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    here shouldbea bigdifference

    between power tools you use

    for high-skill projects or tools

    you

    m

    ke a living with and the

    tools a weekend novice needs to

    build a living room shelf. But

    too often, what you find   retools

    m de to do all things for all

    people. All people, that is,

    except professionals and serious

    craftsmen. Th  t swhere Ryobi

    is different.

    Our 3

     

    /4 

    pl  ne r, for example,

    offers features only a true crafts

    m n can appreciate. A cog-belt

      deform

    drive system provides non-slip

    transmissionofpower forsmooth,

    quiet operation with better shock

    absorption.Acarefully positioned

    handle and balanced weight dis

    tribution give you control and

    stability. And an extra-long

    re r

    shoe assures you of easy cutting>

    st

    rts. /

    The bottom line? Quality you

    won

     t

    find every day in1ust any

    power tool and .performance you

      .

    can use evefY day. Lookfor

    Ryobi planers and

    get

    the tools

    m de fo r more than weekends.

      n weekends ~ ~

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    Staff

    Editorial

    David Camp, Editor

    Wien Chod, Managing Editor

    Debra Wittenberg,   ssociate Editor

    Contributing Editors:

    Bill Farnsworth

    William H. McMaster

    Ray Ternstrom

    S. Reed Poverny

    Hugh Foster

    A lan Mark s

    Consultant, Charles Harris

     ont nts

     

    Volume 6,

    Number

    2

    August/September 1986

    Issue 32

    Features

    Departments

    On the Cover: Rough sketches

    and

    trial-and-error in the shop are all

    part

    of

    Joe Petrovich  s adventure in design as he tries to come up with

    a way to transform a winerack

    intofin

    efurniture. He shares this

    pro

    cess

    and gives instructions f or

    mak

    ing his wine table starting on page 22.

    17 The Sound of Wood by Larry Rober ts

    18 Altar for Peace by Jay E. Wright

    A Tale of Two Artists

    22 Adventures in Design: Building a Wine Rack by J. Petrovich

    A Popular Woodworking Project

    27 Marquetry Techniques

    by David D. Peck

    32

    Martha

    Thompson s Magical Mirrors by Ma ry A. Cristy

    34 Rotary Power Tools by Ray Ternstrom

    Comparative Product Review

    37 A Power Carver s Tool Cabinet by Yosh Sugiyama

    Project jor the Shop

    40 Woodworkers Album by Christine Whitlock

    and Patr icia Barnes-Svarney

    42 Early American Wall Shelf by B. William Bigelow

    A Popular Woodworking Project

    45 Jig Journal by B. William Bigelow

    Router Fence j or FlawlessDados

    46 Template-Routed Door Pull by

    Patr

    ick Warn er

    48 Growing Woodworkers by Deborah R. Upshaw

    A Popular Woodworking ShowReview

    50 Focus on Carving

    by William H . McMaster

    Carving the Human Head Part V

    60 Termitic Sculpture by S. Reed Poverny

    A rt D epartment

    Don Graff,

    Jr

    Illustrator

    Leslie Nau, Paste-up

    HBK

    graphics, digi-type

    Advertising

    Wayne Lin, A dv. Director

    Gertrude Berkowitz

    Ci rculation

    Suzanne Eriksen

    EGW Publishing Co., Publisher

    Popular Woodworking (ISSN 0884-8823) is

    pub lished bimonthly by EGW Publishing

    Co ., 1300 Ga laxy Way , Concord, CA

    94520 . Application to mai l at second-class

    postage rates is pending at Concord,

    California and addit ional mailing of fices.

    POSTMASTER

    send address changes to

    Popular

    Woodwo

    rking,

    1300 Galaxy Way,

    Concor d, California 94520.

    SUBSCR

    IP T

    IONS :

    A year s subscription is 12.95; two year s

    wort h is 24.95 ; outside

    of

    U.S.A . add

      4.00/year. Send all subscriptions and cor

    respondence to :

    Popular Woodworking

    1300 Galaxy Way

    Concord CA 94520

    Please allow 6 to 8 weeks for delivery.

    Copyright   1986 by EGW Publishing Co.

    Reproduction without prior perm ission is

    prohibited .

    Unsolicited manuscripts, photograp hs, art

    work

    an d

    other materials are accept ed, but

    Popu lar Woodworking can not assume

    responsibility for these materials. Submis

    sions must be accompan ied by a self

    addressed, stamped envelope for return .

    e opinions expressed by the autho rs do

    not necessarily reflect the policy of Popular

    Woodworking. Editorial correspo ndence is en

    ouraged , and may be edited for pu blication

    Direct a ll advertising inquiries to:

    Advertising Directo r, Popular Wood working,

    1300 Galaxy Way,

    Concord, CA 94520 (415) 671-9852

    ugust/ September 1986

    5 Clear Cuts

    6 Information Exchange

    8 Wood Types

    10 Book Reviews

    14 Videoscene

    54 News

     

    Notes

    58 Calendar

    59 Classified

    61 Index to Advertisers

    62

    Ou t

    of the Woodwork

    3

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    Freud  s new

    5 piece

    router bit

    door

    system allows you to

    raised

    p ne

    l cabinet doors with your   2

    chu

    ck route

     

    m de

    with the finest carbide available

     nd

    sha

    rpened

    wi

    d

    i mond

    wheel.

    The

     it

    profiles are: rail  nd stilern .raised

    p ne

    l  

    door

    lip

    D .

    glue joint

     

    . The bits

    come

    in

    a

    wood

    box jointed case for ease of storage.

    As a set, the 94-100listfor 248

     

    Sale Price  1

    Freud  s new

    5 piece

    cabinet set for the

    3.1 -   2 sh per

    comes wit

    rail

     nd

    stile, raised

    p nel

    ,

    door

    lip

     nd

    glue joint cutters . A box join

    wooden case is included for ease

    of

    storage

     nd pre

    vention of dama

    the

    cutter profiles are: rail

     nd

    stile

      .

    raised

    p nel  

    door

    lipD ,glue joint 

    The cutters are

    m de

    with the highestof manufacturing standards

     nd

    materials.

    Ifpurch sed

    individually, they

    would

    cost 510.00.

    As a

    set. the fe

    -900

    list for

     499

     

    SalePrice

     349

     

    Freud  s new

    16

    piece

    Forstner bit set

    comes

    in

    a

    box jo inted.

    wooden storage case. These bits.

    guided

    by their rim, will create

    a

    clean flat bottom hole in

    wood

    . A

    speci l he t

    treated steel is

    used

    in

    their production to assure

    long

    lasting

    edges

    .

    The

    16

    bits range in size from 14

     

    to

    in

     

    increments. These

    bits will fit any stationary or portable drill using

    a

      or largerchuck.

