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oy Box Chair I ) 7148601355 6 05 US $3.95 Canada $4.95 Fretwork Shelf With Mirror

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Page 1: Popular Woodworking - 054 -1990.pdf

oy Box Chair

I) 7148601355 6

05

US $3.95Canada $4.95 Fretwork Shelf With Mirror

Page 2: Popular Woodworking - 054 -1990.pdf

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2 Popular Woo dworking

Page 3: Popular Woodworking - 054 -1990.pdf

TOLE WORLD

Subscribe today!Guarantee: If atanytime, forany reason, you'renotsatisfied,tellustocancel and we'll send animmediate, unquestionedrefund coveringthebalance of your subscription.

Inspired finishes for yourwoodworking projects . . .

Just a little paint can add the perfect finish tomany of your special woodworking projects!TOLE WORLD magazine is packed with ideasto brighten up your gifts, decorate handsomeaccents for your home, and even increase yourwood sales.

In each issue you'll find 8 to 10 great paintingprojects that are sure to please your familyand friends. Colored photos, full-size patterns,and complete step-by-step instructions assuresuccessful results.

With all the care you put into making beauti­ful wood projects, why not let TOLE WORLDhelp you give them that extra finishing touch?

Paint a storage chest with a faux finish.

A sled, a sconce,a bench, and achurn becomebeautiful accentsfor the home withthese decorativefinishes.

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I Signature State/Zip II Mail to: IL_Thle ~rl~.O. BOX 5986~~~~A 9452~ Phone (415)671.98~ ~

Page 4: Popular Woodworking - 054 -1990.pdf

Popular Woodworking ContentsEditorial StaffDavidM.Camp EditorWienChod Managing Editor

Phil Fischer Associate EditorJ. A. Newell Editorial Assistant

Contributing EditorsWilliamH. McMasterAlanMarksHugh FosterJohnA. NelsonDonKinnamanPeter Good

Art DepartmentGinny Pruitt

CirculationMary Goldthorpe, Suzanne Eriksen

Customer ServiceMay Fayne, Susannah Harte

AdvertisingDeborahNowakAdvertising Manager1320 Galaxy WayConcord. CA 94520Tel. (415) 671-9852

55

4

Popular Wo()dworkin~ ( ISSN 088 4-8823) is publishedbimon thly by EGW Publishing Co .• 1320Galaxy Way. Co ncord.CA 94520. Second-class postage paid at Concord. Californiaand additional mailing offices . POSTM ASTER send addresschanges to Popular woodworking. P. O. Box 58279. Boulder.CO 80322.

SUBSCRIPTIONS:A year's subscription (6 issues) is $25 .70; two years' wo rth (12issues) is $47 .40; outside of U.S.A. add $5.00/yea r. Send allsubscriptions 10 :

Popular Woodworki" KP. o. Box 58279

Boulder. CO 80322

Please allow 6 to 8 wee ks for del ivery .All rights reserved. Reproduction without prior permiss ion isprohibited. Copyrig ht © 1990 by EGW Publishing Co .

Unsolici ted manuscripts. photographs. artwork and other mate­rials are accepted. but Popular w ood working cannot ass ume re­sponsibility for these materia ls. Writers who subm itarticles do sowith the understanding that the work. is original and done bythem. The author warrants that submissions and subsequen tprinting of any materials in Popular w ood working magazine donot infringe upon the rights of any third party and agrees to betotally liable for such claims. Submiss ions must be acco mpaniedby a self-addressed. stamped envelope for return. Address alleditorial correspondence to: Popular WoodK ·orkin g. 1320 Gal ­axy Way Concord. CA 94520 .

The opinions expre ssed by the authors do not necessarily reflectthe policy of Popular Woodworking . Editorial corre spondence isencouraged . and may be edited for publica tion.

Advertisers and agencies assume com plete liabili ty for the copyin their advertise ments and warrant that it does not infringe on thecopy rights or trademarks of others . Advertisers and agenciesagree to hold publisher harm less from any liabilitie s arising outof such infringement and to reimburse publisher for any and allexpenses and costs incurred by publ isher by reason of suchinfringement

Produced and printed in th e U.S.A.

68

J I ~tJO[j~ i1.....------1;~~'1/-69_

On the CoverDan Evans of Benicia, California makes the centercuts in our "Fretwork Shelf and Mirror," a projectby Devore O. Burch. Instructions for making thisproject begin on page 36, and full-size patterns areincluded in the PuliOutTM Plans section in the centerof this issue. Hawk® scroll saw courtesy ofRBI Industries, PO Box 369-PW, Harrisonville,MO 64701.

