For twenty years, we have been creating timeless, sustainable furniture from solid wood. Craftsmanship and enduring design are at the core of our brand, and. We invite you to read the catalogue and to cooperation. R wooden elements combining fabrics. Livia lounge furniture is a corner sofa, sofa and the armchair. Download and consult furniture and furnishing accessories pdf catalogues. Discover MDF Italia's main features.
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our passion for wood and top quality furniture. Because we love wood, we collaborate with the best regional and global designers who are familiar with. We at Meuble El Chark can confidently boast of our pursuit of excellence and our long-term vision; for us, carving wood to make furniture is not just a profession. FURNITURE THROUGHOUT HISTORY The catalogues come complete with folders containing the different wood, marble and leather finishes, thanks to.
Height cm, width cm.
Design Sylvia-J. Chair Leelo Comfortable and ergonomic seating with bright tones and bold forms. Chair height 74 cm, width 82 cm, seat depth 45cm. Jacquard fabric designed for that chair. Design Markus Marks. Width 37 cm, height 42 cm. Height cm, width 70cm, depth 36cm. Desk dimensions 65 x cm, height 74 cm. Drawer 44 x 44 cm, height 55 cm. Also coffe table at height 50cm. Easy to push right where you need it,but it has its own character - give a try.
Minimalist and clean design with bright nuances allow table to place as well as modern and classical interiors. Table top oak veneered. Width 85 cm, doubled while opened.
Height 75 cm. Design Anti Laanemaa. Easy assembly with no screws, also mirror position. Addition to bed there is bed box on wheels. For matress sizes 70xcm, 80xcm and 90xcm. Kids bed and tray-bed for kindergardens or big family. One by one set can contain 2 to 4 beds. Beds can be pulled out on wheels. Three bed sets will have mattresses measuring 70x, 70x, 70x cm.
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No Downloads. Views Total views. Actions Shares. Embeds 0 No embeds. No notes for slide. Thinking your cuts and movements through before acting can help save both fingers and scrapwood. Keeping your shop clean will help protect you, and your tools, from tripping hazards. Looking up to watch the shop TV or visitor can result in your hand contacting the blade.
Always wait until you have completed your cut before you take your eyes off the blade. Mistakes happen when we rush to complete a job.
A misaligned rip fence or improperly seated throat plate can sometimes cause a board to get stuck in mid cut.
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Forcing the board in these situations may cause kickback or contact with the blade. Take a moment to evaluate the situation and determine the problem. Goggles, Ear Protection, and Lung Protection should be used when operating tools.
Use push sticks when working close to the blade and make sure the tool's safety features are in place. Even without power, the spinning blade can still do a lot of damage. Care should be taken to ensure a supply of fresh air and use only explosion proof vent fans. The lid has beveled edges tapering so they can slide in grooves cut into the inside faces of the box's sides and one end.
A carved, inset pull adds a decorative touch as well as providing a means for easy sliding of the lid. After the lumber is milled to the required thicknesses, widths and lengths, cut grooves to receive the top and bottom panels. Next, cut the through dovetails at each corner this procedure is discussed in chapter twenty-five.
Bevel the top and bottom panels and assemble the case around the bottom panel, which is left unglued so that it can expand and contract across its width in response to seasonal changes in humidity. Complete construction by fitting plugs into the openings left at each corner at the ends of the grooves. The open top of the candlebox lid reveals the grooves the lid rides in. Make a second line on the lid's top 1 'A" from the outside edges.
The bevel will connect these two lines. Plane the bevel across the end grain first so that any tearout occur- ring at the end of the plane's stroke will be removed when the adjacent bevel is formed. Although a jack plane can be used to make this bevel, it may be nec- essary to finish with a block plane which, with its lower cut- ting angle, produces a cleaner surface across end grain. Posi- tion the stationary leg of a compass on that line halfway across the width of the lid.
Draw an arc with the compass's pencil point. Using a wide-sweep gouge, make cuts from the arc back toward the scored line. Carefully lever up chips. Once the depression has been formed, you can give the pull a smooth surface, or, as I've done here, you can give it a bit of texture.