    The FB-100Forstnerbit set list for

     249

     

    Sale Price

     199

     

    Freud  s new

    50

    piece drill bit setcomes with a heavy

    duty

    carrying

    case

    for ease of storage

     nd

    protection. This set consists of: A) 25

    high

    speed

    steel bits ( I,6-

     1

    in  l,6 increments)

    B) 4

    high

    speed

    steel

    bits for use in sheetmetal

    (J4 ,   2) C) 6

    chrome vana

    di

    um

    steel

     r d

    po int bits for use in wood

    ( ,

      2.

    7)6,

    J4 0/1

    6,  )

    D) 6 est-

    bide tippedmasonry bits with hex shanks ( 2,

     

    J4 0/16

    E)

    1center

    punch

    ,

    2

    Allen keys

     nd 6

    depth stops to set bits at

    pre -determined depths.

    These bits will fit any stationary or portable drill using

    a

     

    or larger

    chuck. The DB-050 drill bit set listfor 89 SalePrice

     69

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     le r uts

    I want to talk to you about one of my favorite woodworking topics:

    projects.Most of the things I have time to build are simplehousehold neces

    sities, likeshelvesand drawerdividers to keepMyBelovedhappy. Recently,

    I'vehad the opportunity to be really creative when I made a bifolding

    door

    with raised panels to keep the cats out of the kitchen whileM.B.iscooking. .

    Occasionally I get the chance to make some of the beautiful furniture

    that

    reminds me why I like woodworking so much.

    I t

    is then I indulge in

    the challenge

    of

    doing goodwork, fitting parts together in interestingways,

    bringing beauty to functional pieces.

    We've been gradually squeezing more and more project articles into the

    pages

    of

    PW just in case you have the time to make something more

    than

    drawerdividers. These articles are intendedtogiveyou ideas and sometimes

    to add a new technique to your repertoire. True, we provide cutting lists

    and plans so you can duplicate the projects as they appear in the photos,

    but what we really hope is that you'll use them only as a starting point.

    Go ahead and change the dimensions, add a drawer or two, shape the legs

    a little differently. Make it your own design.

    The article about the wine table featured on the cover not only gives the

    instructions forbuildingthe piece,it alsodiscussesthe author's design pro ess

    Perhaps this will give you some ideas for creat ing your own variations.

    Wine not?

    Even a household necessity like shelving can be an opportunity for

    creativity. Take a look at our Early American Wall Shelf project on

    page 42 for an idea.

    A new department,  Project for the Shop, makes its entrance in this

    issue. This feature will include plans for sawhorses, roller stands, work

    benchesand shop-built tools and equipment, alongwith other nifty necessities

    for the shop . This time the project is  A

    Power Carver's Tool

    Cabinet.

    Besides providing storage for the rotary motor tool and its accessories, this

    little item also has a post on which to hang the tool while you re working

    with it. (By the way, these wonderfully useful machines are the subject

    of

     Comparative Product Review. )

    Recently a fellow by the name of Don Graff, Jr . , jo ined our staff, but

    I neglected to mention him inthe last issue. Anyway, i

    t s

    more appropriate

    that I introduce him now while I m discussing projects, because he's the

    one drawing the plans and illustrations that accompanythe project articles .

    Now that Don has relieved me of

    that

    burden, you'l l be noticing more

    comprehensive, detailed drawings.

    Welcome also to LeslieNau . Leslie takes care of the perennial paste-up

    chores, always with good humor despite last-minute deadlines.

    But getting back to the topic of projects, I want to mention again that

    wereally want to publish articles about thingsy have made so that other

    readers can make it - or use it as an idea for designing something like it.

    Just send me a photo of something you have built, and I'll do mydarnedest

    to help you get it into print.

     

    1238 Bardfie ld

    Box

     7 7 9

    Garland, Texas 75047

    382 Schiff

    Drlva

     

    as Vag as  Navada 89  3

     

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    layout

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    A

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    1986

    5

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     nform tion xch nge

     

    nf

    ormation Exchange is a place to ex-

    change ideas, ask questions   nd dis-

    cuss techniques.

    If

    you have a clever

    procedure to share or

    if

    youare looking

    for a solution , this is thepl ce to get in

    touch with other woodworkers. When-

    ever a question is posed, we will pub-

    lish th e writer  s   ddres s (unl ess

    otherwise requested) so that readers

    may contact each other directly.

    Saw Guide Extension

    There are times when I want to rip a nar

    row width from a piece of plywood that is

    too large to cut on my table saw. Some

    times this  smidgen is so narrow that the

    metal guide for my p

    or t

    able ci rcular saw

    cannot be set in close enough to the blade .

    To solve this problem I drilled two holes

    in the metal guide and screwed on a % 

    x

    2 x lO

     p

    iece of scrapwood. Now I can

    set the guide for cuts from 0 to the maxi

    mum length of the guide rod, and the wood

    insert makes for a longe r fence giving

    more control .

    Will iam G. Glenn, Ph .D.

    San Antonio, TX

    Drop-Front Hardware

    I'm looking for a source of the metal

    hardware that was used in old

    drop-f

    ront

    desks to automatically slide outthe lid sup

    ports as the lid was opened.

    Dave Newell

    1379 East 3rd St.

    Benici a, CA 94510

    Victorian Screens

    I make Victorian-style screen doors, and

    would like to get in touch with other peo

    ple making them so that we mayexchange

    door designs and assembl y techn iques.

    Please write to me.

    Geo. W. Gunderson

    1759 Linco ln Rd .

    Yuba Cit y, CA 95991

    Cushion the Edges

    Polyst

    yr

    ene insulation in IW' or 2

    thicknesses workgreat for tool holders and

    blade prote

    ctor

    s. Just jab your chisels,

    knives, pencils or whatever into a piece,

    and it wi ll hold them upright and protect

    the sharp edge or point. Small chun ks can

    be slipped over the cutting end of individual

    tools that are loose in a tool box,or you can

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    Popular Woodworking

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    Vollie Tripp ofSan Jacinto California is a collector

    of

    clever tips

    to

    make woo

     wor

    king smoot

    h r

    than ever

    utting Drawer Fronts from an pron

      olli r pp

    My client had a beautiful, expensive mahogany buffet with four large drawers at

    the bottom and good- sized cupboards above. She wanted still more storage space,

    however,and hadcome to me to ask if I could put four drawers inthe apron that skirted

    the top.

    The apron was 6   wide p lenty of room for 4 deep drawers. The challenge was

    going to be cutting the openings in such a way as to be able to use the cutouts for the

    drawer fronts.

    My firs t concern was to avoid any tearout of the veneer or of the f ine glossy fin

    ish whilemaking the cuts. I decided to protect the surfaces by applying I   masking

    tape to the areas where I would be making my kerfs. I d id my laying out directly on

    top of the masking tape.