Popular Woodworking

Page 5: Popular Woodworking - 054 -1990.pdf

Issue #54, May 1990 Volume 9, Number 6

Project for the ShopThree Centering Tools by Don Kinnaman 23

A Popular Woodworking Project-PullOuFM PlansChild's Toy Box/Chair by Stan Fox 24

Axel Lindgren Builds the Yurok Canoeby Deborah R. Upshaw 26

The Indian Adze by Warren Asa 29 23A Popular Woodworking Project-PullOuFM Plans

.x:

Three-Dimensional Tic Tac Toe by Curtis Dillon 33 0<I>:J

""A Popular Woodworking Project-PulIOuFM Plans

~--i

Fretwork Shelf and Mirror by Devore O. Burch 36

A Popular Woodworking Project-PullOuFM PlansCutlery Box by L. M. Kueck 38

A Popular Woodworking ProjectA Handy Step Ladder by Richard R. Steussy 55 38A Popular Woodworking ProjectA Computer Security Cabinet by Evan Madsen 60

Panel Layout Form by Don Kinnaman 63

A Popular Woodworking Project-PullOuFM Plans64

Making Windsor Stools by Walt Panek 64

The Turner's PageEarly American Candlestick by John A. Nelson 68

A Popular Woodworking Project-PulIOuFM PlansCaptain's Bed by James H. Schroeter 69 -><

<I>c:

,fFocus on Carving .."

~Carving Two-Point Perspective by William H. McMaster 77

Columns DepartmentsClear Cuts 6 Letters 6The Business End 12 Tricks of the Trade 10Book Reviews 16 Calendar 82Videoscene 18 PW Showcase 85Tried And True 19 Classified 88Out of the Woodwork 90 Index to Advertisers 89

May 1990 5

Page 6: Popular Woodworking - 054 -1990.pdf

6

Clear Cuts

Why can 't the world be open twenty four hours a day? I'm oftenworking round the clock ; I dream up projects or lay out articles in mysleep (somet imes they look it, I admit). But why can't everyone else bedoing their jobs when I need them? Why can't I get a few more 1-1/2"phillips flat head wood screws after six on a Sunday? That's alwayswhen I need them ...

I have a running list of projects (mostly remode ling stuff , still), andwhen I cross off one item , even if it's three o'clock on a Sunday , I go tothe lumber rack and start figuring out what I need for the next project.

By four twenty I've designed it, figured it out mathematically , andmade lists for the lumber yard and the hardware store. My Belovedalways tilts her eyes toward the ceiling when she sees me making thatmad dash through the house for my checkbook, wallet and keys at fourtwenty-seven. Seconds later, I'm on the road, pushing the speed limitmore than I usually do . I know that if I've got my materials , I can keepworking until nine o'clock.

Ten to five at the lumber yard : "I thought you closed at five thirty .""Nope, five o'clock." "Okay, well, this won't take long," I lie. "I justneed..."

I know that Hardware Emporium is open nearly all the time , and Iknow they 'll have everything on my other list. It won't be long till I'mcutting wood again, drowning out the neighbors' Sunday dinners. ThenIpull into the Hardware Emporium parking lot, just as their last employeeis pulling out. It seems they close "early" on Sundays because they stayopen so late the rest of the week. "Swell," I say. (You'd think I'dknow this by now. )

That leaves the loca l supermarket/drugstore to meet my hardwareneeds. Cross off the router bit. Cross off the drywa ll screws . I supposethese hinges will work instead of the ones I wanted ... Cross off orsubstitute most of the other items on the hardware list. At leastI'll be able to get cold juice and a candy bar to make skipping dinnereasier.

I glug them down in frustration as Ipull onto the freeway and discoverthat the truck has no problem going from zero to twelve in four point eightminutes . I join the herd of motor homes returning from the lake, manywith boats trailing behind them like calves. Many look familiar to me fromprevious Sunday-night supply runs.

Do you suppose they laugh if they recognize the red T-shirt stapledto the ends of my ten-footers? It's the same flag I'm always flying, everySunday night.

I pry away from the cattle at seven fifty-four; I get home ateight-o-seven. I begin to accept the fact that I probab ly shouldn 't turnon a machine-if not for the neighbors ' sake, at least so Iwon't be lockedin the garage for the night by my wife.

At least I can unload the stuff neatly into my lumber rack; I'll be readyto go bright and early next Saturday; I'll have everyth ing right here.

