How to Make an Engineer's Tool Cabinet: Part One

My Poppa was a tool maker, ending his working life at a technical college in Basildon, a place that sprung up over his lifetime from the fields he knew and loved. He was one of these wonderful squirrel type characters, who knew that almost anything was of use one day and hated the idea of throwing anything out. Small pieces of metal, cutters etc would invariably find their rest in the already overflowing black engineers tool cabinet and on inheriting it I had the tough task of trying to decided what I felt would one day be useful and what should go on to be recycled and turned into something else. I was aided in this by my general ignorance with regard to engineering and metal work in general and so the little cabinet was soon emptied and cleaned, only to then be swiftly commandeered by the other half as a sewing box.

A little while ago I stumbled on another one, this time unstained, sat in the window of a small antique shop. As with so many (my Poppa’s included) it had lost it’s door, but was in good overall condition and had been cleaned and polished by the shop owner. We agreed a price that was fair and I brought it home to reline the draws (which I detailed on a previous blog post) and then sold it using a rather well known auction website, to a costume designer working on a Sci-fi film who was delighted with it. However, before I sent it to it’s new owner I took some measurements and drew out rough sketches in the back of my notebook, thinking that making one would be a very enjoyable project and handy for keeping various craft tools in place and easily transportable.

So when I signed up to a furniture making course at my own local technical college I knew exactly what I wanted to make and I went along to the first session, notebook in hand, and tried to explain to the tutors what my ideas where and what the cabinet looked like. It’s is so often the imbalance of knowledge that gives rise to confusion and this was certainly the case here and on reflection a photo or two would have made things so much clearer; instead I watched as they tried to make sense of my little partial drawings, that were marked with the readings from the micrometer I had used to measure it to 0.1 mm accuracy. The sketches and figures made sense to me, because I knew where they had been taken from and I knew how the cabinet worked as I had a mental picture of the finished piece. The second week I am not sure if I improved the situation when I turned up rather late and flustered (although I was the only one who cared), with several pages of scale drawings that once again made perfect sense to me.

Hopefully you'll understand then why it came as a huge relief when last night at our third session, the main tutor, studying my drawings, said ‘I get what you are making now, this is going to be a lovely little cabinet’ and was positive and encouraging about me building it. However, I had drawn the cabinet to the same dimensions as the original, only to discover that the oak timber I had available was not wide enough and had decided that my new one would need to be much narrower. The tutor asked if I was wedded to the idea of using the oak I had taken in and, mindful that something more exciting might be in the offing, I said not particularly. This led to me being taken out through a series of rooms and into the timber store and shown a huge piece of mahogany at the bottom of a stack. ‘Why not make it out of that?’ he asked.

So, I have got to go back to the drawings, rather pleasantly and rework it not just to the original size, but on his suggestion a little larger so that the door fits cleanly in the bottom when in use. I’ll be documenting the progression of building it here and will publish the plans and photos of the finished cabinet; hopefully it will put a smile on the face of my Poppa and give me somewhere to poke the bits that are 'too good to throw away'!

In the meantime please do visit Adam Cherubini’s blog Arts & Mysteries where you’ll find him contemplating and building a very similar piece.

How to Replace the Felt or Baize in a Toolbox Drawer, Engineer's Cabinet or Jewellery Box

I bought an old Moore & Wright engineer's cabinet the other day, in oak. It's rather lovely, but missing its door and handle, which is a shame, but neither is crucial in a private workshop. However, the old felt had been removed from the draws and so I set about replacing it with some new lining. Along the way I learnt a bit, so thought I would pass it on in the hope that it might be of use to others. Whilst the example here is a little draw from the cabinet, the same instructions would apply for a cutlery draw, jewellery box etc. - indeed anything where the sides were straight and there was no complicated structure.

The chances are that as you have found this post you already have something that needs a new lining, but you know almost any old box, chest or cabinet can be rescued with a bit of sandpaper, a bottle of wax and some new felt; it will almost certainly be nicer than a modern mass produced thing and will represent another bit of the past saved and used (which is the best way of saving something like this). Good for the object, twice as good for the environment and just as good for your soul. What more can you ask?