    Next I needed to figure out how to cut out the drawer fronts with a minimum of

    waste so that , when they were made into drawers, they'd have a nice tight fit. Begin

    ning with a sharp awl, I madea series of small punch marks over an area of abou t I

    on the four sides of each drawer outline. Then I used my smallest drill bit  l ss than

      diameter  nd bored holes through the apron , using a square guide block next

    to the dri ll to make su re it went in straight. After this first drilling, I til ted the drill

    along the cut lines, making sure to keep it at a right angle to the apron surface in the

    other direction. Thi s angled drillin g connected the series of holes so that I soon had

    a small I   slit at each corner of the drawe r fronts to-be .

    With masking tape wrapped around one end of a hack saw blade to act as a han

    dle, I worked the other end into the slits and began cutting . Soon I was able to get a

    12-point finish saw into the k

    er f

    and completed the cuts with that, using my squared

    guide block all the while to make sure I was cutting into the apron at

    Then I sanded all the edges and removed the masking tape. It worked There was

    no tearout at all. When I made the drawers and installed them, each one fit into place

    beautifully withjust a skoshe over

    X6

    clearance all around . •

    make a chise l rack with the polystyrene

    and it will conform to the shape of the

    chise l. Harry 1. Ashman

    Blackwood, NJ

    Nailing Tip

    Here 's a

    way

    to hide finishing nails

    without using putty. Beforedrivingeach

    nail,

    carefully

    lift a sliver

    of

    wood

    from

    the s

    urface

    witha

    raz

    or-s

    ha

    rp   chisel,

    makingsu re not to d

    eta

    ch it completely.

    H old the sliver back

    and

    drive the nail

    in t

    o place underneat h . Use a nail set to

    ta p

    it below the surface, then glue the

    sliverback in place. If you

    san

    d

    the

    area

    briskly, the friction will set the glue

    and

    the

    dust will

    act

    as filler. B. Beck

    New York, NY

    Gallery hange

    The

    on

    ly constant ischange, theysay,

    and th i

    s is

    the

    case in

    this year s

    Gallery

    Gui

    de.

    Seems The American Craft

    Museum in

    New

    York

    City

    has

    mo

    ved .

    The new address is: 45West45th Street.

    Their

    phone

    #

    isst ill (212) 869-9422. We

    reg

    re t

    an y inc

    onvenience

    .

    Shelf Support Guide

      you 're making book or display cases,

    here 's a dandy jig that's sure to save time

    and add tremendous accuracy to position

    ing adjustable shelf supports.

    Once the case is assembled (whether

    free-standing or built-in), rip a piece of

    standard pegboard to about 6   in width

    and cut to fit loosely inside the case .

    Conveniently enough, shelfsupports are

    made with quart er- inch shafts, and peg

    board comes wi th

    quart

    er- inch holes

    spaced one inch apart, both vertic ally and

    Popular Woodworking welcomes your

    comments pro or con about articles

    and

    in f

    ormation we publish Send your

    l tt ers to : Editor Popul ar Wood

    working, 1300 Galaxy

      z

    y Concord

    C 94520  Letters may be edited for

    publication

    hor izontally.

    Set the stop collar on your quarter-inch

    bit for a depth to accommodate the thick

    ness of the pegboard and the depth of the

    shelf support shaft. Hold the strip of peg

    board against one side of the case and snug

    against the back corner. Beginning with

    the second row of holes from the back (2

    from the back) and the 10th or 12th hole

    from the bottom of the case, drill at every

    third or fourth hole until you are about 10

    or 12 inches from the top.

    Fl ip the pegboard over, hold it against

    the front edge of the case. and repeat the

    pattern as described above . The n hold the

    pegboard against the oppos ite side of the

    case , both front and back, and repeat the

    pattern again. Make sure to set the same

    edge on the bottom of the cabi net each

    time .

    When done, you have four vertical rows

    of neatly drill ed holes , all parallel and

    equidistant. Pop inthe shelf supports, drop

    in your shelves, and they should lay flat

    and stable. Kingsley Hammett

    Santa Fe, NM

    August

    /September

    1986

    7

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    Wood  yp s

     

    eetle Kill

    Pi

    n

    Not So Plain Pine   abi  ts

     y

    Jeff

    Taylor

    My clients were the perfect customers:

    reaso nable, sensible, flexible. So as their

    kitchen addition prog ressed on schedule,

     

    wasn t worried that they still hadn  t se lect

    ed a style for the cabinets. We were adding

    on to an old farmhouse, and they seemed

    to favor a traditional look. But though they

    8

    were satisfied with the cabinet detail I d

    shown them , they couldn t decide on the

    wood. The keyword for this project was

     o r

    ganic. Let it grow, they said.

    They

     

    see some recycledoak flooring

    from a nearby Victorian d

    emolition

    however, and decided they wanted that.

    After installation, it made an odd striped

    pattern on the kitchen floor. When I sug

    gested it could be sanded to one shade ,

    perhaps to match oak cabinets, they threw

    me their first curve: Could

     

    somehow

    match the cabinets to the vibrant stripes of

    the floor?

    Patiently   pointed out that oak comes in

    two flavors: vanilla and light strawberry.  

    could stain different sections in random

    shades, but the result would surely leave a

    bad taste in their mouth.

    Since myclients were retired artists, no

    idea seemed too outrageous.

    Now

      was

    worried .   tried to pin them down on what

    they wanted their cabinets to feel like when

    they first saw them in the morning .  Well ,

    we d like them to be active, colorful and

    cheery- almost loud but not gari sh.   u

    know  nodded wisely and left.

    When my soul is deeply troubled, 1find

    solace in walking through lumberyards,

    smellingand touching the wood. As I wan

    dered through the warehouses, mulling

    over themillings that didn t exist (Dagobah

    Tigerwood , Psychedelic Pstripewood ,

      ff

    Taylor is a woodworker/writer in Corvallis

    Oregon His clients are more impressed with his

    cabinets than the beetles are

    Popular Woodworking

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    Marketing eetle Kill Pine

    Variegated Koala), I felt drawn toward

    the pine shed. I like pine fine, usually, and

    I tru st my subconsc ious dowsing instinct;

    by   ff   ylor

    The pine beetle outbreak has been

    described by fores ters as severe, but

    that's good news in terms of supply for

    woodworkers.

    So much pine has been damaged

    that lumberyards inthe Midwestare mix

    ing beetle

     kill pin

    e and c lear pin e

    together in the ir stacks. This means that

    you pay standard prices for an exotic

    looking wood that is easy towork, just by

    looking for the distinctive blue-and-grey

    streaks and culling them from the pile.

    My clients' neighbors were the first to

    req

    ues

    t   buggy

    blue

     

    pro

    j

    ec t

    s . A

    paneled wall, a medicine cabinet, book

    cases and several boxes were my next

    sales in the area. Natural ly I took pic

    tures, and so should you if you decide to

    tackle a project using this unique wood.

     

    was my photos of the cabinets, in fact ,

    that netted me a commi ssion to build a

    computer table/desk of beetle-kill.

