boys to fill in the necessary data on the time card.
The time cards are then collected by the time clerk and put into a box
where the time cards of all the classes are kept. In the meantime the
time clerk puts back into the time rack the cards of the incoming class.
This duty is performed by the time clerks of all the classes, thereby
necessitating the use of only one time card rack.
[Illustration: Fig. 4. The time-card rack.]
#5. Time Cards.#--Referring to the time card mentioned in Fig. 5 it will
be seen that the workman's shop number is filled in at the top. Then
under the heading of "Woodworking Department" are two horizontal rows of
items which need very little explanation. Following are three columns
headed "Operation," "Assignment," and "Time." Below the word "Operation"
are set down the various operations undertaken in the woodworking
department, with several vacant spaces provided where other and special
operations can be filled in. It will also be noticed that "Operations"
are divided into two kinds, machine work and bench work. The
instructor's glance at the time card will tell him at once what phase of
the work the boy has been employed in and will help him in apportioning
the work so that the boy is offered a varied experience.
#6. Using Time Card.#--For shops that are not equipped with the kind of
machines marked on the illustrated card, it would be well to omit the
names of machines in the "operation" column. The instructor may then
fill in the operation whatever it may be.
Under the heading "Assignment" and against the operation which is to be
undertaken by the student, the instructor writes in the name of the part
to be made. This is the student's assignment and it should be read by
him at the time he records his presence at the time-card rack upon
entering the shop.
In making assignments, the instructor may find it rather difficult to
keep up with large classes of boys. This difficulty may be overcome by
making an assignment to an entire group instead of to each boy. For
example, in a class of twenty-five that would probably be divided into
five groups, the instructor may make the assignment to the foreman of
each group and each foreman in turn can inform the boys of his group as
to the nature of the assignment. The boys can then enter the assignment
on their time cards at the end of the period when the time spent on the
job at hand is also recorded.
The student's shop number, name, and grade should be filled in by the
time clerk who can get out a number of cards for each student in advance
and these are kept ready for use by the instructor. The instructor can
then mark the project and the job number together with the student's
assignment. At the same time he estimates the journeyman's time and rate
and enters them in the space provided.
The time card in Fig. 5, is 3½ inches by 9 inches, made of three-ply
bristol board. All worker's cards are printed on white colored bristol
while those of the foremen are of blue colored bristol. This plan is for
the instructor's convenience to be able to pick out the foremen's time
cards at a glance.
In the triple column under the heading "TIME" is provided room for the
date and spaces in which the student can write the time in minutes spent
on the various operations on that date. The triple columns on each side
of the card allow of the cards being used for six days. If a job lasts
longer than six days another card should be used marking them No. 1 and
No. 2, respectively, in the space marked "Card No." Both cards should be
fastened and kept together.
[Illustration: Fig. 5. Time card]
Effort should always be made to have all the assignments short (less
than six days) so that the student's record may be computed at the end
of each week by the time clerk.
#7. Grading Students.#--The next four spaces contain in condensed form,
the information itemized in other parts of the card. This, together with
other information set down by the instructor, is the vital material
sought for.
The item A "Journeyman's Time" is very easily recorded by the
instructor. It is arrived at in the same way as in making out the
estimate for any piece of work and can be recorded almost at once. The
main purpose here is to set for the student a standard of time on which
to work.
The item B is the rate in points per hour, based on the journeyman's
time.
The item C is the total of the student's time added together from the
various spaces under "Time."
Item D "Quality Decimal" is the quality of the student's job expressed
in the form of a decimal, with 100% as the maximum. This mark should be
filled in by the instructor when the student completes his job.
The next item, the number of points the student earns is found by the
formula Points = (A×B)D
Points earned per hour = ((A×B)D)/C
For example, a student receives an assignment to cut to thickness,
width, and length, sixty chair legs. The size of the legs he is to get
from the job blueprint. He spends 60 minutes a day, for three days,
making a total of 180 minutes or 3 hours. The time it would take a
journeyman to do the same job is estimated at 2 hours. The rate
adopted is at 80 points per hour; the journeyman therefore earns
A×B = 2×80 = 160 Points. The quality of the student's job is graded by
the instructor as 75%. The number of points the student earns is found
by the formula Points = (A×B)D = (2×80).75 = 120 Points. To find the
number of points the student earns per hour, divide 120 points by the
number of hours it took the student to complete the job, which equals
120÷3 = 40, the number of points the student earns per hour. However,
if the student would be graded 100%, he would earn the same number of
points as the journeyman. But of course, he would have done it in three
hours where the journeyman has earned the same number of points in two
hours. It will readily be seen that this scheme offers the student an
everlasting incentive to equal the journeyman's record.
Having obtained the points on the time card or assignment card as it may
be called, these are then transferred to a monthly accomplishment sheet
as shown in Fig. 6, which is provided for all the students in all
classes.
[Illustration: Fig. 6. Monthly accomplishment sheet]
The total number of points for each boy, group, and class can then be
easily obtained. These totals can be put up in poster form and hung on
the shop's bulletin board, showing the standing of each boy, group, and
class. It is surprising the amount of interest and competition that can
be aroused; everyone working for the highest honors, unconsciously, with
a competitive spirit that will bring out considerable thought and effort
to the matter of handling material for maximum production.
#8. Preliminary Discussion and Preparation for Shopwork.#--Of course, no
time card or assignment-record scheme can hope entirely to eliminate the
necessary preliminary discussions and preparation. The author has found
it of material help to meet the foremen of all the classes at hours
other than their regular class hour and discuss such topics as "Securing
Cooperation," "Instructing Workers," "Maintaining Cleanliness and
Order," "Records and Reports," "Inspecting Work," "Routing Material Thru
Shop," "Care of Stock," etc.
Details regarding construction and assembling should be worked out by
the instructor beforehand, and also developed with the class as the work
progresses. Care should be taken that plans are carefully made regarding
the storage of stock and unfinished parts.
The old saying, "An ounce of prevention is worth a pound of cure," is an
old one, but a good one.
#9. Bazaars, Toy Sales, Etc.#--The plan of selling toys, that are made
in the school shop, to the boys and girls of the school is a plausible
one. It can very easily be accomplished in the form of bazaars,
exhibitions, or school toy sales.
The writer has had a number of samples of different toys made and put on
exhibition, and orders taken, requiring a deposit on each order. These
were then turned in to the shop department and the toys made on the
productive plan.
The boys in the shop would receive school checks, Fig. 7, for the total
number of points that they earned for the semester. These checks could
then be used by them towards the purchasing of any of the toys that were
put on sale; a certain number of points required for the purchase of
different toys.
[Illustration: Fig. 7. Credit check, based on number of points carved]
This plan was made possible by adding on to the number of orders
received an additional number equal to the number of boys in the shop.
For example, twenty-four orders for toy milk wagons were received by a
class of twenty-four boys. Then instead of making twenty-four toy milk
wagons we doubled the number and made forty-eight of them. The price
that was figured on for the twenty-four orders would more than cover the
cost of material for the other twenty-four articles that the boys would
be able to buy with their earned checks.