Included in the article was a sidebar in which Maloof discussed several technical issues, closing with the recipe for his finishing mix. My dad—who designed and built several of the pieces displayed in this book, including the crotch-grained chess table—began experimenting with MalooFs finish and found it wonderfully adapted to the small shop.
After years of spraying lacquer, a toxic experience inevita- bly preceded by the emotionally toxic experience of attempting to vacuum every particle of dust from every shop surface, he found in Maloof's formula a finish that not only produced a very appealing surface but also, just as importantly, was impervious to dust contamination.
Preparation is no different for this finish than it would be for any other. Scrape the wood, then sand it with a variety of grits, finishing with a thorough sanding using paper no coarser than grit.
Then wipe the wood clean with a tack rag. Maloof's recipe calls for equal parts mineral spirits, boiled linseed oil, and polyurethane varnish an extra dollop of varnish seems to add body to the dried film.
Brush on this mixture liberally with only minimal concern for drips and runs—coverage is the focus at this stage. Allow the finish to set until it gets a bit tacky. Depending on temperature and relative humidity, this could be anywhere from ten to sixty minutes. Wipe the surface with clean rags to remove any excess that has failed to penetrate into the wood.
As the finish dries, it lifts wood fibers and hardens them producing a rough texture. This first coat acts as a sanding sealer. Again, depending on temperature and relative humidity, this could take anywhere from one to three days.
In humid Ohio, I've found it best to wait three days before sanding that first coat. Otherwise, areas of raised, roughened grain may not make their appear- ance until after the last coat has dried. The thinner clots the re- moved material into a slurry which may help to smooth the surface; however, my reason for dunking the paper in mineral spirits is to unload the grit in order to get more mileage out of each piece of sandpaper.
Once you have sanded and thoroughly cleaned the surface with a tack rag, apply a second coat of the three- part mixture. It is particularly important that this coat and any subsequent coats be wiped clean. Any residue remaining on the surface will dry there and leave a roughened area.
Sam Maloof tops this finish with a layer or two of boiled linseed oil into which he's mixed enough shaved beeswax to achieve the consistency of cream.
He applies the wax, allows it to dry, then buffs it out. You can achieve similar effects with a number of commercially prepared waxes.
This can be fabricated from any scrap that can be glued together to make up a sufficient thickness. This is then band sawn and sanded to the inside profile of the finished box. Undercut the face of the bending form at one point to allow for the thickness of the lapped material underneath the box's glue joint.
Screw a thin strip of metal I used a scrap of aluminum siding to the form underneath which an end of the sidewall material should be inserted prior to being wrapped around the form.
At this time, saw a clamping caul see photos, below with a slightly greater radius than the bending form from scrap material. This caul will protect the sidewall material from the clamps. The next consideration is the sidewall material itself. There are three possibilities.
I would recommend using one of the new waterproof glues between the lamina- tions, although I have built boxes using regular aliphatic resin glue to bond the thicknesses of veneer. Then, soak the sidewall stock in a tub of cool water for twenty-four hours; dunk it briefly in warm water and take it directly to the bending form. Tuck one end of this softened, plasticized material under the metal strip on the bending form. Wrap the remaining length around the form and secure in place with clamps and the caul.
Four or five days later, remove the sidewall material from the form and cut the profile of the lap joint. A bench extension to which is nailed a piece of scrap sawn to the inside radius of the box simplifies the cutting of the joint.
Then, glue the lap, wrap the sidewall material around the form once again and clamp with the aid of the caul. This time, however, do not insert the end of the sidewall material under the form's metal strip. The clamping caul is visible on the right. A lap joint is be- ing cut on the bench extension. Here, the glued lap joint is being clamped with the aid of the caul. Notice that the end of the sidewall material is not positioned under the metal strip as it was during its initial clamping for shape.
Screw a faceplate to a band-sawn turning blank with large y sheet metal screws. Then, install it on the lathe. Above the bead, notice the flange that will fit inside the box's sidewalls.