    Beetle-kill pine boards are complete

    ly bug-free. Thi s is because the insect

    lives in the bark , and the fungus which

    stains the wood is inert. You can there

    fore reassure your clients, as Ihadto, that

    Aug

    ust/Se

    ptember 1986

    but this wood's boring whiteness could in

    no way fit my clients' weird requirements.

    There was no way, so typically disregard-

    their other woodwork is safe and that the

    project will not turn bluer over the years.

    The first step in doing business with

    this wood is locating a supplier ofpine to

    see i

    fhe

    has beetle-kill mixed inwith his

    regular stock. If not , ask him to contact

    his vendors andorder a pallet or two. The

    infestation is so widespread that most

    vendors are glad to sell the

     ruined

    wood to a new outlet.

    Next, test the market in your area by

    making some small projects. Parson's ta

    bles are a good start since they tend to be

    used for coffee table s. The wood is so

    striking that no one can overlook it, and

    such items become conversation pieces .

    If you haveyour printed stickerwith bus

    iness name and telephone number on the

    bottomor back of your work, you'll soon

    find out if the public is interested.

    Finally, contact local homebuilders to

    learn if th

    eir

    client s are looking for un

    usual cabinetry.The sanitized lines of the

    new European-style cabinets lend them

    selves particularly well to the wild hues

    ofthis wood, especially if the countertop

    laminate color is a cool pastel such as

    blue or grey. •

    ing logic..   stepped inside.

    Hello, Dali A huge st ack of rainbow

    colored wood was palleted ju st inside the

    door. Orange, red , blue, gray and black

    stains swirled through the unmistakable

    cream-colored pine.

    They explained it to me at the lumber

    counter. Bugs.

    Apparently Eastern Oregon, and many

    pine forests around the country, had been

    attacked by an infestation of pine beetles.

    The artistic little devils bore into the bark

    and make channels, laying thou sands of

    eggs within . The newly hatched grubs

    deepen the channels, disrupting the tree's

    internal water- supply system and eventu

    ally killing it. Finally a fungus spreads

    through the grain , coloring as it goes.

    The good news is that the infestation is

    a national epidemic.

     eetlem ni

    My clients were ecstatic about my dis

    covery, especially after the stiles and rails

    of the cabinet frame were applied. Gray

    streaks swirled like cloud s and blended

    into reddish sunset hues, encased knots

    breaking up the verticals. I used enough

    clear white pine to provide a background

    for the doors and tried to vary the place

    ment of colors for balance .

    Since they wanted lots

    of

    d

    oor

    s, we

    minimized the time involved on each by

    simplifying their design. Stiles and rails

    were rabbeted on the back side and mi

    tered together to make a frame ; panels

    weremade with rounded arrises and fitted

    to each frame.

    Wecompromised on the countertops. I

    felt that pine would be too soft over the

    long haul , but they liked it for a surface.

    When it finally begins denting unaccepta

    bly, we'll cover the tops with laminate and

    use a router to ogee the edges. Blue-gray

    laminate has already been set aside.

    Feedback on these cabinets came im

    mediately. Neighbors, stumbling in from

    the Oregon winter rain that makes death

    seem like an all-expense-paid month in the

    Bahamas, remarked that the kitchen al

    ways cheered them up instantl y.The cabi

    nets and floor complement each other, as

    specified, and everyone agrees that the ef

    fect is reminiscent of flames in a fireplac e,

    warm and alive. •

    9

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     ook

     eviews

     

    y Hugh Foster

    Making Wood Boxes w

    ith

    a Ba

    nd

    Saw

    by Tom Crabb, Sterl ing 1985, 128 pp. ,

    pap

    erb

    ack , 5.95

    I have read a couple of art icles lately

    about bandsawn boxes that might have kept

    me from picking up Tom

    Cr

    abb's rather

    fine little book , and that would definitely

    have been my loss.

    The

    notion h

    er

    e is that

    by now most c raftsmen have

    enough

    skill

    tomake a nice square little box , so let's ad

    vance to

    more

    entertaining pie ces. Thi s

    book illustrates the

    manufacturin

    g tech

    nique for boxes made from more different

    wooden items than I would have dared to

    imagine. There are small log boxes, limb

    boxes, and boxes in the shape of animals

    and alphabet letters. A couple of key band

    sawing techniques make all thi s variety

    Hugh Foster lives in Manitowoc Wisconsin  

    where he is a woodworker and English teacher

    possible , but I won't outline that technique

    in this short review; learning them is the

    main rea son to buy the book.

    Like the other books in Sterling'sseries

    of new title s, this is clearly written and

    well-illustrated. Unlike some of the titles,

    this one skips the often superfluous basic

    woodworking lesson and gets right into the

    business of bandsawing boxes. Nearly all

    the contents are specific but adaptable

    plans. Making Wood Boxes with a B

    and

    Saw

    represent s a good value for the

    money, especially if you know a bunch of

    people who need small pre sen ts. I com-

    mend it to your attention .

    Making Woodwork ids

    and

    Devices

    (Revised Edition) by Rober t Wearing,

    Sterling 1985, 223pp. , paperback,  8.95

    In

      98

    I bought the first edition of

    Woodwork ids

    and

    Devices for  6.95

    and knew I had a t reasure. Another wood

    worker I showed the book to said , There

    are so many good ideas in this book, you

    could spend the rest of your life just build

    ing gadgets to make building things easi

    er. We had a good laugh over that , and I

    put the book away without building many

    of the devices described .

    However, in the years since, I have

    referred to it often when I needed to know

    how to

    make

    various

     no

    nstandard

    pieces. The book includes 43 holding

    devices, 34 marking aids, 60 tools, 8 lathe

    acces

    sorie

    s, 10 drill ing accessories, 21

    aids for the table saw, and another couple

    dozen that space won't allow me to catego

    rize here other than  miscellaneous.  I

    couldn't imag ine how this book cou ld be

    better.

    Now that I have this revision, Making

    Woodwork Aids a nd Devices , I see that

    they were able to improve it. The illustra-

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    11/66

     

    tions are clearer ; the language has been

    somewhat Americanized; and there are

    even more ideas here than in the original

    edition. Even the page size, general layout

    and cover are more attractive. There is cer

    tainly

    room for this new edition in my

    shop.

    The

    sma ll rise in the price of the

    book over the past five years seems like

    fair payment for the additional informa

    tion.

    Don

    't miss this one.

    Making Action Toysin Wood by An

    thony and

    Judy

    Peduzzi , Sterling 1985,

    120 pp. ,

    paperback

    $8.95

    Thi s attractively written and illustrated

    book pre sents plans and instructions for

    making 15 wooden action toys, many of

    which look as thou gh they would be enter

    taining to play

    with.

     Mr. Nosey the

    Clown , The Rope Climber, The Pol

    ly Parrot Tumbler 

    Pecking

    Birds and

     The Ladderrnan are but a fewof the en

    gaging proj ects presented here .

