Small details made of wood. Do-it-yourself wooden products. Wood products. Artistic wood milling

1. THE ART OF WOOD CARVING. DECORATION WITH SELF-COLORED ROOMS AND INTERIOR OBJECTS

Once upon a time in Russia such a kind of needlework as woodcarving , was one of the most widespread craft areas. Today the art of artistic processing wood blanks is gaining popularity in our country again. And if earlier, mainly men were engaged in this decorative and applied craft, now many women are engaged in the manufacture of jewelry and handicrafts from wood with their own hands. Fortunately, there is a lot to choose from. tools using which can be easily and accurately carved, cut out individual parts and solid figures from wood. Convenient models of special knives-jambs, cutters, chisels and chisels allow you to quickly and efficiently process wooden blanks, create beautiful flowers, animal figurines, interior decorations with your own hands.

Recently, some interior designers have started to use more handmade wood flowers for decorating platbands, stairs, furniture , walls (in the form of panels or compositions within frames), as well as individual crafts in the form of bouquets of flowers carved from wood.

It is quite difficult to make various volumetric and geometric crafts from hard woods, and mostly experienced professionals who are fluent in the technique of wood carving are engaged in such work. But it is not so difficult to carve flowers and various figurines from soft trees such as linden or wild apple trees. Even a novice master, after a few lessons on the technique of processing wooden blanks, will be able to make an elegant rose with his own hands. , a large sunflower or other flower.

There is a very simple way to make petals from shavings (from under a pencil sharpener) branches, and then fold them into pretty roses. Even a child can handle such work. Below you will find a master class on making such flowers from wood with your own hands at home. You can do with your child stylish topiary from such roses, which will decorate the interior of the children's room.

What tools for wood carving will be needed when making flowers (photo):

Stages of making flowers and other wood crafts with your own hands:

Preparatory stage.
As in any business, first an idea is born, an idea appears. You should have a clear idea of ​​what the completely finished craft will look like.

After that, you need to make pencil sketches on a piece of paper. If the flower is not very complex and detailed, then you can limit yourself to a schematic sketch in several projections. And if the figure carved from wood is complex, then try to depict on a sheet of paper a sketch indicating all the basic proportions;

Modeling a flower model.
Now you can mold a craft model, guided by sketches or a sketch. Many masters at this stage additionally draw a diagram in 2 or 3 projections. You will need paper for drawing, a pencil, polymer clay or plasticine, flexible copper wire to form a frame, stacks;

Rough stubbing of a piece of wood.
We saw off a piece of wood with a saw with a middle tooth perpendicular to the central axis. Draw 2 lines perpendicular to each other through the center of symmetry. First, we remove the excess from the projection that requires deep processing;

Cutting a figure into 4 edges.
Cut out the figure of the craft along the side, front and back faces, focusing on its outline, which is applied to the workpiece according to the sketches created;

Cutting a figure into 8 faces.
Cut off the corners of the formed blanks. A total of 8 faces are obtained. At this stage, it is important to take into account the relief of the future flower, performing pruning on convex areas narrower, and wider on concave and sloping ones;

Detailing of wood crafts, rounding.
Now such tools as knives-jambs, chisels with different curvatures, tseraziki will be used.
We work on small details, remove unnecessary edges, shape the flower petals;

Sanding.
The ideal option is to use a drill with attachments from different sandpaper... If you are going to process the surface of a wooden craft with your own hands, then choose a fine-grained emery material on a fabric basis (corundum or glass);

Decorating a flower carved from wood.
Treatment special means and the finishing of the product is necessary to protect it from external influences the environment... Decorating a flower made of wood helps to emphasize the creative idea of ​​the master.

Tips for beginners:

√ do not choose soft woods if you plan to cut a craft with a lot of small parts and make fine carvings;

√ large flowers (roses, chrysanthemums, lilies) are best made from tree species such as wild apple, linden;

√ if you are a novice craftsman, then first learn how to carve a triangle out of wood using a jamb knife. Knowing how to cut even just this figure, you can make simple wooden crafts with your own hands. If you have already learned how to handle wood well different instruments, then try carving a simple volumetric or geometric shape from soft wood;

√ to protect wood, different impregnations and varnishes are often used. But if you cover wood crafts with these products, then the surface may turn yellow and become less expressive. Therefore, it is best to use wax to treat and protect the structure of the carved wood.

2. HOW TO MAKE YOUR OWN HANDS WITH ROSES FROM WOOD

Step-by-step master class. This is a pretty tree of happiness even a child can do it with his own hands. Flowers for decorating a tree are made using a regular pencil sharpener. As a material, you can take the branches of any tree (but not too old and brittle).

photo instruction

3. MASTER CLASSES FOR MAKING WOODEN BY YOUR OWN HANDS

Master class number 1:

HOW TO CUT A BEAUTIFUL VOLUME FLOWER FROM WOOD FOR DECORATING INTERIOR OBJECTS. STEP-BY-STEP LESSON FOR BEGINNERS. SCHOOLCHILDREN CAN MAKE SUCH HANDLING AT WORK LESSON IN THE WORKSHOP WHERE THERE ARE SUITABLE TOOLS FOR CREATIVE WORK.

Master class number 2:

ORIGINAL WOOD CREDITS FOR INTERIOR DECORATION. WE CUT OUR HANDS FROM A SOFT WOOD CHURBAKH (YOU CAN TAKE) GEOMETRIC FIGURES AND COLLECT FLOWERS FROM THEM IN THE FORM OF A SUNFLOWER. IT IS POSSIBLE TO WORK A LITTLE ON THE CRAFT AND TURN IT INTO SUN WITH A FACE.

Master class number 3:

LEARNING WOOD CARVING. THIS PHOTO INSTRUCTION WILL HELP YOU UNDERSTAND THE PRINCIPLE OF CUTTING A FIGURE FROM WOOD AND WORKING EDGES.

Master class number 4:

A summer cottage is the place where you can relax in the shade of trees, grow your favorite vegetables and greens, admire the flowers and harvest every year. And the summer cottage is a wonderful opportunity to realize your creative abilities and work in the fresh air. Even at the initial stage - the development of the landscape of the garden plot, you can add zest and decorate the plot with garden figures. You can make a sculpture out of wood yourself if you arm yourself necessary tool, material and familiarize yourself with the recommendations for creating sculptures from wood.

Before starting work, you should familiarize yourself with the rules for choosing figures for a garden plot.

