Woodwork 009 1991 Spring

Woodwork A Bsezine For All Woodworkers _ ee AN= s 416" BAND SAW IMPORTS, INC. MODEL 61538 “2" PLANER "impor? CHINE? a MODEL Gt017 ee ae aes «Knocks out 1 the competition! ... (6° x AT" HEAVY-DUTY BOTHEAV DUTY? i oe ‘TABLE SAW 2... DUST “ecsne woDet etez2 couuecroR er ne. sron WoDEL ci0zs cx fags san SHAPER MODEL G1026 aero ony *850" Aisa: amisont eminent convy 41,295" fu ine orem 8" x 65" SUPER 6" x 48" er EAVY-DUTY COMBINATION MODEL G1021 JONTER SANDER omy 735° MODEL Grote move ctors pee omy 95" ony 195" enaaennl SUPERHEAVY OUTY Order your TABLE SAW FREE 1991 erates catalog, today. omy 895" West of the Mississippl: ‘ORDERS: 1-800-541-5537 ° East of the Mississippi: ae ‘onDERS THE FLY-BY-MGHT GANG 1-800-523-4777 Reader Service #19SPRING 1991 NUMBER 9. Woodwark THOMAS TOLDRIAN Publisher TTERRIE NOLL Editor MARGE MICHELMAN, ‘Art Director WARREN ASA, GRAHAM BLACKBURN, CARL DORSCH, ROBERT BRUCE DUNCAN, DON. DUPONT, BLAIR HUBBARD, DEBORAH UPSHAW PATRICK WARNER, LONNIE BIRD a COVER STORY FEATURES DEPARTMENTS Contributing Editors ‘CLAUDIA LYONS stration RICHARD SARGENT Photography STAN MICHELMAN ‘Advertising Director DOROTHY FOGLIA Production Director FOGLIA PUBLICATIONS Production JACQUELYNE KRAMER Circulation NED MANTER Cover Photo Full plans for making a Queen Anne side chair with cabriole legs are on page 37. N 32 / FROM SALVAGE TO SCULPTURE by Mare Swan Stephen Whittlesey Makes Art From Debris 37 / SITTING PRETTY sesesesseses by Lonnie Bird Building A Queen Anne Side Chair 45 / FINISHES, THE WEATHER, AND SOLVENTS ..........+.++.+ by Bob Flexner Coming Out On The Bright Side Rain or Sbine 50 / NORTHWEST COAST CARVING BY A NATIVE NEW YORKER. . . by Ray Levine 54 / ROUTER TEMPLATE MORTISING .....- cesses by Pat Warner 60 / A TRAVELING TRESTLE TABLE «+ by Graham Blackburn 66 / MORE VACUUM TRICKS . by J.R. Beall 74/ A CALMER PACE . sseses by Carl Dorsche 16 / TIGHTENING UP ON A BUDGET ...... Two Shop-Made Clamps 4/ COMMENTARY 8/ LETTERS 10/ TECHNIQUES 20/ EVENTS 30 / BOOK REVIEWS 56 / SHORTS 68 / GALLERY 78 / CLASSIFIEDS = by Carl Dorsch & Don Taylor See Gallery Page 70VENEERS HIGHEST QUALITY RETAIL OR WHOLESALE LOW PRICES (716) 655-0206 FULL LENGTH VENEERS FAX (716) 655-3446 LARGE SELECTION CALL OR FAST SERVICE a WRITE FOR CUSTOM PLYWOOD. . FREE cerleuntyhur CAIALOG 11753 Big Tree Road, East Aurora, N.Y. 14052 “Our Wood Certainly Makes A Difference” Reade: Sova #7 BUILDING OUR NAME.. BUILDING YOUR DREAMS. Awl, 20" JIG SAW 169 eis 16" BAND SAV $499 WA SPINDLE SHAPER 12" TABLE SAWevvnsne $769 =~ SAeae 8° JOINTER.. 779 28°20" 15® PLANER $829 a Ye" SHAPER 259 ‘SK-30SPA ‘$799 1" SHAPER -. ee eee eee ee ealeasis -) 2HP DUST COLLECT -. 40° COPY LATHE SK-30SPA ‘HP POWER FEED! 20" BAND SAW HD. 10° TABLE SA\ WIDE BELT SANDER 12" JOINTER: HD. 20° PLANER TWO SIDE PLANER 1" SHAPE} 6" 132" EDGE SANDER 5 STROKE SANDER =~ 20" DRUM SANDER: 72" MUTIL DRILL swe SHP DUST COLLECT =~ SHP POWER FEEDER. {3 Precision bal. contact drums. Ful pon. dive sanding & auto ieee, Computerized a table 24"working width CA2548 $6450 36"working wiath cAs760 $9790 = ca2548 + Providing high quality wood —* Call or write for working tools at low prices. free brochure, * Start on your dreams now! LOBO POWER TOOLS 9034 Bermudez Street, | Pico Rivera CA. 90660 (213) 949-3747 | (800) 786-LOBO (5626) Atlanta Showroom: Lobo in Canada: (404) 416-6006 (604) 299.0911 1S-1010 READER SERVICE #25 FREE BROCHURE READER SERVICE #301 CATALOG: WOODWORK SPRING 1991 NUMBER 9 hod query by Ros Fes telephont 5) 3240380, Secon clase poste a aw CA 957 an adons malig fs ox 152, Hoss, CA 54957. Copyright © 199 by Ros dal, le Al igs ere Retin it Whe oF i par expel fabian ee by writen perme Son cf he Pulte SUBSCRIPTION RATES: $10. one yea, $1800 swe eats ia the US. and US. poston, Frign ect Payment in US. doll) SUBSCUIPTION SERVICES, ll sscptions and ss leae allow a les ss wecks for change cies and ease od tes we new ares Incoing. poste am aks ae om 4 cet EDITORIAL CONTRIBUTIONS These re elem ait cl be arenes tte ic, moral wil be haed wih ered ork, PO. the poblaher sues no responsi fo eur acy ff arwork, pooogaphe ce tani Bye st fay ‘miso the aur expredh urate tht te sted ‘ates comply eign tal igs ae cme tvs, ap that the mae a0 way longs pen thers of ay ter pean Index of Advertisers Accuset Tool Co, In. « ‘Adams Wood Prodaces, inc ‘Airstream Dust Helmets ‘Ami ‘Aston Compaay Berea Hardwonis Co Cascade Tool ne Certainly Wood Constantine Grate Supplis U8. Cryderman Prodce ‘Gut Master Inerntion De Precision Tool Dollar Fading Corp. Exact Cuts Excaliber Machine & Tool Co. Fareis Machinery 3,22 Freeborn Tool Company, ine ic Garrett Wade Co,, Ine g Gripie Tool Holder Geitaly Imports, Ine. How-To Book Cluls HTC Product, Ine. Tnera Precision Tools i Abrasives Co. eal Tool Corp. 3S Company Joan TerNicson Taoiworks, ic 2» obo Power Tool 2 Manay’s Woodworkers Pace a Minueman % MUCS ted, 0220.) ey Music Makers Kies 6 Penn State Industri 8 Rodman & Co, Ine 3 Sears Roebuck «+ 3 Seven Govners Act Hasdware u Steve H. Wall Lmber Co 4 Syatimatic Company ‘ye Tool Aid : 2 Trond Lines 2 ho Whole Earth Acces 2200) LB Wood-Ply Lumber Carp. zn Wooderak Supply é Woodline/The Japan Woodworker... 24 Woodwork Back Irues 31 Woodworker's Supply 2% ‘Woodworking Shows eelema a coiag aaa a 4-800-USA-KITY TiC Sa MR MIL alae m8 OM bo) The Ideal Woodworking System For the Craftsmen of the ’90’s The “Craftsmen of the '90's” (according to the experts} will fall into one of three categories; Executives looking for a hobby that will relieve the stress associated with long hours at a desk, Artist/Entrpreneurs who will seek to prove that quality furniture and home accessories don't necessarily come from an assembly line (and that you really can be your own boss), and Retirees who want to stay active while creating things of beauty for family and friends (either for extra income or just for the fun of i) READER Ser The K-5 offers every woodworker (even the ones the experts forgot) a perfect blend of precision, capacity, space economy and reasonable price. Our engineers have avoided gimmicks like electronic readouts and bulky attachments in favor of dynamically balanced cutterheads and a simple, straightforward drive system. Whether youre just starting out, or making a change in your shop, call now to find out why the K-S is the fastest growing system on the market today. NEMWoodwork believes that the following commentary by David Donnelly, a video producer who works wood in his spare time, gives information which is of vital interest to our readers. David ‘inst attended the founding conference of the Woodworkers Alliance for Rainforest Protection. Rain Forests and Woodworkers As consumers and lovers of the beauty of exotic woods, woodworkers appreciate the rain forests and the wealth of products they yield. Yet who amongst us does not have a pang of as we contemplate the forests’ demise through deforestation? The encroachment of civilization on this world-wide eco-system is having devas- tating effects on the planetary environ- ‘ment and on the lives of people who inhabit the rain forests. As consumers, wwe are not innocent bystanders. On the environmental battlefront, there are 1 civilians. ‘As woodworkers, our interes¢ in preserving the source of our supply may be seen as selfish, but I prefer the termenlightened self-interest. Through ignorance, weare the problem. Through knowledge, we can play a part in a positive outcome, Exposure to the problem of trees being threatened with extinction inevitably leads to a study of the other components of the rain forest issue, and empathy spreads. We learn that the beneficial properties of many tropical species are yet tobe discovered, and that the suevival ofthe rain forests is closely linked to the quality of lifeon the rest of the planet. In response to growing concern, woodworkersare banding together ina new organization, Woodworkers Alliance for Rainforest Protection (WARP). Founded by John Shipstead, John Curtis, Scott Landis and others, this grassroots organization recently held a conference at the University of Massachusetts at Amherst. The purpose of the conference was to acquaint woodworkers with the issues surround- ing the rain forests, define action items for the group, and establish guidelines forconsumers when purchasing tropical 4 WooDWORK SPRING 1991 woods A World In Crisis Before exploring what we can do, let's briefly review the problem co understaind the seriousness ofthe issue: > 40 percent of the world’s rain forests are in Brazil, but at the current rate of deforestation, they will be gone in 100 years. > 42 percent of the tropical hardwoods that are harvested end up as firewood. > Indiscriminate logging can damage 50-75 percent ofthe trees left standing, > Clearing rain forests for farming or cattle ranching is counter-productive because the fragile nature of the soil ‘makes it unsuited for this purpose. > Population explosion, as well as political and economic crises, force many Third World nations into posi- tions of short-sighted economic development. > The indigenous people who live in rain forests are paid so poorly for trees that the forests are seen to have 00 value when compared co ranching or farming, > Environmentally, the loss of the rain forest contributes to the greenhouse effect and to an estimated 140 species of plants and animals becoming extinct each day. A Ray Of Sunshine Endless tales of destruetion could be augmented with photos of beautiful forests being burned to ash. In spite of all this, there is a ray of sunlight— success stories that radiate and convince us that woodworkers can be part of the solution. Around the globe, individuals, families, cooperatives, Indian tribes, companies, universities, and govern- ‘ments are preserving and managing forest eco-systems because it makes ood economic sense Trees are a natural product of the forest, and harvesting them can represent wise stewardship of the land. Harvesting and logging can allow for regeneration of the species. Mining,on the other hand, is the systematic removal of all trees so that no regeneration is possible. Many woodworkers, furniture ‘manufacturers, and hardwood suppliers have begun to verify the sources of their supply by visiting the countries of origin. Their concerns are that the local people receive @ fair price for their ‘timber so that maintaining the forests is a viable economic alternative to cattle ranching, and thet trees are harvested on a sustainable-yield besis. Others are experimenting with alternate species for their products, which reduces the pressure on favored woods such as mahogany and rosewood, while finding a market for less-threstened species Some countries support plantations which allow trees to be valued and nurtured, Thailand has teak plancacions, while Vietnam is planting rosewood ‘whose furure yield is on a 120-year gyele. In many areas, however, mono- planting is not recommended because bio-diversity is required to maintain the forest eco-system, ‘Success stories are also to be found among indigenous people around the globe. In Peru, the Yanesha Indians operate a successful timber manage- ment cooperetive. Rather than practice selective harvesting, they clear-cut small trips, which then allows sunlight to filter through the forest canopy and regenerate new growth. In another case, a tribe of Lacandon Maya Indians jn southern Mexico are successfully farming multiple varieties of produce inthe rain forest ina traditional fashion that does not require clear-cutting large tracts. In the Caribbean, one family is managing several acres of Cuban mahogany, the prized wood of the colonial cabinetmakers. If this rare species can be protected and raised in one area, imagine the benefits of harvesting seeds and raising seedlings for export. ‘Ontthe political side, the International ‘Tropical Timber Organization, (ITTO) is composed of about 90 percent of the ‘world’s timber producing and consuming nations. It’s goal is to “encourage the development of national policies and sustainable uilization and conserva- tion of tropical forests and their genetic resources, and maintain the ecologicalFine Instruments For The Serious Woodworker Dae a ou eC a CS au 3 Re CR le able saw featured here reflects our attention to detalls.. ted Exact--Cut alignment system to the dual voltage induction motor fOee ene ce Oe a eg Sm OR a RC Seo UAC ei UC Se ea Breet eau aa Sa We invite you to see the many Craftsman features for yourself at your nearby Sears store. ALE eedW@DDCRAFT The Leading Edge in Woodworking Tool Order yours today! Call 1-800-542-9115 Or write: Wooderah Supply, Dept. OIWKOIR 210 Wood County Park, P.O. Box 1 Parkersburg, WV 26101 Reader Sri #66, Get ‘em off the bench and on the wall with. Gripit Tool Holder ‘Tough, simple, economical (3? * Organizes storage areas 1 of 1 of + Mounted with serews (included) | { anywhere you need them si iS + Constructed of ruaged nylon, } } never rusts — * Additional Gripits can be added as you need them ‘+ Made in the USA Available as box of 6 Gripits, or on mounting bar with 3 sliding Gripits R & D DISTRIBUTING P.O. Box 5146 * North Muskegon, MI 49445 box) ofa bar with 3 Grips on each bar at $12.95 per bo. box) of 6 Grips in a box at $12.95 per box. Ad $3.95 for shipping & hancing Send Send Name ‘Address (Gy, State, Zip © Checl’MO C1 VISA OF MasterCard Card No. Exp Date Signature Pha (__ WOODWORK. SPRING 191 COMMENTARY balance in the regions concerned. The United States isa member of ITTO, but unfortunately we are not able to vore because we have not paid our annual organization dues. What We Can Do ‘As woodworkers, we can have a positive impact on the rain forest situation. The consensus of opinion among the experts is that boycotts are not effective. They give the impression of Big Brother trying to strong-arm the lieele countries, devalue the wood by decreasing demand (thus increasing deforestation), and encourage traders to sell timbers to less-conscientious bayers. WARP and other environmental organizations are promoting @ policy of using wood from sustainable sources, This will be followed up with acertfica- tion program so that we as consumers will be able to verify the sustainable- yield origin of our wood. This means that we may have to pay more for our ‘wood, since indigenous people need economic incentives to maintain the forests, and profits will have to be reinvested in the local economy. Help spread the word locally. Write your congressman to support ITO. Join WARP. Ask your local supplier to use sustainable-yield wood from a certified source, Support responsible alternate woods. Become a conscientious con- sumer. Spread the word. In addition to being woodworkers, wwe are all citizens of spaceship earth. The intrinsic value of the rain forests ‘cannot be measured. Their beauty and mystery is awe-inspiring. Hundreds of species live inter-dependently (many stillare unknown), while native Indians can teach us lessons about living in harmony with nature. r's something to think about: If you would like more information ‘on WARP, write to P.O. Box 133, Coos Bay, OR 97420-0013,How would you make these without INCRA'JIG . . . and the INCRA Fence System, featuring the exclusive new INCRA Stop? The astonishing work shown here is just a sampling of the many new woodworking capabilities that INCRA JIG and the new INCRA Fence System put in your shop. More than just an accessory, this system adds a whole new dimension to INCRA JIG's already. impressive capabilities. ‘At the heart of the INCRA Fence System isthe patented aluminum INGRA Stop. It uses the same precision rack positioning technique found in INCRA JIG to give you all of the capabilities, and more, of having a sacond INCRA JIG mounted directly to your ‘The INCRA Fence System fonce. With INCRA Stop, you can easily includes: canto the lngth of any cut with true INCA —|-.er ene Te Carer Pou Dovel, te WCRA Dodie | 16” 30h luninun NCAA Fenc, prcison. But that’ just the beginning. tal dhe mor NERA Dele oe Ber Jo INCRA Stops elegant design lets you make Te id patent wer al made sing he INCRA Fence an infite variety of decorative patterns for box lds, trays, door panels, cabinet fronts, 18 stop block upto 15" beyond either end the fonce. Patented aluminum INCRA Stop «tke and more. To show you how, templates and another INCRA JIG mounted dec plans for making the INCRA Wave pattern (eeelieiea ae : featured in this ad are included free with IEE INCRA Wave plan and templates, ‘each INCRA Stop, . Extensive, fully Mustrated manual ‘The 18° solid aluminum INCRA Fence is ‘The INCRA Fence, INCRA Stop, and 17° quaranteed flat and rigid. The 17° siding Extender bar cen be purchased individually fatonder bar allows you to clamp a stop or a8 a compete INCRA Fonce Syste. block up to 15 inches beyond ether end of The NORA Fence Sytem, eateig te paewsiNCRA | Also Available: the fence - extremely useful for making long | Stop ant otona Right Ane Fate ata wise | atevnam Right Angle Fite for mortises on the router table. ew dimension to NCRA JIG aeady pressive . ot inl securely holding your work perpendicular to Ts Wisk eesti tte Fees Crh. pig an ated) spe hing oak pen System, the INCRA Right Angle Fixture ‘or can be used as a stand alone wnt. sacualy holds your work perpendicular tothe 5 1826" INCRA Fence provides a longer ‘table. It glides along the INCRA Fence, or ‘bearing surface and extended INCRA ‘works as a stand alone unit for non-INCRA ‘Stop range. applications. This precision aluminum fixture fi (28” Fence requires two INCRA JIGs} is perfectly square to both the fence and the e IEINGRA JIG Handbook & Toplates ‘abla, Its intligent design includes many Wits ha Complete INCRA JIG Video ‘special features for high functionality and hi wetl and (CRA GAUGE ease of use, Ape sfferdae) second |W And of couse, the famous INCRA JIG. aero aoe inah S| Th sold sean NORA Fan Stan i INCRA Sip. the QALY fence system produced bythe imakars of INCRA JIG, Insist on GENUINE INCRA accessories, ® MGC “The Ofc NORA J Fram basic setups 1 advanced tecnigues, youl ean baw to HANDBOOE 3 get the most ut of your NRA JG and tn me TEMPLA INGRA Fence Syste on tn our tal, te Cove 17 stirs tps id | eee Ege eae cea he Line of Precision Tools as wl as half ing, sing, and through dovetds, For a FREE BROCHURE and your As an dks, oo i en nts nearest dealer, write to: and FREE tomplats and plane fr making te rew | IP] | Taylor Design Grou, le ees P.0,Box 810262 Dallas, TX 75381 Reader Sorvice #21Dear Editor: I received my Winter issue and read Mr. Warner's letter. Although ic will appear 3 months late, I would like to reply. Mr. Warner correctly points out that the router bie is trapped between the fence and the workpiece and, if not held firmly against the fence, the bie can pall into the stock and damage the piece (although not where it will be seen). The original article stressed making the cuts ON BOTH SIDES OF ‘THEPIN FROM LEFT TO RIGHT so that the cutting action will help hold the router against the fence. don't believe chat there is significant danger in making che cut described. We are using a 1/2” dovetail bit to zemove 4 cross-section that averages less than 1/8” by 3/8”, and the router should be very easy to control. When using the indexing method to remove a large amount of material, I clamp a second fenceon the near side ofthe router, and I would advise anyone to do this when VICE CLAMP ‘frcce, ips and releases instant? 6° VICE CLAMP Model G1872 ony #79 8" VICE CLAMP Mosel G1873 onty $995 ie "| RIGHT ARM which squares he work tor wocnuda’ Model G1952 ONLY $995 25-PC, SANDING DRUM SET Model G1280 ony 1495 there is any doubr thac you can maintain, control Blair Hubbard Knoxsville, MD Dear Woodwork: Why isn’t Woodwork published bimonthly? I enjoy every issue of Woodwork and [rate it with the best of the woodworking magazines. It always seems like such a long period between issues. In my opinion, « magazine of this caliber and quality should a more often. Iam sure there is a logical explanation. Dick Dorn Oelwein, Iowa Woodwork replies: Part of the logical explanation bas to do with Woodwork's beginning, when the publisher single- handedly edited and published two different magazines. Since we don't ike to keep people waiting, we are phasing into a bimonthly schedule and will be publishing 6 issues in 1992. “NEW YEAR...OLD PRICES!" “IMPORTERS OF FINE TOOLS” UNIQUE ‘CLAMP The seoret in this clamp Is Its pivoting arm TABLE SAW. gluing, joining and astening. | "BOARD BUDDIES" oy.y fate Dozens of uses. Very popular! | Model G2370 so ew RADIAL "BOARD BLODIES* cont Model 62371 ont & Serie 200) 647-0801 Sere (717 828-208 Fader Sevice #78 The ncreie “BOARD BUDDIES, SHAPER "BOARD BUDDIES" Model 62372 ony 39" ‘ASK FOR OUR FREE ‘CATALOG TODAY! Wiest tthe Misissipp! orders 1-800-541-5537 East ofthe Missssipp orders 1-800-523-4777 Dear Editor: Three cheers for Bob Flexner's articles on wood finishing. In his last two articles he has done more to explain the complexities and remove the marketing mysteries and hype than any other article ever published on the subject. Since his articles may upset some of the producers i. advertisers, Woodwork is to be congratulated for publishing the information. Carl Dorsch Pittsburgh, PA Dear Editor: received my frstissue of Woodwork some weeks ago. Within days after receiving it, I scouted around for the pieces needed to convert my rip fence into a “super” one. My complements for a “super” conversion article (Improving A Much Maligned Old Friend, Woodwork #7, Fall 1990.) That article was worth mote than the value of the enclosed subscription! James Pela Eau Claire, WI STAPLER syns Toes Soe: Wag ony 25 ba ont 88995 Model 1a BRAD NAILER eater 39 eae Model G1852 onty $99 SUPER BRAD ‘NAILER Model creer oncy #1299CONTROL THE SPEED OF YOUR ROUTER - ROUT AT THE ‘SPEED THAT GIVES THE BEST RESULTS WITH THE WOOD AND BIT YOU ARE USING! NOW OMLY #39 98 oe tn t20> Spee fon Fults PH + Nod wn AlRxien Peles cca a eee easatanietee! com = 120V 154 ee mon ‘10 Full Speed at the Flip of a Switch co Cig Hana reoee ba '* Less Noise and Softer Starts a! Lower Speeds EASY TO USE - Speed Conta witout | torque: electronic: iouicedinwctamm Seton ote taosgerrocaguepemr sta | sepia reaeva es eyecare CARBIDE TIPPED ROUTER BITS PROFESSIONAL PRODUCTION QUALITY GUARANTEED WHEN ORDERING ANY THREE OR MORE DEDUCT $1.00 EACH. ALL PRICES ARE POSTAGE PAID a] Sm TREES [Se [SAK] pag [TN] STON TEEN [a] oa Sa Be | mr [mea (|i ae] me (|e | oor | | [| | a 7 paar Ve le ie fen 7 tata [oot Te] ee ae eat welt [ee | sam fen ¥ Gx inne |] | | Ta) scat | Seto ete fx [0 lee © re [matin |e | we |e | sa | (senate ef fee fa |e % oie [ane ae | | = & Salar Pace OC a fs | | See fowsemne| | we ef a FE RR GRE ET el jy emoe tee lvl «Ty Dum lee oe son |pspeay |] TL |e s Sefer fer |] ow |e | Sm few ¥ sm [amos [vf t fe fs fa a Sn lean [wit Le (te is se rcide fier fiw] || Sam fae out fommany |e] |e | gam fa a von lorem fel? Le | na es) | tome fee five ae foe fam fos esx [aeons [eft | | stm s/s \ x tenon [eRe | we | em les wson loopam Lets Te Lie ra Ton [crs |? | w | sa | Fag |pmpotg [r | rw |e | mum 20 von twa wl lw | soe |e Le ey woe ek fete bef soe |e esr ore aS = Oe eC ee ter te [ie eo De oe jek foe wpe) suo [ee era fiom | wwe | | se o von [en lw) eae [ee wr |e | wo a? ae bate | tae Paar a bod en aa © tiie |W toe | lw ly ln 186 Bele ie w ibe | tate | [ow | xe | am tS we oibe | teow | |W] «| San [ren yoy |e | oo co wim [eae Tele [wl om | JARI = See eee ae fale ie a) UO) See [asl ele be eT we] & | | se ‘lee ES fey jie] te ‘| ue eee aa aw ZT pa Catalgo Tow avalable, uring hundreds oT Bs MAKE BEAUTIFUL RAISED PANEL DOORS... . WITH YOUR 1/4” ROUTER! Professional production quay bit makes it quick and easy to produce matching rails and sties — the panel rising bt with ball beering guide makes the raised panel perfect every tme. equa vale Over $15000 ORDER ITEM #558 fr sate price $6995 ron COMPLETE SET Fab oom on [REVERSIBLE COMBINATION RAL and STILE BT SSETASOAMUBEWIE —nasceo pane ort We moms racrgna so nt, ——— eae Ecorse wees og “ond wh al ning 4 Hour Order Service, 1A 19046 ‘To order by Master Charge or Visa Call Toll Free, 7 Day 1-800-533-9298 or send check to: MLCS Ltd., P.O. Box 4053 VA, Ry« Reader Service #26Send your techniques to: Techniques Editor, Woodwork Magazine, P.O. Box 1529, Ross, CA 94957. We pay from $20 {0 $150 for techniques CLAMP BLOCKS FOR EDGE- GLUING One of the clumsiest jobs inthe shop is that of edge-gluing a number of boards. By the time you manage to get the boards together, set the glue blocks in place and then get the bar clamps in position, it seems like everything has moved and you have to start aligning things all over again, My cure for d problem is some shop-built glue blocks that are shaped like a letter "U." I made ‘pair outof scrap material ripped to one inch, and then glued and tacked some 1/4 x 1-1/4-inch plywood on the sides. These are easy t0 slip in position and ‘cannot fall off no matter how hard you might cry. Jacob Schulzinger Houston, TX Meat genne SOR ene ones 7 | ae 700 | ssaie Al Yous BEST cae ALONE a AnD TO |_ tins ORGANIZE YOUR SHOP WITH EASE der Service #20 LP rocrars FREE CATALOG! CALL 800-624-2027/(313)309-6185, ext. 120 free coe Brazilian feet) oan or os Snakewood ory ro Satinwood re ed Rosewood Bloodwood aoe Pe ern Pau Rosa Quality Exotic Wood * TURNERS * Thick Planks for Bowls/Squares CABINET * MAKERS * Individually Selected Lumber for Furniture/Boxes/Inlays Over/) Species ‘A Inquires Welcome... Callor Write #Berea HardWoodsc. 