But it won 't matter. I can start cutt ing at eight AM Saturday (neighborsbe damned) . You can be sure that I'll finish that job at three o'clockSunday . Then I'll want to start in on the next one.

LettersPopular Woodworking welcomes yourcomments, pro or con, about articles wepublish. Send your letters to:Editor.PopularWoodworking, 1320Galaxy Way, Concord.CA 94520 . Letters may be edited for publi­cation.

Eight Well Furnished ParlorsAs the father of eight daughters, I make

their Christmas presents every year. Thisyear , I made them each a parlor cabinetfrom the PuIlOut ' \1 Plans in your Novem­ber Issue (#51).

I changed the length of the legs to 48"instead of 39". I built the first one accord­ing to plan, but the girls wanted to havethem higher. Made of oak at $5.49 a boardfoot, each one cost about seventy dollars.

Ienjoy your magazine very much ;keepup the good work.

Richard L. DibbleKenosha. WI

Chief Joseph by the NumbersI'm a novice woodworker after having

worked in steel as a die sinker for manyyears.

In the November 1989 Issue (#51) yourFocus on Carv ing column ("Carving anIndian Portrait") caused a real problem forme, as the dimensions are given in milli­meters . I have a millimeter scale,and I laidout the top view and then looked at Figure2 and did some measuring prior to anycutting. I found that if I cut 24mm and28mm from the centerline of the head Iwould be cutting off part of the head (side)of the carving. Can you please help me(and perhaps others) by giving dimen­sions in good old American inches? Anyhelp in understanding this carv ing of theChief would be appreciated.

Your inclusion of articles on carving ineach issue is a good selling point andwelcomed.

Norman ChapinNewnan. GA

The author replies: thank you forpointing out my error. Figures 1, 2, and 3were prepared in half scale. When themeasurements were made, I forgot toscale them up for Figures 2 and 3. Figure1is OK. The measurement values in2 and3 should be twice those printed. I regretany incon venience this oversight has

Popular Woodworking

Page 7: Popular Woodworking - 054 -1990.pdf

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continued on page 8

Harold JamesSomervi lle, New Jersey

Oil UpdateTo update my ar ticle "Household

Cooking Oils as Wood Finishes" (#52),readers might like to know that Livos PlantChemistry has moved to a larger facility.Their new address is: 1365 Rufina Circle ,Santa Fe, NM 87501 .

tion.When flying over the Cascades, I feel

sick at all the clear cut areas. Seldom canI spot any new planned tree growth. Nowthe timber companies want to cut oldgrowth , as apparently they have run out oflogs to ship overseas to Japan. Korea.China. Taiwan. etc. with no regard for lifehere. From where I sit and write this, I seelog rafts being towed to the Port of Ta­coma for shipment daily.

Last spring, the Weyerhaeuser Com­pany advertised over local radio that theyplanted over 400 ,000 thousand seedlingsdaily during planting season. When Istud­ied forestry in Finland, it took an averageof 30 minutes to properly plant a seedlingand hope it would grow into a tree. Calcu­lat ing 400 ,000 trees, that com es to200.000 man hours , or 25.000 men work­ing eight hours a day. In discuss ing thiswith friends, we concluded that the publicwas fed another snow job.

Nils LucanderTacoma , WA

Organic Oil ObjectionThe article on applying cooking oils to

wooden bowls was very interesting to me.Even though the "experts" use them andclaim that others should , too, there is anobnox ious rancid odor that develops inwooden articles when salad oil is used.Since they are organic, they will not stayfresh for very long before becoming rancidand foul-smelling. Some will say that itcan be eliminated by rubbing in a little bitof garlic, but garlic is also organic, and intime , it will add to the odor .

I prefer to rub in several coats ofwater-elear mineral oil from the localpharmacy. The oil is not organic, can betaken internally (in small amounts), as in abowl finish-very little of which comes offwhen in use.

Popular ProjectThe butter fly figures from Issue #52

(January 1990) were quite popular withmy family and friends. Ienjoy your projectsvery rnuch l

Steve MoorePomona, CA

caused my fellow carvers.As far as measuring units go. inches

are not an American system but an Eng­lish system based on the length of a king.sarm ; its advantage is that it is easy todivide by half. This is all right for straightmeasurements ; but when you need toscale by multiplying anddividing.as Ioftendo in carving. then it becomes very cum­bersome and prone to error. It is so un­wieldy that even the English who inventedit have abandoned these units in favor ofthe metric system. which is built on a baseof ten. You already use this system torcounting. drink ing. and paying your bills,so it should not be that difficult to measurebased on a unit of ten.