What you need to know:

1. The figurine (one or more) should "fit" into the garden design. If it causes contradiction, then you should not expect harmony, even if the sculptures look very pretty.
2. If you doubt whether the sculptures will look harmonious, then make a layout of your summer cottage out of paper and cut out the figures from cardboard. Place them in a place that suits you. If you don't like the way the sculpture looks, you can move it or swap the shapes. Such visualization will help you decide on the choice of location.
3. No need to pile up several massive figures on small area... This will only complicate the perception. It is better to set 1-2 shapes to decorate the site and achieve harmony with nature.
4. It is not at all necessary for the sculpture to occupy a central position. It is best to place some small wooden sculptures that will blend in with the plants. The location of one wooden sculpture in the garden is not excluded, but then it is advisable to decorate it with other decorative elements - climbing plants, a wattle fence or an arch.

Wood sculpture photo:

Sculpture material

To create garden sculptures with your own hands, you can use different material: stone, plaster, cement, polyurethane foam. But the most suitable and plastic material for garden sculptures is wood. Since this natural material you can take it anywhere, after all, it's better to go to the forest and find there suitable tree... For large sculptures, it is better to take a massive log. For small figures, large branches or small logs are suitable.

Before taking the natural material with you, carefully examine the wood - there should be no traces of mold, rotting and insect traces on it. It is better to leave such natural material in the forest, since wood sculpture will not last long.

If you are planning to make a small figurine out of wood, then first you need to prepare the material - rinse with water and separate the bark. Do not rush to send debris, bark and even chips to a landfill - this material can serve for decoration of decorative compositions or will be needed when finalizing a wooden sculpture.

In the process of work, you will have a large amount of fine shavings and sawdust - this auxiliary material is useful for renovation works and restoration of wooden sculptures as a natural putty of cracks and holes. It is necessary to mix sawdust with varnish until the mass becomes viscous and immediately fill the holes. It is not necessary to make too thick or, on the contrary, a rare putty, as it will be inconvenient to work with such material.

It is better to dry the prepared material in a dry warm place (you can bring it into the house) and wrap it in polyethylene. This way you can protect the wood from deformation and cracking.

In the process of work, it is advisable to immediately collect waste in a separate container and also store it in a dry place.

• apple tree;
• cypress;
• birch;
• hazel (hazelnut);

Woods such as boxwood and rosewood (especially black) are difficult to process, so it is best for a beginner to work with soft woods. On rare occasions, wood carvers will recommend that beginners work with hard woods, as inaccurate movements on the surface will not be as noticeable. But if you "spoil" soft material, then all inaccurate movements will be noticeable, as in the palm of your hand.

Required tool:

Where to start

You have prepared the material, the sharpened tool is also nearby, you can start. But first you need to start with a pencil and a piece of paper. Take the time to sketch your sculpture.

It is not necessary to have the talent of an artist to transfer the layout of the future figurine to paper. Draw the outlines and basic details of the sculpture. And now you can transfer the contours to the workpiece itself. All wood carvers do this. In some cases, you can change from a simple pencil to a marker to draw a clear line of the outline. And that's not all - in preparation, after creating the sketch, make a plasticine copy of your garden sculpture out of wood. Then you need to build a circuit in several projections. If this seems difficult to you, skip this step. Wood carvers often do without a sketch, since it is easier for them to carve a figure out of wood right away than to draw an exact copy of it on paper.

DIY wood sculpture

1st stage

We proceed to rough processing and "drawing" of the main shape of the figure. First you need to define the "legs" and the base. Use a medium-toothed saw to cut the workpiece. Hold the tool perpendicular to the center of the workpiece.

If you end up with an uneven cut, you can then gently trim it. Take this stage very responsibly, as the result will depend on it.

Now mark the center of the workpiece and draw construction lines. Check the markings with a square. During operation, these lines will not be visible, as they will gradually be cut off.

This part of the work is best done with this set of tools:

• tape measure;
• ruler;
• square;
• with a caliper.

If you are making a large sculpture out of wood, then instead of a pencil, it is better to use a bright marker, since it does not erase as quickly as a pencil.

2nd stage

At this stage, it is necessary to perform rough processing of the workpiece with an ax, and small parts can be cut out with an adze. During work, it is better not to go deeper, but to leave a stock of material, so that later you can finalize and make amendments. Use measuring tools during work.

First, the part that requires the most attention is cut down, and then the lines are restored and the strokes are drawn. For example, if your sculpture will be made in the form of a bear or other large animal, then start working from the head, gradually carving wood from top to bottom.

Take a look at this photo to understand how it works:

To complete this part of the job, you will need the following tools:

• hand saw (with small or medium teeth);
• half-shaft for carpentry work;
• semicircular and straight adze.

3rd stage

Cutting out the four edges of the shape. At first glance, this may seem a difficult task to you, but everything is extremely simple - you need to use a carpenter's tool to "draw" and divide the arrays - the body, arms and legs. At this stage, it is not worth rounding the workpiece yet. This part of the work can be done with large chisels.

4th stage

You will have an angular workpiece - now you need to trim and make a relief without small details. It is important to "revive" the future figurine and not to miss the main points. It is too early to detail and round off the wood sculpture. For work, you must use a set of small chisels and knives-jambs.

5th stage

Finally, you can start the fun part - detailing and rounding the sculpture. You can remove the edges and work out small details - drapery, facial features, animal fur. Try to draw less with a pencil on the figure, as it will remain and can only be removed with fine-grained emery cloth. Entrust this important part of the work to such tools: knives-jambs, scalpels and caesarics.

When the work is completed, it is necessary to sand the figure with emery cloth and apply a thin layer of sunflower oil. In some cases, wood sculptors advise to weld the carved figurine in oil. When heated vegetable oil will begin to cure and the wooden surface will be resistant to moisture and dirt. This tip only applies to small wooden sculptures.

By the same principle, you can carve sculptures of animals from wood:

Wood sculpture processing

Depending on the coating material, there are several ways finishing sculptures.

Let's take a closer look at each method:

1. Using wood stain. Light wood species: linden, birch and maple need toning. A certain color can be achieved different ways, including natural. For example, use aniline dyes, or you can prepare the stain yourself.

How to make a stain:

• iodine. Take a small plastic cup and fill halfway with water. Add 3-5 drops of iodine, stir. Try it on white paper, what shade you get - if too saturated, you can dilute with water, weak - add iodine. If you cover the product with one layer, you will get a beautiful "honey" shade, and if you apply 3-4 layers, then the color is ocher;
• brown stain is prepared from water and potassium permanganate crystals according to the same principle;
• to prepare stains for alcohol, prepare coffee (instant), you can take the cheapest one. Pour 1 tablespoon into a plastic cup. coffee and add the same amount of boiling water. Pour in alcohol (half a glass) and stir. Such a stain is useful for covering three-dimensional carvings; it will not work for embossed surfaces.