Before removing the parts from the lathe, sketch pencil lines on the lid approximating the shapes to be created. Then with gouges of various sweeps, define those lines shown above. Remove material below the line as shown above , and create the stippled texture by repeatedly tapping a nail set into the surface of the wood. The repeti- tion of these angles—in addition to the consistent color of the walnut—unifies this piece.
Construction begins with the two sides the faces of the table showing the wide sides of the legs. Fasten the apron parts to the legs with wide tenons glued only halfway across their widths in order to minimize the potential for cracking as these cross-grained constructions expand and contract in response to seasonal changes in humidity.
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The creation of these joints is complicated by the com- pound angles at which the legs meet the tabletop. The dovetailed ends of the stretcher are simpler to lay out, as these can be marked once the apron tenons have been dry-fit into their leg mortises. Once dry-fit, glue and clamp these sub-assemblies— each of which consists of two legs, apron part, and stretcher.
On the table saw, give the center stretcher a dovetailed bottom that extends from end to end. Then fit this into dovetail mortises cut into the side stretchers. Again, in order to avoid cracking as a result of this cross-grained construction, glue the tenon only across half its width.
Screw glue blocks into place behind this joint to reinforce these stubby tenons. Cut the two drawer-guide pieces to length and install them on the inside faces of the apron sides. The top is the next concern. If woodworkers stay in the discipline long enough, they inevitably become wood collectors.
My dad is no exception. Over the years he's put together a hoard of native hard- woods with an emphasis on black walnut, his personal favorite among American species.
At the time this table was built, he had in his collection a number of short lengths of crotch-grained walnut he'd harvested several years before, and he selected four of these for the top of this table because the swirling grain in the walnut echoed the swirling figure in the onyx frame of the chessboard.
Once you have chosen the stock for the chessboard frame, give it a shaped outside edge, and rabbet the bottom inside edge to receive the base on which the chessboard will set. Cut the slots for the splines. You can cut these by hand with a tenon saw, but I find it much easier to perform this operation on the table saw with a Universal Jig.
See 12 Please note, however, that in order to cut the slots for the splines on the frame of the chess table, the work would be aligned so that the mitered end of the frame stock sets flat on the saw table. Thickness and cut splines, and assemble the frame. The moulding under the tabletop is not merely decora- tive—it's also functional, serving to fasten the top to the base via a number of wood screws passing up through the moulding into the top and passing through the apron into the moulding.
The drawer is a simple open-topped, butt-jointed box, to the front end of which a section of the apron and the moulding are affixed so that when the drawer is closed, both the apron and the moulding appear to run continu- ously around the table. Slide the runners screwed to the outside faces of the drawer sides into the grooves ploughed in the drawer guides.
Construct a drawer stop by screwing a strip of wood across the bottom of the drawer guides. When the drawer is opened to its greatest extension, a pair of screws turned slightly into the bottom edge of the drawer sides strike this strip, preventing the drawer from coming out too far and spilling its contents.
After finishing the table, set the chessboard into place on a felt pad. Note the shim between the drawer front and the apron. This causes the apron to be canted at the same angle as the table's legs. Note also the spline set into the end grain of the apron. This prevents the corners of the apron from breaking off because of the grain runout on the apron's triangular tips.
Screws passing up through this moulding into the top and passing through the apron into the moulding hold the top to the base.
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The drawer can be seen sliding in the groove ploughed in the drawer guide. When the screw turned into the bottom of the drawer side strikes the stop strip, the drawer is prevented from being pulled completely from the table. This can be done on the band saw, but because of the length of the top, it is probably easier to cut this, at least, with a handheld jigsaw.
Next, using a cutoff box on the table saw or crowded against the fence of the radial arm saw , form the dadoes on the underside of the top. Cut the through mortises cut using the method described in chapter twelve. Then, on the band saw, cut the through tenons at the tops of the legs. Then, fit them into their mortises.
Next, cut the edge cross lap joints that will fasten the stretcher to the legs.Matching figure and color is the first step. On the narrow end of each leg, this is simply a matter of drawing diagonals across the end grain.
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