    Despite the many

    attr

    acti on s of the

    book, I worry that the satisfactory comple

    tion of the projects prob ably demands a

    higher level of skill than most purchasers

    of the book possess. Thi s, I

    fear, will lead

    to fru strations that will convince many

    aspiring woodworkers that woodworking

    is not for them. As I look at these brightly

    painted toys, I know I could not dupli cate

    them. Maybe it's just a bad attitude on my

    part that will keep me from sharing thejoy

    some of these proj ects would no doubt

    bring, but the thought of

      fi

    nishing most

    of them is frightening. I'd like the book

    better if it werej ust a little less prett y- if

    it contai ned one or two color photos of

    some less professionally painted toys.

    Lest this sound overly negative, the book

    is attractive; and

    if

    could talk my wife or

    one of my daughters into doing the paint -

    ing, I would build several of these

    toys for

    my own mus m nt

    as much as for the

    grandchildren

    I

    don 't yet have.

    Making Birdhouses

    &

    Feeders by

    Charles R. Self , Sterling 1985, 128 pp.,

    paperback , $8.95

    The first 48 pages of this book are devot

    ed to elementary tool use.

    Thereafter

    , it is

    a discussion of simple procedures that will

    produce a variety of birdho use types.

    While I have absolutely no interest inmak

    ing birdhouses and find the tool use infor

    mation at the front to be so simplistic as to

    be unusable by me, I am sure that

    after

    I

    donate this book to the Manitowoc Pub lic

    Library, it will be checked out absolutely

    all the time. When I wanted a birdhouse, I

    drew a picture and built it. Lots of folks

    will go to the library. The editors at Ster

    ling have undoubtedly done their home-

    7k   ~  

    titt de

    D NISH

    O FINISH

    Send today for

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      colorbooklet Howto

    Finish

    Wood

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    the name of your nearest Watco distributor.

    W T O

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    Name _

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    Watco Danish Oil Fi ni sh can be your

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    You'll be amazed at

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    finish wood beautifully w ith Wat co , Th e

    Original Danish Oil . Wat co gives wood

    that natural, hand-rubbed loo k wit h long

    lasting durab ility . And be cause Watco is

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  • 8/17/2019 Popular Woodworking - 032 -1986.pdf

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    Book Reviews

    -----------------------------------------------

    ontinued

    work .

    Chapters about bird foods and size re

    quirements for different kinds of birds will

    help broaden the audience for the book . If

    I wanted a birdhouse, this book and a few

    hours of shoptime would be less expensive

    than buying the cheaply made birdhouses

    available in the stores.

    The Antique Tool Collector's

    Guide

    to

    Value byRonald S. Barlow, Windmill Pub

    lishing Co. , 1985, 229 pp., paperback ,

     \2 .95

    When I first saw this

    book

    , I wasn't

    much interested in it. I m a user, not a col

    lector. Well, that 's what I'd like to think.

    But as I checked the contents, I began to

    discover much of interest to me. This book

    is full of illustrations from old catalogs and

    descriptions of the uses

    of many tools no

    longer in production. Barlow has done an

    admirable job ofcataloging the tools of the

    past century and ofgiving us a feelfor their

    uses. As I perused the section on planes for

    the third time, I began to real ize that my

    collection of working plane s is less com

    plete than I thought. Many of the planes

    that are no longer available would be

    desirable ina shop like mine, where much

    ofthe work is still done with hand tools . If

    you add this book to your collection, you

    will be sure to refer to it aga in and again.

    Carpent

    ry fo r

    Children by Les ter

    Walker, The Overlook Press 1985, 208

    pp., paperback,  9.95

    The American Library Association gave

    this its Notable Children's Book  award.

    There are many photos and drawings, but

    the text is printed so fine that Icannot im-

    agine the book holding a child 's attention.

    On the other hand , the projects are rather

    fine, too. Itstarts with a section on Using

    Your Tools, which treats the hammer,

    cros scut saw, bit and brace, square, meas

    uring tape , adjustable wrench, screw

    driver and pliers each adequately and in

    sufficiently elementary style. Next are

    sections on  Building Your Workshop

    (which has the young woodworker start

    out by build ing a workbench, a toolbox

    and some sawhorses),  One Day Projects 

    (including a tugboat , a set of blocks, a

    birdhouse and a chandelier),  Weekend

    Projects  (including a doll cradle, stilts, a

    puppet thea ter and an easel) and  One

    Week

    Project

    s (including a raft , a

    lemonade stand and a coaster car) .

    This book is recommended not for what

    it will teach you but for what it can help

    you teach your kids. •

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    12

    Popular Woodworking

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    J.  hilip  umfrey Ltd.

    SEND FOR THIS CATALOG.

    IT DE

    SCRIBES

    OUR OTHER

    FINE

    WOODWORKING MACHINES

     GENERAL

    10 Tilting

    Arbor Table

    Saw

    c/w 3 HP TEFC 3600 RPM Motor

    10 TiltingArbor TableSaw Specifications

    Maximumdepthofcut 3\\

    Diameer ofarbor . .   Diameter of saw blade .. 10

    Saw

    tilts

    totight

     5°

    Maximumdepth ofcut at  5° 2\\

    Maximumcut to tight of saw 25

    Maximumwidthofcut-off

    0

    stock) 14%

    Maximumcut to leftof blade 15Y

    Maximumwidthofdado I 

    Distance infrontofblade maximumcut 12y'''

    Maximum length of cut with ex t ra long guide bars

     

    SO

    Table height 34  Table size 28  x 36 

    Overalldimensions withguide bars andrip fence:

    Width

     5 

    Length . . . . 40

    T·slot mitre gauge groove . . . . . . . . . . . . . . . . .  .

      X Y.  

    Ripfence Locksbothends

    Speed ofsawblade 4000 Rpm

    Motor TEF'C3600 Rpm 3 HP

    Shippingweight. 385 Ibs

    Shippedfreight collect • Noother charges

    Note: Callthe HumfreyOrder Phone

    immediately. We willprovide a Galt Micro

    Cut 10 x 50 T combination blade - retail

    value $82 to the first 25buyers .

    Guard

    T

    he General 10  Table Saw completely

    encloses allmoving parts within the

    cabinet stand for maximum saf

    et

    y. The ex

    posed portion ofthe blade may be covered

    by a swing-away splitter/guard complete

    with anti-kickback fingers (standard with

    every machine). An overarm guard can

    be provided if required.

    Name _

    3241 Kennedy Road . Unit 7

    Department PW 8

    /9

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    purchase). Please rush my copyof your catalog.

    I_Phl l'

    Hwnf,,

    Mitre Gauge

    T

    he T-roller de sign mitre gauge is adjusta

    ble and pre-settable to 90° and 45° right

    and left. Its cast body is pre-drilled for ins

    er

    tion of optional stop rods which permit

    accurate repetitive cuts.