1. Coating with varnish. There are several types of wood varnishes: oil based varnish, nitro varnish and pentaphthalic varnish. The main condition when buying a varnish is to take only colorless. Shop varnishes are very thick, so they need to be diluted with solvents to a consistency like water. Dilute oil varnish it is possible only with turpentine, and nitrolac - with acetone. To find out which solvent you need to dilute your varnish with, look at the label - manufacturers give detailed recommendations. A small figurine made of wood can be completely "bathed" in varnish, and a large sculpture made of wood can be covered with a brush.
2. Viscous and hard types of wood, such as pear, apple and birch, are subject to oil treatment. Cooking figurines is very simple: pour oil into a saucepan, put on fire and after 5 minutes, when it heats up, lower the craft. She will float in oil. If you have a lot of small figurines, it is best to cook them separately. Each time the oil must be changed to fresh, otherwise it may catch fire. The duration of processing the product depends on the desired shade, when the figure begins to darken, then it can be removed. The oil-treated figurines are sanded and polished.

Manufacturing wooden parts, assembly and finishing in mass production are wood-processing operations. The technological process here is built according to a complete cycle, from drying lumber or billets to finishing the units.

CHARACTERISTICS OF THE TECHNOLOGICAL PROCESS

The technological process for the manufacture of wooden parts of tools is generally similar to the process of manufacturing products for joinery and mechanical industries and consists of: drying lumber (or blanks); cutting lumber and plywood; processing blanks to obtain parts of exact dimensions and shape; assembling parts into units; subsequent processing of units with their preparation for finishing; interior and front finishing of units.

Each stage is a complex of sequential operations that require appropriate workstations, equipment, cutting tool, gadgets and skilled workers.

The mechanized process of manufacturing and assembling parts is carried out on the basis of the use of standard and special high-performance equipment, assembly clamps, various devices and high-quality cutting tools.

Mass production requires the interchangeability of parts, without which the mechanization of assembly operations is impossible.

§ 2. MATERIALS FOR MANUFACTURING BODY PARTS, NECKLACE AND ENTRANCE CHAMBERS Raw materials for making wooden parts reed instruments serves products of sawmilling and plywood production in the form of boards, blanks and plywood, glued, planed and peeled (veneer). The quality and grade of both sawn timber and plywood must meet standards (GOST) and republican standards (PCT). The list of used tree species is mainly limited to birch, maple, beech, linden, alder, spruce, fir and cedar. In some cases, colored plywood is used as a facing material.

Currently, the enterprises receive both sawn timber (boards) and blanks. The initial moisture content of the boards is 80-100%, the workpieces are 40-70%. It is advisable that enterprises receive only cut-off workpieces with a moisture content of 22 to 25%.

In production conditions, when almost all parts are processed in blanks that are multiples of length and width, the supply of dried blanks is very profitable economically: less powerful drying facilities are required and there are no cutting departments. It is also advisable because drying wood in sawmills, which have a large amount of cheap fuel, is cheaper. Transportation costs are also reduced, since the transportation of waste, which is at least 40% when cutting boards into blanks, is excluded. That is why the supply of enterprises with dried blanks produced by sawmills on special orders should become widespread in the near future.

Timber storage. Timber arriving at the enterprise, as a rule, is not immediately sent to production, but is stored in a timber warehouse. Lumber conifers usually stored in stacks, sawn hardwood and all types of workpieces under sheds, and plywood in closed warehouses. The area norm for storing sawn timber here is similar to the standards for furniture factories (for 1 m3 of sawn timber in stacks with mechanized stacking, 1 m2 of warehouse area is required, for 1 m3 of sawn timber stored under sheds - 2 m2 of canopy floor area).

When storing lumber in a warehouse, measures must be taken to prevent it from deterioration. It is necessary to strictly adhere to the rules of atmospheric drying and storage in warehouses of sawn softwood, regulated by GOST 3808-62, and hardwood, regulated by GOST 7319-64.

Lumber stock standards. These standards are determined by the volume of production, delivery conditions and the need to dry lumber in the forest warehouse to an air dry state. Lumber is usually delivered to enterprises with a high initial moisture content of up to 80-100%. Drying of sawn timber with a high initial moisture content to the final moisture content in the range from 8 to 10% causes an overload of the drying chambers and practically does not provide a uniform content of a given moisture content in a batch of dried sawn timber, especially hardwood. Uneven moisture content of individual parts in a batch inevitably leads to rejects. Therefore, it is necessary to keep the lumber in the warehouse to an air-dry state, that is, to a moisture content of 20-22%. This moisture content is purchased in the warehouse for different periods of time depending on the breed and thickness, climatic conditions, season.

According to GOST 3808-62 and 7319-64, the territory of the USSR is conditionally divided into four zones according to the conditions for drying lumber, and the active drying period in natural conditions is determined at six months (April - September). Depending on the assortment, lumber entering the warehouse during this period reaches a moisture content of 20-22% in 20-75 days. On average, with a uniform supply of sawn timber throughout the year, the standards for their stock in the warehouse can be taken as follows: for sawn softwood - 4 months, hardwood - 6 months, plywood - 2 months.

Drying of lumber. In industries engaged in wood processing, lumber is dried to the moisture content at which the parts. can no longer change their shape in the assembled product. Lumber can be dried both in boards and in blanks. The advantages of a particular type of drying must be carefully analyzed for each specific case. Drying lumber in boards allows for a more economical use of wood as well as wood waste. Drying in blanks allows more economical use of drying chambers. Considering that on a nationwide scale, the economical use of wood has more essential than a better use of drying chambers, preference should be given to drying in boards. In our case, we recommend drying in boards at sawmills to a moisture content of 20-25%, cutting the dried boards into blanks, supplying blanks to enterprises and drying blanks to a given final moisture content. The type of drying chambers depends on the volume of production and the size of the range of used sawn timber. For the production of accordions, button accordions and accordions, in which a large assortment of lumber in small batches is used, the most effective drying chambers periodic action of small capacity, with high-speed reversible air circulation, type TSNIIMOD.

Drying modes are set depending on the assortment of dried wood from among the normative ones recommended by the All-Union Conference on Wood Drying.