CHAPTER II
COLORING TOYS
#10. Sanitation Emphasized.#--All application of color to toys should
carry with it a realization that toys are meant primarily for children
and that all paints should therefore be free from poisonous compounds.
All paints used should be of good quality so that it will not come off
easily to discolor the hands or tongues of children who cannot resist
the temptation of sticking everything possible into their mouths.
#11. Preparation of Surfaces.#--Wooden toys may be finished quite bright
and in various colors.
Before applying the color it is absolutely necessary that every part of
the toy has been thoroly sanded. Where sanding is done by machine, care
should be taken not to sand the wood too much. Many difficulties may
arise from too much as well as from too little sanding. In hand sanding,
the use of a block 2½" × 3½", to which is glued a piece of cork,
is recommended.
#12. Application of Water Colors.#--Toys may be colored by the use of
different materials and by various methods. Kalsomine colors, opaque
water colors, variously known as show card colors, liquid tempera, and
letterine,--all come under the heading of water colors. All but the
kalsomine may be obtained in small jars and ready for use. Kalsomine
colors come in powder form in various colors and may easily be prepared
by mixing with water and a little glue to bind the parts together. They
are much cheaper than the ordinary forms of transparent and opaque water
colors. They may be applied with the ordinary water color brushes.
After a coat of water color has been applied to the toy, it may be
necessary to remove the rough parts with very fine sand paper. Care
should be taken not to "cut thru" when sanding.
To preserve and protect the water color on the toy a coat of white
shellac may be applied. If a more durable finish is desired a coat of
good clear varnish over the shellac will serve the purpose.
#13. Analine Water Stains.#--For general finishing of toys analine water
stains will produce excellent results. They are known for their ability
to penetrate the wood deeply and the ease with which any shade can be
produced. Water stain raises the grain of the wood more than any other.
This makes it necessary to sandpaper down the raised grain until smooth
and then proceed with the shellacking and varnishing until the desired
results are obtained.
In preparing analine water stains, only analines that are soluble in
water are used. Place an ounce of the analine to a quart of hot or
boiling water, pouring the water over the dye-stuff and stirring
meanwhile with a wooden paddle or stick. Soft water is the best. In
about an hour the dye may be filtered thru a piece of fine woven cloth.
As metal is apt to discolor the dye, it is better to use a glass
container. If the prepared solution is too strong it may be diluted in
more water. Use hot water for diluting the stain.
The work with water stain must be done quickly in order to obtain a
uniform coloring on the surface. Water stains are used a great deal
where the dipping process is employed in the finishing of toys. A hot
dipping stain is preferable to a cold dipping stain, first, because it
penetrates more readily and second, because it dries quicker.
#14. Formulas for Analine Water Stains.#--(Stock Solutions).
_Red_: Rose benzol five parts, water ten parts.
_Rose Red_: Dissolve 3 oz. Rose Bengal in 5 pints of water.
_Blue_: (a) Dissolve 1 oz. of the best indigo carmine in 8 oz. of
water. (b) Prussian blue dissolved in water.
_Dark Blue_: Dissolve 3 oz. Bengal blue in 3½ pints of boiling water,
and stir and filter the fluid in ten minutes time.
_Green_: Mix Prussian blue and raw sienna in such proportions as will
give the desired color. Mix in water.
_Brown_: Dissolve 3 oz. of Bismark brown in ½ gal. of water.
_Yellow_: Auramine 4 parts, sulphate of soda 10 parts, mixed in water.
_Black_: Nigrosine black, four ounces, dissolved in one gallon of
boiling water.
When wanted for use, these analines may be diluted with water. The rule
is, an ounce of analine to the gallon of water to form a working stain.
Or to a pint of the stock solution, as it is called, you may add three
pints of water.
#15. Oil Stains.#--It will be found that quicker work can be done with
oil stain than with water colors. For that reason, oil stains are also
used a great deal as a dipping stain. In preparing oil stains, the best
mineral or earth pigments to dissolve with turpentine are Van Dyke
brown, chrome green, burnt and raw sienna, and lamp black.
#16. Shellacking.#--There are two kinds of shellac, orange and white.
The white shellac is orange shellac that has been bleached. The purpose
of shellac as commonly understood is to give a quick coat over the
stain. The thin coat formed serves as a protector for the stain and also
as an undercoater for the following coat of varnish. In this way at
least one coat of varnish is eliminated and a great deal of time saved
because the shellac dries within a few minutes. To thin shellac use
denatured alcohol.
On cheaper toys a coat of shellac only may be used as a covering for the
color stain. If orange shellac is used it will be found that it effects
the color of the stain used. White shellac also produces a slight change
in color and for this reason many working with toys will use a good
clear varnish instead.
#17. Varnishing.#--Two or three coats of varnish will produce a very
durable finish. The first coat of varnish ought not be quite as heavy as
the succeeding coats. If the varnish is of extra heavy body it should be
reduced slightly for the first coat. The best varnish reducer is thin
varnish. To prepare this reducer, take one part varnish (the same
varnish to be reduced), and two parts of turpentine. Shake these
together well and let stand twenty-four hours before using. This will
reduce the consistency of the varnish without tearing down the body as
pure turpentine would. The first coat of varnish should be allowed to
dry thoroly before the second coat is applied.
Oil varnishes made from good hard gums, pure linseed oil, and
turpentine, are the most valuable. In using turpentine to thin varnish
care should be taken that adulterated turpentine is not used. To play
the game safe it is advisable to use a little benzine, for it will not
injure the varnish, but will evaporate entirely, and not flatten the
varnish as turpentine does.
#18. Points on Varnishing.#--(1) The less varnish is worked under the
brush the better its luster. (2) Use clean brush and pot, and clean
varnish. See that the surface is clean before beginning to varnish. (3)
Allow a coat of varnish plenty of time for drying until it becomes hard.
#19. Colored Varnish.#--Colored varnish is that in which a proportion of
varnish is added to the pigment and thinned. The base is usually an
earth color such as ochre, sienna, venitian red, Van Dyke brown, umber,
lamp black, etc.
With this the work can be done in one coat. This method of finishing is
usually employed on the cheaper class of toys where it isn't advisable
to apply an expensive finish.
#20. Another Suggestion for Finishing.#--Tint a gallon of benzine or
gasoline with chrome green, chrome yellow, and vermilion, ground in
Japan until the desired shade is obtained. This formulae is especially
good for dipping purposes.
#21. Use of Paint.#--Although paint can be bought ready prepared and in
any color, as has been stated, it is advisable to have the students mix
their own colors and choose their own color scheme.
#22. Ingredients of good Paint.#--The best paints are usually made by
mixing together white lead, linseed oil, pigment of the desired color
(colors ground in oil), and a drier.
While white lead is sufficient as the pigment for white paint, a better
result is obtained by mixing zinc oxide with the white lead. These two
substances have the convenient property of balancing each other's
disadvantages. For instance, zinc oxide has a tendency to crack and to
peal, which is overcome by the tougher coating formed by the white lead.