25 Jacqueline Drive Berea, OH 44017 800-YES-BERE (937-2373) 216-243-4452 READER SERVIGE #66 ee Prete Cocoa con rt Quited Maple any can eer) Pe rt Cre) rey cre r ReoORDER 1-800-328-0457 - MAIL ORDER HOURS 7:00-5:30 C.S.T. MONDAY-FRIDAY Speer |e |e [ae | 3] [se fim | 3 | 8 |ee [ae |e jim le | 8 les [es eee anaes —. AORTA ANDRE [ac det 2) Cr lees ee SE = | ieee (fF 3 a |s alee ee its [ee Ba secre is oo BE |e es = Ey ety og | Poe oy ee "a 2 s|ieiterecdan " iy 2 ie BE Eemektte o0 » (ee 3 ike ge 3 = 2/= E & igus 2 2 [ 3 S @ ieee § 3 E 28 a Fe EP teat a O: als a mia s 35 Pet Ble 2 Rees ot 22h : 2 ime 2 i 22 oe 3\e FREE FREIGHT TO THE CONTINENTAL STATES ON EVERY ITEM - GIFT CERTIFICATES NOW AVAILABLE. Reader Service #31IMPROVED SAW FENCEREVISITED A recent issue of Woodwork featured anarticle entitled "Improving A Much- Maligned Old Friend,” (Woodwork #7, Fall 1990). Having had the same frustrations with my Sears 10-inch saw, Idecided to adapt the system to it. 1 did incorporate a change in the design which makes movement of the fence quite easy. Enclosed is a copy of the design showing an added 4-inch overhead door sheave mounted at the left front of the table, with the cable ‘wound one turn around it, With accank arm attached it is a snap to slide the fence back and forth witha high degree of accuracy. Floyd W. Knapp Winter Haven, FL 4" overhead door track sheave crank The Latest in Swiss Precision Technology Lets You Plane Like an Old World Master from the Very First Stroke! 1 Wish You Could Feel This Board! Nothing feels quite lke a piece of lumber that has been cut by a truly sharp and accurately set hand plane. Yet, many woodworkers are frustrated when they try to use a plane, They pay good money for a tool, take it out of the box, and | proceed to mangle their project. If this has happened to you, IT'S NOT YOUR FAULT! You see, until now, buying a hand plane was kind of lke buying "kit". After you bought. your plane fiat and master the art of sharpen ‘could even get ta the point of learning how to set up the tool! The Swiss-Made RALI* Plane is Different! «The Sole is Guaranteed Flat *Surgical Steel, Reversible Blades Supplied Razor Sharp Low-Cost Replacement: Blades Eliminate Sharpening *Patented Design Automatically Sets Blade Square ‘sDepth of Cut Control is Positive and Convenient ‘*Unconditionally Guaranteed for Two Years Invited Dealer Inquire WOODWORKING MACHINES Exclusie importers of The Right Angle Miter Gauge ALI" Hand Planes. ‘The KS Wood Machining Center 320 North Eleventh | Blue Springs, MO 64015 Or Phone Toll-Free Mail Orders To Farris Machinery RALI* 220 Smooth/Jack. RALI* 105 Block Plane, Replacement Blades 10-pack. Carbide Blade to: consosuen Mauris) Complete Set (on: 0/tow-Sne 1285) $179.95} 1-800-872-5489 ! «ai Prices include Shipping 1 had to hone the sole ig the iron, before you $89.95) $59.95) $25.00) $18.00| ‘MO add 6.475%|Test Our Bits & Cutters At no obligation with our no-risk 30 day trial e Cro tm yun to ret cy your anlectn, sn iho my selma endear many. Vuey ono ton labs = AmMax FE: Complete catalog sent upon your request Toll Free FRE” . Plastic caliper tor any order ($4.00 value) 4-800-782-6629 PRECISION TOOLS FOR SKILLFUL WOODWORKERS — INDUSTRIAL QUALITY CARBIDE TIPPED ROUTER BITS HORIZONTAL PANEL RAISING ‘AND SHAPER CUTTERS. ane. 90 30 a tock me = Emr cUTDIA curt smo. ce] eens sg $ === soe) a oe cme O87 oss et) S50] smegma esto more than 5 types wing shaper caters [[ Sie ik hatte) emt erento sie set we aso) ea Top tthe tne SS NEW PRODUCTS te ae wR y, | MEeROPess sings Sts tm iz aay | estas raat 650 Fash u mig 1 880 Tie Huge tu ip gp) OORE LET T] oat a0 a8 | Ray pars v2 ow aso) gore UW Dvais 2 V2 Ww 480 = ours a4 7k 65 toa owas 178750 15 PC Router Bits Set a a 21 $109.99 Gai a8 316 e800 gm bw te woop ease mexunen /$12.00 Value coi 4 into conte C051 sev 1600 te ans 1ee ie ——k_—Ha| RAL a Lin A” Shank s cris 1m sein 1300 | ea Gicny Came chaz vn 78 ve 1800 ‘All2Ftute exe 1% 12 14 1200) SAUNAS.) Carbide Tipped. mona feo in iz ip am] ies an eran Most popular bits are selected inthis set [ste ae eo] Hie ‘Bea! Gil tr woodmakere Ml crs 36 716 1410.00 on Gy ee eee ED WE tas all SHAPER CUTTERS — Your Choice Sf tee eee gugen oer wa se corse tm 1800 fone oo 38 en | mm crs cx oer cus 1 tu 12 00 pom — 50218? 1 1500 ovat lp meee ie sem tooo] RMRUEE row seco | fan wai 18a t00] | Han sev ome 1k im to] TO SEG iets ‘SHAPER CUTTERS / CABINET SETS Geis ie sd 130 314” BORE BUSHED TO 12" SAVE $10.00 ow ows ak 22500 ron wo sioes CFO ONE SIDE SP owe seth ene epee: tail O06 a 8a 1900 Tae Tats SAVE $10.00 q ] SAME DAY SHIPPING Count on us! SPC WOODWORKING KIT = : eee an sar 4. AUTO CENTER PUNCH, raping is FREE for orders over 860 and oR Bator amaterorers 2 seni wracneTc Pex UP Callus toll free hee 1-800-782-6629 or 14(619) 595-8940 in CA HOURS: MON thru FRI7 AM to 6 PM NEW: SAT 8 AM — 2 PM Send your check io: 1285 Danilegn Court Sue 310 ‘0. Box 520, Poway, CA 92064 Member of the Better Business Bureau (CARPENTER SQUARE 4, USTIC STEEL CALIPERS 5.6" WAY HAND SAW $14.99 Reader Service #8 cat Ccasiner MOULDING SET LS Fa oe, cove & Beno ser (GEE STILE s RAIL SET ie . CONVEX STIEK RAIL SETRADIAL ARMSAW STOP — Anyone owning a radial arm saw understands the time-consuming chore of replacing and aligning a worn, grooved table base, My simple shop-made stop will climinate deep grooves and unnecessary table replacements. By securely clamp ing around the moveable column portion, it stops downward movement by resting on the saw’s outer column tube. To make this stop, select a piece of 3/4" thick stock. Measure the diameter of your saw’s column, and add 2”. Cut the block square to this dimension, Next, stand the block on edge and drill two 1/4” holes centered and 1/2” in from each edge. (Brad point drills work best:) Lay the block flat, locate the center, and using a circle cutter or lathe, cut out the diameter of the column. Cut the block exactly in two, perpendicular to the 1/4” holes. Sand all sharp edges and install into one side of the block wo 1/4” bolts that are 1/2” longer than the entire is block. Place this side of the block behind the column and slide the remaining side over the bolts, add washers and nuts, or wing nuts if you use carriage bolts. Now lower the saw blade until it is just below the table surface and securely tighten the nuts. Now your saw can be raised to any height, moved to any location on the ‘able, and lowered again without cutting We dare deep grooves in the top. Another advantage is when you make repeat cuts such as tenons. Simply cut a scrap block to the shoulders’ height, raise the column and insert the scrap between the stop and the outside column tube, lower the column onto the block, and the height is set. ‘Michael Plesh Sun Valley, CA you to compare! A 3H.P. DUST COLLECTORS We call tis a "Blow.out” Sale — "Blow out tho compettiont™ Our Gizly bag dust collect ‘or features high-qualy HP. single-phase motor made fer continuous operation. Impelloris directly ‘mounted to motor sha, ‘whieh guity runs on lubricate forte ba bearings. Ghazi cher exclusive features inetd: "Low sound levels On castors and uly porta. 1889 cubiof. permin. sucton “Ahoy 2204b. weight ‘ful section of dust callection ‘accossories i avaiable SALE MODEL S190 SALE. $4 Q00 REG. $495.00 ‘oT TO ORDER: WEST OF THE MISSISSIPP| EAST OF THE MISSISSIPP1 1-800-541-5537 1-800-523-4777 Reader Service #79 ‘Ash Birch Cherry Pecan Poplar Walnut Callfor Basswood Butternut Hickory Mahogany (Genin) Maple (Hard) Maple (So) White & Rad Oak Codar ere a White Pine Yellow Pine ‘Above pricat aro for 100° quantities a kindtiod rough lumber sold by the Ba] Knot 3 Ft. FOB Mayodan, NC. and graces available STEVE WALL LUMBER CO. Quality Hardwoods and Woodworking Machinery For The Craftsmen and Educational Insitutions Select $64.00 $46.00 $52.00 $54.00 365.00 $46.00 $72.00 ~~ $51.00 345.00 $ 46.00 $ 44.00 $ 56.00 $70.00 $ 45.00 $36.00 44.00 ‘Above prices are 20 bd. ft bundles. of clear Kindried (0° wide» ST Ton (Random widths & lengths) quantly dscounts, Other sizos| Surfacod 2 sides. or rough. Botverd US pesad in be 1 90]. UPS. Speciale, Select Select Soloct Soloct Solect Soloct Select Select a 1129] FG. Clear Call For Best Prices On READER SERVICE 1025 8 8 8 3 = g SANDER PRICE 1 NOTE: You mst est Cp on your Ung ho FAB-UL.OGK Aoraive Shoes. FAB-U-LOCK Vibrating Introducing the i * EASY TO USE... simply clamp the *HOOK” Adapter onto your Sander as you Sanding System! * vei spocr oisandpser stan ou sang sit ane yu wey to! FAB-U-LOCK “HOOK «« LOOP” Hook Adaptor SHEET $1.00 4SHEET 1.25 SSHEET 1.75 2SHEET 250 HOOK ADAPTOR Belo FAB-U-LOCK o Dises Pads | Drill Mount Pad with 1/4" Mandral.... $4.29 | 6" Drill Mount Pad with 1/4° Mandral 6.99 5" Dual Action Pads (5/16% 28 thread)... 9.99 6" Dual Action Pads (516%24 thread). 10.98 V6SHEET 14 SHEET PRICE PRICE USE THIS AD TO ORDER 5° Flexible Hand Pad 6.99 6° Flexible Hand Pad 949 1a SHEET vasheet | 5’piscs | 6’DIscs PRICE PRICE Price PRICE cnrt_| pen2s | Pen 100 | PeR2s | PER100| PER25 | PER 100 | PER-25 | PERI00| PER 25 | PER 100| PER?S | PER 100 wae | cease | oeiog0 | Serse | osaras | Cisne | cemon | meres | cieceao | Cisase | ceacae| Ts1a00| e000 a 9"x 11” PAPER SHEETS bao (Grown) sop rm eo Se ise Se ae caanwer | fr ibrating Sanders ‘CLOTH STIKY DISC 5b Boe. 6.95 3 Heavy “E* Weight Paper Rls ‘A Weight Paper STIKY DISCS neD 20 OF SOPNPER ocen Belts Buy 190 GET 12 BELTS FREE! EvorLast SANDING BELTS em sis Bums Anan 24 $6060.00, vo, wo, 42 15 Te te See siemenee hee tre cist. cite 89508, ter Singley “Sloveless” DAUM SANDERS | [1°21 Z.75ur «tee Grae sis | Cheval atoner + 12h Sir at | Ceca asa states SP GREE | Chanson Seasiece Gtee 1 WEGNT ROLLS, 2110 corsa, Fibeae S3.05v0%z (6) 128, pH Barapa | CLSK60 $7. 8674e% 0) (BELT CLEANING STICK ... $4.95 ales your ats, Dses, Soe as Srstg UTC mB TMDUSTRIAL ——forraiomnycarires pneriteg veoem nana ia 'T BRASIVES CO. 1 Ucn) READING, PA 1962 1 HPP CURES der 94 500 8 9-86 00082 Aennteh aeend Win. COMONEY ORDER = [) MASTERCARD.) «= C)VISA (1) CHECK Ta tisraniae fg i ee 6 laa ‘Sisasoniat sos ant Seecacemeee Be — $a “E+ J] J smn sos cw ___ ste a Fader Service M2VIsr RASy To BUD. ||| ae oll Novnan + Hundreds of Products SeLF CENTERING CHUCK LIFELONG ~ Seminars by Mastercrafismen « The NOVA Chuck Paria amines al he Ne res eo es jew cha we nei anaes ‘See the Widest Variety of a Woodworking Products A Under One Root Banios_| J sunoneos oF esi New eRooUCTSH far ‘Machinery « Power & Hand Tools « Supplies Psalteries Dleimers COMING IN 1997 Many other + Miwaukoo Musical + No. California Instrument + Philadelphia eae Sizes Avail: & Supplies Sane Send $1.00 Sonne Sm for catalog Pelee roccmino ns + Denver [MUSIC MAKERS KITS *Datoit Dept + Indianapolis wre PRICE $159.95 ermal ee "THE woopTuRERS CATALOG senmemiae |) oneze enor aiearrase cen tie aes, canon opustevrareine anaes hee eee eae neon CRAFT SUPPLIES U.S.A. on iennt ea een eee ORDER TODAY PROVO,UT 84606 (801)373-0917 Fax (801)374-2879 bse pine race READER SERVICE #200 ACCESSORIES RIGHT ARM CLAMP This clamp is a real gem. ts secret isis pivoting arm which SUPER BRAD NAILER This light weight pnuematic nailer drives 18 gauge brads from 5/8" Squares te work fr perect ‘De a/t6in- ing, oning and fastening to.almostany Np ty t0 your jig pes up to 1 Kind of wood and ts usd in * Clamp is approx. 6° long. Ect ayant |. PART NO. C3029 choice! tove it onty 109° re oe ce PART NO. ca009 ONLY 95495 or 6 oronty °55°0 ony $129 BISCUITS FOR JOINING WITH BRAD DRIVER A ROUTER | ~~ Hold and sot brads with this BEARING LUBRICANT © Eflectvetos50°F ee simple but elective tool en Suit squeeze and you * Ropais it anc Wny buy aBisout- f pees cutting machine don ane) ‘vena smal rout. rw oo? Push aRADs IN cote hiskbcan THEEAGY WAM! -* protects and cats bnangsandbenring mechan Lae Gil etectve on oer bt baring and ab cota PART NO. c3021°4°° size0"- vse ciot2 ve2) PART NO. €3078 ONLY $795 ORDER TOLL FREE 1-800-235-0272 fam 16 WOODWORK SPRING 19) READER SERVICE #5 PART NO. €3022°4°5 sine -0"- una Croce ot) wT NO. C9023 9495 IRTNO. C3074 ONLY S345 20" veo 100 be 20MAJOR ADVANCE IN NEW! FORSTNER BIT DESIGN % Jue FORSINE )RSTNER BITS QUAEat! ‘Complete Set of nos EMTS une © SAVE 10-pe. FORSTNER BITSET Al wi Sow-Teoth ELIMINATE BURNING ne en ; WITHOUT LOSS » #10-1350 ay Re rer CTE) 7-pc.CONVENTIONAL FORSTNER, — BIT SET Ae Hoses Ms, veal wih "shanks, Precision Ground, HROSOS2, Saas: 14 trough "in wood case veal ith shan, Precision Ground 62. Sites 14" hough 21m wood case. 22-pc. HSS TAPERED DRILL, COUNTERSINK/BORE, STOP COLLAR SET => Q 2m ese $2298 Be 01ST 299 Be 019182699 Be 1013192899 Ze soNset 288 Sizos over 112" wth Sew-Tooth 3 10132 = 99 Albis 3 Sw 1043233699 ° hus oh: 1 Be ! 5:pc. JUMBO BRAD POINT oon DRILL SET SUPPLE ‘Specially Priced SUEDE #040115 LEATHER / | | SF ey UHI WORKSHOP For Screw Sizes #5,6, 78,9, 10,12, Wood case included 2 ‘ 16% 58" 34,78, 1" wth 9" shanks, APRON "NO HASSLE 30-DAY MONEY BACK GUARANTEE" visamc TOLL FREE 1-800-666-7227 bept. wwaai (incl. Canada) DOLLAR TRADING CORP., Dept. wwaa1, P.O. Box 68666, Indianapolis, IN 46268 (ecco eeADAPTER FOR LATHE DUST COLLECTION ‘Assuming one has a vacuum dust collector, to adapt ir for sanding on a lathe the primary piece is a “boot” normally used in a forced air heating system co bring the warm air through a floor opening, These are available from heating contractors for less than $10. They have a rectangular outlet measuring 2-1/4” x 12”, and a round inlet, typically 5” in diameter. My dust collector uses 4” diameter flexible hose, and I puchased a 4” to 5” quick disconnect (part #50-196) from my Delta supplier to connect the hose to the boot. A piece of 1/4 x 8 x 12 plywood supports the quick disconnect and boot on a pair of slides which are approximately as long as the lathe and fastened to upright supports that measure 6 inches wide, The height of the slides above the floor is set so that the center of the horizontal boot ‘opening is the same height a the lathe spindle. The 1/4-inch plywood has two Professional Quality ie inch spacers on its underside so that when it is set on the slides, the spacers allow it to be moved along the slides. ‘The whole unit is positioned behind the lathe, The boot is available with outlets that, when in position, will be WCU oe eur pvecoty Fron PENN STATE INDUSTRIES Super 125 Planer Portable with "Power Feed’ + Shipped assembled + Retail value over $600.00 - $359.95 On Sale DC-1 Dust Collector On Sale ... $199.95 Koop your shop clean and sate irom sawdust with our large capacity commercial sive system. This collector has upto 10 times more airflow than a ‘Shop Vac and rune much quite, SPECIFICATIONS: + thp, 11072200 (pre wired 110V) {G10 CFM aie flow 300 FPM air speed +2 Bags 15" X 2 inlet + asters on base.» Weight 75 lbs Pt Pe 18 WooDWoRK SPRING 199 with Purehase of DC-1 This machine will pay fr itself tim ‘and again by planing y ‘ALS bs, you can cart ts Pano a0 site or mount it permanently in your workshop tke any stationary machine You'l spend hundreds of dollars less fortis 12172" power feed Planer an or vactiona stationary ode ofa simlar Capacty - with comparable results, Seek + Cutting speed... 16000 Cutsimin + Thickness of stock... 3/16' 106" fk ‘Aas $20 ie Freight Took Aig Aaapior To Fle Adapor ne For2 Stage Soup ng 8 Ftings Sources Free $15 Value 20 gallon b Sie 26°55 "READER SERVICE #27 Planer & Accessories Price List yg Set ot 2Knwes: High spond ia 124.7 Pe = 3 ‘SPECIFICATIONS: 2800. ‘Knives... 22a, 12/2" wide, HSS ut chute ou ant weed ch {Motor i Amp, 115V, 8000 RPM frDS reg. $24 ON BALE °°." 31500 0 UPo) aie bees ie 262 FPM PERSE Mtg S400 One... $9900 (66UPS) a Bowing Raters = rum prac? le Usize. tet H "Bod Buys acide RES ne rishi dan haeh TMexDepthotcut nn gt awe AER Pate Peden So uss puro) Machine Weight is Log. (+)No tein hp ireres Plans, ers 2059 UPS PENN STATE INDUSTRIES - K Order Toll Free 1-800-288-7297 (Ext 90) Pennsylvania residents add 6% Sales Tax Callor write fornew FREE 16 page color catalog horizontal of vertical. The horizontal ‘opening is ideal for spindle sanding and the vertical opening works well with bow! turning. James Engh Rochester, MN Free plans or ‘ler stand jehace 125 Planar corsets and assemble $359. 05515 UPS) ha edd yoa tle we wean 2 Hoy rae Cea year Warranty for Part pris nd Lab 2850 Comly Road + Phi Pa 19154 For information 1-215-676-7609 (Ext 15) Visa, Master, & Discover Card accepted ‘Add UPS Shipping Charges as notedVL You design the furniture We'll produce the automation Since 1955, he Auton Company has served the design community with quality motorized systems thal utiize remote controls and small Powerful motors. Motorized platforms glide smoothly and quietly on four rack and pin ions and even swivel ata touch of a button, ** Raiselower 200 Ibs © 31¥e" W x 30"H x 17D, + 27" not travel ‘+ 17 deep platform handles loads up to 34" deep. ‘= Supports uneven weights, * No wobble * Operates by radio remote control (not infrared) * 2 electrical outlets on plattorrn ‘+ Motor contained within 3" high platform, '* Stool construction—ball bearings at all points. + 30 days money-back guarantee. ‘Five years warranty, * Comes completely assembled—ready for easy, quick instalation, Conceal, reveal ‘anger Attach to side walls or top and bottom of cabinet ‘Secure your enclosure to top of platform. Plug into 11SVAC/6OHZ outlet. Press button on hand-held transmitter ‘and release. Platform will move to ful Up ot down position May be stopped at any point of travel by pressing button, Limit switches are adjustable, Comes with complete set of instructions ‘old fashioned _Auon’s smooth ‘Scissor” Lit Reader Serve 481 Rack & Pinion Drive ‘Siva! (Optional Extend & Swivel (Optional) Switch trom the old type scissor its to AUTON"... .The most technologically ad vanced lits available today! Has all features of the #1001 plus motor ied swivel Al functions (Up - Down - Swivel) operate from a single handheld wireless remote ‘control transmitter, TV wil not lower until the electronic circuit automatically siops it in center position Seven standard sizes, motorized swivel extend & swivel, custom sizes, weight loads up to 2000 tbs. Call or write today for free iterature. ‘AUTON COMPANY Box 1129, Sun Valley, California 91353 Beverly Hil 213) 6591718 Sun Valey (818) 367-4340 FAK (618) 962.9215Lie-Nielsen ‘TOOLWORKS NEW: a small low angle block plane that fits perfectly inthe hand or easily inthe pocket. The S'/2" cast bronze brody holds hi tool steel blade custom mi t blade adjuster offers blade control of micrometer ease and precision, The heft and feel of polished bronze fashioned in such delightful proportions will make this one ofthe most reached for fools in your kit To onder our newest plane, $75. plus $2, shipping, or Free brochure of Heirloom Quality Tools, cll or write READER SERVICE #24 We provide free listings of events which are of direct interest to woodworkers. ‘These can include gallery shows, workshops, lectures, craft faits, etc. Deadline for the next issue (Summer 1991) is March 1, 1991. Send listings to: Events Editor, Woodwork Magazine, P.O. Box 1529, Ross, CA 94957 Catitiraia). moe Workshop: Saturday morning tool clinic at Hyde Street Pier; Feb. 16. Students bring their own woodworking tools and learn how to sharpen, adjust, and use them, National Maritime Museum Assoc, Bkig. 275, Crissy Field, San Francisco, CA 94129, 415/929-0202. Workshop: Building the Chamberlain Dory Skiff. Three consecutive weekends at Hyde Street Pier, Feb.23 & 24, March 2 & 3, and March 9 & 10. National Maritime Museum Assoc, Bldg, 275, Crissy Field, San Francisco, CA 94129, 415/929-0202 Show: Weaving. .. Wood.” March 16- April 27. Fabrics and wood curnings. Gallery Eight, 7464 Girard Avenue, La Jolla, CA 92037. 619/454-9781. Show: “Contemporary American Wood” Jan, 11-Feb. 23. 50 artists, farnirure and turnings, Banaker Gallery, 1373 Locust St, Walnut Creek, CA 194596, 415/930-0700. Show: “New American Furniture.” Feb. 9-April 21. Oakland Museum, 10th and Oak, Oakland, CA. 415/834-2413, Symposium: March 9, 9 a.m.-4:45 p.m. In conjunction with "New American Furniture.” Edward S. Cooke speaks on "New American Furnicure,” Kenneth Trapp on “Art Furniture of the 19th Century,” plus talks by furniture makers Gail Fredell Smith and Norman Peter- sen, designer Michael Vanderbyl. Oak- land Museum, Oakland, CA. Admission fee, 415/273-3005. A Proven Performer abate nate UO aay eS a Designed for both the home and professional shop, Paragauge will accurately set any table or radial arm saw so precise that anyone can now cut wood accurate to_within 10/1000"— virtually eliminating bind- US Patent Peding ing, burning and dangerous kickback. Fageiaaloy chrecione sow hor vee ee ee ee eed araganpe for seting 2 perecty garalel VTE: Ve sgpes Pt Mode! P68 ony be ued on ble ps essa rip fence (up to 18 inches wide), setting in tre for anlr ss ren bang ba F158 SHR side bevels and setting blade height. Radial eon 7 im sn cos es egae —WOW AVAILABLE] | for ml THE USA ‘square for crosscutting, setting the width for ripping, setting blade depth and even check | ——!N TWO SIZES. Th Onder —— MODEL (aly! SS cavities = forabe levelness and het in horn pos 7612 $34.95.00.