Foresters and ForestryI read with interest your editorial on

what is happening to wood . our friendlyrenewable resource which is so beneficialto all of us ("Clear Cuts." Issue #52. Janu­ary 1990).

I grew up in Finland , and studied com­mer cia l for estry after World War II.Though the program was directed towardthe commercial uses of forest products,the studies included all aspects, begin­ning with forest surveys, selective mark­ing and cutt ing, transport , saw mills pulpand pape r factories , pre-fab hous ingplants, and sales and exports . Thesestudies also included plant ing.

Whenever we found a big birch, pine orspruce which was a "specimen leader ,"we would fence it in and collect its seedsfor planting , trying this way to improve theforests.

I now live in the Northwest and amappalled at all the clear cutting with littleeffort at replan ting . Driving along theroads one is impressed by the abundanceof trees, but upon stopping and walk ing afew hundred feet into the forest , one oftencomes to clear cut clearings-some sev­eral years old-with no signs of reforesta -

May 1990 7

Page 8: Popular Woodworking - 054 -1990.pdf

Don KinnamanPhoenix, AZ

Carnauba wax can also be used. Some people feel that its notsafe for bowls which will be used for eating , but check the labelson many chocolate candies ; you'll find that carnauba wax is usedquite extensive ly in chocolat e blendin g to keep it stiff in warmweather.

continuedLetters

CORNER ROUN DRABBETTING

Del Duncan, PresidentTruly Persnippity Paint Co.

Oceanside, CA

Organic Oil EndorsementI enjoyed the article "Household Cooking Oils as Wood

Finishes," in the March 1990 issue. Finally the world is getting themessage about the usefulness of cooking oils for wood . It isarticles like this that educate the woodworker and his familyabout the non-toxic propert ies of these oils.

Being a paint contractor. and having experimented with alltypes of oils, I would like to expand on some of the other usesaround the house of plain old vegetable oil-right out of yourkitchen cabinet.

1) It can be used to thin alkyd enamel (oil-based paint) insteadof paint thinn er. It makes the paint track off the brush much morecleanly, and it is not smelly like pain thinner,

2) If you hav e low-luster enamel, you can make it glossier byadding a cup of soybean (or any other) oil to a gallon of paint.

3) Old enamel that has thickened (not hardened) because ofvehicle evaporation can be rejuvenated by adding cooking oil.

4) It can be used to remove paint drop s off you. your furnitureand appliances, without damage to either,

5) And of course it makes a beautiful wood finish.Bear in mind that since cooking oil contains no driers. it will

take longer for the paint to set. but when it does dry , it will be justas hard .

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90·( 103

Popular Woodwo rking

Page 9: Popular Woodworking - 054 -1990.pdf

Apt. #

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This book-a $10.95 paperbackvalue-is mine free with a l-year (6issues) trial subscription to AMERI­CAN WOODWORKER magazine atthe special introductory rate of only$21 per year. If I am dissatisfied withyour magazine in any way. I'll write"cancel" on the bill and send it back.The free book is mine to keep re­gardless.

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May 1990 9

Page 10: Popular Woodworking - 054 -1990.pdf

Tricks of the Trade

Don KinnamanPhoenix . Arizona

putty knives through . If you needhacksaw blade , put two blades inthe cut.

create a slot to pull the 1a slot that is wider than a !, \:the saw frame to make C

Richard H. DornOelwein. Iowa

effortlessl y lift the dowel centers out of the holes. As purchased,the staple remover won't open wide enough to fit over the dowelcenters . To increase the throat opening, simply remove the pivotpin by drilling off the head, file the two stops to gain moreclearance, bend the spring slightl y to maintain tension in the openposition, and reassemble the staple remover with a new pivot pin.Store this device with your dowel centers, and save your finger­nails.

Dowel Center RemoverA good drill bit will make a crisp, clean accurate hole. As a

result. dowel centers often fit tightly and are difficult to removewith your fingerna ils. A modified staple remover will quickly and

Cleaning Putty KnivesHere is a quick way to remove residual materials from the

blade of a putty knife. Mount a 2" long piece of 1-1 /2" or 2" angleiron to a small piece of plywood and hang it near your puttyknives. Cut through one half of the angle iron with a hacksaw to

the shop. I have applied some to the face of my miter gauge tokeep the wood from sliding when I make sharply angled cuts. Ialso applied some to the jaws of my dowe ling jig. This keeps thejig from sliding or turning while I drill. As a result, it doesn't haveto be cinched down as tight, and it's easier to remove.