Cut lumber. When sawn timber arrives at the enterprises in the form of boards, after drying, they must be cut into blanks of the required length, width, and sometimes thickness. Usually one or two of four cutting methods are used: transverse-longitudinal (first, the boards are butt-faced across the length of the workpiece, equal to or multiples of the length of the workpiece, and then sawn along the width of the workpiece); longitudinal-transverse (first, the boards are sawn along the width of the workpiece, and then the sawn long segments are butted into workpieces of the required length); cutting according to the marking (the boards are preliminarily drawn into blanks, and then sawn using the first or second method); cutting according to the marking with preliminary planing of the board (before marking, the boards are planed on one side, and then they are marked and sawed into blanks).

According to research, for furniture companies, if useful way out workpieces according to the first method are taken as 1, then the output for the rest will be respectively equal to 1.03, 1.08 and 1.12. Consequently, according to the fourth method, the useful yield of blanks is 12% higher than according to the first. In the production of accordions, button accordions and accordions, where the workpieces are intended for the manufacture of small parts (under-rivets and bars of inlet chambers, covers, thrust bars, valves, etc.), that is, with a large multiplicity in length and width, cutting is usually performed according to the first way. For more important and large parts (walls of the body, walls of fur frames, neck parts, wedges of inlet chambers, etc.), the boards are cut into blanks according to the fourth method.

Circular sawing machines of two types are usually used for transverse sawing of boards. In machines of the first type (pendulum), the saw, mounted on a swinging frame above the work table, is manually pushed onto the material to be sawn. The machines of the second type (with straight-line motion) are the most convenient, since the saw moves onto the material parallel to the surface of the working table. In machines of this type with automatic feeding the saw is pushed in and out of the way automatically when a button is pressed. The productivity of these machines is high and amounts to up to 10,000 cuts per shift. For longitudinal sawing of boards, circular saws are used with both manual and mechanical feed. The productivity of machine tools with mechanical feed is on average 10,000-12,000 linear meters. m per shift. When reconstructing existing or designing new workshops for cutting boards into blanks, as well as with a significant volume of production, a semi-automatic line should be recommended.

A semi-automatic cutting line, especially for sawn hardwood, should include preliminary gouging and board marking. Such a line usually consists of a hydraulic lift, which receives boards from the cooling room of the drying department, roller tires, roller tables with drive rollers, a thicknessing machine, a trimming and cutting machine (for transverse and longitudinal sawing) and a belt conveyor.

Plywood is cut using a circular saw with manual feed, and peeled and planed plywood - on guillotine shears.

The output of blanks when cutting boards is determined technical requirements and therefore depends on the grade of the lumber. The most rational use of lumber of I, II and partially III grades in the following ratio: I grade - 40%, II grade - 40%, III grade - 20%. With the specified ratio of sawn timber grades and cutting blanks for the largest and most critical parts according to the fourth method, the output of blanks from sawn timber is on average 50-60%.

Sizes of workpieces. With regard to production conditions, where small wooden parts with a multiplicity of blanks from 2 to 100 predominate, the dimensions of the blanks are set mainly based on the convenience of their further processing. However, in each individual case, the dimensions of the workpieces should be selected so that, with the minimum laboriousness of their processing, the maximum yield of suitable parts is obtained.

The thickness of the workpiece (board) is determined from the conditions of the current assortment of sawn timber, the thickness of the part in cleanliness, the allowance associated with wood drying, allowances for primary and subsequent processing and more efficient use of raw materials with the intended technology. The length and width of the workpiece are set depending on the dimensions of the processed parts, the more appropriate multiplicity of parts, the above allowances and the adopted processing method, taking into account the maximum yield of parts. Typically, the length of the workpieces is in the range from 700 to 1000 mm, and the width is from 40 to 50 and from 80 to 110 mm.

The allowances associated with wood drying should take into account the change in the size of lumber and blanks due to drying of wood from initial to final moisture. At the same time, the amount of shrinkage for sawn timber up to 15% moisture is given in GOST, and an allowance for this shrinkage is given for boards for sawmills.

The shrinkage of sawn timber from 15 to 8% moisture content is very insignificant and is usually not taken into account, since it is overlapped by the processing allowance. If there is a need to dry the workpieces with a moisture content of more than 15%, then the start-up for drying should be taken into account (for conifers in accordance with GOST 6782-67, for deciduous ones - with GOST 4369-72). When drying hardwood blanks with a high initial moisture content, especially from beech, the appearance of end cracks is inevitable, which must be taken into account in the margin of length. With the length of the workpieces from 700 to 1000 mm, the length allowance for end cracks is taken into account in the range from 15 to 20 mm (for two ends).

Initial machining allowance. The processing of the workpiece to give it the correct geometric shape begins with leveling by planing one wide face and one edge with the formation of a right angle between adjacent faces. Two faces that are aligned for a plane and a right angle are the basis for processing the rest of the faces of the part. The third side of the preparation is usually processed by planing along the thickness of the part, and the fourth by sawing along the thickness. In addition, the workpiece is faceted along the length of the part. The size of the allowance for the thickness and width of the workpiece depends on the transverse and longitudinal warpage, on the deviation in size at par, on the size of the workpiece and the multiplicity of its width and length.

All of these factors are found in production in various combinations, so the allowance cannot be a simple algebraic sum of all the deviations encountered. The rational size of the allowance for a given production is usually established by conducting experimental work. The observations of experimental batches of blanks, carried out at one time by the laboratory of the Krasny Partizan factory, made it possible to establish the following allowances.

The allowance along the length depends on the defects of the ends of the workpiece, i.e. on the perpendicularity of the ends to the longitudinal edges of the workpiece, as well as on the size of the end cracks and the multiplicity of the workpiece along the length.

Post-processing allowances. These allowances take into account the formation of parts during their processing before and after assembly into units, as well as specific features of the technological process. The establishment of rational allowances for subsequent processing is carried out on the basis of a thorough analysis of all factors affecting their value (flow diagram, processing requirements, equipment used, cutting tools, fixtures).

Allowances for subsequent processing should take into account: subsequent processing of parts on milling and other machines before giving them their final shape; sawing parts with multiple dimensions of the workpiece; dimensional milling of bodies and fur frames to remove sags and give an accurate shape.

TECHNOLOGICAL PROCESS DIAGRAM

To consider the technological process of manufacturing wooden parts and assembling the body, neck and entrance chambers, the button accordion was basically chosen as the most common and characteristic type of instrument in the entire subgroup.

By the nature of the technological steps and their sequence, woodworking operations are divided into: drying-cutting - for drying and cutting plywood and sawn timber into blanks; machine tools - for the production of parts of exact dimensions and shape from workpieces; assembly - for assembling bodies, necks and entrance chambers; and finishing - for interior and front finishing of instruments.

Usually all these operations are combined in the woodworking shop of the enterprise.

