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- Herausgeber: Science & Technology Publishing
- Kategorie: Geisteswissenschaft
- Sprache: Englisch
Rustic Carpentry is a comprehensive guide that delves into the art and craft of creating charming, durable, and functional structures and furniture using natural, unrefined wood. Authored by Paul N. Hasluck, this book serves as both an instructional manual and a source of inspiration for woodworkers, hobbyists, and anyone interested in rustic design. The book covers a wide range of topics, including the selection and preparation of materials, the use of traditional hand tools, and the construction of various rustic projects such as fences, gates, garden seats, summer houses, porches, and bridges. Each chapter is filled with detailed explanations, practical tips, and clear illustrations that make the techniques accessible to both beginners and experienced carpenters. Hasluck emphasizes the beauty and utility of working with natural forms, encouraging readers to embrace the unique character of each piece of wood. Rustic Carpentry not only provides step-by-step instructions for building attractive and sturdy outdoor and indoor furnishings, but also explores the principles of rustic aesthetics, blending functionality with the organic appeal of the countryside. Whether you are looking to enhance your garden, create unique home accents, or simply enjoy the satisfaction of working with your hands, this book offers timeless wisdom and creative ideas for mastering the rustic style.
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Seitenzahl: 124
Veröffentlichungsjahr: 2025
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PREFACE.
This Handbook contains, in a form convenient for everyday use, a number of articles on Rustic Carpentry contributed by various authors to Work—one of the journals it is my fortune to edit.
Readers who may desire additional information respecting special details of the matters dealt with in this Handbook, or instructions on kindred subjects, should address a question to the Editor of Work, La Belle Sauvage, London, EC., so that it may be answered in the columns of that journal.
CONTENTS.
CHAPTER
PAGE
I.
—
Light Rustic Work
9
II.
—
Flower Stands, Vases, etc.
22
III.
—
Tables
36
IV.
—
Chairs and Seats
40
V.
—
Gates and Fences
52
VI.
—
Rosery Walk
66
VII.
—
Porches
71
VIII.
—
Canopy for Swing
77
IX.
—
Aviary
83
X.
—
Foot-bridges
92
XI.
—
Verandahs
98
XII.
—
Tool Houses, Garden Shelters, etc.
106
XIII.
—
Summer Houses
126
Index
159
LIST OF ILLUSTRATIONS.
RUSTIC CARPENTRY.
CHAPTER I.
LIGHT RUSTIC WORK.
Rustic carpentry does not demand great skill in woodworking, but it does require a large amount of artistic perception. The tools needed are but few, and the materials employed are comparatively cheap, although in many districts they are becoming dearer every year.
It may be said that any articles made from the now popular bamboo may be made quite as effectively in light rustic work.
For light rustic work, sticks of hazel, cherry, yew, blackthorn, birch, larch, fir, and the prunings of many varieties of shrubs may be used; but it is necessary that the material should be cut at the proper season, and thoroughly dried before being worked up. The sticks should be cut in mid-winter, as at that time the sap is at rest; if cut in the summer time the bark will peel off. If peeled sticks are required, they should be cut in the spring, when the sap is rising, as at that time the rind will come off easily. In some districts the copses are cleared of undergrowth periodically, and the sticks (generally hazel) sold to hurdle and spar makers. A selection of these sticks would be very suitable for the purpose here described.
The sticks should be stacked in an open shed in an upright position if possible, and in such a manner that the air can freely circulate around them. When they are required for fishing rods or walking sticks they are hung up to season—this keeps them straighter; but the hanging of them up is not necessary for the work about to be dealt with. When the sticks have been put away for from six to twelve months, according to size, they will be ready for use, after being rubbed with a cloth or brushed to clean off the dust and bring up the colour of the bark. Fir cones may often be worked into a design, and bits of rough bark and the warts and burrs found on old elm trees may be collected by the rustic worker and put by for future use.
One method of treatment for designs in light rustic work is to split the sticks and use them to overlay the work with a Swiss pattern, as shown by Fig. 1; another method is to work the sticks up after the manner that canes are used in bamboo furniture (see Figs. 3 and Fig. 42, pp. 12 and 36).
Fig. 1 represents a wall bracket with a photograph or mirror in the frame. To make this, the piece forming the back is first cut out of 3/8-in. deal. The shelf, of ¾-in. deal, is then nailed to the bottom edge. Some straight hazel, fir, or other sticks are next selected and split; these are nailed round the edges of the back, and round the opening at the centre. The pieces round the opening overlap the edges about ¼ in., to form a rebate for the glass. The bare spaces at the sides and top may be covered in the following manner: Take a piece of brown elm bark and run a saw into it. Catch the sawdust, and, after warming the wood, cover it with thin glue.
