26.03.2021  Author: admin   Simple Wood Craft Ideas
I made the shoulder cuts by hand after going over the layout lines with a knife. Simply hold the piece in place, make a mark, and choose your toothed tool of choice to popular woodworking morris chair plans data the cut. The webbing covers the entire opening, running in both directions in a basketweave. I aimed for a consistent coat on all surfaces without running the dye. These thick veneers were sliced on the band saw and cover the unattractive side grain as well as norris joint lines on the legs.

Simply screw the front and rear stretcher between the side frames and it starts to look like a chair. Readjust the spacing of the side slats to fit the shorter seat. My cushions came from a home center store and were modified with a little sewing. Start your building by cutting out the pieces to form the front and rear legs.

With the legs formed, the rear shorter legs need to have the top end cut at a 5-degree angle from front to back. The side slats are mounted flush to the bottom of the lower side rail and cut to match the angle of the top rail. Simply hold the piece in place, make a mark, and choose your toothed tool of choice to make the cut. With those attached, slip the top stretchers into place, flush with the front leg, and mark and cut the bevel on the rail to allow the arms of the chair to slope back.

Then screw these stretchers in place, also on the inside of the legs and then screw the front and rear stretchers in place, above the lower side stretchers. With the side frames complete, cut the pieces for the side slats using the sides themselves to determine the angle to cut on the top of the slats. Here are some supplies and tools we find essential in our everyday work around the shop.

We may receive a commission from sales referred by our links; however, we have carefully selected these products for their usefulness and quality. By David Thiel. Sit up straight. Or lean back and relax. This Gustav Stickley Morris chair is an icon of American furniture design with exposed joinery and solid quartersawn white oak.

Visually, this chair invites you to sit down and relax — a result of the sloping arms and side rails, the warmth and color of the quartersawn white oak and the upholstered seat and back.

Few people who see this chair can resist the desire to sit in it. And few who sit in it can rise without regret. There is a reward for doing it right; in this case, the reward for the effort is the chair itself. As I prepare to build, I like to break a project down into its component parts.

Each side of the base of this chair is a subassembly of two legs connected with rails. These are joined with rails front and back and are capped with the distinctive bent arms. The back of the chair is a separate unit that pivots and adjusts with a simple mechanism. One obvious challenge is making the arm, but that is simpler than it seems. The rails and slats below the arms seem simple, but the slope that makes the chair appealing complicates these parts.

Measure once. A full-scale drawing provides a reference for most parts of the project. It saves time, and prevents measurement and layout errors. The first step in making this chair is to draw a full-size layout of the side assembly. The bottom edge of this rail is parallel to the floor, and perpendicular to the legs.

That slope makes the through-tenons on each end of the lower rail a little trickier, but the real complication is that each of the vertical slats is a different length. After drawing the full-size view, I switched gears and made the legs, which gave me something useful to do as I pondered the implications of the angled ends of the slats.

After letting the glue cure overnight, I dressed the surfaces on the jointer. These thick veneers were sliced on the band saw and cover the unattractive side grain as well as the joint lines on the legs. The edges of the legs are beveled, with the bevel ending at the glue line between the solid and veneered edges. I placed the finished legs on the full-size layout to locate the tenons at the tops, and the mortises, marking the locations directly on the legs from the drawing.

The tenons on the ends of the side rails were cut, and I dry-fit test assemblies of the sides. I located the taper for the top rail from the test assembly and after cutting it on the band saw, I put each side assembly on top of my drawing.

Keep your head straight. A tapered piece of scrap below the workpiece keeps the mortises oriented vertically. I marked the locations of the vertical slats on the top and bottom rails, along with the mortises for the slats. Then, with a lumber crayon I marked each mortise with a number.

I put each slat in position, numbered each with the crayon and marked the shoulder locations directly from the rails. Each vertical slat is a bit longer than its neighbor, and if the slats move sideways along the rail the length will change. A slat that is slightly long or short can be moved for appearance sake, but more than a slight adjustment will show as inconsistent gaps between the slats. Moving one slat laterally will also affect the fit of an adjacent slat. I saved the offcuts from the top rails and temporarily reattached them with tape to keep the mortises vertical.

I cut a long wedge to hold the bottom rail at the correct angle to keep those mortises vertical. The offcuts from tapering the upper rails are taped back in place to keep the clamps from sliding during assembly. I cut all of the tenon shoulders by hand. That gave me more control over the angles and a better cut edge than cutting them by machine. I cut the tenon cheeks on the band saw, and adjusted the fit with a shoulder plane and a float.