In addition, the structure of this workshop also includes auxiliary departments: toolroom with the functions of care for the cutting tool (point, dressing, installation, operation); glue-making - for the centralized preparation of glue and varnish-preparatory - for the preparation of working solutions of primers, varnishes and polishes.

We have already considered the features of drying and cutting operations.

Both universal and special wood-processing equipment are used to process bar parts of the body, neck and other assemblies. Universal equipment and methods of working on it, as well as the used attachments and cutting tools do not differ from those used in the carpentry and mechanical production. These issues are very widely covered in the literature on woodworking and therefore it is inappropriate to repeat them. To show the features of the technological process, examples are given that characterize the use of special equipment, special types of equipment and specific methods of work.

Semi-enclosure walls. The workpieces go to a planer for leveling one face and one edge, then to a thickness planer for planing the second face, i.e. for gouging in size in thickness. Then they are transferred to a circular saw for longitudinal sawing along the width of the part, then na? circular saw for cross-cutting along the length of the part.

The next operation is cutting the thorns. This operation must be performed with great precision, as it affects the interchangeability of parts. Therefore, it is advisable to cut the spikes simultaneously from both sides of the body wall. Since there is no universal equipment for performing such an operation, a special double-sided tenoning machine with mechanical feed.

In the absence of the specified machine, one-sided cutting of spikes is usually performed on a milling machine with a bracket adapted for heavy work. A pack of walls is laid in the sulag and is fed along guides manually onto rotating slotted cutters, fixed with spacer rings on the machine spindle. The folding and profiling of the edge of the wall is performed on a conventional milling machine.

To eliminate the wavy surface formed during the processing of parts with rotating cutters, as well as to remove burrs and scuffs, the walls of the body are ground. Internal surfaces parts are sanded before assembly, external parts are polished after assembling units. For grinding, belt grinders with a bottom sanding belt are usually used.

Overlay accompaniment. Plywood sheets are cut on circular saws, first into strips along the width of the lining, and then into strips along its length. Considering that the mechanical properties of wood depend on the direction of the annual layers, the accompaniment linings should be cut in such a way that the long side of the cover is in a plane perpendicular to the direction of the annual layers of plywood shirts. According to technical conditions, this patch must be glued on both sides with celluloid. Details about the mode of gluing wood with celluloid and the adhesives used will be discussed below. The accompaniment lining, pasted over with celluloid, after appropriate exposure is directed to the drilling machine for drilling holes. As already mentioned, 100 or 120 holes are drilled in the linings of full button accordions and accordions, placing them in five to six rows, 20 in each, on a special 20-spindle drilling machine with a constant pitch between drills.

From the electric motor 1 through a belt drive 2, a worm gear 3, twenty spindles 4 with drills 5 are set in rotational motion. detail 11. In this case, the rocker 12 presses the button of the magnetic starter 13, which includes the electric motor 1. Such machines are introduced at the Leningrad factory "Krasny Partizan", the Rostov button accordion factory, etc.

Decks. Plywood sheets are cut out on circular saws along the width and length of the decks with an allowance for further processing. Here it is also necessary that the long side of the deck is in a plane perpendicular to the direction of the annual layers in the plywood shirts. It is advisable to drill cylindrical holes on multi-spindle drilling machines of the type used for processing the lining, and elongated holes on copy-milling machines. In the absence of such special machines, holes in the deck are drilled on a conventional single-spindle drilling machine using sulag. A pack of 6-8 decks is laid in the sous-lag, which are processed simultaneously. Drill along the bottom jig, which fixes the location of the holes on the deck, and a catcher, mounted on the machine table.

The next operation is to plan the deck along the contour (along the perimeter) until its exact width and length are obtained. The operation is performed on a milling machine using a device (sulag) with upper cylindrical catchers. A pack of 8-10 decks is put on with the extreme holes on the catchers, which are basic, that is, determining the specified distances between the axes of symmetry of the holes and the edges of the deck. Sulag is led, pressing against a thrust ring. A multi-blade milling head or a smooth-pass cutter is used as a cutting tool. The next step is sanding the two surfaces of the deck on a belt sander.

The grooves are sawn on a special horizontal multi-saw machine. A set of saws with spacer rings that determine the pitch of the cuts in the neck are fixed on the shaft.

The workpiece to be processed is reinforced in the carriage 3, which moves along the guides in the direction perpendicular to the plane of rotation of the saws, as well as in the vertical plane.

Entrance chambers. Wedge. As already mentioned above, it is possible to mill the wedge to form cells (nests) for each voice strip separately both along and across the direction of the annual layers of the wedge wood. Although the technology for manufacturing a wedge when milling cells along the annual layers is longer, it is preferred, since when milling across the annual layers in the production process, a significant percentage of rejects is obtained. As an example, the following is a technological process of manufacturing a wedge of an inlet chamber of a melody when milling cells along annual layers.

After cutting, the workpieces are sent to the jointing machine to level one face and two edges. The sequence of further manufacturing operations is shown in Fig. 128: 1 - the preparations are sent to the thicknessing machine for planing the second layer in thickness; 2 - gluing boards (700X700 mm) from the obtained plots; 3 - after planing two layers, the boards are sawn into strips; 4 - parting the strips lengthwise into two parts; 5 - sawing each plank into two wedges; 6 and 7 - milling of a wedge to a taper in height and thickness. The next steps 8 and 9 are milling cells and air ducts.

These operations are performed on a special horizontal milling machine. Schematic diagram such a machine does not differ from that shown in Fig. 122. Instead of saws, a set of smooth-bore cutters with spacer rings that determine the pitch of the cells (nests), that is, their location on the wedge, are fixed on the shaft. This machine is also used for milling nests in harmonic bodies (combs).

In addition to the schemes recommended above technological processes the manufacture of bar parts, when they are transferred from one machine to another in the process of processing by ordinary vehicles (trolley, forklift), recently automatic lines have been widely introduced in the woodworking industry. Such a line usually consists of universal equipment general purpose and special Vehicle and loading devices that automate the process of loading parts into the line, feeding from machine to machine and transferring parts from longitudinal to transverse motion; line capacity is about 4000 linear meters. m of parts per shift.

In industries where sawn timber is used in insignificant quantities, and the range of parts is very large, the introduction of an automatic line for processing bar parts is economically feasible for a production volume of at least 50,000 accordions per year in the manufacture of cabinet walls from sawn timber.

The line for processing bar parts (body walls, bars of the neck, parts of the inlet chambers, etc.) is shown in Fig. 129.