    Arbor

    T

    he   arbor is mounted on widely

    spaced trunnions . It' s fully adjustable,

    and tilts from 90° to 45° with a single lock

    wheel through a rack and worm gea r. It

    lowers so the 10  blade is safely below the

    table when not in us e , or raise s to cut   s  

    when vertical or 2Ys   at 45°. The blade tilts

    to the right , away from the operator's hands

    when cutting bevels - with a single front

    mounted lock-wheel control. Raising, tilting,

    or lowering the blade is swift and accurate.

    T

    he rip fence is se lf-aligning as it

    locks to front and rea r guide rails

    using a single control handle. A built

    inmicro-adjust knob moves the ~ . . . . . . . -

    with precision. The box s

    tee

    l welded fence

    body is pre-drilled to accept a variety of aux

    iliary wooden fences. The ed

    ges

    of the table

    of the General saw are machined parallel to

    receive an optionalfence ofthe T-Square type.

    THE  GENERAL

    10  Tilting

    Arbor

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    Crafted

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    unexcelled performance. A

    state-of-the-art table saw with

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    The General

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    Table Saw

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    mainstay of our business over the y

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    we've sold hundred s ofthis rugged heavy

    weight. For the dedicated woodworking

    craftsman this saw's got it all Accuracy.

    Rugged dura bility. Day-in, day-out dependa

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    all the manufacturing know-how General

    has accumul ated since its first

    saw built in 1945. Small

    wonder this is the very

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    for years .

    Rugged Construction

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    he factory use s the Mehanite proc

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    castings . Then a combination of natural

    and artificial aging gives ass urance that

    raw castings for every saw are perfect.

    Engineered ribbing and precision

    machining yield a sup erior product in

    both appearance and performance.

    Table

    T

    he General 10  saw has a heavy all

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    table . After the casting is aged,

    its enti re surface is precision-ground to

    close tolerances. This accuracy is ap

    parent when the mitre gauge is inserted

    and it glides effortlessly forward or back,

    with no side-play in the

    deep

    T-slot grooves .

    Finally, the large size of the table is noted. It

    is both impressive and functional . . . as it pro

    vides a fulleleven inches infront ofthe blade

    where it counts the most.

    Base

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    EY'S ORDER PHONES

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    Videoscene

    by

    AlanMarks

    Frami

    ng

    Joints

    with Donn Fahnestock,

    1985 Fahnestock Studios, marketed by

    Fine Tools Inc . , Po Box 1262, Danbury,

    CT 06810, 60 minutes .

    Carcase Jo

    ints with Donn Fahnestock ,

    1985 Fahnestock Studios , marketed by

    Fine Tools Inc. , PO . Box 1262, Danbury,

    CT 068

    10

    60 minutes .

    The firs t of these tapes opens with a

    taci t warning.We view the backofabum

    bling Donn Fahnestock as he tr ies to

    coerce pieces of a frame to fi t together.

    Failing, he turns to the camera with a

     lan Marks is a cabinetmakerf rom Pa ific

    Grove California

    sheepish smile and informs us that he has

    just illustrated what cou ld happen when

    one attempts cabinetry without mastering

    the techniques to be illustrated in these two

    tapes on jo inery. He identifies joints as

    consisting of two types, framing and car

    case , and proceeds to demonstrate a fewof

    the former.

    It distur bed me that the titles of these

    tapes imply a broad coverage of the field of

    joinery, when in fact they present nothing

    of the kind. The tape on framing joints , for

    example, covers fourjo ints only: doweled,

    half-lap, open mortise and tenon , and

    closed mortise and tenon . In spite ofhis at

    tempts to condense his demonstrations,

    Fahnestock comes across as inappropri

    ate ly wordy.

    I understood quite well what Fahnestock

    was trying to convey,because I have made

    the handmade joints he demonstrates; but

    at a certain point I wondered if I weren't

    fill ing in for him with myown experience.

    Someone exposed to joinery for the first

    time may have a hard time following these

    procedures .

    In some cases Fahnestock appeared

    vague. This was not helped by the lack of

    adeq uate closeup shots. Tapes like this

    one, in which work is done at a bench ,

    could improve if made with a bird 's-eye

    camera stationed overhead and directed

    down at the bench , such as they use in

    cooking shows. Th is is the only waymany

    operations can be properly seen.

    It was interesting to observe the three

    methods of doweling demonstrated . All in

    volved mechanical aids dowel centers

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  • 8/17/2019 Popular Woodworking - 032 -1986.pdf

    15/66

     

    and doweling jigs. I have used centers

    when there was no other way, but it

    WdS

    the

    first time I had seen doweling jigs in use.

    I found them ingenious, though limited in

    application. Then I found myself reflecting

    upon

    how

     s

    pecialty tool inten

    sive

    cabinetmaking has become contrasted to

    the technique intensive approach taught

    me, where one tool was made to do as

    many things as possible.

    I was not much impressed by this first

    tape, either by its scope or by the manner

    of presentation.

    The

    matter of gluing up

    these joints was not even addre ssed. Fur

    ther, judging from the occasional back

    ground noise, Fahnestock seems to have

    located his studio next to an airport or a

    large construction project.

    The tape on carcase jo ints had much

    better closeup work, despite the annoying

    color shift that takes place as the camera

    zooms in. In this tape Donn Fahnestock

    grooves a frame with a combination plane,

    chamfers a raised panel to fit it, and makes

    a through dovetail jo int. Thi s, of course,

    barely scratches the surface of the subject

    of carcase joints. I was appalled by the

    raspy, scraping noise s made by his saws

    and planes and by his unstable bench . Un

    properly sharpened tool s and rickety

    benches are a curse to the cabinetmaker;

    his made me cringe.

    I wish I could be more enthusiastic

    about these particular tapes , but I question

    their value. In the earlier tapes in this ser

    ies (reviewed in the June/July 1986issue),

    Fahnestock promised information on shar

    pening, but neither of these takes up the

    matter.

    In my next column, I plan to review a

    series of videos on routers produced by

    Video Manuals International. •

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      UILD YOUR SKILLS IN WOODWORKING

    Whether you re an expert woodworker or just a beginner

    for challenging projects and skill-building techniques

    turn to the pages   Popular Woodworking

    Every issue features:

    • Original Projects and Plans

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    The

     ound of

    Wood

     y  arry  o erts

    Have you heard? Have you heard? You

    mean, when building a cabinet you ha-

    ven t sometimes been aware of a ping

    here, a plunk there? No, it s not the heater

    expanding. It s your wood .

    Wood is se nsuous. We gaze on its

    beauty; we relish its aroma; wedelight in

    its texture . Taste is not important, unless

    you happen to be a termite; but soundcan

    have its place though that is certainly

    not the fi rs t consideration in selecting

    lumber. Listen up .