| 1-800-343-6129 tion. Paragauge is so versatile and accurate (12 inch) (Day - 26 Rat See) ‘everyone can now cut wood with professional . fA PS18 $39.95 .i0su | youn wt ae oe we quality results. Paragauge also saves the cost of upgrading (8 Inch) Taint sae te | ASENER Coy 0. Box S08 Det 46009 to anew saw or adding an expensive parallel- locking fence to your current equipment! escer Service 9Another “buy 1 tool few of the unique woodworking tools of 0 ahers valle for out most versi- tile tel, he 1991 Garett Wade Catalog ‘The 220 page catalogs Feee with any order fiom this Or i you ould jas ike the Glog, send us $4.00 wih your name and ‘ace. A/2 Band Saw Books by Mark Daginhe iesen what makes your bandsaw cick. Tone-up and maintenance; Blade selection, tacking and tensioning: plus cutting methods for various ‘woods and deher materals. Hundreds of ps nd shortcuts. Unlock your saw’s potential 21.09.03 Band Saw Basics Y6LO4.02 Band Saw Handbook $9. $16.95 BJ The Saw Setting Gauge That Can Be Read From Any Position ‘Mort gauges have at least one or eo main sweakaesses. They either rest partially on the insert plate which is usually not. the same Feige asthe main table, ora so chia tha it dificale o ensuce cha teeth ace being gauged fac the cop of the arc, ‘This gauge is made from ‘machined 1 thick Aluminum and i "lon ‘With “graduations on one end and Yon other, ic Wil indicate any height from A" co Most useful for table saws buc also handy for routers. The matkings ae vertical on one face and horizontal on the other, $0 you Can read them exsilyand accurtely 71K 26.02 $16.95 DJ Our 202GF Gap Filling Glue Fills Gaps Te has a very high solids concent so thar small ‘gps in ou? joinery ate actually filed ~ with Scength, And he igucceout bea ri uP tnd hips off when dry. No soaking in eo ruin fishes Dries toa light ean. Water clean-up. 62401.01 1 pt. 2026 $6.95 6201.03, 1 gc 202GE 31250 € Ye Super Narrow Blades ‘You may have never Seen blade like his. A Hep ther sole, fe produces stouoth cus we making nciedibh aghe curns We vec Srmmend using out Cool Blocks with these del cate bles, because they can be set cloner vo the Eisde without danger of everheating Saw Serting Gauge Cabinetmaker's Special Bandsaw Blades A Garrett Wade exclusive, They look lke "skip foorh blades, ‘But each och is actually Formed asa hook, with every 3th tooth an unset raker. The resule sa very smooth cutting blade that feds easily. 1? blade i for general wore, and 1 forresawing and heay seaighe sawing 934" Blades (Delta. 4" and copies) S3KLLOL i" Sceoll $15.95 33K 11-02 (Cepi)Cabiner $11.95 33K 11.03 (3p) Cabinet $12.95 Garrett Wade Co., Inc. Jel Avene ofthe Ameri [New York NY 10013 Dept. 125, (Cll Tl Free00.221-2842 (NY 212 807-1257 No Collect Cll Please) Paes sod me these Gare Wide oodles FREE 1991 Calg with myo. (Price goad atl September 14, 1991) get our 220 page tool free” offer. ark acene 80 Blades (Sears 12") 3KI201 Sell $14.95 33K12.02, ArCabinet $10.95 33K12.03 yr Cabinet SIL95 72" Blades (Shopsmith) 33K15.01 Sell $13.40 33K13.02, Ye Cabinee $10.25 33K 15.03, Ga $10.95 E/ The “Blind Nailer” Used To Be A Seaple In Every Finish Carpenters Tool Box ‘This untque tool lw you tose nal or brads invisibly Slip he special chisel, with is finger ta aed acing ee, othe poston jig and ogheen the clamping screw. Place the Hf sole onthe wood and stke the end ofthe chisel with a fam tap Wich the pul of your hand, The Blind afer wil lift a perfec smal chip from the surface, Hammer jour tal oF brad ian then glue the chip Back n place 4401.03 Blind Nailer ‘$15.95 ccial Bandsaw “Cool Blocks” Prolong Blaelife nceie Accuracy Made ofa specal graphite srpregnaed Phe- folic laminae, thi set of 4 replaces your upper tnd lower side blade guides Cool Blocks an Goole an ae more sippy than conventional Steel guides. Since they can be set actualy touching dhe blade, they give you beter con feof he ce Madd 33K09.01"A" Delea 14” $11.95 33K09.02"B" Sears 12" S1L95 33K09.04"D" Shopsmich $1295 33K09.05"E" Old Sears(i"Rd.) $11.95 33K09.06"F” Jer 14 (is Delta copies) $11.95 33K09,09"K"New TileHiead Sears $16.95 [sTOK # [oT aw TH Gaal ree with ede rm tsa ew York Resides a apie Sls Tax Shipping Hanling: $2.90 fc one ra yp c$10 Sart $2 ioe $i0 01 $50 Soiping $2.95 or $20.01 00830 36.25 for over830 rand Fader Service m4Breathe Easier! Powered Air Respirators for Wood Dust $279 moseiacit Excelient{or all woodworking jobs which create “DUST.” Also offers eye protection. Can be worn with beard and glasses. ‘Systems also available for paint and lacquer fumes. AIRSTREAM DUST HELMETS 21944 Avenue 332, Woodlake, CA 93266 1-800-637-6606 209-564-8071 FAX 209-564-8073 Reader Servic #71 * ett Caner Routor + Adar Parts Use of Tampa Guide Bushings IG-A.MORTIS NOW ADAPTABLE FOR GUIDE BUSHINGS Thi suecstoo RIG-A-MORTS, “Tho orginal St Cenring rorie sub base, aflews you to use Your ‘outer tpi wrk & mors, Double Nyon gue ‘Brassignauoaoay cater trou & gos hon. ‘Burgers ungreg caanity accra one-a0p Euing ong rou & top morbeos on soc pio wide ung eancar sang ote 18" 3 Romove (jade pina or te touting cperasors 20-A.MORTIS Ile gase tine edapr[opsnaleccopa ek Ponar Catia gute busings Complete nsrurions 8 Ban or bug vise mare & eer fs ay {hity rosa sche pretoved 1 ese rus fining ound bac (No Ure IG-A:MORTIS I o-base UDE BUSHING ADAPTER ‘312560 PARDWAEE I Se $1000 ped TOOL AID 16950 Eric Ln, Wheatland, CA 95692 (36) e33-2002 SRYERNATONAD NC ———— PORTABLE EENTENSION TABLE ee FITS ALL MAJOR BRAND 101K. MITER BOXES FOR $349.95 COMPLETE. CALL FOR DISTRIBUTOR NEAREST YOU. 1-80-23: DISTRIBUTORS IN U.S. & CANADA CUTMASTER NEEOS YOUI READER SERVICE #74 acer Sevice Ka BUILD YOUR OWN QUEEN ANN FURNITURE ‘win ou wide varity of toc eg teh oun @OMBLEYE Kirs vid Natcting rng and occasoral bes avalabie n FREE BROCHURE hams Weed edacls, Ine READER SERVICE RSD Gallery Talks: Feb. 24, 2-3 pam. Garry ‘Knox Bennett, Edward Gottesmao, Gail Fredell Smith; April 14,23 p.m. Phillip ‘Agee, Jerry Carneglia, Norman Petersen. ‘Admission fee. 415/273-3005, Show: “California Desiga “9.” Jen. 17- Feb, 17. Furniture and decorative art, sponsored by the Bavlines Craftsman's Guild. Contract Design Center Gallery, {600 Townsend, San Francisco, CA. 10-5 daily and weekends. 415/331-8520 Workshops: Traditional Japanese Wood- working. Contact Jay Van Arsdale at Hida Tool Co., 1333 San Pablo Ave, Berkeley, CA 94702 415/524-3700. Workshops: Woodworking workshops for women. Furniture making with hhandtools using tradicional joinery. Sa- Sun, 10-4. Call for schedule and to reserve space. Debey Zito, 415/648-6861 Tool Show: The Woodworking Shows, March 22, 23, 24. Community Conven: tion Center, 1100 1th Se, Sacramento, CA 95814. 213/477-8521. (Canidae eee Tool Show and Seminars: Southwestern Ontario Wood Show. April 26-28, men Auditorium, Chatham, Ontario. 519/351-8544, Connecticut Call for Entries: National juried craft exhibition, Deadline March 3. All media, cash awards. Write to 34th Annual Guilford Handcrafts Expo, P.O. Box 589, Guilford, CT 06437, 203/453-5947. Show: "Best of Nutmeg Woodturner's League.” March 9-April 22. Brookfield Craft Center, 286 Whisconier Rd., Brookfield, CT 06804, 203/775-4526. Workshops: Winter, 1991 Decorative ‘Arts workshops series, Brookfield Craft Centers in Brookfield and Norwalk, Gilding and gold leaf, painting on furniture, antique furniture repair, and ‘more. Write for brochure, P.O. Box 122, Route 25, Brookfield, CT 06804. 203/ 775-4526 in Brookfield, or 203/853- 6155 in Norwalki strep 318" agneguerch Coles Dil it ©4135. Spore ishing Sander 5S. {Blame fos oe Ltt Br R72 rao oe tia fas ren PRICES EFFECTIVE FOR MAIL & PHONE ORDERS ONLY. errata Pee 1" BG Router WHOLE EARTH ACCESS CER 10" Contractors 480 Saw 30" initenes Makita 318" VSR Dil 10" Portable Planet 359. 12V. VSR Cordiess Drill Kit Mosel 279504 ae & ES & ae oe tar cutes a. Ee planer st # Froese ‘2°? tS Maemsietan = Gee mm cq @ITACH we 175. FREGHTINCLUDED TR FREE reeicit on aus ponraste Toots IN CONTINENTAL USA -F08 BERKELEY (USENSITTCRNDTSCTE BUNA s.ucd a eke LG) poor 2% estan ea] atgs Variable Speed + EAD venation mae se acreage uu Weacorseee HE EorureasTHE WORLD'S FINEST CHISEL lager han sy vies fos en ie mony te the wor. They et Fara Gham Wine ony com Some hans ‘lt catag at tala or sce os acon THE JAPAN WOODWORKER 1731 Clement Avenue, AB ‘Alameda, CA 94501 Phone 415-521-1810 READER SEAVICE 045, RESTORE FURNITURE for SECURE INCOME Perfect 2nd Career Complete Shop Set-up for $2,999 to $9,999. Com. plete training; absolutely no experience necessary. All new simplified techniques. Earn $200-1,000 a day! Low in- vestment, high return, Franchise advantages without the fees. Great for men, women, families; part-time or full-time. Turn-key business, unlimited market! Furniture Stripping * Repairing Refinishing * Moldmaking Veneering * Mirror Resilvering| Info Video $12.95 [\ FREE Workshop Info Send $2 for catalog to: INUTEMAN Box8, Ste. 26 Waterloo, WI 53594 Nationwide The Excalibur T-Slot Saw Fence and Companion Sliding Saw Table Guide Fails. Fence always. stays Paral ‘to the Saw Blade. DESIGNEDAS A COMPLETE ‘SYSTEM TO PROVIDE YOU GREATER ACCURACY FROM YOUR TABLE SAW Excalibur Machine & Tool 210 Eighth Street South Lewiston, NY 14092 READER SERVICE #10 24 WOODWORK SPRING 1991 + Sliding Teble —Cross-cut ‘Stock up to 50" wide. + Quick, Easy Installation. Fits all Table Saws. + Fence Locks on Soth Front & Rear eat + Overaem Biade Cover ‘ow Dust Collector + Dual Measuring Seales. Accurate Cuts Guarantees. than other Systems. PPloetia) = 12 beets Tool Show: The Woodworking Shows, March 8, 9, 10. State Fairgrounds, 4800 US. Highway 301 North, Tampa, FL 33610, 213/477-8521 (Georgi te Tool Show: The Woodworking Shows, April, 6,7. Inforum, 250 Williams Se, ‘Atlanta, GA 30303. 213/477-8521 Bien See ec Bee a Tool Show: The Woodworking Shows, February 1, 2, 3. Indiana Convention Center, 100 S. Capital Avenue, Indian- apolis, IN 46225, 213/477-8521. Free Seminars: Woodworking and related demos,one Saturday each month. E.B. Mueller Co., 3940 South Keystone Blvd. Indianapolis. 317/783-2040, a Tool Show: The Woodworking Shows, February 15, 16, 17. Merchandise Mare, (6800 W. 115th St, Overland Perk, KS 66211. 213/477-8521 Massachusetts, —__ Workshops: Woodworking Association of North America's 2nd Annual retreat to Cape Cod, June 9-14. Bight full rime and part time workshops. Contact W.AN.A,,P.0. Box 796, Plymouth, NH (03264. 800/521-7623 or 603/536-3768 for brochure. New Hampshire —__ Classes: A variety of beginning and advanced woodworking classes. Year round. The Hand & I Craft Center, P.O. Box264, Moulronboro, New Hamp: 03254, 603/476-5121. New Yorens ae Show: "Aet That Works.” Feb. 2-March 31. Decorative arts of the 80's. Allbany Instiate of History & Are, 125 Wash- ington Ave, Albany, NY 12210. 518/ 463-4478leas, practical projects and expert guidance. Y An absolutely: no-risk guarantee. (values to $126.70) and get a FREE Gift! nor ‘rr 10 cay wnt ebigaon! = Excopinal Qual. er eda enpecay sles y ou Eton Sow FREE when you join! nv ‘Six Easy Home-Improvement Projects Jas) of dost. yourset projets to W ang comer te your homo. \ . HOW-TO BOOK CLUB Blue Ridge Summit, PA 17294-0800 aan aca ny member ne HowTo Bok Cian sen nee cy fe Eay hee irprovert Poe ‘tay onge ay ne Pann ksnephghanaina aos 5 8Here are some of th joints you can, proue witthe Mul Router” Moris & Tenon ‘Compound Angle Teron READER SERVICE n22 HARDWOODS EXOTIC & DOMESTIC Over 75 Species LUMBER » PLYWOOD * VENEERS TURNING SQUARES & BLANKS WOODWORKING TOOLS, FINISHES ‘AND ACCESSORIES COLLECTORS SAMPLE KIT] 30 Exotic & Domestic Woods 1" x3" x 6" Sanded Finish $29,00 » =» Ideal for. Collectors * Schools Ccratismen + Cabinet & Furniture Makers ‘Architects » Designers 1-800-423-2450 WOODWORKERS me Ssealy 5402 S. 40th St. Phoenix, AZ 85040 Ceri escer Seve 451 26 WooDWORK SPRING 191 WOODWORKING SHOW “Lasked one of those euys for two bits and he gave me these.” Classes: Wide variety of beginning and advanced woodworking classes; starting, January. Constantine's Education Dept, 2050 Eastchester Ra, Bronx, NY 10461 212/792-1600. Show: "Furniture by Wendell Castle.” February 14-April 28, American Crafe ‘Museum, 40 W. 53ndSt., New York, NY 10019. 212/956-3535. North Carolina chairmaking, January-March. Country Workshops, 90 Mill reek Rd, Marshall, NC 28753. 704/656-2280. Tool Show: The Woodworking Shows, January 18, 19, 20. Merchandise Mare, 2500 E. Independence Blvd., Charlorte, NC 28205. 213/477-8521. Oregon Show: 14th Annual “Wild Bieds in ‘Wood! show. April 19,7-9 p.m. Apel 20-21, 10-5. World Forestry Center, 4033 S.W. Canyon Ra,, Portland, OR. Admission Fee. 503/292-5256. Galt for entries: Fourth Answal Table, Lamp, Chait competition. Open to OR, WA, ID MT. Deadline May 10. 503/ 246-7314. Pennsylvania —__ Call for entries: “Turner's Challenge IV." The Wood Turning Center's annual international competition. Deadline March II, SendS.AS.E. to Wood Turing Genter, P.O. Box 25706, Philadelphia, PA 1914, National Competition: “The Dining Experience: A Craft Expression.” Act must support food service, food presen- tation, eating, Mixed media, open to all crafts. Juried, awards, catalog. Deadline Feb. 27, 1991, Send SASE for prospectus: Lynn Berkowitz, Luckenbach Mill Gal- lery, 459 Old York Rd,, Bethlehem, PA 18018.EXOTIC & DOMESTIC ARDV DS LUMBER PLYWOOD ¢ VENEERS TEAK m TULIPWOOD mw TUPELO 1m WENGE m ZEBRAWOOD ‘m AFFOMOSIA m BACOTE ‘m.C0c080L0 m EBONY ‘M GONCALO ALVES m GRANADILLO 1S Foutym Jarooe m Kwoo0 eae) 1504 m Lcewooo 5 ‘ELIGNUM VITAE Ml MACACAUBA Ce fs uavocaNy m PADAUR TURNING BLOCKS 15 Peanwooo m PURPLEHEART Hip aie ‘m FOSEWOOD ml SATINWOOD CALL (516) 378-2612 FOR PRICE LIST We Specialize in Small to Medium Size Orders! Wood-Ply / Lumber Corp, (mate a Eee Reader Service #101 ceo 1-800-338-3384 The Accu-Miter” foram a so Even the most demand- ing craftsman will appreci- ale ths professional miter ‘gauge. Built to last through years of wood-working projects, the Accu-Miter™ isa precision instrument thal assures accuracy and ‘time savings. ++ Precise protractor scale “Raines wn eersion ~* Durable non-metallic wear surface for reduced sliding friction aera bar * Adjustable drop stops and end stop + Optional manual or peumatc ame READER SERVICE #29, INTERNATIONAL TOOL CORPORATION 1939 TYLER STREET, HOLLYWOOD, FL 33020, ca eeo0 (FLA a00221-6767 SSNS Pears aaa eador Sere #62 WOODWORK SPRING 1991.2FINALLY! PERFECT SAW ALIGNMENT FOR THE WoDoWORKING PERFECTIONISTI seve AL oes OF ALBUMEN ON ITER MAA, ‘a OA Sk, WELUOMG cONPOUNG CUT. (UME MAG 42" LAE On YOU TABLE $419.95 4.50 er pstge ar arg WIS, Mastercard Cec, Move re cal (2a sora, Si fe FE boc: FACT CUTS, 5906 Boy Seu 0, Box 268, Fleece, OF 748, READER SERVICE #8 TECHNOLOGY, INC. ‘Dept WW100, 85 Hayes Memorial Dr. ‘Marlborough, MA 01752 ‘TEL (608) 481-5944, FAX (508) 481-3924 UP DIAMOND MACHINING oader Service #65 28 WOODWORK. SPRING 191 nce Mate™ Mane 1H USA Carnie i se {Chreving Cat Inc HINGE-MATE IS THE MOST VERSATILE, MORTISING SYSTEN AVAILABLE TODAY. Have A Door And Jamb Ready For Hardware In Five Minutes Or Less! APPLICATIONS INCLUDE DOORS AND JAMBS, PIANO HINGE MORTISING AND MANY OTHER ONLy $122.95 DeLiveRED Onpee Desk 1-800-462-2481 Over 4,000 products to help you BUILD, RESTORE, REFINISH anything made ‘of wood! Its the catalog woodworkers rely on for finewoods, veneers, finishing supplies, tos, hardware, adhe- ‘ives and more... Covered by our 60-day no-questions-asked guarantee. 116 colo pages, jam-packed wih aver 4000 topqualty products, alfuly described, reasonably rice, ‘nd easy to order by mall or phone, 2 iptic = were! ud CONSTANTINE | ous Eset sd Bren foes ‘Training Program: Hardwood Initiative Training Program. Ongoing. Compre- hensive weekend intensives and professional development seminars. Centre County Vo-Tech, Pleasant Gap, PA 16823. 814/359-2793, iPenremee ba Se Workshops: Spring workshop program, ‘Acrowmont School of Arts and Crafts. March 4-29, 1991. One-week classes in ‘wood turning, coopering, carving, turning green wood. Write Registrar, Arrow- mont School of Arts and Crafts, P.O. Box 567, Gatlinburg, TN 37738, or call 615/436-5860. Wiese mee we Bee Symposium: American Association of ‘Woodturners’ Fifth National Sympo- sium; April 4-7 in Dallas, Texas, Call AAW office at 612/484-9094. Washington ——___ Seminars: Northwest Woodworkers Guild meets last Wednesday of each month. Contact Kirk Kelsey, 744 N. 78th, Seattle WA 98103, (206) 789-2142IAN ALLAN-ONE. Bar Clamp Fence Straight Edge Power Tool Guide ‘Asa FENCE or GUIDE, itattaches en times faster than "C" clamping and won't surface mar wood. As a BAR. CLAMP, the unique low profile jaws enable you to clamp butt-ointed comers (down to 1/2" material) and also allow edge clamping. These clamps always lay flat for ‘easy assembly set-ups. World's fastest, most versatile bar clamp! TWO SIZES AVAILABLE: 24” Grip $24.95 50" Grip (panel size) $34.95 READER SERVICE R28 CUTS ARE MADE SAFE & EASY! Dovetail Fence System For Use With Incra* Jig And Other Positioning Devices Complete 4-Piece Accessory System. For Making All Dovetails & Box Joints > FENCE > STOP BLOCK FIXTURE, > RUBBER-SOLED PUSH BLOCK READER SERVICE #60 NOW, THOSE DIFFICULT DOVETAIL & BOX JOINT GUARANTEES PRECISION WILL NOT WARP LIKE WOOD. Captivated Pr or wite MANUFACTURER, JOINTECH 12151 Valiant San Antonio, TX 76216 (12) 377-1288FREE CATALOG | Trondlines | Discount Woodworkin: [O'Toole and Supplies» # Ca ee If OF Welte: Dept. WWII +375 Beacham St. Box 6447» Chelsea, MA 02150 beeeeeeeeeeed ‘CRYDERMAN PRODUCTIONS INC SOUTHWESTERN ONT. SHOW APRIL 26-28 (4-10; 11-9; 11-6 PM) KINSMEN AUDITORIUM “CHATHAM, ONTARIO CANADA CENTRAL ONTARIO SHOW OCT, 18-20 (4-10; 11-8: 11-6 PM) METRO EAST TRADE CENTRE BROCK AD. N., PICKERING ‘Meet the pros... Roger Clife Fick Rosendahl elt Parsons Michael Fortune Mike Russell 519-951-8344 Fader Service #60 (0) OPS R Sterling Publishing 387 Park Avenue South ‘New York, NY 10016-8810 800/367-9692 Sterling continues to offer their fast clip woodworking books distinguished by the high frequency at which new titles appear to separate you from your ‘money Following are chree ofthe latest: Band Saw Basics by Mark and Gene Duginske, $9.95, paperback This sa resaw of the meatier Bandsaw Handbook by Matk Duginske, from ‘which the authors pared $7.00 worth of information and served up lean cuisine. What is leftiseasy todigest and satisties, ‘with all the bandsaw basics; exploring machines, blades, maintenance, safety, and the cutting techniques you'll use 98 percent of the time. If you don’t mind having to track the text through a maze Of photos, illustrations, and captions, you'll eventually find all you need to get you rolling. Sterling says its the “best book for turning you into the bandsaw master you want to be, in record time,” but if you follow the tensioning technique [photo on page 32, you may nor live that Jong. Someone brave is standing directly in front of a bandsaw with ts cover off, peering into the blade and tightening the tensioning knob with one hand while furiously spinning the upper wheel with a bionic blur of an arm, I wouldn't want to be the end of his nose when the blade flies off before he gets to the next step, tracking the blade. ‘Ac the end are afew token projects to Jet you try out various techniques. If you find these lacking, you may want to try two other Sterling books, Bandsaw Projects and Making Wooden Boxes With a Bandsaw. Router Basics by Patrick Spielman, $9.95, paperback Like ll Sterling's "BasicSeries” books, the gears engage with an "Exploring the "chapter. This one shows a family portrait of a herd of routers and gallops intoa run through their various feavures, By the end of the chapter, youknow alot about routers. Chapters about bits, safery, and cutting guidelines are serviceable, bue when Spielman turns on the router action, I carn off ME ae aan a} The problem with this book is that it will be hard for beginners to tell where what they don't know is hurting them. Unlike other tools which do have basic procedures, routers in conjunction with modern bits and accessories are inher- cently versatile in their approach, There is nobasic.” The procedure depends on the type of router, accessories, and bits you're using, Spielman tools his way through a sample tasting instead of a full course of options. A novice may not notice they're on a diet. But if you just want to hold the handrail while you get your feet wet, this is the book for you. Sometimes the omissions become problematic, as in the learn-as-you-go workbench project which teaches mortise and tenon by router. Spielman uses a plunge router to make the mortises and clamps his lips about options. Novices who own a fixed-base router will be baffled. Maybe they? ze supposed to learn they should have bought Spiel- man’s in-depth tome, The Roster Handbook. Woodturning For Cabinetmakers Michael Dunbar, $14.95, paperback Although this book isn’t part of the “Basic Series,” we start with "Exploring the Lathe,” a guided tour which Dunbar spins us through adroitly. He knows his stuff, and better stills able to present it in an orderly fashion. Sterling follows suit with a clear layout and sharp technique photos which use Dunbar for a backdrop as he bellies up to the lathe. ‘This book addresses its subject simply, but covers i professionally, from the basics of lathes and lathe tools, den fying, use, and care of) through woods, ‘wood selection, and turning design. It explains all those lumps and bumps in chair legs and bed posts, and teaches you hhow to make them, too. All of them. Urns, tapers, bobbins, cyma curves, fillets, flutes, reeds, balls, spirals, astragals, rings, beads, you name it. For anyone who needs to know how to make turned element, this book isthe ticker. ‘Youalso get nice sprinkling of furniture history to round out your education. Even though I've seen authors who look better in a face shield, Pd still buy this book. — Terrie NollCALL TOOL FREE 1-800-243-0713 MANNY’S WOODWORKER'S PLACE (12 South Broadway Lexinoton. Kentucky 4508 D— BEST PRICES oe CUTTERS ml y Zhe FREEBDRN Tool co. eet. FREE With any Cutter Order - Fine Diamond Sharpening Stick By Eze-Lap Diamond Company (Red Handle) FROM ‘A. COPE AND PATTERN CUTTER SETS (6 Cutter Se) For "to TW" material also for glass panel doors, T & G cutting Ml ProLine > bore with bushings ro Lin bore: bushing to ¥avalale ‘Carbide Tipped MC-50 series $260 pe set Carbide Tipped P10 series $345 por set Tanong Taped MIS see8 i a St (Sj if yi St ios in Gor ean is Maly eel) iss) pile) SA — 8. RAISED PANEL SHAPER CUTTERS For "Material cS — ub Collar Bearing, 38 Rub Collar Beating. sa Cutters available for material at prices same as above PANELING SHAPER CUTTER SET a ro net Poet bunage avalos ARP ©. ooon Enc oeTaL sHaPen cuTTens Seco ged gh am fia Pane both bush rote a bore. bushings to 1" avaiable arbde Tipped P17 series Tatung Tipped Fiat pnd PD slogan sé {euler and on space to perorn 5 fncians Carbide Tippee HC? sores Tatung Tipped MTS Sees 9900 $105 ea CALL 606-255-5444 FOR INFORMATION AND PRICE QUOTES ON OTHER CUTTERS OR SEND $3.00 FOR FREEBORN CATALOG AND PRICES, 7 Save HOT ne lee WOODWORK BACK ISSUES STILL AVAILABLE! Every Issue Contains: si how information * Interesting profiles of accomplished woodworkers ‘= Beautiful color photographs