When the slats were fit to the two rails I made a trial run of that subassembly with the legs. I made a few minor adjustments to get a good fit everywhere.

Before gluing the slats in position, I smoothed all the edges of the rails and slats with my plane and rounded all the edges slightly. The through-tenons on the bottom rails give the chair frame strength — if they fit well. They also need to look good from the outside. Good looks are a given if the joints fit, and the key to it all is planning and patience.

The mortise walls need to be straight and consistent, so I spent some time with a float to even out rough areas left from the hollow chisel. I also made sure that the ends were square and the walls of the mortises were perpendicular to the faces of the legs. With a chisel, I cut a small bevel on the inside edge of each mortise to ease starting the tenons. To determine the exact tenon width, I held the end of a rail against the long edge of a mortise, and made a pencil mark to transfer the width of the mortise.

I then took my marking gauge and set it halfway between the pencil mark and the opposite face of the rail. I made a test mark from each side and held the end of the rail to the mortise to check that the widths matched. When I was satisfied that I had the correct size for the tenons, I marked the edges and ends of the rails with my gauge. I clamped both rails together and marked the shoulder locations at the same time to be sure they matched. At the band saw, I set the fence so that a tooth angled toward the fence was just outside the marked line.

I held the rails against the fence and cut the wide cheeks back to almost the shoulder line. I measured the tenon and the mortise with dial calipers to compare the sizes. My goal was a fence setting that left the tenon barely thicker than the mortise. This prevents a sloppy tenon, but it means that some tweaking must be done to get a good fit.

Before fitting, I cut a chamfer on the end of each tenon. This makes it easy to insert the tenon for a test fit, and it keeps the end of the tenon from doing any damage to the outer edges of the mortise when it comes through. Fitting is a matter of removing a small amount of material at a time and seeing how far the tenon will go into the mortise.

I generally start with a shoulder plane, being careful not to introduce a taper in the tenon. As I get closer, I switch to a float. The float is easier to control and leaves a nicer surface. Hatch marks made with a pencil on the tenon indicate high spots that keep the joint from going home. The graphite smears at the sticking points, and I used the float to take off the smeared spots. Hand pressure is enough, and when the tenon can be inserted about two-thirds of the way, I can look from the outside to see if there are any problem areas.

The first assembly is the hardest. Only if you have to. Because the lower end of the vertical slats are angled, they only fit in one place. They can be adjusted with a tap or two. When I was happy with the fit, I marked with a pencil where the outside of the leg lands on the exposed tenon. Leaving the line ensures that the visible intersection of the tenon and the leg looks tight. Assembly of the base of the chair is done in stages; first the vertical slats are glued between the top and bottom rails for each side.

I used a block of soft wood and a mallet to fine-tune the lateral position of the slats. Control the glue goo. Start the through-tenon in the mortise before brushing on the glue to keep the end of the tenon clean. I let that dry in the clamps overnight, and glued the legs to each end of the rail assemblies the following morning.

To keep glue from going everywhere around the through-mortises, I started the tenons in the holes, then brushed glue on the cheeks before assembling and clamping the joints. I then connected the two side assemblies with the front and back rails. This assembly was also left in the clamps overnight. Stress management. With the sides glued into units, the last stage of the base assembly is a simple matter. I started with a piece several inches longer than the finished length to get the angle of the bend and the tenon locations right first.

Before making the arm, I made sure that the top edges of the top rails were in line with the shoulders on the tops of the legs. I placed the stock of an adjustable bevel on the shoulder of the front leg, and set the blade to the slope of the rail. I transferred this angle to the edge of the arm. The bend is actually a tapered slice cut from the top of the leg, then glued to the bottom edge.

After making the cut on the band saw, I glued the wedge to the bottom of the arm. This leaves the sawn edges exposed on the top and bottom surfaces of the arm, and the previously surfaced faces glued together. I removed the saw marks with my plane.

Balance the arm on the base assembly and mark the location of both the front and back tenons without moving the arm. Nothing to see here. The glue line should disappear because the grain and color are the same in both pieces.

Smooth it over. Planing out the band saw marks leaves a smooth surface on the top and bottom of the arm. Get to the bottom. The wedge is glued to the underside of the arm, smooth face to smooth face. A little off the top. An angled wedge sliced off the end of the arm forms the bend. The mortises need to be just right, and in just the right place.

I flipped the assembled base of the chair on its side so I could locate the joints in each arm directly from the tenons.

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