    Good Vibrations

    From resonant redwood to tinkling teak,

    the sound ofwood begins with cells . Their

    length , the direction in which they grow

    relative tothe vertical axis of the tree, and

    the ratio of the different thicknesses of

    their walls comprise the wood s elasticity.

    Thi s causes vibrations when the wood is

    hit. It works like this :

    When wood is struck by an object (for

    example, a

    hammer

    missing a nail) , that

    section of wood becomes deformed. Its

    elasticity, however, will cau se it to try

    returning to its original shape. But because

    of excess energy from the blow, the wood

    will continue to

    bend

    up

    and down

    (vib ra te) until all the energy is lost. While

    vibrating, the wood is transferring energy

    into the air. This air energy takes the form

    of sound waves, which reach our ears as

      rr

    y Roberts received a degree cum laude in

    Industrial ngineeringfrom astern

     f

    shington

    University He anti cipates teaching woodshop

    August /September 1986

    sound, or pitch . Due to

    their individual cellular makeup

    and elasticity, therefore, different

    woods have different sounds.

    So 

    Familiarity with the different pitches of

    woods can benefit you in your woodwork-

    ing. Say a customer wants a good solid

    sound when he closes a cupboard. Or a

    whisper for a bedroom door. Becoming at-

    tuned to the various pitches of wood will

    help you know which to select. Other ap-

    plications include door knockers , drawers,

    wood chimes, gavels, toys, special effects,

    dance floors and musical instruments.

    Anywhere one piece of wood is hit by

    another piece of wood or object.

     uilding a Pitch Detector

    Tohear the ocean, listen toa seashell. To

    hear the pitch of wood, build a xylophone.

    ( Xylon isGreek for wood ; phone is

    Greek for a sound . ) Tobuild this detec-

    tor ofwood sounds: cut

      x  

    X 9 sec-

    tions of the diffe rent species you want to

    chart. The sections should be quartersawn

    and clear of any knots.

    Next cut four lengths of dowel

    sized so that your samples can lay

    across them with about   s in be-

    tween . Figure in   at each end of the

    dowels so that they can be fit ted into the

    uprights that will serve as legs for the

    xylophone.

    Drill holes inone end

    of

    each section for

    a screw to mount them

    on top of the

    dowels . Make the holes oversize and don  t

    tighten the screws all the way so they won t

    dampen the vibration. Glue a layer of felt

    a long the dowel s before attaching the

    samples.

    Rank the spec ies in order from the

    lowest to highest pitch by using a small ,

    round , wooden mallet. Hit the bar directly

    in the middle and chart the pitch numeri-

    cally with I being the

    lowest (l

    have found

    willow to be I; cherry 2; oak and maple 3;

    pine and walnut 6; alder 10.)

    Sound good? With your xylophone and

    your knowledge of wood pitch, you and

    your maple will soon be making beautiful

    music together. •

    17

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     lt r for  e ce

      le

      wo

     rt sts

  • 8/17/2019 Popular Woodworking - 032 -1986.pdf

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    y

      ight

    The summers of Cali fornia s upper

    Sacramento Valley are hard on horses.

    Crops thrive but animals thirst. To allevi

    ate this problem , early settlers of Chico

    planted walnut trees to shade the wide

    streets as a protection for both the horses

    and their masters. Thi s leafy coo ling sys

    tem worked sowell, they also planted trees

    in th

    eir yards and unculti vated areas .

    Many of these trees are now past th

    eir

    prime. Others must be removed for rea

    sons of town growth, interference with

    sewers, etc. Th is has all worked to the

    ben efi t

    of

    Scot Wineland , wh ose

    knowledge of Junglans Hindsil (Claro wal

    nut) is second to none.

    Whil e a student at Chi co College, Scot

    worked with a tree trimmer who taught

    him how to take down a walnut tree and

    save the lumber. It was then he noted that

    most of the local walnut was either shipped

    away to make veneer

     s

    me as far as

    Italy- or was cut up into gunstock blanks.

     S urely   he thought ,   there must be some

    way to cut a log into blocks for turning and

    into wide boards that could be used for fur-

     E niture. And surely there was a way to cut it

    to take full advantage of the beautiful

    figure in the grain. That is just what Scot

     

    s set out to do.

    l

    8

    The winters in Pennsylvania are rugged ,

    z

    o

    but less so than in George Nakashima s na-

    Jay E Wright is a woodworker from hico 

    C4.

    tive Japan. That s why

    this

    foremost wood

    worker and author

    of

    the ce lebrated

      le

    Soul   a Tree

    (see PW, Jun e/July 1984,

      Book Reviews ) built a barn in which to

    house exotic wood, much of it walnut.

    In 1983, George Nakashima purchased

    what was considered one of the largest

    walnut logs in the worl d.

    It

    came from a

    300-year-old tree on Long Island . 12 long,

    it tapered in diamete r from 5  -  . , .

    For years, the 80-year-old Nakashima

    had dreamt of building an alta r a s a shrine

    to peace. Thi s would be a place set aside

    where people of all religions could come

    and worship th

    ei r God

    and pray for a

    peaceful world .

    It

    would encompass two

    bookmatched slabs so that the altar will be

    12

    long and

    14 

    wide at one end , tapering

    to 10 at the other. The free-form shape

    would denote this artist s touch.

    Back in Ca lifornia , Scot Wineland had

    become an expert in the art of cutting wal

    nut, taking full advantage of the gra in. He

    had realized his goals. Chico walnut

    , he

    claimed,   has the best co lor and figure of

    any walnut in the world.  And Sco t knew

    how to attai n it.

    It was only naturalthat these two lovers

    of walnut would come to hear of each

    other. Scot has one custo

    mer in Pennsylva-

    19

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    nia who had purchased some cro tches

    from someprime walnut trees inDelaware

    and asked Wineland to fly back and cut

    them. While on this trip, Scot , who had

    memorized much of Nakashima's book

    The

    Soul of a Tree

    made an appointment

    to meet the author, a man he had so long

    admired . He took some wood samples

    with him, and the meeting, which had

    been scheduled for 20 minutes, stretched

    into lunch and beyond. Now, with the Al

    tar

    for Peace project , Mr. Nakashima

    needed the precious 300-year-old log cut.

    He telephoned Scot. Would he do it?

     Yes he agreed . But after hanging up

    he wonder ed ,  What have I gotten mys

    elf

    into?

    After considerable thought, he designed

    and built a special mill. He also ordered an

    8' chain saw bar from Canon

    of

    Canada

    and used two Partner chain saw engines.

    The unit' s frame was welded and the saw

    specifically designed for this special

    jo

    b,

    as Nakashima had spe

    cif

    ied it mustcut an

    8

    '

    log.

     ltar for eace

     ontinue

    Nakashima watches as Wine/and and his crew make the first cut.

     f t r every other cut the chain on the eight fo ot saw has to be sharpened.