Richard H. DornOelwein,lA

Ken HillSpringfield . MO

Reducing SlippageNon-slip tape is available in many widths and comes with a

pressure-sensitive adhesive back ing. It's great for many uses in

"Tricks of tne Trade " shares readers ' tips for making woodworkingtasks easier and safer. If you've come up with a trick that would helpother woodworkers. send it to "Tricks of the Trade" C/O PopularWoodworking. 1320 Galaxy Way. Concord. CA 94520. Include anyphotos or sketches that help illustrate your idea (we "II redraw them).We pay $25 for each trick we publish.

\ I I To ensure that the block ridessquarel y on the saw table, cut the back side of the c

clamp-the side away from the workpiece- shorter than the side ~

butt ing the workpiece. If you make the clamp block almost twice ~

the height of the fence, the clam ping bolt will have plenty of room ~

to do its job. Join the sides to the spacer with dowels and glue. ~If you have a drill press. bore two holes through the spacer ; then ~

line up the sides and continue drilling into them. Sand the dowels *for a loose fit (or drill the holes slightly oversize) to make sliding ~and clamping easier. - L--------- --\.ot'.\--------------'

Devore O. BurchFort Worth , TX

Self-Clamping Fence BlockIf you've ever clamped a block to your table saw fence to

facilitate repeated and accur ate cross-cu ts, you know howuseful such a jig can be. Make it even handier by constructing thisself-clamping block out of 3/4" stock and one carriage bolt withwasher and wing nut. When you cut the three pieces. make thespacer 1/ 16" larger :~ than the thickness of the fence

Precise Hinge PlacementWhen installing butt hinges between a cabinet door and a

frame, it's hard to know exactly where to drill the holes. Here's amethod I use: I attach one leaf of each hinge to the door and thenspread a five- minute epoxy on the other leaf. I tape a layer ofplastic between the leaves to keep the epoxy from bonding it ina closed position. then slip the door into its frame and shim it intoposition within the opening. When the epoxy has cured . I openthe door and install the wood screws.

10 Popular Woodworking

Page 11: Popular Woodworking - 054 -1990.pdf

Non-Binding LidIt is a common practice when making wooden boxes to make

the box and its lid as one unit and cut the lid free after the glue hasset. This eliminates any alignment problems that may arise outof making them separately. Unfortunately, I often have problems

them for attaching them to the cord. I solved this prob lem bywelding a nut to the end of the chuck key. I feed a plast ic wire tiethrough the nut to secure the key to the cord.

Heather DullHuntertown, IN

Router JointerHow often we need a tiny jointer ! Convert your router, router

table and any straight-faced bit into just such a tool by screw inga thin piece of plastic laminate to the receiving half of the table 'sadjustable fence . I used 1/2" #4 flat head screws , carefu llycountersunk. Slightly bevel the receiving end of the plast iclaminate so that the work feeds freely through the cutter andalong the fence . When setting up your router jointer, adjust thefence with care so that the depth of the cut equals the thicknessof the plastic laminate.

II ·straddle the fence to " ;groove on the bottom 0 the two-by to clear any bolt headsthat may be in the way; this piece needs to be able to ride freelyon the fence , and it supports the whole jig. I used 1/2" scrap forthe piece that runs on the back side of the fence , and cut it to awidth that is short of reaching the saw table. The two pieces onthe other side (the pusher and the hold down) were made from1/4" plywood . The pusher is sized to reach all the way to the sawtable , and the hold down is slotted forthe bolts with wing nuts thatallow it to be adjustable. I bought a replacement handle for a handsaw at the hardware store, cut it at an angle that felt comfortab leto me, and attached it to the jig by screwing into it from the bottom.If you like, you can just trace the handle from one of your ownsaws and cut it out.

Devore O. BurchFort Worth, TX

Don StutzmanJohnst own , PA

Thin Strip PusherI came up with this device for pushing mater ial between the

table saw fence and blade when the setting is too narrow fortrad itional push st icks . It features a bu ilt-in ad justablehold-down to keep the wood flat on the table . Make yours byripping a scrap piece of two-by to a width that is just slightly widerthan your fence ; this extra width is to allow the two pieces that

blade binding on the last cut.saw kerf was troublesome, so I

came up with this idea : before assembling the box, I usedouble-sided tape to attach several scraps of wood to the inside,where I would be cutt ing. I set the saw blade about 1/32" beyondthe thickness of the box wall so it can't cut through these scraps ,and they hold the lid in place with no binding.