Step-by-Step Instructions on How to Re-felt a Drawer or Box

Step 1: Here is the draw that I want to re-felt. It is important that it is free from any old lining or glue blobs, this is particularly true of the corners. If need be scrape these out with a craft knife.

We start by felting the sides and so measure the depth of the drawer and the length of the sides and front/back.

Step 2: Felt or baize is far from cheap and so it pays to think ahead as to how you are going to use your material. I did my first drawer, then once I was comfortable I cut all the sides out for the 4 identical small drawers, trying to make sure I had as little waste as possible.

You need to add 1mm or a slim 1/16" to the depth and 5mm or 1/5" to the width of each piece, to allow you to fit it exactly to the side you are working on - this is particularly important with old boxes or cabinets, where sizes might not be consistent. Indeed on a very 'rustic' item or large box you might need to add more than this.

Step 3: Once you have cut out your strip, mark with a pen what you intend to get out of it, this is particularly important if your cutting a number of strips in one go. Do this on the same side as you marked out for cutting, so you only have pen marks on one side. Here I had a piece that had 2 sides and 1 front or back piece in it.

Step 4: We start by doing the sides, rather than the front or back pieces. So take the right sized piece of felt and mark the side and the piece of felt with a number so that you know both which piece goes where and which way up it goes.

Step 5: Set the piece of felt in the drawer, so that the bottom sits on the bottom of the drawer. You should now see the extra width protruding from the top of the drawer (and it will show up poor cutting as it has here!). It is now a process of gradually removing thin slivers from the edge, until it meets the top of the draw. Try to do this from the top, so as to remove any final pen marks from marking out. Don't throw the waste slivers away - you might need these later!

As I say it is important that we go through this, cutting and matching each piece to each side, to ensure we get a good fit. The photo actually shows me fitting the back, but the process is exactly the same.

Don't worry that it doesn't look 'right' at this stage when you lay them in, they won't until you glue them.

Step 6: We now do the ends, again the photo shows me doing the back, but the process is the same for the sides. Quite simply reduce the length of the piece until it fits; do this in small steps. Obviously, as per the photo, you need to have the sides sitting there when cutting the front and back to length.

Step 7: How you glue the pieces in is really a matter of preference. You certainly don't want to get glue on the face side of the felt and, not being the most careful of people, I decided to glue the 2 sides, front & back and then wash my hands, before putting them in.

However, the inside faces of these draws are not sealed and the wood is very dry, so it was drawing the moisture out of the glue really, really quickly. For the larger draws I had to glue and place the four sides one-by-one. You'll just have to play about and see what works for you and the project you're working on. Whichever way you choose, a wet tissue and towel on hand it a good idea.

The most important bit of the face is the top lip and this will get the most wear as the drawer is used, so make sure you have plenty of glue here - I kept a thin dibber to hand so that I could add further glue as I was placing it.

I would like to have used a natural glue, but they are still on my 'to get to grips with' list, so this is simply PVA.

Step 8: Ensure that you have the right piece, the right way up and then carefully place the end into the corner. You follow the top edge, almost - but not quite - ignoring the bottom edge, smoothing it down with your fingers. You might well find that when you get to the other end the felt has stretched a little and that you need to trim it again. Do this for all four side pieces.

Step 9: With the two sides, the front and the back now done we turn our attention to the base. Either measure the internal area (again adding 1mm or a thin 1/6") or draw around the drawer. The only problem with the later is that you could waste quite a bit if the sides are thick. Mark one of the corners with an X and do the same on the back of the felt, so that you know what goes where. Fit the marked corner tight on both sides. You should be able to just push it under the felt on the sides, to give a nice tight edge - although don't worry too much at this stage as we'll be taking it out again.

Step 10: Once you have got it laid in tight use a ball point pen to mark off the excess. You don't want to push the tip into the corner, but instead rest the pen on the base. Try to mark it so that you cut on the inside of the line, removing all of the pen mark. Remove the base, cut and then do another trial fitting, adjusting as needed.