of contemporary work ez h Stockdale ees Rober Badly — esthetics and craft The Morte and Teron — machine How-To, desk, thle, gardening sto Dean Santer Bob Flevne How-To al a muser turner talks Finding Your Own Voice — three women woodworkers How-To: flame and panel oor, moxkrn coflee tle Anton Fetch —a maser cane Sam Mot — interview Hom-To: serving tay, ewely box, pia vise Es Vicor Di Novi — nonconformist woodworker ks {05 to Engoncmies ‘wipe-on finishes Terie Noll — trained om the joh Denes —A joint aire but not to ea How-To: salt and pepper shakers, roking hone EZ) Charles Powell — design ideas The Mortse & Tenon — Hand methods Howto; Spanish syle end ible, a secretary dk To order, check want and send $5.00 for each ‘copy (check or money paren Perreatts NAME. ADDRESS cary, STATE, Z1P a Ise #1 S| Issue #38 swe sue #48 Here To: bunker chest sing net, serpentine seed rE Shun Leong — architect tumed woodworker Bb Flexner on how fishes cure 0v-To: dol ei Monage ches, deel _TOTAL $ Inaie #58 WOODWORK SPRING 1991 531FROM SALVAGE TO SCULPTURE 1 ILIA AA i i "These are materials that I look at as standing with a group of friends, each with a story to tell. As in the case of most materials U bave, they were orphans in the woodpile or the dump. They were things no one ese wanted.” PHOTO. NED MANTER 32 WOODWORK SPRING 1991Stephen Whittlesey Makes Art From Debris By Marc Swan Sx Whittlesey is a Cape Cod-based art breathes new life into old wood. He collects his “found wood” from old boats hulls, cranberry shacks, historical buildings, and from wherever he finds a chunk of wood that appeals to him. He recycles this old material into his sculptured furniture, reshaping it to fit the needs of modern society. “This isn’t nostalgia,” Steve says. “Ie is carrying a story forward in a different fashion, re-telling che stories and myths of old familiar forms.” Steve grew up in the 1940's and 50's in rural Norwood, Massachusetts, and as a child worked on local farms. "My First and frequently they were fixed by using stuff thar was lying behind some shed. My creations out of salvaged wood have grown out of that making-do-with-what-you-have kind of thinking, There was, and is, a kind of humor and hardship in that kind of life, end I try co express some of that in my work. The creative process doesn't begin in his seudio. Steve goes cout into the New England countryside exploring for old relics, discarded wood, and salvageable materials. The raw material ‘may suggest sculpture to Steve; it may suggest function; or it ‘may in the end be material that he brings function to. Ic is a process of discovery. “It triggers thoughts about how people used toliveand the places and things they were familiar with.” Steve adds, "It is a two-fold process. I bring pieces of history into my life and put my life experience into the materials 1 work with. “Ley torespect the integrity ofthis found wood, but not ina ‘way to glorify its origins, An original piece becomes starting point towards anew life, not just something to look a, or hang, ‘ona wall. [tis important for people not to read the work as a juxtaposition of the raw piece — as an antique ora found piece with history.” ‘One of his prized finds is the hull of a 1920 canvas-covered, cedar-strip, oak-ribbed canoe. Steve paddled this canoe ar a sailing camp on Cape Cod when he was a child. He found it among the deceased owner's keepsakes. The flowing line of this artifact has inspired a number of pieces. "The effort,” Steve explains, “is not to preserve the canoe for posterity, bue ro pur the form into a new context where its qualities still have eye appeal On another level, it will relate to canoes and the canoe images we all have in our collective memories.” Steve, who earned an MFA in painting and sculpture from Columbia University in 1965, believes that in craft "design, and technique come first; in art, form and content come first.” He often feels that he is walking a tightrope between form and function in his work. "When I begin a piece, I don’t think about whether i can hold a TV set oF seat six people, but what it can say about us and the way we live, and ‘what our whims are in the way we use space.” Steve's work is bridging the gap between art and crafe in furniture design. In the fall of 1990, he was part of a three- person show held at The Society For Art In Crafts in Pittsburgh. It was aptly titled The Bridge Series, whose “Tt is a two-fold process. I bring pieces of history into my life and put my life experiences into the materials I work with.”How do you work with a piece of wood that is 6 inches at one end and 14 inches at the other that you want to use for a cabinet door? One option is to make a 6-inch-wide perfect rectangle and throw away a nice piece of worn wood in the process. Steve found a rock maple and leatber conveyor belt from an old water-pow- ‘ered woo! mill in Massachusetts, "When I unfurled the coil ofthe belt after star- ing at it for years, there was an octo- pus.” Pieces of this belt are coiled around Splash. Emerging from Steve's reading of an ancient Chinese poem, the Eastern feeling of White Asters suggest a Balinese dancer. 34 WOODWORK SPRING 1991With Downstairs Cupboard, inspired by an old stairway, "My motive was 10 celebrate stairs as a wonderful solution of bow to get from down to up. I learned later that I bad a brecedent for this piece. The Japanese had historically designed utilitarian step cupboards for the space under their stairways.” Green Gray Ghost Purple Fire incorporates the floorboards of an abandoned boat bull that Steve bought for $1 and transported to Cape Cod from Maine, In bis typical bartering fashion, he old the lead in the bull to offset the transportation. “In Moby Hutch, the imagery is meant to suggest the over- swhelming power of the sea and the adventure of coming face to face with the unknown. In a small way, the momentary fear that one might have of reaching into the ‘eye! of this piece is ‘analogous to this experience.”brochure read: The name ‘Bridge Series’ signifies free passage between long-held notions of craft’ and ‘fine art.’ These innovative exhibitions will ake as their impetus contemporary artists’ ideas rather than their materials. "Anything that I make can always be read at a personal level ashavingan idea behind it not solely based on use,” Steve says. “Basically, I see furniture as sculpture. Function becomes an element in the piece of scuplture.” A degree of function is found in all Steve's pieces. Ie is more pronounced in some than others. Describing the artistic direction of his crafe, Steve says, “Two forces come together; the structural possibilities of furniture and the two- dimensional color considerations of painting.” He strives to highlight the visual presence within a piece, as “opposed to purely craft work. ‘When I choose a color like the pink in Salmon Fisher, don't look for color coordi- nation in the piece as an end in itself. I look for colors to 0 together like notes of music go together to make a song, designed co do more than please the ear or eye.” This may mean changing the color 25 or 30 times to ‘get it right, "... so that it trickles right through the eye into the unconscious, permeating your layers of experience, triggering everything from passion to sherbet ice cream, ‘On the current scene, I am at one end of the spec- trum of artists who make furnicure,” Steve says. “Ie small, regular and irregular pieces of wood against it, adding other discarded artifacts that appeal to him. Sketching in yellow chalk directly onto this weathered brick wall, he juxtaposes the pieces, playing with the shapes, exploring the possibilities. The final stage involves problem solving. “I am primarily concerned with transferring my feelings of what I want to do into the formed piece. How I do itis secondary.” Sometimes Steve will have an idea that doesn't conform to the traditional methods of woodworking, like working with a piece of wood that won't align for traditional hinging How do you work with a piece of wood thats Ginches at one end and 14 inches at the other that you want to use for a cabinet door? One option is to make a 6-inch- wide perfect rectangle and throw away a nice piece of ‘worn wood in the process. Steve developed a wooden hinge, based on an old New England-style hinge, that allowed the door to swing ‘normally without losing its unique wedge shape or wasting a large portion of the wood. With each new project, he needs 10 make allowances, for the natural irregularities of the wood — curves and twists, variable thicknesses and dimensions. He feels that the character ofthe raw materials affects the way the piece should be made. If a principal component of « cabinet is curved or twisted, then the cabinet will be ‘curved or twisted “chink ie is fun some- runs from my style, which is loose, free-wheeling, con: stanely changing, and more primitive in execution, to "Salmon Fisher was inspired by my son Thomas’ ising trip in Canada. The binges suggest spindly arms, and at the same time, binges. The rope pulls are meant to keep the piece natural, improvisational, and childlike; and on a more cerebral level, times to leave rough surface on a piece. I'll warn the ‘customer to be careful of the other end which is umbilical. technique-oriented, with more polish and flash, Back in the studio with his cache of new-found wood, Steve begins a process of conceptualization. “The first step is identifying an emotion and connecting itto a form.” This may be a metaphor, a symbol, or something as minimal as the textured edge of apiece of aged wood. Or it may be humor. His pieces become characters, reflecting his values, concerns, and enerally upbeat attitude toward life. The next step is studying the form, thinking about the emotion he would like o engender. Steve has "wailing wall” set up in his well-lighted studio. He will arrange large and rroro.neowawten splinters. My real message is "This is one of the things itdoes that it wants to do. You can’tdo anything you want with it. You may have to respect it" Steve thinks of himself as partly an archaeologist searching through the ruins of old New England, and partly an artist, trying to make sense out of the disappearance of rural life. ‘Musing on the irony of his efforts, he says, "Years ago when'l took wood out of the dump to build things, people were amused. But now, when recycling is really becoming necessary, 1d be arrested if I tried to dump-pick.” Mare Swan is a writer/editor who lives in Cape Cod. WOODWORK SPRING 191 36Building A Queen Anne Side Chair By Lonnie Bird fall che various styles of 18th century chairs, the Queen Anne side chairs probably the most familiar. Iks popularity stems from its graceful proportions and simple, clegane lines The chair in this article is my own design. However, it has ‘many features typically found on chairs dating from the second quarter of the 18¢h century. The vase-shaped splat, pad feet, and tall, slender back are all features of New England chairs of the period. The ball and claw foot was also sometimes used on the front legs of these chairs. (See my previous article, “Carving the Ball and Claw Foor,” Woodwork #6, Summer 1990.) Because of the curvilinear form of the chair, you will need large pieces of lumber to build it. Black walnut is the most appropriate wood for use in this chair, although cherry or maple would also be suitable. Beginby scaling up the drawings in order to make templates for the front legs, back legs, splat and crest cal. Choose a stiff, durable material as you may want to build more chairs in the fucure. One-quarter-inch birch plywood works well for cemplates because it is stcong and free of voids long the edges. When skerching the various curves, ery using your wrist as a pivot point, This method will enable you to create the smooth, flowing curves so critical for this type of work Cut out the templates on the bandsaw. You should atcempe to follow ehe lines exactly when sawing to avoid excessive cleanup. Smooth the edges with a file, Next, make a full-size drawing of the seat plan. This will aid in determining the angles for joinery. The next step is to dimension the stock. Select straight- ‘grained material for strength, especially for the legs, The front legs requise 12/4 stock which, at times, can be difficult to find, ‘These parts may be glued up from 6/4 material; however, this results in an unattractive glue line. If you are forced to glue up the front legs, use extra care to match the color and grain, Lumber may be conserved by nesting the back legs together ‘onto one 6-inch-wide board and saving the cut-offs for knee blocks. The splat, though only 1/2” thick when finished requires 6/4 material because of the reverse curve. Layout and Joinery ‘When making shaped piece of furniture such as this, itis best to cut the joinery in the pieces while they are still square, and then shape them later. This way itis easier to lay out the joints and hold the piece steady while you cur them. However, some pieces must have some of their shaping done before the joinery is cut. If the ewo back legs are nested together on one board, mortises cannot be cut on one of the legs until i is cut ‘out of the board, Similarly, the cove of the shoe must be cut before the surface on which its mortises are cut is exposed. ‘And itis bese ro lay out the splat tenons after the reverse curve is cut because cutting that curve is tricky and the faces may not end up exactly where you had anticipated. This is not a WOODWORK SPRING 91.37Figare2 2 ‘Seat Plan 2 Figure 3 Side View ——a a oresaigure 4. The cove for problem if you lay out the tenons according to where the faces the shoe is cut by actually end up. angling a fence to the First, bandsaw the back legs and remove the saw marks with table saw blade. a spokeshave. Use a sharp handplane to keep the surface flat where the side rails will ater be joined. Also cut the cove on the face of the shoe with the tablesaw and an auniliary fence clamped at an angle (fig. 4), To find the correct angle proceed as follows: Lay out the cove on one end ofthe workpiece. With the saw curned off, raise the blade to the depth of the cove ‘Angle the shoe so thac he blade will enter at one edge of the cove and exit ac the opposite edge. Now clamp a boatd tothe table at this angle for use as a fence. Lower the blade to 1/16” and feed the work slong the fence. Continue to raise the Blade 1/16” each pass and take as many passes as needed to go the fulldepth of the cove. Finally rip the shoe to finished width to remove the excess cove and expose the top edge of the shoe for mortising Mark and cut the mortises first and then make the tenons to fic. (For explanations of how to cut mortise and tenon joints, see Woodwork #s 4 and 5, Winter 89 and Spring ‘90 respectively.) Begin with the legs. These mortises are 3/8” wide and are offset to increase the thickness of the mort — wall, Centering the tenons would limit the strength of the joint. Working from the outside face of the leg, scribe the Figure5. Stepsin making the shoe. After cutting the cove, rip to 1-3/8” as shown in A. Then cut the step at the table saw with a dado asin B. Cut mortises asin Cand D, and shape the ends asinD.144" 1 oe. t—Ye-4 Figure 6. A — Top view of seat rail joints at back legs. B—Top view of seat rail joints at front legs. Note that the 7° angle on the post block is pared in after the chair is glued up. C Side view of leg joints. The mortise is et well blow the rabbet for the seat frame. width of the mortise with a marking gauge. While the gauge is set for 3/8”, lay out che mortises where the leg joins the crest rail. Also, lay out the 1/4” mortises on the crest rail and shoe to receive the splat. Again, these tenons should be offset Refer to your drawing of the seat plan for the mortise angles, as well as figure 6. Transfer the angles from the seat plan to the drill press set-up with an adjustable bevel. Small, tapered shims can be used to support the legs at the correct angle while drilling or mortising. You may instead tlt the drill press table if your machine has such a feature. Once the mortising is completed the tenons are cut to fic The tenons on che four seat rails are straightforward and may be cut with the tablesaw. Remember to angle the tenon shoulders on the side rails. The tenons at the top of the back legs must be cut by hand as should those on each end of the splat, Butbefore cutting the splat tenons, bandsaw the reverse curve of the splat. Trace the splat curve from the pattern onto the material Mounta wide (3/4”) blade on the bandsaw. Cutting this curve is actually a resawing process and a wide blade will produce a truer cut. The face should be cut first and cleaned up with a spokeshave and a scraper. The spokeshave works like « small plane to bridge the high spots and remove them, yet its short sole allows ic to follow the contours of the work (fig. 7) Now scribe the back curve from the face with a sharp marking gauge, then bandsaw to the gauge line. This method will enable you to produce a splat of uniform thickness Nex, lay our the splat tenons with a marking gauge, a knife, anda try square. To locate the tenon shoulders, lay the edge of the splat next to the inside edge of the back leg and transfer the layoue lines. Incise ehe splat tenon shoulders with a knife Outline the tenon with a marking gauge. Now cut the tenons with a small backsaw or dovetail saw. ‘Adjust the fie with a sharp chisel. A small rabbet plane is also helpful when cruing the wide shoulders of the splat. You will probably have the most difficulty with the tenons at each end of the splat. If the splat ends up being slightly too short, you Figure 7. Use a spokeshave to clean up the splat. WOODWORK SPRING 991 41Figure 8. A—Grest rail mortise details. B—Back leg tenon details (C—Splat tenon details 42 WOODWORK SPRING 1991 ‘may adjust for the error by raising the back seat rail and shoe a fraction. Shaping With the joinery complete, the next step is to begin shaping the various curves that give the chair its character. Start with the shoe, Make a paper pattern for the outline of the front of the shoe. The paper will conform to the cove and allow for ing, Then cut out the contour of the shoe with a bandsaw or jigsaw. Once again a file is used to smooth and shape. Scrape and sand the shoe and glue it to the back seat rail. Note thar the rear of the shoe is flush with the tear of the back seat rail, and the front of the shoe will be flush with the front ofthe back legs. ‘Now chamfer the lower portion of the back legs as showa in the drawings. This may be accomplished with a spokeshave, router, or shaper followed by sanding, Workon the crest rail next, First transfer the lines with your template, then bandsaw out the shallow curves on the front and back. Tape the scraps back into place so the lines are replaced and then cut the bottom curves that flow into the splat, Finally, cut the curve at the top. Remember to leave the clamping tabs at each end until after the back assembly is glued up. Also, don't clean up the crest ral entirely at this time. In order for the parts to flow into each other gracefully, i is best to shape the back legs and crest rail together after the back assembly is glued up. However, it is necessary to taper the inside edges ofthe back legsat this time. Because the taper curves inward. the top of the leg, this cutis best performed on the bandsaw. Outline the taper first with a straightedge. Note that che taper ends atthe point where the shoe meets the leg. As a precaution, do not saw all che way to this point. Instead, end the cut slightly above and work to this point with a blockplane as you remove the ridges left by the saw. Bandsaw the profile ofthe splat next. Lay the template on the face of the splat to trace around it. Careful work at the sawFigure 9. To cut ont the cabriole legs, first trace the pattern onto two adjacent sides, Then cut out one of the two sides asin A. Next tape the scrap back onto the piece so that the lines that were drawn on those surfaces are back in place. Then, cut out the second side as in B. will limit tedious cleanup later. Now you should be ready to glue up the back assembly. Doa dry run first co examine the joints and determine the number of clamps needed as well as the order of assembly. Three clamps are usually required; one for each of the back legs and crest rail, and one for the back seat rail, To prevent furure cross-grain movement from cracking the splat, do not apply slue at chese joints. Allow the back assembly to dry while you work on the rest of the chair. Cabriole Legs Trace the cabriole leg pattern onto the front leg blanks on two adjacent sides. Fit the bandsaw with a 1/4” blade and carefully cut to the lines on one face, following the layout lines. Save the scraps and tape them back into position. The scraps contain the layout lines for cutting the adjacent face and will also serve to support the leg during the second cut (Fig. 9) ‘Next, begin rounding the leg and foot with rasps and files, ‘Stop periodically and inspect the contour of the leg. It should bea smooth, lowing and continuous curve with no irregularities. It may help to sketch in the top of the foot witha pencil to ‘guide you as you shape it with the file. Complete the legs with a scraper followed by sanding, ‘When you are satisfied with the front legs, set them aside and rabber the seat rails. The rabbet is 5/8” deep and 3/8 wide and provides a recess for the upholstered seat frame. Nexi,ficthe side and front rails into the front leg mortises, and mark the rabbet onto the post blocks of the frone legs. Disassemble the chair and chop out the recess in the top of the post block witha 1/2” chisel. Sawing out the corners fist with ‘a dovetail saw will make this job easier. Note that the inside ‘corner of the recess is rounded. This may be accomplished with #7 carving gouge. Also, while the chair is disassembled, cut the decorative profile at the bottom edge of the seat rails, Glue up the front legs to the front seat rail. Allow the front assembly to dry while you shape the back assembly. The next step is to smooth the transition from the back legs to the crest rail. The back legs are also rounded during this process. Begin by sawing off the clamping tabs on the crest rail, Now secure the back assembly by clamping it to your workbench, allowing the upper portion above the seat rail to ‘overhang. Starting 1” above the seat rail, round over all four cosnersof the back legs with a rasp. Be careful not to strike the splat, Also, it is very important that the legs retain their original lines. As a precaution, scribe a pencil mark down the center of each of the four sides. Leave the lines as you work. Do not spend much time with the rasp, but instead switch to using a file. Carefully round the joint at the crest rail, stopping frequently to examine your progress. The rounding tapers out at the apex of the curve inside the crest rail. During chis time you should also round the frontedge at the top of the crest rail The face ofthe splat will also need slight hollowing to conform to the curve of the crest rail. Periodically evaluate the work froma distance to check for symmetry. Finally, scrape and sand the back in preparation for glue-up with the front leg assembly. Final Assembly Now dry-run the entire chair. Note