Sprinkle the brown sawdust on the glued surface, and sufficient will adhere to cover the deal and give the frame a rustic appearance. Cork-dust or filings may be used instead of sawdust. Bunches of fir or larch cones are nailed to the corners, as illustrated; these should be pared at the back with knife or chisel to a flat surface. The outer edge of the shelf is finished with an edging of short lengths of split stick nailed on. The general construction of the bracket, and the method of fixing the glass, will be clear from Fig. 2, which is a section through the centre.
A small easel for photographs, or, if constructed larger, for a fire-screen, is shown by Fig. 3. It is made entirely of round sticks. Fig. 4 illustrates the method of attaching the back support—namely, by means of a couple of staples, which may be made out of a hairpin. In jointing round sticks together, the joints may be mitred by notching a V-shaped piece out of one stick and cutting the other to fit (Fig. 5); or a mortise and tenon, as represented by Fig. 6, may be used.
In making the easel (Fig. 3), the top and bottom bars are mitred to the sides, and the central upright to the top and bottom bars. The joints are secured by either brads or panel pins. Care must be taken to bore for the nails with a bradawl, as nothing looks worse than splits in the work. The upright piece in the centre of the top bar may be secured by driving a long panel pin into the lower upright through the top bar, filing the head to a point to form a dowel, and driving the top piece on with a hammer.
Where a small stick is joined to a larger one, as in the case of the filling-in pieces, a flat may be made with a knife or chisel on the larger stick, and the smaller one cut to fit and nailed on. In making a small easel, only a single stick attached to the centre upright will be required to form a back support, but for a larger one it will be preferable to frame it as shown by Fig. 3.
The finished articles may be either stained and varnished or left plain. Cherry sticks look well if the bark is left the natural colour, and the ends, where exposed, cleaned off and varnished without being stained. Some sticks improve in colour if rubbed over with a rag moistened with linseed oil.
If a stain is required, one that is sold in bottles would be suitable, but a little vandyke brown, ground in water, and applied with a sponge, answers the purpose. Sometimes, as in the case of the table top (see Fig. 42, p. 36), it is a good plan to stain the wood before nailing on the pattern work, or there will be danger, if the sticks are dark in colour, of the lighter wood showing through.
If the rustic work is intended to be placed out of doors, it should be given two or three coats of hard outside varnish.
The rustic flower-holder for table decoration, shown by Fig. 7, consists simply of a gipsy tripod formed with six rustic sticks, put together in the form shown, and tied with a length of bass. There is no attempt made at finish, but the sticks must be firmly tied together at the joints, and the ends of the bass can be left, either hanging loose or tied in a bow. The holder for the flowers is a cocoanut shell, which has been sawn in two, so as to leave one part a sort of cup or egg shape; three holes are bored with a bradawl at equal distances round the edge, and it is suspended from the tripod with three more pieces of the bass, which completes the arrangement. Of course, any small receptacle can be used in place of the cocoanut shell, but that, perhaps, carries out the rustic appearance the best, and is very easily obtained. Fig. 8 is an attempt to show the tripod when decorated.
The rustic hall-stand shown by Figs. 9 to 11 was made actually from branches and twigs of an old apple tree. The uprights and principal cross-pieces are 7/8 in. thick, and the criss-cross pieces are ½ in. thick. The bottom is made of four pieces 1½ in. thick. The longer ones measure 1 ft. 8 in., and the shorter ones 1 ft. 2 in.; they are nailed together in such a manner that the ends at the two front corners each cross and project 2½ in. The front uprights are 2 ft. high, the back ones 2 ft. 2 in.; the longer cross-pieces are 1 ft. 8 in., the shorter 11 in. The ends intersect and project 3 in. at each of the front corners; only the longest piece projects 3 in. at the back corners, the shorter pieces being cut off flush with the frame to allow of the stand fitting close to a wall.
Figs. 9 and 10.—Front and Side Elevations of Rustic Hall Stand.
Fig. 11.—Plan of Rustic Hall Stand, showing Umbrella Pan.
These cross-pieces are nailed to the uprights to allow the top ends of the latter to project 2 in. above them, this bringing the measurement of the oblong inner framework to 1 ft. 10 in. by 1 ft. 2 in. The thin pieces are nailed on as shown in Fig. 9