Again, when white lead is exposed to light and weathering, it becomes
chalky, which fault is remedied by the property possessed by zinc oxide,
of remaining hard.
The linseed oil used is obtained from flaxseed by pressing the thoroly
ground seed. About twenty-three gallons of oil can be obtained from one
bushel of the seed. By boiling the oil with lead oxide or manganese
oxide it can take more oxygen from the air, and thereby its drying
powers are increased.
Driers are substances that absorb oxygen from the air and give part of
it to the oil. The raw linseed oil absorbs the oxygen from the air very
slowly, but the addition of turpentine is a great aid in overcoming this
defect.
To insure the best results in painting, one must first consider the kind
and condition of the surface to be painted, and to what use the toy will
be put; then decide on the proper composition and consistency of the
paint.
#23. Application of Paint.#--In applying the paint to the toy the first
coat should be thinned. This will act as a primer or undercoat for the
succeeding coats of paint. Care should be taken that plenty of time is
allowed between coats for the paint to dry thoroly. Three coats of paint
will produce a good finish.
#24. Preparation of surface.#--All woodwork must be sanded and thoroly
dry before any paint is applied. Care should be taken to see that all
knots and sappy streaks shall be covered with a coat of orange shellac.
Then apply the first coat.
After the priming coat of paint is thoroly dry, putty up all knot holes,
dents, cracks, and other defects in the surface with a pure linseed oil
putty composed of equal parts of white lead and whiting. When putty is
dry, proceed with the other coats.
#25. Tinting Materials.#--Formulas for making tints are to be followed
only in a general way. Make some allowance for slight variations in the
strength and tone of different makes of colors. Chromes and ochres vary
noticeably. Weigh out your color and add it gradually, not all at once,
noting the effect as you go. When you reach the desired shade, stop,
regardless of what the formula calls for. Turpentine and dark driers
will slightly alter shades. Make allowance for this.
#26. Mixing Paints.#--Faulty mixing, even with the best of materials, is
not likely to make durable paint. The important thing is to give the
lead and oil a chance to incorporate themselves in that close union
which they always make if allowed to do so. The following directions
give best results. The order is important.
(1) Break up the white lead with a paddle, using only enough oil to
bring it to the consistency of colors in oil.
(2) Add your colors for tinting. Coloring matter added after the paint
has been thinned is likely to break up in lumps which leave streaks
when brushed out.
(3) Put in drier.
(4) Add remainder of oil, stirring well.
(5) Last of all, put in turpentine.
Thinners help only the flow of the paint never the quality.
To strain paint thru cheese cloth before using will be a safeguard
against lumpy colors and streakiness. Paint also spreads further if
strained.
#27. Paint Formulas.#--As most toys are exposed to the weather a great
deal, the following formulas are recommended. These take no account of
tinting materials.
(a) Priming Coat:
25 pounds pure white lead
1 gallon pure raw linseed oil
½ gallon pure turpentine
¼ pint drier, free from rosin
(b) Body Coat:
25 pounds pure white lead
3/8 gallon pure raw linseed oil
3/8 gallon pure turpentine
¼ pint drier, free from rosin
(c) Finishing Coat:
25 pounds pure white lead
1 gallon pure raw linseed oil
¼ pint pure turpentine
¼ pint drier.
One must exercise his own discretion in using a larger or smaller
quantity of oil according to whether the wood is oil absorbing, as white
pine, poplar, and basswood, or less permeable, as yellow pine, cypress,
spruce, and hemlock.
#28. Formulas for Making Tinted Paint.#--Any color or tint may be
obtained by varying the addition of tinting colors. These tinting colors
are called "colors in oil." The colors should be added to the white lead
before the paint is thinned.
To twenty-five pounds of white lead ground in oil add colors in oil as
follows:
Medium Blue Slate 3½ oz. lamp black
Gray Blue ¼ oz. lamp black
1 oz. Prussian blue
¼ oz. medium chrome green
Dark Drab 5 lbs. French ochre
½ lb. lamp black
¼ lb. Venitian red
Dark Slate 2 oz. lamp black
3 oz. medium chrome yellow
Dark Lilac 1 oz. lamp black
5 oz. Venitian red
Lilac ½ oz. lamp black
1½ oz. Venitian red
Forest Green 1½ oz. lamp black
8 lbs. light green
5 oz. medium chrome yellow
Buff 1½ lb. French ochre
3/8 oz. Venitian Red
Cream 5 oz. French ochre
Sea Green 3/8 oz. lamp black
½ oz. medium chrome green
1¼ oz. medium chrome yellow
Where tinting colors are used in sufficiently large quantities to alter
the consistency of the paint, add one-half as much linseed oil and
turpentine, by weight, as you add tinting material.
#29. Enameling.#--When using enamel as a finish for toys, care should be
taken that the surface of the toy is in proper condition. To obtain good
results proceed as follows: Give the wood a coat of shellac. Sand
lightly and dust. The following coat should consist of part of white
paint and one part of the enamel to be used. This coat should be
slightly tinted with the finishing color, if the finishing coat is not
white. Allow twenty-four hours for drying thoroly; then sand with
No. OO sand paper. Next apply a coat of enamel of the color desired for
the finished work. (Enamels may be tinted with colors ground in oil.)
Should the enamel not work freely, add a spoonful of benzine to a gallon
of enamel. Turpentine may also be used as a thinner for enamel.
A better finish of enamel consists of two coats of paint before applying
the enamel. This gives it a stronger body and of course makes it more
durable.
Because of its durability and for sanitary reasons enamel is the most
desirable finish for toys. Its glossy finish is attractive and very
appealing to children.
#30. The Dipping Method.#--When a considerable quantity of toys is to be
finished, the problem to be faced will be the cost of application of the
paint rather than the cost of the paint itself. The dipping process,
(immersing the material to be covered) is found to be the most
successful, especially in toy making, where so many small parts are
used.
Many of the small pieces made can be subjected to the dipping process at
quite a saving of time and labor, with probably better results than
where the application of paint or stain is done with a brush.
The success of the dipping process depends on the arrangement adopted
for holding the toys while the actual dipping is done and while they are
drying. Here the exercise of a little ingenuity on the part of the
students and teacher, will overcome most difficulties.
Supposing that a number of checkers, or handles, or small wheels are to
be stained. A dipping frame as shown in Fig. 8 could very easily be
prepared. You will notice the screen tray (which is removable), and the
tin sheet which slopes towards the container. The small pieces to be
stained can be handled in wire baskets with mesh just small enough so
that the pieces will not fall thru.
The wire basket is then immersed in the container and worked up and
down, so that the liquid will penetrate and touch all pieces. It is then
pulled up and swung over the screen tray, where the contents of the wire
basket is dumped. Here, the superfluous paint will drip off on the tin
sheet, which, because of its slope, will cause the superfluous paint to
flow back in to the container. Fig. 9 shows the dipping frame in use.
