234 
RERAMIC STUDIO 
l)l()\vs. Rods, bars and thick strips can be wrought into hand- 
les and bent over the anvil to the desired shape.and where they 
are to be fastened on with screws or rivets, the ends are beaten 
flat and shaped with a cold chisel and file. A very attractive 
surface can be made on flat hinges, etc., by beating them all 
over with the round end of the hammer. 
Sheet metal can be cut in several ways: — bj^ the shears 
to as thick as l6 gauge; by cold chisels and hammer, laying the 
sheet on the anvil or end grain of a block of hard wood, like 
maple or birch, and following the outline of the design, which 
has been traced on with carbon paper, with the chisel; and with 
the metal saw. In using the last, small holes must be drilled 
at all angles to give the saw room to turn. Metal from 20 
gauge up to a quarter of an inch in thickness can be easily 
sawed. The edges are then finished with files and emery paper. 
Etching is another method of cutting out metal, and the 
slightly irregular, beveled edge that is made by the action of 
the acid is most attractive on some work. I would not advise 
using metal over 14 gauge as it takes too long. Patience, 
extreme care and strict attention to details are necessarj^, 
though the process itself is not diffictxlt. 
The bath is prepared by mixing nitric acid and water in 
equal parts in a glass, or china vessel with a flat bottom large 
enough to hold the work in hand, or a granite ware baking pan 
will do, or for very long straps or hinges, a long, shallow box 
can be made and closety joined and then painted with two or 
three coats of Asphaltum varnish, which is to be had at a paint 
shop. 
The metal is cut in approximate sizes and thoroughh^ 
cleaned by scrubbing with sapolio or hot lye water to remove 
every trace of grease. It is then dried and warmed and painted 
front, back and edges, with asphaltum varnish. When the 
resist has dried, which it does quickly, take the design cut from 
stifle paper and lay it on the prepared metal and, holding it 
firmly in place, trace around it with a sharp steel point, being 
sure to cut through to the metal in every part. 
When the metal is in the bath it must be watched very 
closely at first to be sure the resist covers every spot but the 
design. This can be seen bj^ the collection of little green bubbles 
which rise wherever the metal is exposed. In such a case the 
VI. — A box of deep, r 
ch mahogany with pierced bands of polished brass, 
for jewels or love letters. 
metal must be taken out and retouched. If more acid is used, 
the action is, of course, more rapid but not as even. The bath 
loses strength as it becomes saturated with the metal and more 
acid may be added if it works too slow. It takes several days 
to etch through 1 4 or 16 gauge. When through, the resist 
can be scraped off with an old knife and the piece cleaned with 
coal oil, gasoline, benzine or turpentine. 
The diagram in the lower left hand comer of illustration III 
shows how to cut out hinges. The projecting pieces are beaten 
€m' <P^ ^^ 
n. — Various styles of handles with diagrams showing method of fastening 1 and 2 and 3 and 4 
III. — Suggestions for hinges and diagram of constrncti 