    No other deal

    er

    handleswalnut the way

    Scot does. Mill s usually cut a log in half

    lengthwi se, then cut it into boards. Scot ,

    on othe other hand, may studya log for two

    days, turning it over again and again before

    making the first cut. When he finally does,

    he begins his cut at the top of the log and

    cuts downeach layer in tum. In all regards,

    Altar for Peacewill be a professional job.

      was now Mr. Nakashima's turn to

    visit, and he came to witness the new saw

    at work. Then Scot went to Pennsylvania to

    do the job.

     

    was mid-winter 1984. There

    was snowon theground; the logwasstored

    outside. Newspapers sent rep

    or t

    ers and

    cameramen, and the National Geograph-

    ic Society had a video film crew on hand

    to get footage for

      Nickelodeon

    on cable

     

    TV. After all, this was a monumental oc-

    .c

    s

    casion.

      At last the log was cut , but not without

    20

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     f t r

    the first slab

    is

    cut Wineland

    washes off the

    sawdust to show

    the grain pattern.

    This center-cut slab is worth about one thousand dollars.

    August September 1986

    some diffi culty. First, it was frozen . Se-

    cond, they hit a pipe that had become

    embedded in the log many yea rs before.

    Nonetheless, this special walnut proved to

    have spectacular grain, even better than

    Nakashima had hoped. At his direction it

    was cut into

    3

    slabs. With every second

    CU , Scot had to stop to s

    har

    pen the chain.

    In two days it was done .

    Altar for Peace, cut by Scot Wineland to

    be

    masterfully f

    orm

    ed byGeorge Nakashi -

    ma, will bea magnificent dedication to the

     so ul ofa tree and the soul of huma nity.

    May peace be with us. and so may our

    trees . •

     

    you would like to contribute

    to

    the Altar for

    Peace project . they are accepting donation s

    of

    not more than 10.00per person

    to

    allow

    all types ofpeople to participate.

    Contributions should be sent

    to :

    Altar for

    Peace. Box   66New Hope . PA 18938.

    21

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    opular

      oodworking  roject

      dventures

    in

    Design

    Building   ine Rack

    How

    to

     vo

    id Making  Just  nother Wine Rack 

    Petrov

    ich

    There are probably as many wine racks

    on the market as there are grapes on the

    vine. Some are of wood, some of metal ,

    others of plastic, ceramic and even ma-

    crame. Therefore, when I was commis-

    sioned to make one , I was less than

    enthusiastic. I wanted to make something

    different, something that wouldn t gather

    dust ina crepuscular corner and look like

     just another wine rack. My client s sole

    requirement was that it   look nice .

    Now that I was going to build a wine

    rack , looking at them became an obses-

    sion.

    They

    were everywhere Mo st

      looked nice   in proportion to the degree

    they were filled. An empty wine rack

    looks like an empty wine rack , but a par-

    tially filled racklooks impoverished . Most

    racks sit on a counter, hang from the wall

    or ceiling, or are made to sit on a shelf.

    They must fit their location.

    It

    always

    seemed that no serious attempt had been

    J.

    Petrovich has been designing and building

    furniture fo r over 10years. He also builds and

    designs tools   and reaches toolmaking on the

    college level.

     

    his spare rime  he manages a

    hardwood lumberyard and mill.

    22

    Popular Woodworking

    o

    s:

     ;

     

    >-

    .c

     

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    made to give the rack form

    .. .

    aesthetic

    form. After all, a wine rack is a wine rack .

    I I t ·

    IITT\

    bit shorter but the same width) across the

    top. Though it resembled an

    altar

    tabl e, I

    thought about that space

    under

    the wings

    as an opportuni ty to hang some wine

    glasses and an opener. As it was the third

    and final call for dinner, I left the wine al

    tar table and went inside, fullof mysel

    f

    and

    confidence.

    After a dinner of properly maintained

    humility, I dragged my wife to the shop.

    All of us who pretend to aspire to the art s

    should havepartners who not only love us

    (despite our aspirations), but have some

    sense of logic and ta ste about them.

    Though mywife liked the grid effect of the

    rack, she pointed out that it was difficult to

    see buried in the uprights. Adjusting the

    rack forward did not lessen the probl em .

    and the whole thing began to resembl e an

    5

    .

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     uilding a Wine ack  ontinue

    but didn t pursue it. When I did return toit,

    I knew what to do .

    I wanted as much of the grid to show as

    possible. Legs rather than solid sides made

    more sense.

    The

    grid ought to be forward

    within the legs , but the legs ought to be

    deep enough to provide a stable base. For

    the top there should be a usable surfac

     

    an area large enough for a bottle of wine

    and perhaps a few glasses . A solid piece

    seemed too blocky and would havenone of

    the relieved qualities of the understructure.

    A frame and panel top with the field

    reiieved but snug against and flush with the

    frame seemed right, a balance ofdetail and

    usability.

     onstruction otes

    Given the basic design and measure-

    ments, this table seems to lend itselfto

    experimentation and discovery. Since

    that fir st wine table I have done several

    more. For one from doussie (amuch dar

    ker and richer wood), I used bridle joints

    for the leg structure and top and left the

    end grain proud and rounded . I also used

    square ebony plugs on the top to lock the

    frame and on the legs to cover the screws

    that se

    cure

    the grids to the legs. The in

    tent was to match the table to some other

    Craft sman style pieces.

    The sh ift in emphasis to exposed

    joinery se

    emed

    to work . While the bas

    ic design is light and airy, a darker wood

    and a scant   increase inmaterial thick

    ness lent the weight and probity neces

    sary tothe Craftsman style. Other woods

    and modifications could as easily result

    in different styles. All are variations on a

    theme variations on what does not have

    to be ju st another wine rack .

    The Gr id: Not only is the gr id the

    functional

    center

    of the wine rack , it is

    also its structural center.   holds the

    wine as well as tying the leg structure

    together, so it should be strong. The

    stock should be no less than   wide by

      thick. Cutting bridle joints on this thin

    stock is difficult unless you havea tenon

    ingj ig.   use an auxiliary board attached

    to the rip fence similar to the one

     

    de

    scribed

    in

     J i

    g Journal   in

    the

    a

    April/May 1986 issue.) While the tenon s

    we

    pur

    sue them too aggress ively. Thi s is

    not superstition. I ve simply found that if

    I leave a piece alone for awhi le, I ofte n

    return to it with a clearer sense of intent.

    Thus, I let the wine rack sit in a corner of

    the shop for several days. Occasionally I d

    catch a glimpse of it from different angles,

    alta r table. Maybe it would be better if it

    seemed more open so that light could hit

    all those lovely labels (and so one could

    read all those lovely labels) . A little less

    full of mysel f, but wiser, I closed the shop

    for the night.

    It is my belief that ideas can disappear if

    24

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    31;8

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    August  September 1986

    25

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     uilding a Wine  ack

     ontinue

    of the corner jo ints are cut in the sa