The screen tray can be removed and placed in a rack to allow for further
drying. Several trays could then be made and a rack to hold them could
very easily be constructed.
The paint used for dipping purposes must so be prepared that too much
does not run off or too much stay on, for this is surely one way to
spoil the work. It should be thinned to the right consistency and care
should be taken that the thinners used are of the best quality.
Where larger pieces of work are to be dipped, wire attachments could be
devised and each part hung separately over the dipping frame until ready
to be placed in a rack. If the wire attachment forms a hook on one end,
it will be possible to hang up the toy until drained and dried. In
removing the toy from the paint it should be drawn out very slowly so
that the surface of the paint may be left as smooth as possible.
Where one desires line effects on toys, these may be lined in afterwards
with a small size striping brush or sign painter's pencil.
[Illustration: Fig. 8. Dipping frame]
[Illustration: Fig. 9. Using the dipping frame]
#31. Polishing by Tumbling.#---Excellent results in polishing large
quantities of small pieces, may be obtained by tumbling. The material to
be polished should be thoroly dry. The parts are then placed in a
tumbler as shown in Fig. 10. Cut up paraffine wax into small pieces,
using about one-fourth pound to each tumbler full of toys. Allow these
to tumble several hours. This will distribute the wax evenly over the
parts and produce a polished surface.
The tumbler as shown in Fig. 10 is turned by hand, altho it could very
easily be placed in a lathe, where one is available.
#32. Care of Brushes.#--A suitable place should be provided for brushes
that are not in use. A tin-lined keeper is recommended. Brushes should
be suspended so that their bristles will not touch the bottom of the
keeper, and have the liquid in which they are kept come well up over the
bristles, so that none of the paint or varnish may dry in the butt of
the brush.
#33. Paint Application by Means of Compressed Air.#--In recent years,
great advancement has been made in the application of paint by means of
compressed air. The early use of pneumatic painting equipment was
confined almost exclusively to the application of finishing materials
such as japans, enamels, lacquers, varnishes, etc., on manufactured
products. But in the past few years improvements have been made which
eliminate all of the difficulties originally experienced and make
possible the use of this method for interior and exterior painting, such
as buildings, ships, etc.; and at present, a large portion of factory
maintenance work is done in this manner. Excessive fumes have been
eliminated and all materials can be applied without removing the
volatile thinners, solvents, binders, etc., thru air reduction. This is
brought about thru the use of low pressure and the perfection of
ingenious patent nozzles and other improvements.
[Illustration: Fig. 10. Tumbler for polishing small pieces]
#34. Uses of Pneumatic Sprayers.#--Pneumatic paint sprayers, or air
brushes, are extensively used in the manufacture of toys, furniture,
automobile bodies, sewing machines, telephones, electrical equipment; in
fact, very nearly all manufactured products, as well as on ships,
structural steel and iron work, bridges and buildings.
The speed of the air brush is very great compared with hand-brush work.
Usually, an air-brush operator will accomplish as much in one hour as a
hand or bristle-brush worker will in one day; and it is possible to
obtain an even coating, free from sags, runs or brush-marks and better
results are obtained than with the hand brush method. A film of paint
can be applied in one operation equal to two hand-brush coats, as it is
not necessary to reduce paints by thinning as much for air brush
application, in a great many instances, as is the usual practice for
hand-brushing. The air sprayer can also reach places inaccessible to the
hand brush, and a perfect coat can be applied over rough, uneven
surfaces, which could not be obtained by hand-brushing.
In considering pneumatic painting equipment, the most important thing to
be kept in mind is the proper application of materials. This can be
successfully accomplished only thru the use of compressed air at low
pressures. By this is meant using only sufficient main-line air to lay
the paint, enamel, varnish or whatever finish may be used, on the
object. Excessive pressure results in fumes, waste of material and air
reduction taking place. By air reduction is meant the removal of the
more volatile solvents, thinners, binders, etc., thru evaporation, and
the material thus loses its adherent and coherent properties.
Both types of air-brush equipment illustrated here require three cubic
feet of air per minute to operate and the pressure necessary depends on
the density, consistency or viscosity of the material used. For example,
undercoaters, japans, etc.; require from twelve to fifteen pounds of
pressure to apply perfectly; while enamels and varnishes take from
eighteen to twenty-five pounds. Water stains require about five pounds
of pressure.
#35. Construction of Pneumatic Painting Outfit.#--A pneumatic painting
outfit for finishing work consists essentially of an air brush, either
of the attached-container type or the gun-type with separate paint
tank, and a small compressor of sufficient capacity to operate the air
brush, which can be belt-driven from shafting or direct connected. An
exhaust hood with fan, for the removal of fumes, is advisable where the
operation is reasonably continuous and especially where lacquers are
used. The paint, ready for application, is poured into the tank; and the
compressed air line leads to the tank with a branch line for air and
paint from the tank to the nozzle of the gun type of machine; while only
the air line is required with the attached-container type.
The air hose used is 5/16" in diameter while the paint or fluid hose is
the same size. The paint hose is made of a special compound to resist
the action of the thinners, solvents, etc., used in the paint; and it is
important to have this correct, so that the lining will not disintegrate
and clog the air brush or gun.
Fig. 11 shows a five-gallon container type. It will be noticed that the
fluid connection is nearest the nozzle and that the air connection is at
the bottom of the grip.
#36. Special Attachments for Different Surfaces.#--A cone nozzle is
furnished for painting irregular surfaces and a fan nozzle for wide,
flat work. Adjusting and locking the nozzle regulates the degree of
atomization. The jets of the fan nozzle are depressed to prevent being
knocked out of alignment. Final regulation of the flow of material is
made on the back of the gun, independent of the pressure on the material
container. A wide variety of adjustment is possible with this positive
regulation.
The first pull on the trigger gives air only, which can be used for
dusting ahead of the work; and as the trigger is released, the air valve
closes last, which prevents clogging and dripping. When adjustments have
been made the trigger action is the only moving part of the machine.
Figs. 12 and 13 show the five-gallon container type in actual use.
#37. Cleaning Pneumatic Machines.#--It is not necessary to take the gun
apart nor disconnect the hose to clean the machine. Thinner can be run
thru the device without loss by placing a small can of reducer of the
last material used in the machine, and forcing it thru in the usual
manner.
[Illustration: Fig. 11. A five-gallon air brush outfit]
#38. Directions for Cleaning Machine.#--Close right-hand Air Valve and
open release valve. Unscrew air nozzle a few turns. Obstruct outlet with
thumb and pull trigger. Spraying pressure is thus forced thru gun and
fluid hose and the material backed into the container. It is advisable
frequently to run thinner thru the machine as follows: (1) Place small
can of thinner in center of container directly beneath fluid tube. (2)
Replace cover and tighten wing-nuts. (3) Close left-hand air valve and
open right-hand air valve. Pressure on container will force thinner thru
the machine and clean perfectly without loss. Do not use spraying
pressure in cleaning. The thinner can be used again for either cleaning
or thinning purposes.