clamp position and check to see if the seat is square. Check for square by measuring WOODWORK SPRING 191 43diagonals. The difference in measurement, if any, will be ewice the error. Correct the situation with a pipe clamp across the longest distance. Errors greater than 1/16” may require fine tuning of the joints. Glue up the chair with the legs resting on a flat surface. Apply glue to both joint members. Check once egain for square and adjust if necessary. Use the cut-offs from the back legs to make the knee blocks. First bandsaw the cyma curve, then place che block into position and scribe the curve of the knee. Cut this curve, then clean up the saw marks and glue the knee block into position, ‘When dry, pare the post blocks flush with the rails and the knee blocks flush with the legs. Nore that the knee blocks on either side must be angled back parallel with the side rails. Finishing Up “The upholstered seat frame is straightforward mortise and tenon construction; only make sure to allow 1/16” clearance ‘on all sides for upholstery materials. Upholstering is an entirely different skill in itself and you may want to have it done by a professional. Asa inal step, fasten blocks into all four corners of the chair seat rails co add strength and rigidity. Take the angles for these blocks off the drawing of the seat plan. To finish the chair, first apply a coat of tung oil to enhance the grain. Follow this up with four to six coats of orange shellac (3 Ib, cue). Rubous the final coat with oil and pumice to a soft luster. Lonnie Bird teaches in the fine woodworking program at the University of Rio Grande, in Rio Grande, Obio. For information about the program, contact him at (614) 245-5353, a {+14 Ye" Figure 10. Seat frame plan. Note that the seat frame sits just ahead of the back legs and shoe. Bevel the top edge of the frame 10 allow the upbolstery to curve as it comes over the top of the seat. M4 WOODWORK SPRING 1991 FRONT LEGS 2—2¥4 X 2¥4XK 17 BACK LEGS 2-14 X 4X 38V2 FRONT RAIL 1% K 32X19 SIDE RAIL 2% X 32X17 BACK RAIL 1—%s X 3V2X 15V2 CREST RAIL 1—1¥2 X 258 X 16 SPLAT 1—1¥4 X 6 X 20V4 SHOE 1—1¥2 X 242 X 1242 KNEE BLOCKS 4—1¥4 X 2V4 XK 2V4 SEAT FRAME SIDES 2-78 X2K15 SEAT FRAME FRONT 1% X 2X17 SEAT FRAME BACK 1-78 X 2X13SOLVENTS, AND Coming Out on the Bright Side Rain or Shine By Bob Flexner Many problems that occur in finishing are caused by the finishes being out of balance with weather conditions during application. The solvents in the finishes may be evaporating t00 fast because it’s too hot, dry, or there's too much ait ‘movement. Or, they may be evaporating too slowly because it's cold or damp. The problems caused by out-of-balance finishes usually can be solved by adding a little more solvent, or by changing to a faster- or slower-evaporating solvent. A simple understanding of the relationship between solvents, che weather, and finishes can free you from the agonies and disappointments of many common finish failures. Leaving aside the largely problem-free wipe-on/wipe-off Finishes, (see my article "Oil-Based, Wipe-On Finishes,” Woodwork #6, Summer 1990) there are four common finishes available to amateurs and small shops: lacquer, shellac, varnish (including polyurethane, which is a type of varnish), and water-borne finishes. Each of these finishes is fairly easy to apply when the temperature is in the 70 degrees and the humidity is around 50%. But difficulties, such as poor flow- out, bubbling, pin-holing, blushing, and sagging arise when it's horter, colder, damper or dryer. Solvents can be used to prevent the occurrence of many of these difficulties. Because different solvents are used for each of the four finishes, it makes more sense to consider the finishes and their respective solvents one ata time. (For more about these four finishes, see my article “Film Finishes and How They Cure,” Woodwork #8, Winter 1990). Lacquer The common solvent used for lacquer is lacquer thinner, a composite of a number of solvents (sce sidebar — Lacquer Thinner). By adjusting the solvent mix, manufacturers can make the evaporation rate of the thinner faster or slower. Lacquer thinners that evaporate fast are usually called “fast” lacquer thinner, and those that evaporate slowly are usually called lacquer “retarder.” Most paint stores that carry lacquer also carry lacquer retarder, but you are more likely to find fast lacquer thinner at auto body paint stores. Lacquer is an “evaporative” finish. It cures by simple evaporation of the solvent. I is possible to control the curing time of lacquer by changing the evaporation rate of the solvent. Lacquer can therefore be manipulated to dry normally in almost any weather condition — hot oF cold, dry or damp. This versatility is one of the reasons ie is so popular wich professional finishers. old and heat have the greatest effect on the drying rate of lacquer. When it'scold, solvencevaporation slows, and with it the curing of the lacquer. This increases the risk of your finish sagging and entrapping dust. You can speed up the drying rate by substituting fast lacquer thinner for regular thinner, using fast thinner straight if it’s especially cold, or mixing it with regular thinner at whatever proportions give you satisfactory results. I've sprayed lacquer successfully, achieving a near- WOODWORK SPRING 991 45‘normal drying rate, at temperatures in the thirties. When it’s very hot, lacquer will dry quite fast. Good flow-out ‘may not occur, air bubbles may be trapped in the film and cause Lacquer thinner is difficult to understand because it’s made up of a number of different solvents blended together in many combinations. It’s not important that you know the names of all these solvents, but it’s helpful to understand that there are three types of solvents used: those that can dissolve lacquer all by themselves (ketones and esters); those that can dissolve lacquer in combination with the first group (alcohols); and those that have no dissolving effect on lacquer at all, but don't obstruct the ‘other two (hydrocarbons). The first two types, the ones that have the ability to dissolve lacquer, typically make up less than 50% of most lacquer thinners. The third type, the one that serves as a diluting solvent, makes up 50% to 60% of most lacquers. ‘Whenall of these solvents are in balance with the lacquer, everything works fine. But when the diluting solvent is to0 dominant, the lacquer won't go into solution. You can tell when that happens if the lacquer is cloudy, or if ‘gummy globules of solid lacquer settle to the bottom of the container. ‘The evaporation rate of lacquer thinner can be adjusted by changing the active solvents that are used. A higher percentage of faster-evaporating solvents, such as acetone and MEK (methyl ethyl ketone), are used in fast lacquer thinner. In lacquer retarder, the percentage of slower- evaporating solvents, such as ethyl acetate and butyl Gellosolve, is higher. 1g solvent, which is usually toluene, is order to reduce the cost of the thinner without reducing its effectiveness, The cheapest lacquer thinners often contain too high a percentage of toluene, leaving too little active solvent to put the lacquer into sotution. This is the reason you need to be cautious of thinners nor ‘recommended by the manufacturer of the lacquer you're using. Ifthe lacquer thinner is designed properly, the diluting solvent will evaporate very rapidly so that sagging is reduced. But ifthe design is poor, the active solvents may evaporate before the diluting solvent, and the lacquer will come out of solution while itis curing on the wood. This will show up as “cotton blush.” (Lacquer is made from cellulose, which is derived from cotton.) Cotton blush looks the same as moisture blush, and itcan be corrected in the same way (see accompanying article). Coat the blushed Tacquer surface with a better-quality lacquer thinner, or, more effectively, with a lacquer retarder. This will put the solidified lacquer back into solution so it can then cure properly. 46 WOODWORK SPRING 191 pin-holes to show up in the cured finish, or the lacquer may even turn to powder between the spray gun and the wood surface, You can correct any of these problems by adding, lacquer retarder to your lacquer. The amount you add will determine how much you slow the drying. You can also use retarder to slow drying so that you can brush lacquer. (f you're using spray gun to apply lacquer, you should keep in mind that poor flow-out and pin-holing could be from incorrect gun adjustment, rather than an out-of-balance solvent mixture.) If it’s hot and humid at the same time, the lacquer will probably blush during application. Blushing is caused by moisture being drawn into the film when it cools suddenly from the fast evaporation of the solvent. The lacquer is then left suspended in the slower-evaporating water after the lacquer thinner has evaporated. This causes the cured lacquer film to appear cloudy. ‘You can eliminate the blushingby adding lacquer retarder to the lacquer—the hotter and more humid the weather, the higher the ratio of retarder to regular lacquer thinner. The retarder slows the drying so that any moiscure that gets into the film has time co work its way out before the lacquer cures. It won't do any harm to the lacquer to add revarder full strength, but it may slow the drying so much that you increase the possibility of dust sereling and sticking to ehe film Shellac The common solvents used for shellac are methanol (wood alcohol) and ethanol (grain alcohol). Either of these alcohols will dissolve shellac. Methanol is a little faster evaporating than ethanol, but it is also toxic. Ethanol is not toxic, but itis expensive when pure because it’s taxed as an alcoholic beverage. To avoid the tax, it’s made poisonous to drink and sold under the name “denatured alcohol,” which is usually the preferred shellac thinner Shellac, like lacquer, is an evaporative finish. It cures solely by solvent evaporation. Shellac is similar to lacquer in the way ic applies and in the problems that can occur during application. But it’s less versatile to use in extreme weather conditions because the range of solvents available to solve problems is so limited, I's possible to slow its drying somewhat on hot days, but I don't know of any commonly-available solvent that will speed up the drying in cold weather. On hot days, youcan slow the drying by adding more alcohol to the solution, or by substituting Bekhol (from Mohawk/Behlen, Rt. 30 N., Amsterdam, NY 12010) for the denatured alcohol. Adding more alcohol will slow the drying a little because there's more solvent that has to evaporate, but it will also cause che cured film tobe thinner. Bekhol isdenatured alcohol that has about 5% slower-evaporating isobutyl alcohol added to it. Itretards the drying so the shellac has more time to flow out, release air bubbles, and prevent blushing, If youhave access, through chemical supply houses, to slower-evaporating alcohols such as propyl or butyl alcohol, you could make your own “retarder.” It doesn’t make any difference which alcohol you use as long as the alcohol puts the shellac into solution. Virtually all of the alcohol evaporates anyway. Household isopropyl (rubbing) alcohol is not a good substitute, though, because it contains too much water, and theWhen the finish doesn’t have time to flatten out before it begins setting up, brush marks or patterns left by spraying (called "orange peel” because of the resemblance) will show in the film. If t sets up before all the air bubbles have had time to break out of the film, bubbling can occur. A finish too thick or slow-drying will sag om a vertical surface, or dust will settle and become imbedded in the film. shellac will be left suspended in the slower-evaporating water after the alcohol has evaporated. The shellac will separate and ‘not cue properly. Only near-pure alcohol will work as shellac thinner. Varnish The common solvents used for varnish are naphtha, mineral spirits (commonly sold as paine thinner), kerosene, and turpentine. Any of these solvents can be used ro thin varnish. The most important difference between these sol- Cotton blush occurs if the active solvents in lacquer thinner evaporate before the diluting solvents, causing the lacquer to come out of solution. vents is evaporation rate. Naphtha evaporates the fastest, followed by turpentine, mineral spirits, and then kerosene (see sidebar—Pecroleum Distillate Solvents), The first step in the cure of varnish is solvent evaporation This thickens the finish, but its conversion from a liquid to a solid is caused by a reaction with oxygen in the air. This reaction is called oxidation, and it can occur before all the solvent has evaporated. But, the existence of solvent in the varnish does retard oxidation. The more solvent, the slower& Petroleum Distillate Solvents Common solvents used for varnishes are derived from two sources: crude oil petroleum and pine sap. Solvents derived from petroleum have been in common use for only about 70 years, Before the introduction of petroleum solvents, distilled sap from pine trees was used to thin varnishes. Pine-sap solvents, such as turpentine, are still available, but have fallen out of favor because of higher cost, stronger odor, and greater toxicity compared to petroleum solvents To produce solvents from petroleum, the petroleum is heated, and at various temperatures the gases are taken off and condensed. This process is called distillation. The gases that end up as gasoline are distilled at relatively low temperatures. At the opposite end, materials such mineral oil and paraffin wax are distilled at very high temperatures. Solvents used to thin varnish and poly- ‘urethane distill at temperatures between those of gasoline and mineral oil. They range from naphtha, the fastest- evaporating, to kerosene, the slowest, with mineral spirits (paine thinner) in che middle. If you've used these three solvents, you've surely noticed that kerosene, in addition co evaporating slower, is also more oily or greasy to the touch than either naphtha or mineral spirits. It feels more like mineral oil. On the other hhand, naphtha feels more like gasoline. It’s relatively clean to the touch, Mineral spirits is in the middle. ‘The naphtha thar is used in painting and finishing is called VM&P (Varnish-Maker’s and Painter's) naphtha, “YMA” distinguishes this solvent from those napthas that have @ different evaporation rate but may also be called “naphtha.” VM&P naphtha is most valuable as a cleaning solvent (because it’s not so greasy) and asa thinner for glaze and paste wood filler when you want more rapid solvent evaporation. Since the naphtha commonly available in paint stores is VM&P naphtha, whether it's called that or ‘ot, I refer to it simply as “naphtha” in this article \Naphtha is sometimes sold under the name "benzine.” Benzine should be distinguished from benzene, which is carcinogenic and no longer available to the general public, but still recommended in some books and articles. It will help you to remember which is which if you associate benzine with the word alive and benzene with the word dead. ‘Two other solvents whose names you often run across, toluene (also called toluol) and xylene (also called xylol), are derived chemically from distilled crude-oil petroleum. But these solvents are seldom used independently in finishing They are usually included in some other solvent, such as lacquer thinner. Toluene evaporates faster than xylene, and both evaporate faster and have greater solvent strength than either naphtha or mineral spirits. 48 WOODWORK SPRING 191 the oxidation. ‘The weather conditions that most affect the drying of varnish are heat, cold, and dampness. During hot weather, both solvent evaporation and oxidation occur too fast, causing the finish to set up before it’s had time to flow out or release trapped air, During cold weather, both solvent evaporation and oxidation occur too slowly (cold slows down chemical reactions). This increases dust and sagging problems. Damp weather has little effect on solvent evaporation, butit seriously retards oxidation. This is because so much space in the air is taken up by water that there is less room for the oxygen. As the oxygen in the air is reduced, so is the speed of oxidation, Problems caused by hot weather are easier to handle than those caused by cold or damp weather. In fact, it's not really possible to speed the cure of varnish on cold or damp days except with heat or increased air movement, because no solvent will speed up oxidation, There are three practical ways of retarding the cure on hot days. The easiest is to add about 10% mineral spirits to your varnish (more if you are spraying, because varnish straight from the can is much too thick to spray). The extra mineral spirits will retard oxidation by reducing the amount of varnish that has direct concact with the ait. This will lengthen the time you have to brush, allow the varnish to flow out better, and give trapped air bubbles time to break out of the film. ‘Adding mineral spirits to varnish has the paradoxical benefit of accelerating the total cure, This is because once the bulk of the mineral spirits has evaporated, the remaining film is thinner than if no mineral spirits had been added. A higher percentage of the varnish is now in direct contact with the sr, so thorough oxidation occurs faster. (You often see instructions that say to apply thin coats because thin coats are “better.” They are berter because they cure quicker and more thoroughly. But varnish straight from the can is almost always too thick to be brushed out thin because brush marks will leave gaps in the film. It would be ‘more helpful if the instructions read “apply thinned coats.” I make ita regular practice to thin my varnish with about 10% ‘mineral spirits no matter what the weather conditions). Ifadding mineral spirits doesn’t recard the cure enough, you can add 5% to 10% of a slower-evaporating solvent such as kerosene, instead, This is seldom necessary, because mineral spirits is usually sufficient to solve the problem. But it's good to know that it’s possible for those extreme situations. Kerosene added in very small percentages has no negative effect on the quality of the final film. The problem with adding either mineral spirits or kerosene to varnish is that it increases the likelihood of sagging. You can avoid most ofthe sagging and still give the varnish more time to flow out and release air bubbles if you add about 10% to 159% "Penetrol” to the varnish instead of solvent. Penetrol (from The Flood Co., P.. Box 399, Hudson, OH 44236) is a varnish-type product that is modified with more oil than is usual s0 it takes longer to set up. Adding it co varnish retards initial oxidation, but maintains the thick anti-sag charac- teristics of unthinned varnish. Penetrol should be available at any store that caters to the paint trade,Water-Borne Finishes Because of environmental and health problems associated with solvent-based finishes, there has been a great effort to develop finishes based on water. To some degree, this effort hhas been successful, but more work needs to be done to make these water-borne finishes easy to use on hot, cold, dry, and damp days. ‘Water-borne finishes are a different technology than tradi tional lacquers, varnishes, and polyurethanes, in spite of the fact that some manufacturers call these new finishes by the old names. Water-bornes are essentially latex paint without the pigment. They cure by a coalescing, or coming together, of ‘microscopic droplets of already-cured finish (usually acrylic or scrylic-polyurethane combinations) which are suspended, or borne,” in water. The coalescing and bonding of these droplets is made possible by a coalescing solvent, usually a slycol ether, which softens the droplets of finish so they will bond to each other. But the critical solvent in water-borne finishes, the one that causes all the problems, is water. ‘Water is very sensitive to humidity conditions. It evaporates rapidly in dry air, and slowly in damp air. Heat and cold both affect the evaporation rate directly (heat speeds up evaporation and cold slows i down) and also indirectly chrough humidity (see sidebar — Relative Humidity). If the water evaporates too rapidly, water-borne finishes don't flow out well. They also trap air, causing bubbles. If the water evaporates too slowly, the finish will sag and entrap dust. ‘As with varnish and shellac, it's not easy to make waver- borne finishes cure faster short of adding heat and reducing humidity. Buc itis possible to slow the cure a litcle when the ‘weather is too dry. This can be done in three ways: by adding water to the finish; by adding a “flow-out additive” marketed by Hydrocote (P.O. Box 140, Tennant, NJ 07763) and Amity (P.O. Box 148, Sun Prairie, WI53590); or by adding glycerin, which you can buy from a pharmacy, More water in the finish lengthens the time before coalescence because all of the water has to evaporate first. ‘There's no rule for how much water you can add safely, bur the critical point comes when the glycol ether, which softens the suspended droplets of finish so they can bond, evaporates before the all water does. The point at which that happens depends on humidity conditions and will result in the finish drying powdery. I've retarded water-borne finishes with as much as 509% water with no problems. The more water you add, however, the thinner the resulting film. So you should begin by adding only about 10% water. If you use one of the commercial flow-out additives (more should be coming on the market soon), follow the manu facturer's directions until you get feel for how it works. When using glycerin, you should add about 1% to the finish. More is ‘not necessarily better, because if there's too much glycerin, the film won't achieve sufficient hardness. Conclusion Solvents can be used to reduce problems when you have to do your finishing in intemperate weather conditions, (Caution: In some restricted areas, adding solvent to a finish could violate local VOC regulations). By using lacquer solvents judiciously, you can solve almost any problem caused by unusual weather. With shellac, varnish, and water-borne finishes, solvents can be used to correct problems caused by the finish drying too rapidly. Bue you will need to increase the heat or air flow in order to correct problems caused by the finish drying too slowly. Bob Flexner restores furniture in Norman, Oklahoma. He has made two videos, "Repairing Furniture” and "Refinishing Furniture,” available from Taunton Press, Box 355, Newtown, CT 06470 Relative Humidity Humidity is usually measured as the amount of water currently in the air relative to the amount of water the air could hold if totally saturated. The figure is reported as “relative” humidity. Fifty percent humidity means that the air contains half the amount of water it could contain, ‘But the amount of water air can contain varies with the temperature. ir at low temperatures becomes saturated with much less water than air at high temperatures. Air at high temperatures can hold much more water than air at low temperatures. Relative humidity, therefore, tells only part of the story. The temperature at which that relative humidity is measured is also important. During cold