GLUING AND ASSEMBLY OPERATIONS

All wooden parts of the body, neck and inlet chambers are connected with glue, and some of them for greater strength, in addition, are fastened into a tongue, a tenon or screwed.

If there is a metal deck in the half-body, it is connected to other wooden parts with screws.

Parts are glued with collagen and synthetic adhesives, including polyvinyl acetate emulsion.

Since the characteristics of these adhesives, the methods for their preparation and modes of application are well known in the literature on woodworking, and the presentation of these issues, in addition, is provided in the course of materials science, then only the main mode of gluing wooden parts with synthetic glue with heating the adhesive joints to 110-120 ° C.

Gluing of parts consists of the following elements: preparation of the surfaces to be glued, applying an adhesive layer on them, joining the parts to be glued and pressing. The surfaces to be bonded must be clean and dry, free from grease and other contamination, well fitted to each other and slightly rough. The quality of preparation of the surfaces to be glued has a great influence on the strength of the gluing. The glue is applied to both glued surfaces in an even layer with bristle or bast brushes. After connecting the surface, the parts are lightly wiped to more evenly distribute the adhesive and expel air bubbles from it, and then apply hydraulic, pneumatic, eccentric or screw clamps.

Heating the adhesive layer. Gluing wood at a normal temperature of 16-25 ° C lasts a rather long time, the production cycle of glue knots is stretched and requires large production areas, as well as a lot of gluing equipment and fixtures. When gluing nodes without heating, more than 85% of the cycle time is taken by holding time. It is known that the rate of hardening or polymerization of an adhesive depends on its temperature. Heating the wood to be glued to 110-120 ° C significantly reduces the holding time of the parts in the pressed-in and free state.

To heat the parts to be glued, high-frequency and low-voltage electro-contact heating is most often used.

High-frequency heating should be used when gluing parts of significant thickness (more than 6 mm) with multilayer gluing, as well as in all other cases when the adhesive joints are in places that are difficult to reach for contact heating ( spike joints walls of the case). It should be borne in mind that with high-frequency heating, the glue seam, due to its increased dielectric constant, absorbs more electrical energy and therefore heats up much faster than wood. This position contributes to a noticeable acceleration of the gluing process and a decrease in specific energy consumption. Electro-contact heating gives nice results when gluing the soundboard to the body plates, the back fingerboard to the end bars, the upper fingerboard to the main bar, sockets to the wedges of the inlet chambers, etc. The introduction of high-frequency and contact heating of the parts to be glued opens the way to organizing the flow method on conveyor lines.

For high-frequency heating of the adhesive layer, it is recommended to use lamp generators. At present, there is still no high-frequency lamp generator specially designed and manufactured for heating wood. Therefore, in the woodworking industry, relatively easily adapted universal generators are used.

In the production of accordions, button accordions and accordions, good results were obtained using a high-frequency lamp generator of the LGE-Zb brand. Such a generator usually serves two glue clamps. While the parts are glued and held together in one clamp, the parts for gluing are laid in the other. Depending on the type of parts to be glued, three or more clamps can also work from one generator. You can also use the LGD-10 generator.

For electro-contact heating of wood, heating elements (copper, steel and aluminum tapes) are used, powered by voltage-reducing transformers. Such transformers are included in the general power network with a voltage of 220/380 V. Exit side the step-down low-voltage transformer is in the range of 2-3 V. It is advisable to centralize the power supply of glue clamps located in a certain area. Depending on the gluing area and the thickness of the parts to be glued, one 3 kW transformer can operate from four to eight glue clamps.

Assembling the body and fur frame. The assembly of the walls of the right or left half-body of the accordion, as well as the fur frame in the box, consists in dipping straight, flat and through spikes and lugs with glue, joining the vertical and horizontal walls at right angles and compressing them. For the flow organization of assembly work, as well as gluing, it is necessary to introduce a system of tolerances and fits, and to intensify the gluing, use synthetic fast-hardening adhesives, and in this case, heat the adhesive layer in the field of high-frequency currents. Clamps with pneumatic clamps are also required. The walls of the semi-case and fur frame are assembled in an assembly clamp.

In the two-position clutch, the slots L and B are located in the same way and are arranged so that if gluing is performed in slot A, then the glued assembly is removed in slot B and the details of the next one are laid. The frame 15 of the clutch is equipped with rigidly installed base beams 12 and 13 and adjustable power crossbars 2, 9 and 16.

Crossbars 9 and 16 are equipped with pneumatic cylinders 10 and / 7, to the rods of which pressure shoes 8 and 14 are hingedly attached. Crossbar 2 is equipped with two pneumatic cylinders 4 and 16 with pressure shoes 3 and 7. When adjusting the clamp to the size of the assembled body or fur frame, rearrange the tips of the presser shoes. In addition, the regulation of the position of both the pneumatic cylinders in the cross members and the cross members themselves is provided by means of screw mechanisms 11, 18. The clamp is adjusted so that when the pressure shoes are in the initial position, the distance between them and opposite fixed bases more sizes of the assembled body by an amount sufficient for the free laying of parts. For more convenient insertion of parts and removal of the assembled body, each of the clutch positions is equipped with a lifting (from a separately located pneumatic cylinder) pallet with spring holders of parts (pallets with pneumatic cylinders are not shown in the diagram). Vayma has a device for high-frequency heating of glue seams, consisting of a set of electrodes 5 connected to a lamp generator of the LGE-Zb brand.

To protect the worker from burns and injuries, the clamp is equipped automatically protective device connected to the starting device for turning on the lamp generator. Pneumatic cylinders are controlled by an air distributor, which ensures their subsequent activation and automatic shutdown at the command of a time relay, which operates in a regulated mode. Vaima can also work with an unregulated rhythm. To do this, the following conditions must be met: during the crimping and drying of the half-case in socket B, the electrodes are connected to the lamp generator; at this time, the finished half-body is taken out of slot A and the details of the next half-body are placed in it. When loading parts, the electrodes are disconnected from socket A from the lamp generator, the pallet is in the upper loading and unloading position; they are installed in the pallet holders along the edges of the body wall, the spikes and lugs of which are greased with glue (the spikes must coincide with the lugs).

At the end of the laying of parts and the expiration of the holding period of the half-case in the nest, usually determined by the light or sound signal, press the pedal of the air distributor, in connection with which the following cycle operations are automatically performed sequentially: the tray of socket A with the laid parts is lowered to its lowest position; pneumatic cylinders 4 and 17 are switched on, compressing the half-case on the socket A; the electrodes of the socket are disconnected from the lamp generator at the same time they raise the fence of this nest and lower the fence of the socket A; the electrodes of the nest A are switched on and at the same time the pneumatic cylinder for lifting the pallet of nests B is switched on. At the end of these operations, the half-case is removed from the nest B and the parts of the next product are placed here, after which the cycle is repeated.