[Illustration: Fig. 12. Using pneumatic paint sprayers]
#39. Directions for Operating Pneumatic Equipment.#--
1. Attach main-line air hose to air filter.
2. Attach fluid hose to connection marked "Fluid" on tank and to the
front connection near air nozzle on hand-piece.
[Illustration: Fig. 13. A five-gallon outfit in actual use]
3. Attach air hose to connection marked "Air" on cover and to the handle
connection on hand-piece.
4. Thoroly mix and strain material so that it is entirely free from
skins, lumps, and foreign materials.
5. Tighten wing-nuts until paint container is air-tight.
6. See that release valve is closed. Then open right-hand air valve,
turn fluid-pressure regulator until gage shows 5 lbs. pressure in
container. Pull trigger and use fluid regulator on gun to control the
flow. If material is heavy, increase pressure in container.
[Illustration: Fig. 14. Attached container type of sprayer]
7. Open left-hand air valve and turn spraying pressure regulator until
sufficient pressure (5 lbs. to 25 lbs.), is obtained to lay the material
on.
8. Make final adjustment of the flow of material with fluid regulator on
back of hand-piece and get proper spray by adjusting the air nozzle.
9. Spraying pressure and pressure in the container depends upon the
density of the material used and the size of the surface to be coated. A
little experimenting on the part of the operator will determine the best
pressure to use. When the fan nozzle is used, 3 to 5 lbs. more pressure
should be applied to the material container and from 5 to 8 lbs. more
atomizing or spraying pressure used.
Fig. 14 shows a complete attached container which operates on
identically the same principles as the type shown in Fig. 11. It
consists of a 1½ pint container, reducing outfit, compressor, and air
tank. The 1½ pint container as shown in Fig. 15 is supplied complete
with two fluid tips, gasket, agitator tube, cup-holder, hose union, and
six feet of air hose.
The reducing outfit in Fig. 16 consists of a regulative valve, an air
gage, and an air filter, complete with connections and fittings. This
outfit is for the purpose of maintaining an even low spraying pressure.
Regulated pressure is applied to the air-tight material container,
raising the coating material to the nozzle where only sufficient
main-line pressure is used to lay the coating on. The spraying pressure
necessarily depends on the density, consistency and viscosity of the
material used.
[Illustration: Fig. 15. A one and one-half pint container and parts]
For fine finishing work, where the quantity of materials used each day
is not great, or where the colors are changed frequently, the attached
container type is recommended.
#40. Preparing Colors.#--The three primary colors are red, blue and
yellow. With the three primary colors at hand, almost every variety of
color desirable for ordinary use can be easily prepared. Fig. 17 shows a
color chart.
Red mixed with yellow will result in orange.
Red mixed with blue will result in purple.
Yellow mixed with blue will result in green.
The colors obtained by mixing any two primaries are called secondary
colors. Therefor the secondary colors are orange, purple and green.
Orange mixed with purple will result in brown.
Orange mixed with green will result in olive.
Purple mixed with green will result in slate.
The colors obtained by mixing any two secondaries are called tertiary
colors.
The tertiary colors are brown, olive and slate.
Of course different tones of each color can be made up by mixing unequal
proportions.
[Illustration: Fig. 16. Reducing outfit]
[Illustration: Fig. 17. Chart showing proportions required for standard
colors]
CHAPTER III
COMMON WOODS USED IN TOY MAKING
#41. Economy in Selecting Material.#--Economic use of materials should
be encouraged at all times. Toy making offers an excellent opportunity
where economy may be taught in the most practical way.
Where toys are to be painted, more than one kind of wood may be used in
the same toy and thereby using up small pieces of wood that would
otherwise be called scrap. Yet, it is not advisable to sacrifice the
strength and durability of the whole toy for the sake of using up a
piece of scrap wood which weakens the particular part of the toy where
it is used. For that, in the long run, is not economy.
#42. Qualities of Different Woods Used.#--The following are some of the
common woods used in toy making.
Maple: hard, fine grained, compact, tough, used for wheels, axles,
handles, dowel rods, etc.
Ash: white, strong, open grained, easily worked; used for bodies of
coasters, wheels, axles, oars, etc.
Oak: hard, firm and compact, strong and durable, hard to work.
Birch: moderately hard and heavy, even grained; difficult to split, but
easily worked.
Chestnut: resembles oak in appearance, is much softer, moderately hard,
course grained, not strong, but durable.
Cypress: moderately hard, very fine and close grained, virtually
indestructable; known as "the wood eternal".
Basswood: white, light, soft, tough, closed grained, easily worked, not
strong, but durable; used for almost any part of a toy where much
strength is not required.
White Pine: very light, soft, close and straight grained, inferior; easy
to work.
Yellow Pine, yellowish, grain noticeable, harder than white pine,
stronger.
Tulip (yellow poplar): light, soft, close and straight grained; tougher
than many woods equally soft, compact, not very strong or durable,
easily worked.
Spruce: straight growing, light, straight and even in grain, tough,
elastic, easy to work.
CHAPTER IV
USE OF JIGS AND FIXTURES
#43. Value of Jigs and Fixtures.#--The use of jigs, fixtures, and other
labor-saving devices is an important factor in illustrating industrial
and practical applications in the school shop. It is advisable to let
each group of boys work out its own jig or fixture for the particular
job they have on hand.
The three most common forms of jigs are cutting jigs, boring jigs, and
assembling jigs. The important reasons for the use of such devices are:
(1) They illustrate the speed of output in shop work. (2) They give the
student a good idea of machine operation. (3) They help in making the
parts interchangeable. (4) They offer an opportunity for getting first
hand information on cutting edge tools and their proper uses. (5) They
show the boy the value of the use of jigs in factory work.
The toys illustrated in this book have many simple operations, such as
cutting stock to length, drilling holes, surfacing, etc., that can be
easily done by the use of the proper fixtures.
For that reason toys are desirable projects to be made by the productive
plan. Fig. 18 shows the use of a jig and the miter box.
#44. Cutting Small Wheels.#--A circle of the desired size wheel may be
laid out on the wood with the aid of a compass, and cut in the outline
with a coping saw or band saw. Of course, it would take quite a long
time by this method to make the small wheels in large quantities and
besides the result would not be as good as when the wheels are made by
machine.
#45. Turning Wheels.#--Another way to produce wheels is to turn a
cylinder to the required diameter, on the turning lathe. Then cut the
cylinder on the circular saw into required thicknesses of wheels
desired. This method is recommended for quick work.
[Illustration: Fig. 18. Production of toys by use of jigs]
If it is desired to round the end of wheels the operation can be done by
leaving the cylinder in the lathe and applying the broad side of the
skew chisel as shown in Fig. 33. The wheels may then be polished with a
cloth after they have been sanded and while rotating in the lathe as
shown in Fig. 34. In sanding, use first a fairly course grade of
sandpaper, No. 1 or 1½ and afterwards a fine grade, No. O or OO.
Before applying the cloth the wood may be varnished lightly while the
lathe is not running, taking care to wipe off all the surplus varnish.