weather, the air is dry even though the humidity is “relatively” high. The explains why water-borne finishes are so difficult to use in cold weather. Th of air bubbles. During hot weather, the ai 1e water is evaporating t00 fast to allow for good flow-out and release isdamp even though the humidity is “relatively” noc especially high. This explains why blushing occurs so easily with lacquer and shellac on hot days. WOODWORK SPRING 991 49NORTHWEST COAST CARVING BY A NATIVE NEW YORKERThe Thunderbird transformation mask hides a mask of a buman face. Sisiutl, a two-beaded sea serpent, lurks bebind. After several trips to the Northwest, (the area along the coast from northern Washington to southern Alaska) I was very much impressed by the highly- sophisticated wood sculpture of the resident Indian tribes. It was obvious that there was much to be gained by a more complete study of the role of the ‘wood carverand his techniques in relation to the culture, its art, and its ceremonial rituals and mythology. [found that these ‘were so intimately related, one was an extension of the other. This relationship was so compelling that I decided to combine my anthropological interests with my wood sculpcure skills and carve some of the more striking and traditional mask types. The lifestyle of the Northwest coast tribes was based on a fishing, hunting, and gathering society in which there was an abundance of food that enabled them to live in large, established villages During the mild winters, since they had ample time and sufficient stored food, they could concentrate on the develop. ment of their arts and intermeshed ‘ceremonial life. Dramatic masks were carved and used in feasts and cere- monials related to their mythology and spiritual life ‘This complex ceremonial and spiritual life arose from a need to explain their perception of, as well as placate, the ‘natural forces which surrounded them and largely controlled their existence and survival. The people of this region saw these forces as supernatural beings living nearby to whom they were vulnerable. Masks which symbolized these forces were created and became part of the rituals designed co provide harmony between the spirits and man, These masks were also used in the re- enactments of lineage histories which established a sense of pride for the past and a relationship to the present ‘The function of the carver in the Northwest culture was to translate into tangible form the hereditary symbols, social institutions, and religious beliefs The well-trained carver understood the power of tradition, recognizing the boundaries between freedom and re- straint, conformity and non-conformity, while searching for his own creative style between these extremes. So as not to offend the tribe, his creations were always in the traditional context. Training for a young man with talent began with his placement in an established carver's household as an apprentice. Instruction not only consisted of familiarization with the tools of the trade, che variety and character of the ‘woods, and the techniques and mechanics of carving; it also included the complex code of behavior and rituals so chat a transfer of symbolism could be made to the object being carved. The carver was WOODWORK. SPRING 191 51A Crooked Beak of Heaven begins with a laminated block of cedar. The beak is then housed in a slot, ears are added, and final shaping and painting follows. in every sense of the word a skilled professional hired by the wealthy and powerful to execute the symbolism required in their masks. In my carving, the basic objective was to create traditional pieces, using traditional tools and techniques to get closer to the inner feelings of the native carver. Using traditional tools—hooked knives and elbow adzes—necessicated becoming familiar with their fabrication from available materials, such asold files for the knives and automobile springs for the adzes. A relatively primitive hear treating ‘method was employed using two propane torches, an oil bath, and sand for hardening and cooling control. The hooked blades were shaped after the files were softened and ground, then re- hardened to be mounted in extra-long handles to enable two-handed pivoting leverage to be applied when required The mounting of the blades was accomplished by twine lashing. The sharpened metal adze blades were mounted and secured with bolts or more traditional ewine lashing to the elbow shaped handle, which I made from spruce with splining to reinforce the elbow. For initial roughing, the elbow adzes are used in a controlled chop motion similar to an axe, however with greater control. The hooked knives, used for finishing, essentially replace curved ‘gouges and are used in a drawing action toward the body, which enables excellent control of the cutting action. Strai bladed knives are also utilized in the As is done traditionally in the Northwest, I used red cedar for the larger masks and white alder where d aromatic odor of the cedar was undesirable. Alder was also used where greater detail is essential. Where possible, if available, green wood was used and kept damp to control checking,A conical bat of cedar, worn during ceremonial feasts, incorporates a raven design with a salmon crest and abalone inlay. (above) A “southern- style” grease dish formed within the body of a beaver. It is made to hold can oil distilled from fish and used like margarine. (left) The Legend of the Raven and the Little People is a replica of native carver Bill Reid's depiction of the cultural hero discovering and protecting the first bumans, thought t0 have ‘emerged from the sea. Te became evident as I progressed that there were several recognizable tribal styles, some being more abstract than others, some using more or less paint The traditional colors were red, gree black, and white, using salmon roe as the base, and ground ferrous and copper oxidized minerals, as well as carbon and clam shells, for the pigmentation. Today, as I did, acrylic paints are used for convenience, and much of the carving is done inan amalgamated Northwest style. There are several mask types: the single face mask, with occasional embellishments of smaller faces and figures along the border; the mechanical mask, a more complex type having a single face but moveable parts toenhance the symbolism; and the complex transformation masks, with one or more faces hidden behind an outer face, to be ‘exposed at the proper dramatic moment Ie is impossible noc to be enthralled by the ritualized dancing in which the Crooked Beak of Heaven and the Cannibal Raven are envisioned rocking and bobbing in the firelight. These large masks enclose the head and are fastened to the back and shoulders of the participants, hidden behind cedar skirts hanging from the masks. The opening and closing of the masks are controlled by the dancers using drawstrings. Ie has been ten years since I initiated my study of Northwest carving. I have been richly rewarded aesthetically and see no end in sight. Ray Levine is retired after careers in developing satellite mapping systems and mineral exploration, and lives in Atherton, CA The frog, replicated from a design by contemporary native carver Bill Reid, is an adaptation of Northwest coast design.ROUTER TEMPLATE MORTISING By Pat Warner R ‘outer template mortising is an efficient way to mortise. Ie is safe, low isk, and fast. Once the principles are understood and practiced, the process is very competitive with systems such as hollow chisel mortisers. The technique calls for a plunge router, template guide, straight cutter, and of course a template, The template is routed to size, indexed and secured 10 che workpiece, and then the mortise is routed to depth. There area lor of advantages tothe process. Let's seeif | can'e convince you, Typically, the mortise in router mortisingis only onecutter- width wide. Single-currer-wideh cutting is high-demand routing that puts undue flex into the cutter and dull it early from heat build-up. Often the stress on the cutter is such that its deflection produces a mortise wider than the diameter ofthe cutter The depth of cut change in single-cutter-wideh mortising, injures the walls of the mortise somewhere. When the motor Jock mechanism is released under power to increase the depth ‘of eu, the cuter will tear the wall when and while the change is made. Talways choose a cutter width less than the mortise width. I plunge the cutter at che center of the templace and work it cowards the walls of the workpiece mortise, The cutter still groans and bends at its entry point, bt as you approach the wall ofthe mortise, che cuter erases its own defects. The cutter is only eutcing on one side and its bottom once the excavation exceeds one cutter width, The kinetics ofthis approach allowa ‘gradual removal of material. When you finally reach the wall fof the mortise, you can slice as little as 1/64 ofan inch, hardly ‘enough rodeflecr even the most fragile of cutters. The result is a clean-walled mortise A reasonable plan begins with the desiga ofthe mortise the selection of equipment, making the template, and last, routing the mortise. The design of the mortise is a personal choice related to the size of the members being joined, and pechaps the stress and service the connection is likely to experience. (See Woodwork #4, Winter, 1989 "The Mortise and Tenon” by Graham Blackburn). The equipment selection is easy. The plunge router is my choice of routers for the template mortise. Not much horsepower is required since we're invited to take many light cuts afforded by the fast-acting plunge mechanisen. For the cutter prefer short flute, long shank up-shear or up-spiral geometries, which aid in pulling the chips right oue of the mortise, Since ‘most ofthe cutcing is being done on the last quarter inch of the cutter, a long flute is of litle value. A long shank however is ‘obviously a necessity for acceptable depth of cut. I like the ‘cutting diameter to be one third to one half the width of the mortise for reasons already mentioned. I use 3/8 or 1/2-inch shanked bits whenever possible, There are often exceptions and compromises to be made in cutter selection. This router-cut mortise is eemplate collar guided. [like large diameter collars compared to the cutter so there's plenty of oom for the chips to get out. Ifit’s manageable, 'd like at least 3/16 of an inch between the cutter and the inside wall of the collat. The length of the collar should be as short as possible since any collar length at all subtracts effective plunge and cutter length capacity. A collar projection of 1/8 inch is quite satisfactory in most inscances. This short collar neck allows working template stock as thin as 1/8 inch, thus conserving again on depth of cut capacity The template is the heart of the process. Medium density fiberboard, or MDF, 1/40r3/8:inch thick is the ideal material orpce ‘Helniong feo dest leat workpiece: Fig. 1 The template window and intended mortise are laid out ow 4 piece of MDF template stock using the inside face of the cleat as the reference point 34 WOODWORK. SPRING 191 Fig. 2 The cleat is screwed to the template stock and indexes the template 10 the workpiece.Fig.3 A modified edge guide can reference itself against the cleat when the template window is cut. Fig. 5 The cleat indexes the template to the workpiece and provides clamping surfaces. Roughly size che template material three to four times longer and wider than the mortise isto be. Screw or glue a3/4-inch thick cleat to the underside of the MDF blank, about half an inch from the long edge. (When routing very narrow stock, locate the cleat an inch ton inch and a half back from the long edge. This will supply more router support on the near side of the mortise). Let the cleat be as long as the template and almost as wide as the stock being mortised. This cleat will be used to secure and index the template to the workpiece, and will be used with the router's edge guide to cut the mortise window in the template. The edge guide on your router may require a little modification so ic can slide under the template stock and skid along the cleat which is it’s reference surface, Using the cleat as the only guide for the edge guide insures the template window will have parallel sides and obviates the need to dimension the template blank. The template does need one straight edge, and the cleat should be placed nearest and parallel to it Lay out the template window so it falls on the workpiece where required. The workpiece is indexed from the inside of the cleat. I lay out the template window so the window edge nearest the cleat equals the distance from the workpiece edge to the mortise, minus one collar/cutter offset. (One collar/cutter offset is the OD of the collar minus the OD of the cutter Fig. 4 Ninety-degree clamp-down stops act as guide fences when routing out each end of the template window, Fig. 6 The large diameter template collar offsets the mortise from the template window and also leaves room for chip clearance. divided by 2). The layout line for the far side of the window is fone mortise width plus 2 offsets away from the near-side layout Line, Cutting the window is easily done with a plunge router fitted with an edge guide and a shore straight bit. Adjustments in cutting the window opening are made by changing the position of the edge guide. The left and right-hand limits of the template window equal the mortise length plus two offsets. Luse two 90-degree clamp-down stops for the router to ‘lide against for these cutting limits To reiterate, the length of the template window is equal to the mortise length plus 2 offsets, and the width of the window is similarly equal to the mortise width plus 2 offsets. The window is appropriately situated on the template stock by references off the inside of the cleat Now that we have the equipment and template, the rest is casy, Mark che centerline of the mortise on the workpiece and on the template window edges. Clamp the template to the workpiece, aligning centerlines and keeping the inside of the cleat snug against the workpiece edge. Begin the plunge routing at the center of the window and work towards the edges. Make any depth of cut changes away from the edge and all mortises will be alike and wonderful. Pat Warner is a contributing editor to Woodwork WOODWORK SPRING I991 55.SHORTS Raggedy Ann's Shaker rocker is the clue to the home of these Windsor chair models. Scaled from plans drawn by John Kassay, author of The Book of Shaker Furniture, and built for him in traditionally-used pine, hickory, maple, and red oak by miniature furniture hobbyist Paul Thode of Fort Collins, Colorado, the chai test-run Kassay's new book of Windsor plans due out in Fall, 1991. The 1/3-size models sport all the details of the antique chairs from which the measured drawings were taken, including pinned joints and through: wedged or even double-wedged tenons. To test your Windsor knowledge, identify the styles represented. Answers: braced fan-back; 2. Philadelphia low-be armehair; 4. upholstered Rhode Island bow-back armchair; 5 Philadelphia comb-back armchair; 6 sack back) of Massachusetts Press, Box 429, Amb Photo by Richard Sargent| Desk and Chair, 1965] The American Craft Museum in New York is hosting a retrospective showing of over 40 works by Wendell Castle, the industrial designer and sculptor-curned-furniture maker who has been a major catalyst in the studio furnicure movement. In the late 1950s, when Castle realized furniture could become a form of sculpture and self-expression, he transcended its utilitarian cole. His early use of bricklaying and bent lamination techniques overcame the limitations of wood and cut away at convention with curvilinear forms impossible to achieve by traditional joinery. Castle's thirty years of stylistic exploration have taken a variety of routes within the known territory and into the wilderness of furniture design. The retrospective surveys his trailblazing, which opened wider avenues of expression to those who follow Furniture by Wendell Castle, February 14-April 28, 1991, The American Graft Museum, 40 W. 53rd St., NYC 212/956-3535 Dr. Caligari Desk and Chair, 1986 Dirk Bakker photos courtesy of ‘American Craft Museum end Detroit Institute of Arts Demilune Table, 1981When Lloyd McCaffery, author of Ships In Miniature, "determined to go beyond all that had been done in the way of ship modeling at very small scales,” he wasn't kidding, cale of 64’ = 1”, a year and a half of full work, he managed to reduce the 30-year-old, 10-gun Prince to a boxwood model 3-5/8 inches in lengeh. The ship's rigging is a spider's web of nickel- chromium wire, while each plank is double- y turning a toothpick down to a hair and inserting it into a tiny hole ‘The figurehead of a mounted horseman is 1/4” high, a little more than the width of the Royal Arms at the stern, showing a horse and lion with a shield between them, Windows on the quarters and detailed faces in the pegged-on carvings there are under 1/32”. Shown recently at the Mystic Maritime Gallery Connecticut, the price scale was about $27,586 Ships im Miniature, Phoenix: Publications, P.O. Box 1 Cedarburg, WI 33012, Photos by AuthorProtos Couey of Nancy Grae spl go 2i2 1. The Fifth Annual Symposium of che American Associa tion of Woodturners came full circle and was held in tober at its founding site: Arrowmont School in the Smokey Mountains of Tennesse Adding a new twist to the yearly gathering of the tribes, two members cooked up the idea of building a totem, each of whose 18-inch high and 20-inch in diameter segments was to be turned by a different chapter of the organization. As the participating grew, so did the totem, until fo reasons, another top was called for and the to divided into two. The finished segments were dropped like donuts from a cherry picker over 3-inch pipes set in concrete The final 20-foot assembl display a potpourri of styles from 24 of the36 AAW chapters. The group anticipates long interest in th hed project as birds insects take up resi dence in the nooks and cranp For further information onthe AAW, please contact their headquarters at 667 Harriet Avenue, Shoreview MN 551. 612/484-90Furniture on the Move Six hundred years ago in Europe only the rich had furniture. Everyone else slept on the floor, sat around on crude benches, and generally led a life bereft of what we would today consider essential furnishings. This state of affairs was not just the result of the general level of sophistication in the fourteenth century, but also the relatively unstable social conditions. Even the rich were forced to carry their furniture from castle to castle if they wanted to keep it in one piece. Such requirements hhad a strong influence on prevailing design. Many pieces were ‘made to carry and store goods as well as provide seating, and most were made with portability in mind. This was the age of the iron-bound chest and large box-chairs. Tables were no exception to the demands of the times. A large and immobile piece would have been out of the question Consequently, collapsible units consisting of boards supported on removable trestles were the order of the day. Times maybe a lietle more secure now, but given the rate at which many people change addresses, an easily-disassembled and transported table remains an idea whose day is far from over. Trestles Old and New A trestle is essentially something used as a support. In furniture, a trestle is @ pair of diverging legs, joined at their upper end and used to support a table or bench. Two of these trestles used together are usually understood as being easy £0 remove and fold up — creating a collapsible and easily. 60 wooDWoRK SPRING 1991 ‘transported item, The trestle design used in the traveling table actualy consists of three pieces: two uprights, and a horizontal beam connecting them. (The horizontal beam, in fac, is the piece originally meant by the word “trestle,” which comes from the Latin transtellum, meaning something “placed across.”) Despite the general interpretation of the word “trestle,” the term "trestle table” most often implies something slightly, different — namely a table that is not supported by a central column or pedestal, and is nor a conventional four-legged table, Many contemporary trestle tables, however, are not readily collapsible, hence the need to define the table described in this article as a “traveling” trestle table — since itis truly easy to dismantle, transport, and reassemble. The Traveling Trestle Thave made several of these tables, each slightly different, but all with the same basic framework. The first one was designed in response to the problem of how to build a table larger than could be negotiated up stairways and through doorways. Later ones were made to take advantage of the ease of transporting a piece of furniture that is readily disassembled into conveniently small pieces. This one is still a substantial piece of furniture which, when assembled, is rock steady and _gives no impression of impermanence. It is not the same as a folding card table, whose very essence is its temporary nature, for i takes half an hour or soto take apartand reassemble. But,unlike more monolithic structures, i is possible to move this piece in a medium-sized automobile. Size and Dimensional Considerations Since it comes apart, icmay also be thought of as “modular,” and is capable of being built with differencly-sized parts to fit differen areas. The same trestle may be used to support tops: of different sizes, and even parts of the trestle may be built to different measurements, depending on your needs. Asa table itis, of course, subject to certain limitations. The top should be around 29 inches high if it is co be used for writing (lower still fa keyboard isto be accommodated), or 30 inches if its main function is as a dining table. Any construction attached co the underside of the top should allow sufficient knee room for someone sitting on an average, 18- inch-high chair, which means a lower limit of around 24 inches, The width of the top, if intended as a dining table for facing diners, should be at least 30 inches wide — and so on. Each use will dictate its own set of dimensions, as will the requirements (and physical size) of the owner. Bear all this in ‘mind, make sure you understand the minimum requirements of the individual structural components, and remain flexible — it is perfectly all eight to change any of che dimensions given here, The Top The top is often a good place to start, A straight-sided top can have advantages ifthe piece isto be placed against a wall, but there is no reason why some other shape, an ellipse or oval Pethaps, might not be used. All other things being equal, let the material decide the size and shape. The boards available for Rocking, pivoting, or light under the straightedge indicate the edge Is not we Figure 1, Testing and adjusting a board for edge-joining. When the straightedge is perfectly flat and the edge is square, the board is ready for an edge-plued joint. the top of the traveling trestle table — three particularly nice pieces of mahogany — were long enough, but when joined dida’t give me the required wideh. It was an easy matter to rip an 8-inch piece of padauk into two boards to increase the width, and add a little complementary color to the design. ‘The actual process of joining the top is an exercise in careful jointing. All five boards are simply edge-glued; no splines, pins, biscuits, or tongue-and-grooving are necessary if the stock is prepared carefully. Jointers and planers can save a lot of handwork in preparing perfectly flatand equally thicknessed boards, os well as then obtaining perfectly square and true edges, but surfacing may also be done by hand if you are equipped with properly conditioned planes and winding sticks. So far as surface preparation is concerned, it is often safer to use hand planes when dealing with figured or cross- ‘rained material, since this avoids the dreaded tear-out often encountered with power tools, ‘When the boards to be joined are all the same thickness and are perfectly flat — with no winding, twisting, or cupping —their edges are prepared. Very careful use of an exactly adjusted power jointer may achieve edges perfectly square and ‘rue, but more control is possible by using a hand plane. The ideal tool is the longest cry-plane or jointer you have, used in conjunction with a machinist’s straightedge. A straightedge is a precision instrument, and if, when placed on the top of the ‘edge as shown in Figure 1, it does not rock or show any light between it and the wood, the edge will be flat enough for a perfect joint, provided it is also square To joint the edge by hand takesa little practice, but when the ‘A-crowned iron positioned as shown will correct out-of-square edges by virtue ofits shape WOODWORK SPRING 1991. 