When gluing the base I found that it was helpful to put a piece of paper up against the sides to protect them from any wayward glue (or sticky fingers!). Smooth in the base felt, starting from the corner marked with the X. Push it under the sides with a finger nail or alike, to ensure a nice sharp edge. 

Step 11: Do you remember the little slivers I said not to throw away? Well just sometimes you'll find that the bottom edge of the side doesn't quite meet up with the base felt. In that instance you can carefully glue in one of these to hide it away. It's not perfect, but for 90% of jobs it will be close enough...

Finally sit back and marvel at your new draw lining! New baize really makes a huge difference and can transform a tired cabinet or box.

The Watering Girl Brooch

A couple of days ago I was browsing on Flickr and came across this lovely Bird Pendant, created by pratriciaolazo. We bought dad a Hobbies treadle saw last Christmas and, despite spending a long time restoring it, I have never actually got to grips with using it. Seeing this bird pendant inspired me to have a go at creating something similar, as I needed a present.

I had a couple of pieces of thin (2mm) oak that I had cut off a recent project that seemed ideal, even if oak is perhaps not the easiest wood to start out with. For my first attempt I used an image of a dove that I downloaded and cut out. However, looking at it afterwards I realised that some of the lines that were lost as a result of it being a silhouette meant that it was not very clear what it was (plus I split it in half trying to put the eye in!).

For my second go I rather fell in love with a Watering Girl image, but was very concerned about the level of details and tight corners. I decided that if I was going to give it a go I would just have to accept that my version in wood would be very different and just to be happy with that.

Second go, not so close to the lines this time...

First of all I printed out the picture twice; one to cut out and trace around and one to have as a reference during the later stages. Even at the cutting out stage I made some decisions about what detail to keep and what to loose and by the time I had then traced around this onto the wood the outline was much softer and rounder. Size wise she is 4.5cm (1½") tall and 3.5cm (1¼") wide.

On my first go at the lady I did what I had said I wouldn't do and that was try and cut it out accurately using the treadle saw. Invariably I wobbled and hit the line pretty early on – it is just too small. No matter, I simply traced another and this time stuck to my instinct that I should just cut the shape roughly and use files to refine it.

Starting to take the wood down to the line using files

Once I had the shape in rough I mounted the piece in the vice and started to bring the edges down to the line. Now I have inherited three sets of files; large, medium and small. I have never used any of them before and could not find the box of the small files, so had to make do with the medium sizes. These were way too big really, but I managed so must have learnt something along the way.

It goes without saying that the wood is very fragile, it is important to mount the figure as low down in the vice as possible, particularly for the arm and watering can. Touching the wood reduces the vibration, as does only cutting on the push stroke.

With the back shaped I started to work on the delicate arm.

You have to work slowly; either you have the time to make it, or you don’t. To rush it just wouldn’t produce a pleasing result. I was removing it from the vice regularly to check how it looked the right way up, before removing a little more. I also kept a copy of the original drawing to hand to reference it against. 

Then once I had got as close to the lines as could with the files I had I sanded the lines off and looked at it again, without worrying about the original drawing. What did my little girl look like? I did a few modifications to the face and then rounded the feet a little more, before finally rubbing it over with very fine wet & dry and mounting it on a pin. I thought about waxing or oiling it, but in the end left it as is - it will darken with age.

With the lines removed it is almost finished, just the face to refine.

I was really pleased with the result, it took me about 2hrs to make (including the failed one) – but it was definitely worth the effort. I am sure that practice would make the process quicker, as would the smaller files which I must find.

Anyway, my wife seemed pleased with her present and I might just have found another new favourite distraction...

 

Homemade Warping Frame

The completed warping frame with its first warp

We got our loom just before Christmas 2010; it is a Harrisville 36” loom with 8 shafts and 10 treadles. It belonged to someone who had come over from the states and then had to return, unable to take it back with them. Having cluttered up the bedroom of their friend for some time we saw an advert asking if anyone wanted it before it went to the dump... We jumped at the chance and have been the proud owners since. I cannot imagine that there are many Harrisville Looms in England as there is no distributor for them here.