The varnish will assist in giving the surface a fine polish when the
cloth is applied. For further explanations of the use of the turning
lathe, see Sec. 55.
#46. Use of Wheel Cutter.#--Still another method of making small wheels
is by use of the wheel cutter as shown in Fig. 19. This wheel cutter may
be used in the ordinary bit brace. Good results may be obtained where
the wheels are made out of thin, soft wood.
This wheel cutter is known on the market as a leather washer cutter. If
one cannot be obtained it can easily be made in the school machine shop
at a small cost. Fig. 20 shows a drawing of a wheel cutter.
You will notice that the blade can be adjusted to cut any diameter
desired.
#47. Use of Coping Saw.#--Where a band saw is not included in the shop
equipment, many articles such as animal forms and small wheels could
very easily be cut out with a coping saw.
[Illustration: Fig. 19. Wheel cutter in use]
A saw board, as shown in Fig. 21 should be fastened to a table top with
an iron clamp; or, a saw board made to fasten in a vise may also be
used.
[Illustration: Fig. 20. Details of a wheel cutter which may be made in
school]
When cutting out the toy part, the coping saw should be held in a
vertical position as shown in Fig. 22, and in an up-and-down motion,
with short fast strokes, following the outline carefully. Cut on the
line. Do not press hard on the saw for the blade is very thin and can
very easily be broken, but it should last a long time if used correctly.
[Illustration: Fig. 21. Clamping the saw board to the bench]
[Illustration: Fig. 22. Correct method of holding coping saw]
#48. Cutting Sharp Corners.#--When cutting a sharp turn in the wood with
the coping saw, care should be taken not to twist the saw blade out of
shape. Upon reaching the sharp turn, continue the up-and-down motion,
but without doing any cutting; turn the wood very slowly until you have
made the complete turn, then continue with the sawing and follow the
rest of the outline carefully.
[Illustration: Fig. 23. Removing the saw-blade]
#49. Removing the Saw-Blade from Frame.#--To remove the saw-blade from
the frame, place the head of the frame against the table top as shown in
Fig. 23. Pressing down on the handle will release the saw-blade. When
inserting the blade into the frame the same method may be followed,
being careful that the teeth of the saw-blade point toward the handle of
the frame. The blade may be put in the end or the side slots of the
frame, using the side slots only when the end slots will not serve the
purpose.
#50. Making Heavy Wheels.#--In turning heavier wheels that are to be
used for coasters, kiddie cars, etc., the work is done with the head
stock only, the wood being supported by the screw-center chuck or face
plate.
In turning the wheel the first step is the scraping cut as shown in Fig.
24. This cut is properly made with the concave chisel held in such a
position as to give a light scraping cut. Care should be exercised not
to allow the chisel to extend too deeply, otherwise the material will
chip with the grain.
After the desired circumference has been obtained the surface should be
worked to the desired form as shown in Fig. 25. This is accomplished by
using the lathe rest, set at right angles with the bed or parallel with
the face plate. The illustration in Fig. 26 shows the use of the
dividers in marking off the position of the various corrugations in the
wheel that is being turned. The sanding should be done while the wheel
is in the lathe. Use first a fairly course grade of sand paper and
afterwards a fine grade, No. O or OO.
#51. Designs for Wheels.#--Suggestions for wooden toy wheels are shown
in Fig. 27. Those numbered 1, 2, 3, 4, 5, 6, and 7 are plain wooden
wheels varying in design only. No. 8 and 9 are re-enforced with zinc and
large iron washers. No. 10 shows a segment of an iron pipe fitted in the
center of the wheel to prevent wearing away of material. No. 11 shows a
spoke wheel. The spokes are made of dowel rods; these fitting into a hub
that can easily be turned out on the lathe. No. 13 shows a wheel built
in segments which is then cut out on the band saw to resemble a standard
spoke wheel. The rim is 1/8" steel, fastened to spokes with very small
rivets.
[Illustration: Fig. 24. Making heavy wheels. The scraping cut]
#52. Cutting Wheels on Band-Saw.#--A circle of the required size wheel
may be marked off on the wood with a compass, then cut in the outline on
the band-saw. This method will leave square corners and will be more or
less out of truth with the center of the wheel. To true up and smooth
the outside of the wheel the lathe attachment as shown in Fig. 28 can be
easily prepared. This attachment consists of a block _A_ fastened to the
lathe bed with a single bolt, and a stop _B_ fastened to the upper face
of the block _A_. The carriage _C_ is a loose piece the same thickness
as the stop _B_ and is provided with a dowel rod to fit the central hole
in the wheel. This dowel rod is so located that when the edge of the
carriage _C_ is tight against the edge of the stop _D_, the distance
from the center of the dowel rod to the face of the abrasive material
on the disk, will be equal to the radius of the finished wheel.
[Illustration: Fig. 25. Smoothing the side of wheels]
The wood is cut out on the band saw a scant 1/16" over-size in diameter,
and is then placed on the dowel rod in the carriage _C_ which is held
flat on block _A_ while the edge of the blank is brought in contact with
the grinding disc face by pushing the carriage forward with the left
hand while the blank is slowly revolved with the right. This grinding is
continued until the edges of stop _B_ and carriage _C_ will remain in
contact during a complete revolution of the wheel blank. During this
grinding process, the carriage should be moved back and forth from the
edge to the center of the grinding disc so that the wear on the abrasive
material may be equalized.
[Illustration: Fig. 26. Using dividers to mark for cuts]
A similar device used for chamfering the edges of the blanks is also
shown in Fig. 28, as it looks when viewed from the front of the lathe.
The preceding description will suffice for this as the same system of
lettering has been used. It differs only in that block _A_ is made to
set at an angle of 45 degrees instead of being level.
[Illustration: Fig. 27. Many ways of making wheels for toys]
[Illustration: Fig. 28. Simple attachments which may be made for lathe]
Grinding discs may be made either of metal or wood. Metal is preferable
but a hardwood disc fastened to a metal face plate will answer very
well. There are many methods of fastening the abrasing material to the
disc but the most convenient way is by the use of stick belt dressing.
The disc is coated with dressing by holding the stick against it as it
revolves and the abrasive is applied before the dressing has set. A pair
of dividers or trammels is used to cut the abrasive material to the same
diameter as the disc and it should be warmed on the uncoated side before
it is applied. It sticks tightly to the disc but is easily removed and
replaced with fresh material in a few minutes.
#53. Boring Holes in Wheels.#--The center holes in wheels may be bored
with bit and brace, but better results are obtained if the holes are
bored in the lathe. A drill chuck fitted to the live spindle and a
drilling pad for the tail stock spindle will be required to do this job
efficiently. The tail stock is locked fast and the wheel to be drilled
is placed against the drilling pad and fed up to the revolving bit by
turning the tail spindle feed wheel. This method will produce a cleaner
hole and one that is square with the wheel face.