61‘The trestle is slot screwed tothe top Details of The Trestle ‘and wedge mortise ‘A mortise and tenon joint is needed at both _Detalls of the crossbar tenon tends of the vertical piece ofthe trestle @ WOODWORK SPRING 1991skill is acquired, you have more control over the vagaries of ‘gtainand density, The plane iron should be very sharp, ground with the merest crown (so that if one side of the edge is too high, planing with the tool off-center will produce the required uneven shaving, as in Figure 1) and set with the smallest possible mouth. Use the straightedge and trysquare frequently and make every inch of every pass count. When adjacent edges have been prepared as perfectly as possible, proceed by testing the fit, adjusting it with the plane by taking the slightest shavings possible. The aim should be two edges, shat fit 50 well that they almost create a suction when you attempt to separate them. Such joints need only to be coated with glue and lightly clamped to form joints stronger than the wood itself, When the entire table top has been assembled, both the underside and the top should be planed clean, The best- finished surface will be obtained if you use a well-tuned smooth plane rather than abrading and filling the grain with sanding dust. Ifthe grain is too difficult to manage by planing, scraper may help, but this also needs to be extremely sharp. Thad originally planned ona top 1 inch thick, butby the time I reached this stage, the actual thickness was slightly less than 7/8 of an inch. To give the top a fatter look, I finished the edges with an upward-facing bevel. If the top had been too thick, « downward-facing bevel would have achieved the opposite effect, making it appear thinner. If the top is just right, consider other edge treatments, from perfectly square to rounded-over, of moulded into quarter-rounds, thumbnails, ‘ogees, or whatever your fancy. ‘Moulding such a large piece is easily done by hand using a plane with an angle guide, or a specific moulding plane. An electric rourer is another choice, but extreme care must be taken not co chip away the corners, burn the surface, or slip — ‘and when you've finished, you still have to clean up the surface to remove the cutter marks. The surface left by a plane is one facct, already partly burnished by the plane's wooden sole. The top is now finished, for it is the trestle structure which will hold it flat and allow it to shrink and expand without cracking ‘The Trestle Ends The entire trestle structure consists of two ends, a crossbar, (held in the ends by removable wedges), and a substructure ‘hac connects the tops of the two ends. This substructure is a shallow framework holding three drawers. The drawers may be omitced, but the basic framework of the substructure is the key to che table's integrity and rigidity when assembled Make the ends first. Each end consists of three picees — a top and a bottom horizontal crosspiece, and a vertical piece. The idea is to make the top horizontal piecea couple of inches ‘or so shorter than the width of the table top, thereby providing the maximum amount of support necessary to keep the top flat. Whatever the length of this top crosspiece, the bottom piece should be atleast as long (maybe an inch ot so longer) to preserve the proportions of the ends. All three pieces at each end are first prepared to thickness and left rectilinear so thar the mortise and tenon joints that connect them can be more easily made. (See my series ‘Mortise and Tenon,” Woodwork #3, Fall 1989, and #4, Winter 1989). After assembly of both ends, trace the actual shape required from a full-sized pattern made of cardboard, ‘masonite, or even stiff paper. The traced outline may then be ‘cut out with a bowsaw or bandsaw, the resultant surfaces and curves smoothed with files and spokeshaves, and all arrises (edges) — except those that will abut the underneath of the table top and those that rest on the floor — rounded over. This final rounding over, which should produce a curve equal to a quarter of a circle measuring an inch or so in diameter, is one place where careful use of an electric router fitted with a sharp "round-over” bit may prove easier than traditional hand tools. Take care to preserve the shape of the inside curve and watch the direction of the bit when working the corners, The Crosshar Prepare the crossbar ftom a single piece. Both ends of the crossbar are then reduced to a tenon for a distance of four inches, Cut corresponding through-mortises in each vertical trestle-end piece, assemble crossbarand trestle ends, and mark the location of the wedge mortises in the ends of the crossbar. ‘This is all straightforward work, but a few tips are worth bearing in mind, Firstly, the location of the mortises in the trestle ends must be carefully considered. If they are too low, WOODWORK SPRING 591 632aver Figure 3. A simple framework without drawers. the crossbar is liable to get in the way of your feet when sitting ac the table; too high, and ie will be uncomfortable to rest your feet on the crossbar. The lower the crossbar, the greater strength it provides, but you do not want to weaken the joints ‘connecting the vertical and bottom parts of the trestle ends, so the position shown —just above the joint — is perhaps ideal. Secondly, it may prove easier to mark out these mortises while the ends are still rectilinear — before they are sawn to shape — but in any event, work first from the outside of each ‘end, The inside face will be partly covered by the shoulders of the tenon on the crossbar, and any (slight) misaligament may be hidden. It is bad practice to make allowances in advance for expected errors — you should anticipate and strive for exactness atall parts of the job — but at the same time a little insurance is always prudent! Thirdly, bevel the ends of the tenon and the edges of the mortise on the inside face of the erestle ends so there is less risk of splitting out the edges of the mortise every time the crossbar is removed and replaced. Lastly, make sure that the inside face of the wedge mortise is positioned a little énside the outside face of the trestle ends. It is better to create a slight draw-bored effect than to cut this mortise so that no matter how firmly the wedge is pushed in, it ‘ean never make contact with the outside face of the end. Grossbar Wedges ‘Also known as keys, the wedges that hold the crossbar to the ends are best made of something somewhat harder than the rest of the table, It is better that the ends be slightly deformed by the wedges than to allow the wedges to become deformed. Their shape is critica. If che angle is too steep, the wedges will be inclined to work loose; to0 shallow, and it willbe difficult to remove them. Therefore, cut the wedges with a slope on the outside face only at a pitch approximating one in thirteen. The Substructure Framework The lower part of the trestle assembly is now complete, and the top part — the substructure — must be made to match, Should you elect not co include drawers, all that need be done is construct a simple framework, (Figure 3), whose outside Jength must equal the distance between the tenon shoulders on the crossbar. This should be 51 inches atthe given dimensions. 64 WOODWORK SPRING 1991 =e pa pe Screw holes Trestle end If there is any variation, adjust the length of the substructure accordingly. If drawers are excluded, what is required is a shallow framework, no more than 3 inches deep, that fits between the trestle ends and is somewhat less than the width of the table top. Centered along the length of the top is a 3-inch wide central member that overlaps the framework and is cur to the shape of a doverail at each end, These dovetail ends drop into matching mortises cut into the top of the trestle ends Together with screws inserted into the trestle ends from inside the framework, this dovetailed central member is what holds the trestle ends together at the top, in the same way that the crossbar holds them together near their bottom, In addition to being fixed through slot-screw mortises in the "upper parts ofthe trestle ends (as described a litte further on), the table top is also secured by three screws inserted through this central member. This also insures that the substructure itself cannot sag should it be fitted with heavily-loaded drawers. Substructure With Drawers ‘The traveling trestle table as illustrated has three drawers which fi flush with the front of the framework. They are carefully made toslide on small runners fixed to the sides ofthe four main front-to-back members of the substructure, (Figure 4). Make these four pieces first, and then cut housings in the center of each to accommodate the central member, so that it may be fitted flush with their top surface. Four other pieces, at least 1/4-inch thick, are now secured by gluing and screwing them across the front and back, top and bottom edges ofthe four ‘main members. Note that the top crosspieces should be housed similarly © the central member, but that this is not necessary for the two bottom pieces. ‘The centeal member, as explained above, is longer than the four top-and-bortom crosspieces in order that shallow but wide dovetails may be cut at each end, These should extend no more than 3/4 of an inch beyond the framework so thar they do not show on the outside of the trestle ends, Mark their correspond. ing mortises in the tops of the trestle ends directly from the dovetails and you will be assured of a perfect fit, even if the dovetails have been cut alittle irregularly. By doing so purposely,aay" ‘oo square maple runners ome not shown for clarity) (ae Crossplece —|[2 ES sv Figure 4. Components of the substructure for drawers. you make it easier to sce which trestle end goes at the left or right end of the table. In any event, marking matching numbers onall adjoining parts should be done so that various parts of the trestle are always reassembled in the same order and relation. Ac the back of the framework, a single piece i fixed to cover the backs of the drawer compartments, so that when viewed from this side, the table appears to have a normal skirt. If this side is robe visible, itisa nice touch to join the “skirt” tothe ends of the framework with lapped dovetails, (see my article ‘Doverals,” Woodwork #7, Fell 1990) but otherwise, gluing is sufficient. Standatd, dovetailed drawers should be made to fic in flush with the ends of the main members, to which small hardwood runners (1/2-inch square maple is ideal) should be ficted, flush with che bottom edges. ‘Asan added bonus, if the drawers are made somewhat shorter than the width of the substructure (measured from front to back), you can create a useable “secret compartment” berween the back ofthe drawer and the skirt mentioned above, which will be accessible from underneath the table, Affixing the Top ‘Assemble the trestle as follows: First, fix the crossbar to the ends and lightly drop the wedges into place. Next drop the substructure into place so that the dovetails engage. Screw through the ends ofthe substructure into the trestle ends, taking care thatthe top ofthe substraccure remains perfectly flush wich the tops of the trestle ends. In order that these screws do not interfere with the smooth operation of the drawers, they should be carefully countersunk below che surface. When the substructure is thus brought up snugly against the trestle ends, tap the crossbar wedges in mote firmly. The trestle should now ‘comprise a solid unit Turn this unit upside down and bore slot-screw mortises into the bottoms of the trestle ends’ horizontal top pieces. Also prepare countersunk pilot holes for the screws that will hold the central member tightly to the underside of the table top. ‘Attaching the op is most easily accomplished with the entire piece the right way up, the only difficulty being in positioning the top exactly over the trestle. To do this, take frequent Main front-te-back member measurements from various points around the ‘op's ciccum- ference to the ends of the trestles, and when you are satisfied, clamp the top to the substructure before starting to screw. Subsequent assemblies will be merely a matter of aligning the screw holes in the top with the slot-screw mortises and the pilot holes in the central member. Details Thave said little about such details as fitting partitions in the drawers, their actual construction, and the kinds of handles used, and nothing about thecarving visible on the ends — allthis is up to the individual. Drawer making isa subjece in itself, ue what ‘material to use for the drawer fronts and their handles (in this case, amaranth and ebony respectively) is largely a question of personal design preferences. I chose the amaranth since it ‘matched the mahogany’s intensity well, and provided a dramatic contrast to the doverailed white maple sides of the drawers. The ‘ebony is especially beautiful against the purple amaranth, and used in such small pieces, provides a visual connection with the ebony wedges holding the crossbar ends. Finishing was accomplished with Watco — many extremely- light coats applied 24 hours apart. Seven or more coats applied like this provide a finish that will stand up well to dining table ‘use — including spills of water and alcohol. Although there is often a rush to get the finished piece out ofthe shop, there is less actual work inyolved than doing what the manufacturer recommends — which isto flood the surface for ewenty minutes and wipe up the excess. This wiping is very hard to do and the invariable result, especially on mahogany, isa daily recurrence of new spots of oil leaking back out of the pores and onto the surface, It is true that they are easily dissolved by a fresh application of oil, bur it is all roo easy to miss some here and there. I find it simpler to apply coats of oil so lightly chat it is ‘only ust possible to see the smear of fresh oils you wipe che rag cover the piece, Finish the table disassembled so that all parts and surfaces are equally treated and when done, apply a wax finish to the tenons ‘of the crossbar to make assembly easy. Grabam Blackburn is a contributing editor of Woodwork WOODWORK SPRING 991 65MORE VACUUM TRICKS By J.R. Beall Wooden Boat magazine. Ic was all made of veneer and employed vacuum to bond it together. I bought a vacuum pump and some neophrene tubing, and although the boat is gone and nearly forgotten, the pump and its accessories are still around and going strong in my shop. don’t think it would be an exaggeration ro say that I could no longer get along without it. I have seen several articles in the woodworking press lately which have extolled the virtues of vacuum for veneering and I concur with the importance of that use, but have several other mpler applications which I find even more useful ‘A couple of weeks ago I started work ona largestorage cabinet for my shop, and in the process of its construction I used my vacuum pump forseveral operations. [needed to make slots for about fifty cubbyhole dividers to hold the drawers, and after considering various clamping methods for securing @ router fence for making the cuts, I remembered the vacuum, pump and built a T-square fence with vacuum fittings. Tcouldn’e find any of my old weather-stripping around, s0 1 ‘went to the discount store and bought a roll of 1/4-inch, closed cell foam for ninety-nine cents. Idug up my old vacuum switch and some brass hose barbs, and with these finished the fixture [fastened the unit to a piece of scrap that made up the top of the T, and made a cut across both its arms so that I knew exactly where my router would cut. After that, all I needed to do was make a small mark on the edge of my stock wherever I wanted tocuta slot and align this mark with one of the slots on my T-square. A wooden stop clamped at the end of the T: square stopped the router once ithad cut the right stot length, I was able to cut more than a hundred slots in shore time with a minimum of measuring, and without the use of any kind of 66 wooDwoRK SPRING 191 standard clamp. Thave a home-made overarm router which uses a Robland mortising table, and when the time came to make the card cut-outs in my drawer fronts, I built a vacuum fixture to hold the part on the X-¥ mortising table and sped up the process again. Of course this operation could have been done on a pin router as well, using a similar fixture. ‘When I was ready to cut out the base for my project, Lquickly realized that it's size ‘was too large to be easy to cut on my table saw and I don’t own a panel saw, so I needed to devise a way to make a smooth, accurate cut to a line. The vacuum pump was still siting fon the end of my work table, so built another quick and easy fence, a straight one this time, and after cutting my plywood with a saber saw to withina quarter fof an inch of the line, 1 trimmed it with my router using the vacuum fence So here I had one project on which I found three separate uses for vacuum and none of them involved veneering, On other projects, I have used vacuum for work-holding devices, clamping and gluing fixtures, router templates, lathe chucks, and for making my own plywood from veneers and epoxy. Thaye a 1/3 horsepower, carbon rotor vacuum pump made by Task-Air, which I boughe for less than $150 (with a gauge) at a local transmission and pump company. It requires no oil and delivers about 25 inches of mercury. Except for the vinyl tubing, [have made all the other fittings I needed forusing the rig. My switch is made from a piece of serap cherry and a couple of hose barbs. I glued some leather to the underside of the switch lever to make @ good seal. Inner tube rubber or any milar material would work as well. The weather-stripping used for seals must be closed cell. Ie comes, conveniently, with, an adhesive backing, all ready to make fine vacuum fixturesOne time when I was turning a piece on a vacuum chuck in recommend the vacuum pump as a most useful shop tool lathe, a friend stepped on the hose, which was lying across, the floor. Since then, I takecare tokeep my vacuum hoscoutof J.R. Beall, designer of the Beall wood threader, is an inventor traffic areas. Whether you do veneering or not,Ican heartily _ who lives in Newark, Obio.of Woodwork is open to all. Our intent is t0 show a cross-section of furni ture, turning, carving or any other kind of woodwork currently being done. We fea ture work from shows as well as individual pieces submitted by our readers. Send 35mm or larger slide format to: Gallery of Woodwork, Woodwork Magazine, P.O. Box 1529, Ross, CA 94957. Robyn Horn Little Rock, AR Pierced Geode redwood lace, ebony Rich Sullivan Corvallis, OR Quilted Maple Vessel Form ‘quilted maple, aniline dye with cobalt Lincoln Seitzman West Long Branch, NJ Petrified Somali basket purplebeart, shedue, kingwood [a a Rollin W. Patrick, Jr Geneva, PL Untitled chonized African padauk, gold leaf Photos from “Woodturning: Vision and Concept I courtesy of Arrowmont School of Arts and Crafts, Gatlinburg, TN Our apologies: Om page 79 of the last Gallery, Bob Fojus was incorrectly listed as Paul FojutMichael Sage Redwood City, CA ‘perfume bottles ‘auorted woods Brian Forbes Grand Island, NE sxo0d clock green ash, walnut veneer Gone Poszesi Concord, CA bow! redvwood lace burl, 8” x 5” Rom Kent and M. Yasuda Honolulu, HI Wave Form sculpture Baltic birch plywood 60” x 60" x 60” WOODWORK SPRING 591 69Adam St-Jobn Houston, TX “Future Perfect One” ‘oak, birc, seo, electronics Gregg Fleishman Las Angeles, CA folding chair plywood Photos courtesy of American Society of Furniture Artists. For more information, write ASOFA, P.O. Box 270188, Houston, TX 77277-0188 SMM Cee TT | Y Peter Kramer Washington, VA "Line in Bench’ Painted woodRe O WiOmOn DiiW. 0] RK Robert G. McKeown Hayward, CA Tellurian jewelry box ebony, purplebart, padauk, rosewood Silas Kopf Northbamptom, MA Typewriter Desh mabogany, satinwood Photos from the “Art That Works” exhibit are courtesy of the Mint Museum, Charlotte, NC Jane Goco Lewiwville, NC Magnolia mantel form American walnut WOODWORK SPRING 1991 71Mary! Macken Fairview, NC footstool/bench bickory, walnut Henry Robertson Eureka, CA Swan Dresser mabogany, various woods Don Ring North Point, FL French torchiere before gilding 56”, maple and basswoodw OO DW OR K Sue Beyer Easton, PA Blanket chest figured maple Patrick J. McCabe ‘New Caledonia, NY cradle Honduras mabogany and black walnut bowfromt wardrobe swith chest of drawers sapele, makore veneer, wenge trimA CALMER PACE By Carl Dorsch This article unashamedly discusses some of the philosophy cof woodworking, with only a secondary emphasis upon the how-to's of this particular piece. The challenge of this seemingly-simple item lies in the quality of execution in the “basics” of selecting the working stock, preparing flawless surfaces, and cutting precise, crisp joinery. How well or how poorly these are done is reflection of how we think about our ‘work; how much we care. So I challenge you to perform to yout lutmost, and you may just discover a whole new level of enjoyment and satisfaction ‘Without presuming to judge by saying modern techniques are somehow wrong, some of us like to recognize that ‘woodworking has its roots in quieter times, not necessarily, better or worse than horsepower-driven carbide, just different. While the influx of high technology may be necessary for a commercial business where time is money, some of us who do woodworking solely because we love it often appreciate a ‘calmer pace, without ear-damaging noise, ankle-deep router chips, and choking clouds of sanding dust. Certain things can be done better in one than the other of the two camps (although itis not good to even imply that they are of necessity separate and incompatible), but many of us jump at the opportunity to do work that lends itself to more traditional techniques. Such is the case with this stool/bench, based upon a Shaker design. The simplicity of the design constitutes the charm of the piece. Built properly, “simple” pieces can require a higher level of refinement than more complex ones because there are not as many details to capture the eye. Thus, those that are there must be done carefully to avoid a visual disaster. Similarly, working in pine is not easy. Sharp, crisp joinery is a ... some of us like to recognize that woodworking has its roots in quieter times, not necessarily better or worse than horsepower-driven carbide, just different. 