The performance of such a bond is determined by the duration of the gluing cycle of the floor of the enclosures. Typically, the hourly productivity of a vayma is 40 half-shells. With two-shift work, the productivity of the clamp, taking into account the gluing of the fur frames, will be 70-75 thousand sets per year. After gluing and appropriate exposure, the half-body is transferred for further processing to a milling machine. Here he is given dimensions in height and at the same time eliminates the sagging of the edges that arose during gluing. For this, two saws are fixed on the spindle of the milling machine, between which there are spacer rings. The distance between the saws corresponds to the height of the half-body; the latter is put on the template and sawn off along the thrust ring.

Gluing parts into a half-body. Details such as the lining, deck, undercut bars, thrust bars, etc., are glued using templates that exclude the marking of gluing points. To press the parts to be glued, use various devices, quite well-known in woodworking. It is advisable to glue the deck to the covers using the electrocontact method in a pneumatic clamp.

After gluing all the parts, the half-body goes to the section for subsequent machining. Depending on the required shape of the half-body and the method of its manufacture, the nature of the subsequent machining is different and may include such operations as removing sags in the corners of the walls by grinding, planing or milling, rounding corners, molding milling of corners and edges, screening of recesses for meshes, finishing surface grinding, etc. To perform all these operations, standard woodworking equipment, ordinary cutting tools and devices adopted for woodworking are used. If necessary, local plastering and grinding of the surface is carried out, after which the half-hulls are transferred to the department of finishing (facing). The cleanliness of the wood surface is characterized by the dimensional indices of irregularities, as well as the presence or absence of hairiness or mossiness on the treated surfaces. In accordance with GOST 7016-54, 10 cleanliness classes have been established, depending on the size of the surface irregularities. Hairiness and mossiness on the surface of wood of 6, 7, 8, 9 and 10 classes are not allowed. The cleanliness of the wood surface in the drawings is denoted by the class number, preceded by the letter d (wood) and an equilateral triangle facing its top to the treated surface (for example, dD7).

Bonding of entrance chambers. Gluing the parts of the inlet chamber in the manufacture of a wedge by milling is reduced to gluing the top plate and rosette to the wedge, thrust bars to the socket, as well as cleaning the unit from dust. When constructing an inlet chamber with a composite wedge, it is necessary to additionally glue the partitions to the wedge and file them along the length and width. The finished entrance cameras are directed to the installation site of the voice strips.

Bonding a fur frame. A fur frame is usually glued into a 4-fold wide blank similar to a half-body, which is then sawn across the width into four fur frames. This is followed by the operations: rounding the corners and profiling the walls, after which the frames are sent to the fur production site.

The use of synthetic adhesives in combination with heating the glued wood to a temperature of 100-120 ° C reduces the holding time of parts in the pressed state to 1 - 2 minutes, which creates conditions for organizing the flow process.

Selection and calculation of pneumatic hold-down devices. Recently, various pneumatic pressure devices are widely used in industry. They are used for clamping parts during their processing on woodworking and metalworking machines, as well as for clamping parts in the process of gluing them together in wrinkles. Since these questions are not sufficiently systematized in the special literature, it is necessary to dwell on them in more detail. The advantages of pneumatic clamping devices in comparison with others, characterized by the time factor, can be seen from the following data from TsNIIMOD and NIIDREVMASH.

Pneumatic hold-down devices also favorably differ from others by their high efficiency, simplicity of the device, reliability in operation and ease of use. The use of fast-acting pneumatic clamping devices eliminates the inherent manual operations disadvantages (incomplete clamping, application of significant efforts by the worker, long clamping time) and creates opportunities for regulation, control, automatic control, as well as characteristic feature pneumatic drive - the constant value of the clamping force - allows you to work with increased modes and increased accuracy.

There are three types of pneumatic hold-down devices - piston, hose and membrane.

Piston clamps are used in cases where a significant clamping force is required with a relatively large piston stroke, when gluing the walls of the body, the walls of the fur frame, etc., when the distance between the clamping bar and the parts to be glued is more than 30 mm.

Hose clamps are usually used with a small clamping force and when the distance between the clamping strip and the parts to be glued is less than 30 mm, for example, when gluing covers or thrust bars with a deck, rosettes with wedges, etc.

Diaphragm clamps are very compact, consume little air, but have a limited clamping force, usually not exceeding 600 kg, and a stroke of no more than 15-20 mm; they are used mainly for clamping parts when processing them on machine tools.

The piston clamp is a metal body consisting of a cylinder 1 and two covers - front 3 and rear 14. The cylinder is made of steel, and the covers are made of cast iron. The cylinder and covers, connected by a tight fit, are equipped with lead gaskets 15 and are additionally pulled together by studs 7 with nuts 5 and locknuts 6. Both covers have channels 2 through which compressed air is supplied to the cylinder. The 4 cylinder fittings are connected to the air line using a flexible hose. The cylinder contains a cast-iron piston 20, which moves as the compressed air is supplied. The piston has two sealing leather cuffs 18, pressed against the piston by rings 17 and 19, which are fixed with screws 16. The piston rod 10 passes through a sleeve 13 pressed into the hole of the front cover and having a seal in the form of a leather ring 11 pressed by the flange 12. At the end of the rod the eyelet 8 is screwed on, which together with the pin 9 forms a hinge joint for the clamp of the clutch.

By turning the handle of the air valve, air is opened into one of the fittings and, at the same time, air is released through the other fitting. It can be seen from the above that the clamping force depends on the air pressure in the network and the diameter of the piston. The air pressure in the network should be 5 kgf / cm2, but p = 4 kgf / cm2 is taken for calculations. Usually pneumatic cylinders are used with internal diameters of 30, 40, 50, 75, 100, 150, 200 and 300 mm. The rod diameter is usually 0.2 of the piston diameter.

The basis of the hose clamp is the rubberized hose 1 (Fig. 134). The ends of the hose are connected by means of fittings 2 with flexible air ducts through which compressed air enters. Hose 1 and spring 5 are placed between the fixed bar 3 and the movable bar 4, connected by a spring 5. The parts to be glued are placed on the clamp base 6 and rest on the fixed bar 7. Until the press is applied, that is, before the compressed air is injected into the hose, it occupies the position shown in fig. 134, a, where the letter x denotes the distance that the hose takes between the fixed and movable strips. The hose diameter commonly used in these clamps is 75mm and the hose thickness is 3mm. In position a, the distance d: = 3-2 + b where X is the gap between the walls of the hose, which is taken to be 2 mm, i.e. l: = 3-2 + 2 = 8 mm. After the moment of applying the press, the hose takes the position shown in fig. 134, b.