CHAPTER V
OPERATION OF WOODWORKING MACHINES
#54. Importance of Machine Operations.#--A fair understanding of what is
the correct position to take at some of the principal machines such as
the lathe, universal saw, jointer, and sander, is very important to the
student in the wood-working department. Such knowledge is of special
importance to the one engaged in toy making, where every knowledge of
use of machines, is put to the test.
[Illustration: Fig. 29. The roughing cut]
[Illustration: Fig. 30. The sizing cut]
Sufficient examples are given to enable the student to arrive at a fair
understanding of the correct postures.
#55. Operating the Lathe.#--The lathe is perhaps one of the most
important machines used in toy making. It lends itself to unlimited
varieties of work and for that reason is really indispensible in the
shop.
[Illustration: Fig. 31. The paring cut]
In Fig. 29 the student is preparing to take the _roughing cut_ in
turning a cylinder. This operation consists of removing the corners of
the square piece and is done with the tool known as the _gouge_.
After the roughing cut has been taken, calipers set to the diameter
desired will determine the depth of the next cut, _sizing cut_. The
illustration in Fig. 30 shows the student performing this operation with
the _cut-off tool_.
[Illustration: Fig. 32. Using the cut-off tool]
When the correct dimension has been found, the next step in the process
of turning a cylinder is the _paring cut_ or finishing cut, Fig. 31.
This is done with the _skew_ or _bevel chisel_. A very thin shaving is
removed by this operation.
The ends are then cut by using the cut-off tool as shown in Fig. 32. It
is merely taking a slice off the end. If a very thin slice is to be
removed, it is usually made by the long point of the skew chisel. If it
is more than a quarter of an inch it should be _sized_ and then removed
by the skew.
[Illustration: Fig. 33. Making convex surfaces]
If it is desired to round the end of a piece or to produce a convex
surface the operation can be done by applying the broad side of the skew
chisel, as in Fig. 33.
#56. Face Plate Turning.#--The preceding paragraphs describe the process
of turning when the piece is supported between the live and the dead
centers. The processes shown in Figs. 24, 25 and 26, illustrate the
character of the work done with the head stock only when the piece is
supported by the screw-center chuck or face plate.
[Illustration: Fig. 34. Polishing wood in lathe]
The first step in face plate turning is the scraping cut, Fig. 24. This
cut is properly made with the concave chisel held in such a position as
to give a light scraping cut. Care should be exercised not to allow the
chisel to extend too deeply, otherwise the material will chip with the
grain. After the desired circumference has been obtained the surface
should be smoothed with the skew chisel.
[Illustration: Fig. 35. Cutting off stock]
[Illustration: Fig. 36. Fluting on circular saw]
Fig. 25 shows the student modeling a rosette, using the rest, set at
right angles with the bed or parallel with the face plate. Prior to the
modeling a shearing cut should be taken with the skew chisel to face
off the material to an even surface.
[Illustration: Fig. 37. Cutting with special fence]
The illustration in Fig. 26 shows the use of the dividers. The student
is marking off to a uniform scale the position of the various
corrugations in the rosette he is turning.
#57. The Universal Saw.#--The operations that can be performed on the
universal saw are so many that no attempt will be made to illustrate
them all here. But enough are given to show the characteristic
operations involved in cross-cutting, ripping, and dadoing,--the three
basic uses of a circular saw.
[Illustration: Fig. 38. Grooving, or ripping special work]
It is a more dangerous tool than the lathe and the guard should be kept
over the saw at all times, except of course, in dadoing when it can not
be used.
Figs. 35, 36, 37, 38, 39, illustrate the basic uses of a circular saw.
[Illustration: Fig. 39. Cutting segments]
[Illustration: Fig. 40. Surfacing board on jointer]
#58. The Hand Jointer.#--The great variety of work that can be done on a
hand jointer depends very largely upon the knowledge and skill of the
operator. It lends itself to so many operations, that the student gains
much in knowledge and efficiency.
[Illustration: Fig. 41. Cutting bevels on jointer]
The five operations shown in Figs. 40, 41, 42, 43 and 44, give a fair
idea of the scope of work that is usually accomplished on a hand jointer
and show something of the method by which the work should be done.
The jointer is another tool where the use of the guard should never be
omitted.
#59. The Sander.#--The sander is an interesting machine in the school
shop for on it considerable "forming" can be done as with the lathe,
altho its prime use is to make smooth or polish.
[Illustration: Fig. 42. Jointing the edge]
In Fig. 45 the boy at the left is forming a mitre while the one on the
right is smoothing surface.
[Illustration: Fig. 43. Rabetting on the jointer]
[Illustration: Fig. 44. Cutting miter joints]
[Illustration: Fig. 45. The machine sander in operation]
PART II.
DRAWINGS FOR TOYS
[Illustration: PLATE 1
_FOX and GEESE GAME_]
[Illustration: PLATE 2
_RING TOSS_]
[Illustration: PLATE 3
_BABY'S CART_]
[Illustration: PLATE 4
_HAY CART_]
[Illustration: PLATE 5
_Horse Head_]
[Illustration: PLATE 6
_HORSE ON WHEELS
For Milk Wagon_]
[Illustration: PLATE 7
_KIDO KAR TRAILER_]
[Illustration: PLATE 8
_AUTO ROADSTER_]
[Illustration: PLATE 9
_AUTO RACER_]
[Illustration: PLATE 10
_PASSENGER CAR_]
[Illustration: PLATE 11
_MILK WAGON_]
[Illustration: PLATE 12
_TABLE_
_Toy Furniture For Doll House_]
[Illustration: PLATE 13
_CHAIR and ROCKER_
_Toy Furniture For Doll House_]
[Illustration: PLATE 14
_BUFFET_
_Toy Furniture For Doll House_]
[Illustration: PLATE 15
_TOY WHEEL-BARROW_]
[Illustration: PLATE 16
_HORSE BARROW_]
[Illustration: PLATE 17
_DOLL'S CARRIAGE_]
[Illustration: PLATE 18
_NOAH'S ARK_]
[Illustration: PLATE 19
_"BEAN BAG" GAME BOARD_]
[Illustration: PLATE 20
_CHILD'S SWING_ #1]
[Illustration: PLATE 21
_CHILD'S SWING_ #2]
[Illustration: PLATE 22
_DOLL'S BED_]
[Illustration: PLATE 23
_DOLL'S BED_]
[Illustration: PLATE 24
_ADJUSTABLE STILTS_]
[Illustration: PLATE 25
_SCOOTER_]
[Illustration: PLATE 26
_STEERING COASTER_]
[Illustration: PLATE 27