74 WOODWORK SPRING 191 challenge because the wood is soft and its tissue bruises and ‘rushes easily, Staining and finishing can be equally challeng- ing because the wood does not absorb uniformly. On the plus side, the shimmer of a hand-planed surface is a joy to behold and feel, especially if the edges are crisply chamfered with a plane or spokeshave, not a ball-bearing bit. With these thoughts in mind, I present this small stool/bench. Iam not sure what to call it because its function depends upon its size. The Shaker original is only about eight inches high (obviously a stool); this one is fourteen inches hhigh (a stool or bench), and it could easily be made larger (a full-fledged bench, or even a small table). A complete set of ‘two or four nesting sizes would be an additionally-interesting project Although the joints constitute much of the charm of the piece, itis primarily a collection of surfaces where we have freedom of expression in the figure and colors ofthe wood we choose, At least half the fun in building this piece lies in searching out the right stock. I found the colorful striped top piece in the utility shelving pile at the local home improve- ‘ment center. Iwas sad that there was only one such plank, and only three feet long. I would have purchased all they had. The construction is straightforward because the design is simple; but don't read “crude.” Dimensions are given in the drawings, but I will not refer to them here. You should build the piece to whatever size suits you and your wood. First, cut the legs roughly to size. Then cut the arches inthe bottoms and plane the legs to final thickness. Next, cut them co final lenge, striving to make the top edge perfectly square across both its width and chickness; an enjoyable challenge with a handsaw and jointer plane, By the way, forget all that you read and hearRequired stock: one 6-ft 1x12 1-%4x9%22 top 2-¥4x9x 13 ¥6 legs AVax1 Vax 11 braces 141398" - Dovetails optional bout using a block plane to hand plane end grain. A large, finely-tuned jointer plane is best for end grain because it has sufficient mass and inertia to prevent chatter. Try it, you'll like i. ‘Next, plane the underside of the top piece perfectly flat, cut it to length, and cut the dadoes on the underside by sawing down for the shoulders and chopping oue the waste for a snug ficon each of the legs. You can increase the challenge here by making these joints sliding dovetails rather than rectangular dadoes (see "Dovetails” by Graham Blackburn, Woodwork #7, Fall 1990). Clamp the legs in place, square to the top, and prepare to lay out the joints for the corner braces. Remember, the end grain of the corner braces will be highly visible on the top of the piece, souse care in orienting the end-grain patterns among the four braces Cut the joints in the ends of the corner braces first, using. reat care with saw and chisel so that edges are straight and flat, and the corners square and sharp. Leave the braces just a hair long so that they can be planed flush with the surfaces of the top and legsafter assembly. Use the profiles on the ends of the braces to mark for the dovetail cuts in the edges of the legs. Use a sharp, single-bevel marking knife or cabinet chisel to mark the joints, The fine line from such a tool will provide ‘greater accuracy than a much wider and less clear pencil line. Saw and chisel carefully on the waste side of these lines. Remember, pine is soft, and it compresses in such joints, so leave most of the marking line when you cut. If, however, you. leave too much stock, the wood will crush beyond repair when, the joint is assembled. Leave too little, and you will have an ‘unsightly gap in the joint. If youdo compress some tissue too much, you may be able to steam it back into place. Lay a damp cotton cloth on the piece, then slide a hot clothing iron over the cloth. A steam iron is all the better. The wood will absorb moisture from the steam, and the tissues will swell back to their original shape —toacertain ‘extent, that is, When you do this, be certain cole the wood dry thoroughly before you plane or sand the surface flat. If you flatten the surface while the wood is full of moisture, the wet area will sink below the surface when it dries. After the joints are cut, assemble the piece dry to check the fit. On the museum stool on which this piece is based, the top was nailed to the legs through the dadoes, and the corner braces were nailed to the top and legs. If you use dadoes for the leg-to-top joints, then epoxy or super glue should be used in these all-end-grain joints. For attaching the corner braces, or if you use sliding dovetails for the leg-to-top joint as I did, standard white or yellow glue is sufficient. You need only glue the long-grain faces of the corner joints; white or yellow glues do not glue end grain well. T drilled holes in the braces and installed wood buttons to match those on a pine cradle for which this stool was a ‘companion. Since the hole was drilled anyway, I put in some wood screws, although they are probably overkill in terms of strength requirements. If had not wanted to match the wood buttons, I would not have used any mechanical fasteners. After the piece is assembled, plane the corner braces flush with the edges of the top and legs, such that these edges and the corner brace surfaces are in one flat plane on each side, square to the rop. Next, clamp the piece ina vise to surface the top. You may choose a belt sander, but 1 encourage and challenge you to hand plane the top surface. You will probably have to plane toward the center from both ends to obtain good surfaces, without tear-out, on the end grain of the corner braces. Do this with the front of the plane angled in toward the center of the top. Youcan shape the edges at the sides and ends to suit your taste with rasps, wood files, and a spokeshave. Finally, flip the piece over and plane or file chamfers on the bottom edges of the four little feer created by the arches in the legs. This will prevent them from splitting if the piece is dragged across the floor. Garl Dorsch is a contributing editor of Woodwork WOODWORK. SPRING 191 75TIGHTENING UP ON A BUDGET Two Shop-made Clamps By Carl Dorsch and Don Taylor The high price of commercial bar and pipe clamps inspired ‘me to make some versions of my own. I have seen plans for ‘wooden bar clamps before, but usually there were several features that were unattractive for my needs. First, wanted an inexpensive alternative to wooden screws and threaded holes because I do not own a thread box or wood thread tap. Second, I did not like the idea of making long clamps that can only be used to clamp large items, leaving long, unwieldy clamp bar ends to hang in mid-air or interfere with clamp positioning if only small items are clamped. Therefore, I developed a clamp design that suits my requirements for having a variety of clamp sizes without having a plethora of clamps. 1 observed that as with commercial pipe clamps, the screw end, or head, of the clamp is the critical element. The length of the bars is superfluous. One simply needs longer bars for large work, and shorter bars for small work. As a result, I made the bars detachable from the clamp heads, facilitating the use of any length bars with any clamp head. In addition to providing infinitely variable clamp lengths, this modification resulted in reducing storage space, because the clamp heads can be stored separately and a great many bars can be stored in a minimum of space. It also encourages one to prepare the clamps before slue-up, rather than waiting to grab a clamp off the wall during glue-up. In seeking an inexpensive alternative to the wooden screw, firse considered standard all-thread rod, but I felt that the screwing action of standard threads would be too slow. Coarse ‘Acme threads were what I wanted, but Acme all-thread rods and Acme nuts are difficult to find. Using expensive veneer press screws seemed incongruous with keeping the clamps inexpensive, Then I sported those low-priced, Taiwanese C- ‘lamps in the discounc department store. You know, the cheap kind that break in half the second time you use them. Cut off the "C” part from 4-inch clamps and you have a permanently pony sive onto damping ersspiece whe eg, wa Vax Bich dowel pins with string keepers 76 WOODWORK SPRING 1991 Yih ameter hoes Camping crospecejoined Acme screw and nut assembly. Dress the “nut” with a file and epoxy it into a drilled hole in the clamp head crossmember, or file some flats on the ut and chop an appropriate mortise if you are worried about it turning in a round hole. I just ground a spade bit undersize to produce a snug fit, ‘Allof the components of the clamp are made from the same size stock, which simplifies stock preparation. I used maple throughout, The three crossmembers are each glued up from two pieces to facilitate roughing out the mortises on the table saw prior to glue-up. Afterwards, trimming for final fie was, done with a paring chisel. ‘The holes in the clamp bars are all 1/2-inch in diameter at, 3-inch intervals. The head piece and stop piece are held in position with 1/2-inch dowels. Ifthe dowels are placed behind the stop piece, its free to slide on the bars. Holding the stop piece in place with through dowels keeps it from sliding around while the clamps are being positioned. One or ¢wo heads can be placed in reverse position on the clamp bars to make a spreader bar, as long as care is taken to accurately dimension all ofthe clamp components so that they are readily interchangeable. ‘The light weight of these clamps isa real plus when working with small parts or thin stock. Since they are made of wood, they do not easily dent the work if you bump it, or cause stains from contact with glue as iron or steel clamps can. A liberal coatof wax on all ofthe parts, including the screw, will prevent slue squceze-out from sticking, and smooth operation, There are some drawbacks to clamps with double bars. For cone, they cannot be placed in the center of wide carcases for ‘operations like pushing doverails together. In addition, the faces cannot be offset 90 degrees as can pipe clamps, which is useful for pushing sliding dovetails together. On the plus side, if double-bar clamp faces are placed diagonally across the corner of acatcase, each clamp face contacts two carcase parts. This jigging actions helps to maintain carcase squareness. Garl Dorsch is a contributing editor of Woodwork I devised a long-reach clamp to help me fabricate some new furniture designs that I came up with, These kinds of clamps sell for $25 dollars and up and are sometimes too heavy for some clamping jobs. This clamp can be constructed for less than three dollars, ‘The jaws of this particular clamp were constructed from oak, 1-1/4 x 1-3/4 x 14 inches long, but they can be made any size. The pads of the jaws need to be sanded so they are slightly curved, as shown in the drawing. The channel bars were also oak, 1/229 inches. A threaded, 1/2-inch diameter rod or a long 1/2-inch carriage bolt can be used for this clamp. Originally, Tused a nut on the threads and tightened it witha wrench, [later modified the design by welding a nut to a piece of flat stock with the end rurned up to form a handle, A wing rut could also be used. Don Taylor builds and upbolsters furniture in Deer River, MN WOODWORK SPRING 591 77Have @ service or product you want 10 sell? Perhaps you want to find something. Rates are 80€ per word (an abbreviation is one word), or $60 per column inch for display ads. Columa width is 2-1/4”. We can help design your display ad. There is ‘Wood ‘OREGON BLACK WALNUT — wide boards, wick mmatrah exceptional color SASE—Goby Walnut Pro: ucts, Dept 85016 Palestine Rd, Albany, OR 97321 (50a) 26 ‘EXOTIC HAWATAN HAROWOODS — bunds of lear fl dried koa, mango and ther exotic weeds, ‘Stabs, wrning square, figured woods. Custom wood ‘rods also avalabl. Cal or wit for it and rice ‘lomaton. West Maul Mourtan Trading Company ‘Fax 4805-878, 2803, Business $808-878-2705 AR 263 Kula Hwy, Kula, Hawa 98700, ‘BRAZILIAN ROSEWOOD LUMBER. Mastcal nao ‘ant and tamture-grade wood. (502) 425-1328, (802) ssne167. ‘RAREST WESTERN BURLS, induaing REDWOOD, MANZANITA, MAPLE, BUCKEYE, OAK, MADRONE, ‘rect romlogger sawmill LARGE venir ofbeaut {ut exniion and gular gredes evalabe in any fom, ties, dryness, SPECIAL: Fartastic shapad redwood bur and cury stabs rom $3/bi up. CALL 707-442 1310 to cscuss sampe oror tha moots your exact oss. BUPL TREE, 9527, Brocay, Era, CA ‘OUR PRICES & QUALITY—DIRECT ttponrens OF poco: 3872 cocobon 1 ‘S8.74/bd, Grandado $8 45 Lignom Vise “ft, $1.85/e, Mexican Kingwood - fr. $250, Pink ivory ~$8.00/b, Snakewood - $8.00/b, Tulpwood '$1500/ bot Zfote«$8-40/b0R, and many mero. INTRODUCTORY COCOBOLO SPECIAL, spe. 1 ‘ax 12- $15.00 (shipping included). 5 pe. 2x 2x 12 “$2500, SASE Tropical Exote Hardwoods of Latn ‘America, Box 1805, Cariebad, CA 92008 (619) 434. 030, FAX (619) 434-5423. LLEARN-TO-CARVE KITS. Aso, carving blocks in20- ‘iboxes basswood and pine. $38.85 Hardwoodiumber also avaliable. SASE fr let KITS, 805 Sand SU W. Bradenton, FL 34205, ‘SELECT & BETTER 20 BF BULK PACKS: Chor '$2.60/0 Rd Em $1 47 Walnut $3.04708 4x4 Wa ‘ut Caning Socks; Adatonal Species, Vies-Mastar- ‘ard, Free Catalog. Badger Hardwoods, RL Box 262 Waworm, Wi satee Ph, (00) 252.2373 ‘Tools/Equipment FREE DISCOUNT WOODWORKING TOOLS and SUPPLIES CATALOG. Bost pricos for over 3000, brand name products. Tronines, Dept WWI, Box ‘6447. Chelsea, MA 02150. 1-800-566-8666. ‘TOOLS — ANTIQUE & USED — STANLEY. Gually {slecon af cares handloos or collects and wood. workers — planes, scrapers, spokeshaves, saws, Chisels, levels, rules, unusual ms, ete. Complete, ‘working lols. Satsfacton quaranted. Prompt post. paid service VIGA/MC. Curent Mutat Lt—$250, Subscription $10.00 pr yea, Sst Bob Kaune, Dept ‘Wor, 517 W. 11th Por Angoles, WA 98962: (206) a2-2602. INVISIBLE CLAMP old ator obsructonrowrout- Ing. sanding (\@00t/2q. 2 cim, 89 pe). Nomaring, Completa instructors. $90 $0 Base Pump KA $175.00 Doure Kt ume, fing, regulator, etc}, $400 Ship- ping oF SASE Vac-U-clamp Systom, 118 8. 100 opt WW, American Fork UT 84003. WOODCARVERS TOOL AND SUPPLY CATALOG, Groat pices and atest service. Sond $2.00 (refund abe) PO Bos 3485, Este Park, CO 80517 78 WOODWORK SPRING 191 no charge for this service. We must receive payment with the ad, rates are fnoncommissionable. Send to Woodwork Classifieds, P.O. Box 1529, Ross, CA 94957, Deadline for the Summer issue is March 1, 1991 MAKE YOUR ROUTER INTO apin our Easy Plans. Buldin your own woodshop- $8.50, Major Reherman, 6273 15th St $0, St Petersburg, FL 33705. Plans/Designs ‘EXCITING NEW FOLK ART PATTERNS. including sep: by-sep photos and instructions for woodearers tall levels Farm animals, wagons, Sarias, Amish, toys, wouter vanes, snes, dust bores, caus ‘and books. FREE BROCHURE. SASE Bay. Sh, 24 MeKetips Rt, Suite 4106, Masa, AZ 85205. ‘CONTEMPORARY FURNITUREPLANS. Potesionl flan sels forthe serous, woodworker. Compute (Generated drawings ps comprehensive ilusrated IRstuctons. Cataiog $200. NRE, P.O. Box 1073-A, vis, CA 85490. ‘MAKE WOODEN TOYS, whigigs, door harps, dol= houses, clocks, music boxe, weathorInsiuments, ats, ureture win ou plans par, kts, supplies — Catalog $1.00 (614) 484-4968. Chery Tree Toys, Belmont OH 49718-0960. 275, Elgin MN 55052. REVOLUTIONARY NEW FURNITURE MAKING METHOD. Sotas, ningenairs,ond/coflow abe, do- Ing tables, ete. For callog of plans, send $3.0 fo Taylor Fumture, Ft 2, Box 118A, Geer Fiver, MN 8896 ‘OUTDOOR FURNITURE PLANS. “Classic” adron- ack syle. Comforabie ad easy io bull Free io brochure. PLANCRAFT, POBox 81778, Hemando, FL So0a2 ‘COYOTES, STEERS, CACTUS, MOREI 12 Woodcraft oo Puzzle, Bo 176M, Ek Cy, Karo 83525, ‘MAKE DECORATIVE SHELF BRACKETS —anyize — in mines — simple, unique, plan requis: no {edous patie vansterring — $5.00 Bary W. North, P.O. Box 708, Luling, LA 70070. ‘4000 YEAR OLD EGYPTIAN LOCK. Make and sal Foplcas wih key and working tumblers. All wood co ‘stucion REAL SHOW STOPPER. 88,75 fo detalec Plans. LOCKWORKS, Box 8488-A, Cincrnal, OF ‘200, LOOKING FOR Woodworking Plan or childrens = hte? Ty our CAPTAINS BED varatons. Send SSASE fr fee brochure io Melowood, P.O. Bax 1128, Goede, WA 96620. Instruction ‘STUDY WITH MASTERCRAFTSMEN Fursturemake Ing, woodworking and other crafts. Unique In-shop experience Year-ound apprentice program and wer Shops avaliable. Bauines Crate Gula-—W. Sehoon- maker Po, Sauslte, CA 04065 (415) 391-8520, Misc. ECONOMICAL WOOD STAIN. Sandard or cam «olor, 0057 to rake, doesn eactivat wih lar coat For formula of sansa ard primary colors sera $3.95 to CR KENNEDY, 7426 & Togner Rosemead, CA 1770, ‘ALL NEW SELF-DISPENSING CAN CRUSHER. Send $5.65 or plans oF. Betz, 305 N. Prankin, Spring Ha KS 66063. ‘SCROLL SAW TECHNIQUE ON VIDEOI Necessary ‘and vial intrmation onthe simple, wonder serot ‘aw, Advances techniques, moaticalon, and ottor cts tha will enhance your shils and sawing sas: faction, Send $2485 plus $300 sh. & han. to ig Hl Productons P.O, Box 128, 15 & 100'S. Weeto, ID £83285 (208) 747-3700, (Vea MC accosted. TOBACCOIIChow or smoke’ Foe catalog Wie Fred ‘Stok, Ine, Box TOT-W, Drosdon,Ternossoe 38225, ‘Musical Instruments WAMMERED DULCIMER PLANS! 8; roid bulde’ Chae Aim. Best book on subject. $1895. Wood- ers Box Dat NW Brokat NAT 0 26-47. ‘GUITAR MAKING VIDEO — Bulls your own acouse (gular. $28.0 postage paid. Free infomaton (714) ‘Danial For, 20, Box 11324, Cota Mesa, BEGINNING/ADVANCED HARPMAKERS: wood ans, plans, hardware, stings. avalabe. Oragor- (whisper, Box 21, Mu Laguna CA 91048 BUILDING? RESTORING? REPAIRING? Use Chane, the efor ge profesiena se ‘Stengh and riabty proven eat rd area ‘yer 15 yas noc Oe 1/2988 ‘heey $898 pd USA Overs sped wit 48 fre Techn st on cal rower yur czstns. ‘hen Tech, Det 4658 Lander Ad Chap ats, (n ceaz 28) 248.077. SM RS Acasa ds IComputer Index of woodworking magazines trough 1900. Includes every Iesuo of Woodwork, Fine Woodworking, Wood, |Woodsmith, Today's Woodworker, and 1987 - 1990 issues of Woodworker's Journal and! Workbench Locates In seconds article tttes by any word In tite Yearly updates - All magazines Indexed in one place Hvounsed-t0Mcompatble computer her ek, 512K memory, BOS 2.0 erlatr WOODFIND $49.95 + $4.50 Shipping 1991 update (avall. 1/92) $7.95 + $4.60 [shipping ‘Order both and save $4.50, Wa residents ad 81% tax mst be ordering WOODFIND or ateady own }WOODFIND program belore supplements can be [Chock or money onder to: WOODFIND, [P.0.80x 2703, Doptw, Lynnwood, WA 98036 For Back Issues of Woodwork Magazine See Page 31TRADITIONAL HAND FORGED ‘WOOD CARVING CHISELS Sy Top Qualty— Superior Kage CAPE FORGE WOOD LATHES 25" swing, standard bed lengths from 1-1/2 thru 8-172: Langer beds, larger swings, and ‘ow turning lathes avaiable DeRose & Co. P.O, Box 150, Mechanics VA 23111 .0. Box th Eat Fumo MA.0256, (604) 7461705 ] GILMER CUMENEE yee ‘PROFESSIONAL COMPUTER PROGRAMS DESIGN AND CUT LISTS, $295 PANEL OPTIMIZATION. $195 IBM OR APPLE MACINTOSH Raa Peery ferro DRUM SANDER ‘SINGLEY SPECIALTY CO ING, 0 SSK CAEANaOND he CAL east \ood Butcher MESQUITE LUMBER Beautiful grain. Dimensionally stable. The most eotiedomestc hardwood. Send SASE for prices and information; include $200 for sample. DLH. Nordmeyer, P.O. Box 68, Knipp, TX 78870 Portland, Oregon 97230 (603) 276-1273 a (603) 2740839 Rare &Exotic Woods + ngs planks & squares + over 0 species int + inboarde eck &iogs * custo ing aaieie a THE ONLY ‘ORIGINAL LATHE TOP WOOD TURNING DUPLICATORS SOLD WORLD WIDE MAKES TURNING FAST, SAFE AND. EASY, FOR USE BY ‘CRAFTSMEN OR HOBBYISTS ALIKE WITH PROFESSIONAL RESULTS, FREE Literature (913) 909-2730 ‘TURN-O-CARVETOOL 60,20. BoxBa15WW "Tampa, Plorica 3674 ‘TIGER and BIRD'S-EYE CCuty Ash, Curly Oak ‘Curly Cherry, Guy Birch LUMBER AND FLOORING 821-A Lancaster Pike, Quaryile, PA 17565, (717) 2845030. eer Many Hard-To-Find Items! era tern Petr ie! $5.95 | Se WESTERN BURLS. Squares, slabs, whole. Western lumber, figured lumber, sample kits, SASE List, EUREKA HARDWOOD SUPPLY, 3346 D St. Eureka, CA 95501 (707) 445-3371 Full-Size Professional Plan ADIRONDACK CHAIR forint range cama 2 wee (| FURNITURE DESIGNS, INC., Dept. WM-11 ‘HET Gave 2 — 676 16 Models $595.00 — $695.00 BALL Deluxe $750.00 — $1200.00 Sand 38° Sidetroke& Sting. How to use your Comer Clainp AVS cupbyraagcen, emmrcomkgs HDD mm Toulan USA Facto nee aim Div. Tech Rep & Associntes VOODWORK. SPRING 9 79~ on RA Sow aon serves supe. na Souszra0%. Sea era fae ait Seaton Se iin Seen Sopssei ie) Reader Sovice HSS We think SystiMatic makes terrific blades and we're proud to sell them. If you value long life, super performance and a company that really stands behind its products, we think you will be very happy with SystiMatic, Blonanes on eS Eee Rianne eraseaie mae ety MATIC Fire ra eared Gren esosr Reregantossro™If you build cabinets, you should be using the SystiMatic twins. SystiMatic’s amazing Superfine Dado for the smoothest dado cuts you ever saw. The Superfine Dado produces absolutely smooth and perfectly square dado channels—chip-free in even the toughest-to-cut laminates and veneers. The secretis in the 42-tooth outer blades, plus our exclusive round six- wing chippers. The results a powerful, vibration-tree dado that goes through the material like a hot knife through butter. We've been making this dado for nearly two years now, and the response from professional users all over the country has been enthusiastic! Like all SystiMatic blades, the Superfine Dado and LV Blade are made in America and available only through professional saw shops and industrial tool suppliers. For dealer nearest you, call toll free 800-426-0000, Ext. 80 free cuts in the toughest laminates and veneers. The LV Blade is the solution for getting sharp, chip-tree cuts in today's high-pressure laminates and delicate hardwood veneers. With the LV, the cuts are actually as .good as you'll get on a big double-blade panel saw! And, Unlike hollow-face grinds, the LV's unique tooth design STAYS sharp even through long production runs, To make this blade even better, we're now tipping it with our new non-corrosive, sub-micron grade EdgeLast” tips for even longer service between sharpenings. Too good to be true? Try the LV and it'll make you a believer. We guarantee it! ‘SystiMatic Company 12530 135th Avenue Northeast Kirkland, Washington 88034 READER SERVICE #29,‘the Club. Freeborn Tool Company, delivers exactly what you ‘want in.a custom tool ‘quality, precision and, | fast order turnaround. ‘A better custom: ‘cutter: iy ata better price. Join Wend eetia eka Soe Oe een

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