On the basis of experimental work, it was found that the largest value of the clamping force is achieved at a value of x equal to 0.4 of the hose diameter, i.e., in our case, l: = 0.4-75 = = 30 mm. With a further increase in the value of x (from 30 to 75 mm), the clamping force will correspondingly decrease, and at x equal to the hose diameter, i.e. 75 mm, the clamping force will be equal to 0. Thus, the clamping force of the hose clamp turned out to be slightly higher required effort, which indicates its compliance this kind works.

The diaphragm clamp has a rubber membrane sandwiched between two hemispherical covers 4 and 9 cast of cast iron. In the center of the membrane there is a hole into which a stem 12 enters, connected to the membrane by two steel washers 2 and 14 and a nut 5. There is a lug in the cover 9, in the hole of which a cast-iron sleeve 13 is pressed, which is a guide for the stem. Two through holes 8 in the cover 9 serve for free passage of air inside the hemisphere formed by this cover. The other hemisphere formed by the cover 4 is hermetically closed and can change its volume under the pressure of compressed air supplied from the network through the fitting 5 screwed into the hole of the cover 4. When the tap is opened, the compressed air squeezes out the rubber membrane and it transfers the movement to the rod 12, which has a swivel joint 10 with a clamping bar 11. The rod is returned to its original position by a rubber membrane 7, which contracts when air is removed from the hemisphere formed by the cover 4. The membrane clamp is attached to the machine using the bracket 6 and bolts 7. With the diaphragm diameter (along the clamping contour) D equal to 230, 200, 75 mm and the design pressure in the network p = 4 kgf / cm2, the membrane clamp accordingly develops forces Pg equal to 450 -500 kg, 350-400 kg and 50-60 kg; in this case, greater forces correspond to smaller ones, and smaller ones correspond to a longer stroke length of the rod.

Wood sanding is a very important step in finishing furniture. It is impossible to do without grinding before painting, you will not get a high-quality and beautiful product. I must say right away that I use a whole set of electric tools for grinding. it grinders, grinding disc, drum with replaceable skin, SHLPS - belt sander. There are also attachments for a drill and a hand-held belt sander - a machine. And with all this set, manual grinding still takes a lot of time.

I wrote a post about homemade gadgets. Electric grinding tools greatly reduce the working time, and in many cases give a better result than manual grinding. But not only flat surfaces have to be sanded. Corners, edges, milling, other places where you can't go great tool you still have to skin by hand. And most importantly, buy a set of tools for home use expensive, and sometimes there is simply nowhere to place.

Perhaps everyone knows the main device for manual grinding, it is a wooden block wrapped with emery cloth. Such a block is used for skimming flat surfaces... Usually the skin is nailed with small nails on the sides. But emery cloth is consumable, it often needs to be changed. Pulling nails off and nailing in again is not enough fun every time. A specially made block will help here, or rather not just a block, but a block with elements holding the sandpaper.

There are several options for attaching the skin. A fairly simple way to fix the sandpaper with wooden wedges on both sides of the skin. For this in wooden block two cuts are made, and for these cuts it is necessary to make or pick up wedges. Moreover, the cuts themselves and, accordingly, the wedges can be of very different shapes.

I use not only flat bars. For embossing bent parts, I make the sole of a bar of the appropriate shape. Often, the concave part of the part cannot be smoked with anything else. In old carpentry manuals, it is suggested to use files for finishing curly parts. But I do not use files, they quickly clog up, and it is difficult to clean them.

For skimming curly edges, where it is difficult to climb even with my hands, I use the same skins. For finishing, instead of a file, I take large skins 25-30 #. I select a long block of the desired shape, for example, round, flat, oval. I roll up the sandpaper and process the parts like a file. You can make such a device for permanent work... For example, as in the picture, the skin is fixed on the working part of the tool, and, if necessary, can be easily changed.

In the pictures, you see options for bars with different working surfaces. For embossing grooves, straight and rounded. Most people use wooden wedges to fix the skin. But you can attach the skins in other ways. Sandpaper is fixed with special spring paws with teeth, as for example on the same grinders. I've even seen such devices in stores. You can choose and make for yourself any option, of any shape and size.

Another option is the skin is attached between two sites, the upper and lower. In this case, the sites must enter each other.

Try to skin along the fibers, when churning across, deep scratches remain, which then need to be sanded out again.

Start sanding with coarse sands, I use # 20-25.

After leveling and sanding the parts with coarse sandpaper, sanding should be completed with fine sandpaper No. 12 or No. 10. I rarely use finer sandpaper. An overview of the electric tool in the article.

When sanding small pieces of wood of small thickness, it is difficult to hold them still by hand. In addition, you have to remember to protect your fingers from possible injury. I have made two tools that help me a lot in my work.

For square parts

For processing workpieces with straight parallel sides (from square and rectangular to multifaceted), I made something like a small hand vice. The clamping jaws are two 3 mm thick metal plates. One of them was fixed motionlessly on a small board with self-tapping screws (photo 1, p. 1), the second was movable (2). which I fix in the desired position with a screw with a clamping wing nut (photo 2, l. 1). The screw moves freely inside the cut through groove (2). When working, I insert a wooden blank between the jaws and clamp it with a "lamb" - the part remains motionless (photo 3).

... and round

Due to the fact that the diameter of round blanks is different, then the above vice (even if equipped with semicircular jaws) will not work. Therefore, I made a device for fixing round parts. The working part was bent from steel wire d 2 mm in the form of a hook with two additional loops (photo 4, p. 1), through which the part was screwed to the board with a pair of self-tapping screws (2)

Such a device allows me to grind workpieces with a diameter of 30-45 mm (3).

Important!The heads of all fastening screws and bolts were installed in the metal plates in a recessed position, so as not to interfere with the processing of the part.

On a note

I selected a wire of medium hardness empirically: you cannot use too soft - it will not hold the workpiece under load, and too hard will create difficulties in fixing.

Large workpieces slightly unbend the locking hook, but it is easy for it to return the required bend for small parts, which does not affect the clamping force in any way.

Such devices can be used not only for grinding, but also for engraving, fine carving and other types of mechanical processing, when holding a small workpiece by hand is problematic.

The fixing hook must be bent so that its diameter is smaller than that of the workpiece, which is installed with some effort - the springing properties of the wire will do the rest.

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