That first Christmas we learnt to use it by weaving three scarves and two ties, which were given away as presents. These were made with a weaving book in one hand and the beater in the other, with the last one only being cut off and fulled late into the night before we set off to be with family. 

The frame is oak and
the pegs hazel

Given that we didn’t really allow ourselves much time to learn the process of weaving they came out quite well. However, one area where we did struggle was with the tension as we didn’t have a warping frame and so was using various Heath Robinson style contraptions involving chairs and sofas etc., none of which really worked satisfactorily.

I briefly looked at the Ashford warping frame, but at £75 ($120) pretty quickly dismissed it – not only on cost, but also because it was made in New Zealand and shipped over. I am sure that it is very nicely made, but it is only four bars with pegs coming out and so I set to making one. It has been an on/off project all through last year, but finally it is finished and we can return to weaving, as we haven’t touched it since the last scarf came off the loom that Christmas.

How to make a warping frame

Full plans for the warping frame can be download in .pdf by clicking here.

The frame has mortise and
tenon joints, secured with
copper pins

I used 20mm (¾”) oak for the actual frame as I have a pile of solid oak floorboards, but you could use any easy to work straight grain timber. I guess you could even use softwood as it isn’t under much load. The width of the frame timber is 45mm (1 ¾”).

The uprights are cut to 80cm (31 ½”) in length and 25mm (1”) long tenons are cut at the end, at a width of 6mm (1/4”). The horizontal members are 103cm (40 ½”) as this allows the spacing from peg to peg to be around 1m (39 ½”), which makes for an easy rough and ready warp length calculation. If you are more comfortable with imperial measurements you could always adjust it to make them a yard apart. I then cut the mortises in the horizontal members.

It is easier to drill the holes for the pegs before you assemble the frame, although I put them in at the end. For my pegs I used hazel; it is a local wood that grows in coppices and hence the rods are reasonably straight. It isn’t a particularly strong wood, but by simply debarking it and using it ‘in the round’ I am retaining the strength of the grain. It is quite important that the pegs are straight as a significant variation throughout the length of the peg will be reflected in the warp. However, it does only really need to be straight on one side (i.e. the outer one around which the warp turns). Quite whether these hazel pegs are straight enough I am not sure – I guess time will tell – if not I will replace them with oak dowel. The pegs are 16.5cm (6 ½”) long and around 12mm (1/2”) in diameter (in actual fact the diameter of the pegs are quite varied being hazel rods – which I love – but dowel would obviously give a consistent finish). Drill the hole slightly smaller than the pegs.

It is important that the pegs be square to the frame

On the left upright the centre of the top hole is 16.5cm (6 ½”) from the tenon shoulder, with the centre of the holes below being at 14cm (5 ½”) intervals. For the right upright the centre of the first hole is 3cm (1 ¼”) and then again they are every 14cm (5 ½”). All the holes are in the centre of the wood and each side has 5 pegs.

The upper horizontal member has the centre of the first hole 10cm (4”) in from the left handside, then two more, both at 20cm (8”) intervals. The lower member is the same, except you measure from the right hand edge. 

Assemble the frame and either glue the tenons or, as I did, peg them. Given that these were my first mortice and tenon joints I wasn’t about to risk drawboring with wooden pegs (I’ll save that for another day), but at the same time I am not keen on glue. So instead I pinned them with copper tacks, two in each tenon, straight through the side of the mortise – which has worked really well.

Download a .pdf version of the plan by clicking here

Once the frame is together it is just a matter of fitting the pegs with a wooden mallet, gently trimming the end and then tapping them home. Be careful that you don’t make it too tight and split the member, but tight enough so that they won’t fall out (no glue should be needed). Likewise stop and check them every so often with a set square to see that they are going in straight.

Finally screw in four brass hooks so that the frame can be mounted on the wall.

And there we are, another tool handmade – saving me money, teaching me new skills and reducing my impact on the environment. I dare say the Ashford one is a little more ‘polished’, but I rather like the natural look of ours. Right, time to get going on our first warp...