_KIDO KAR & DETAILS_]
[Illustration: PLATE 28
_KID KAR JUNIOR_]
[Illustration: PLATE 29
_PONY KAR_]
[Illustration: PLATE 30
_DUPLEX SPEEDSTER_]
[Illustration: PLATE 31
_ROCK-A-DOODLE_]
[Illustration: PLATE 32
_SLED_]
[Illustration: PLATE 33
_"Sturdy Flyer" Sled_]
[Illustration: PLATE 34
_DUCKY LOO_]
[Illustration: PLATE 35
_DUCK ROCKER_]
[Illustration: PLATE 36
_JITNEY_]
[Illustration: PLATE 37
_JUNIOR ROADSTER_]
[Illustration: PLATE 38
_Details of JUNIOR ROADSTER_]
[Illustration: PLATE 39
_SENIOR COASTER & DETAILS_]
[Illustration: PLATE 40
_DETAILS OF SENIOR COASTER_]
[Illustration: PLATE 41
_AUTO-KAR_]
[Illustration: PLATE 42
_MOTO-KAR_
_CHOO-CHOO-KAR_]
[Illustration: PLATE 43
_Teetter-Totter_]
[Illustration: PLATE 44
_TEETER ROCKER_]
[Illustration: PLATE 45
_CHECKER BOARD_]
[Illustration: PLATE 46
_CHILD'S COSTUMER_]
[Illustration: PLATE 47
_BABY'S CHAIR_]
[Illustration: PLATE 48
_CHILDREN'S SAND BOX_]
[Illustration: PLATE 49
_SAND BOX #2_]
[Illustration: PLATE 50
_DOLL'S HOUSE-#1_]
[Illustration: PLATE 51
_DOLL'S HOUSE-#2_]
[Illustration: PLATE 52
_DOLL'S HOUSE-#2_]
[Illustration: PLATE 53
_DUMB BELL_
_INDIAN CLUB_]
[Illustration: PLATE 54
_BATS_]
INDEX
A
Auto kar, Plate 41, 104
Auto racer, Plate 9, 72
Auto Roadster, Plate 8, 71
B
Bats, base ball, Plate 54, 117
Bazaars, toy sales, etc., 19
Bed, doll's, Plates 22, 23, 85, 86
Boring holes in wheels, 53
Brushes, care of, 31
Buffet, Plate 14, 77
C
Car, baby's, Plate 36, 99
Car, passenger, Plate 10, 73
Cars, auto, motor, choo-choo, Plates 41, 42, 104, 105
Cart, baby's, Plate 3, 66
Cart, hay, Plate 4, 67
Carriage, dolls, Plate 17, 80
Chair & rocker, Plate 13, 76
Chair, baby's, Plate 47, 110
Checker board, Plate 45, 108
Check, credit, Fig. 7, 20
Coasters, Plates 26, 37, 39, 89, 101, 103
Coloring toys, 21
Sanitation emphasized, 21
Preparation of surfaces, 21
Application of water colors, 21
Analine water stains, 22
Formulas for analine water stains, 22
Oil stains, 23
Shellacking, 23
Varnishing, 23
Points on varnishing, 24
Color varnish, 24
Use of paint, 24
Dipping method, 28, 30
Polishing by tumbling, 31
Paint application by compressed air, 31
Colors, preparing, 39
Color chart, Fig. 17, 41
Contents, Table of, 5
Coping saw, use of, 45
Correlation, 7
Costumer, child's, Plate 46, 109
D
Doll's house, Plates 50, 51, 52, 113, 114, 115
Dipping frame, 29
Drawings for toys, 63
Dumb bell, Plate 53, 116
E
Enameling, 27
F
Foremen, shop, 11
Fox & geese game, Plate 1, 64
Furniture, doll, 75, 76, 77
G
Game board, "Bean Bag," Plate 19, 82
Game board, "Fox & Geese," Plate 1, 64
Grading students, 17
H
Horse head, Plate 5, 68
Horse on wheels, Plate 6, 69
House, doll's, Plates 50, 51, 52, 113, 114, 115
I
Indian club, Plate 53, 116
J
Jigs & fixtures, 43
Jointer, hand, 59
K
Kiddie kars, Plates 27, 28, 29, 90, 91, 92
L
Lathe, operating the, 54, 55, 56, 57
M
Machines, operating of woodworking, 54
N
Noah's ark, Plate 18, 81
O
Organization, plan for shop, 11
P
Paint, use of, 24
Ingredients of, 24
Application, 25
Preparation of surface, 25
Tinting materials, 25
Mixing, 25
Formulas, 26
Formulas for tinted paint, 26
Enameling, 27
Plan for shop organization, 11
Grouping students, 11
Time clerk, 13
Tool-room clerk, 13
Recording attendance, 14
Time-card rack, 14
Time cards, 15
Grading students, 17
Accomplishment sheet, 18
Preparation for shop work, 19
Pneumatic equipment, 36
Preface, 3
Productive work, 11
R
Ring toss, Plate 2, 65
Rocking chair, Plate 13, 76
Rocker, duck, Plate 35, 98
Rocker, ducky loo, Plate 34, 97
Rock-a-doodle, Plate 31, 94
S
Sand box, Plates 48, 49, 111, 112
Sander, 60, 62
Saw, universal, 58
Scooter, Plate 25, 88
Sleds, Plates 32, 33, 95, 96
Sprayer, pneumatic air, 31, 33, 34
Sprayer, directions for operating, 36
Speedster, duplex, Plate 30, 93
Stain, oil, 23
Stain, analine water, 22
Stilts, adjustable, Plate 24, 87
Suggestions to teachers, 7
Swing, child's, Plates 20, 21, 83, 84
T
Table for doll house, Plate 12, 75
Teeter-totter, Plate 43, 106
Teeter-rocker, Plate 44, 107
Time clerk, 13
Time cards, 15
Tool-room clerk, 13
Toy sales, 19
Trailer, kido-kar, Plate 7, 70
Tumbler, drawing of, 32
Tumbling, polishing by, 31, 32
V
Varnishing, 23
Varnish, colored, 24
Varnishing, points on, 24
W
Wagon, milk, Plate 11, 74
Water colors, 21
Wax polishing, 31
Wheel-barrow, toy, Plate 15, 78
Wheel-barrow, horse design, Plate 16, 79
Wheel cutter, 45, 46
Wheels, cutting small, 43
Wheels, designs, Fig. 27, 49, 51
Wheels, turning, 43
Woods used in toy making, 42
***END OF THE PROJECT GUTENBERG EBOOK ADVANCED TOY MAKING FOR SCHOOLS***
******* This file should be named 36815-8.txt or 36815-8.zip *******
This and all associated files of various formats will be found in:
http://www.gutenberg.org/dirs/3/6/8/1/36815
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://www.gutenberg.org/license).
Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org
1.E.2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.
1.E.3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation."
- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.
- You provide, in accordance with paragraph 1.F.3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.
- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www.gutenberg.org/fundraising/pglaf.
Section 3. Information about the Project Gutenberg Literary Archive
Foundation
The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.
The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
[email protected]. Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://www.gutenberg.org/about/contact
For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
[email protected]
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To
SEND DONATIONS or determine the status of compliance for any
particular state visit http://www.gutenberg.org/fundraising/donate
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations.
To donate, please visit:
http://www.gutenberg.org/fundraising/donate
Section 5. General Information About Project Gutenberg-tm electronic
works.
Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone. For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.
Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included. Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.
Most people start at our Web site which has the main PG search facility:
http://www.gutenberg.org
This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.