Richard H. DornOelwein,IA

Gera ld HuntSwartz Creek, MI

Band Saw Throat PlatesThe throat plates for band saws are usually chipped, nicked,

and the opening for the blade is greatly enlarged. The opening isusually pretty large to begin with, to allow the blade \to clear when the table is tilted. This enlarged \

I

opening is dangerous when small pieces are cutbecause there is no support directly under the work. )To end this prob lem, I made my own throat plates by gluingtwo pieces of plastic laminate back to back with epoxyglue.Thetwo pieces make a combined thickness of 3/16", the same as myold insert .Cut the throat plate slightly oversize and file or sand theedge until it fits the open ing precisely. Cut the kerf with the actualblade you plan to use with the insert. The bright color of thelaminate adds to its safety. I place a small drop of liquid rubberunder the rim to keep it from turning; the rubber peels off easilywhen you need to install a new blade. Keep your old throat platefor times when you want to tilt the table.

Retaining the Chuck KeyMany portab le electr ic drills come with L- shaped chuck keys .

Unlike the I T-shapedones, it's hard to keep a strap on

May 1990 11

Page 12: Popular Woodworking - 054 -1990.pdf

[ The Business End by Ken Sadler

Selling and Marketing

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will depend on who you're talking to. You'llsay some thing entirely different to adealer who is planning to resell the chair.

Marketing methods vary, dependingupon what type of shop you run. In myexperience, small woodwo rking shops fallinto three categ ories : semi-productionshops making pieces in small quantities,in de penden t craftsmen , mak ingone-of-a-kind pieces either by them­selves , or with one or two helpers, andcabinet shops that specialize in custombuilt- ins. This last category is very differ­ent from the other two and deserves anentire column's worth of discussion; fornow, let's talk about semi-production andone-of- a- kind shops.

The Semi-Production ShopA very simple way to make a market

survey for this type of business is to makethe rounds in your area. Stop in all thesmall stores that sell your type of mer-

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not, if you 're the owner, you're going tohave to be that salesman. To whom yousell will depend on what kind of a shop youhave, but sell you must. Here is a rule Ilearned many years ago and have fol­lowed, with great success : the person towhom you wish to sell something is notinterested in you or your product. They areprimarily interested in what that productwill do for them. "What's in it for me?" is thequest ion in their minds. This rule shouldbe the basis of any sales pitch, spoken orwritten.

Let's say you're trying to sell a rockingchair to a visitor to your showroom. Yousay "This is a very comfortable chair. Justtry it; you can sit in it for hours. It's hand­crafted by timeless methods and will bearound for your grandchildren to enjoy. It'ssimple style will fit in with any decor youmay have." The emphasis is on how thebuyer will gain by buying. What you say

If you can't sell what you make , youdon't have a business. Having createdfine things, you want to put them in thehands of someone who will appreciatethem and pay a good price for them .Market ing and selling are the basic toolsfor transferring your creations to the con­sumer. The two terms are different and tobe successful , you must employ both.Marketing means getting a product to amarket. It is a process by wh ich you getgoods to a place where the consumer canbuy them. Selling is an action by which youattract prospective buyers and convincethem to buy.

No shop can prosper today without anactive salesman. Whether you like it or

Ken Sadler is a retired furnituremaker inSheridan, Oregon.

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12 Popular Woodworking

Page 13: Popular Woodworking - 054 -1990.pdf

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chandise, go to all the art fairs and look inas many mail order cata logs as you canfind. See what your compet itors are seil­ing, and then make the same sort of item.This may sound silly, but it's not. If othershops are sel ling it, people are buying it.You can vary the design some,change thestyle a little , but don 't change the purpose.Starting with some way-out idea that youthink is great but that no one else is sellingis a good way to lose your shirt. By theway , don 't listen to your friends .They'll tellyou it's great and that you'll make a million,but they'll be the ones who don't buy whenit's in the store.

Another way to surve y the market is tocontact several manufacturers ' represen­tatives in your field .Show them samples ofthe items you want to make ,and ask if theythink they can sell them . They know themarket ; they make the ir living selling to it.There 's a third way you can find out if theitems you want to make will sell. Put thosesame samples in the car and make therounds of all the gift stores in, say, a100-mile radius of your shop. See howmany orders you can get , and listen towhat the store owners have to say aboutyour items.

All this assumes that you have madethe necessary stud ies to determine thatyou can make these items at a profit andhave calculated what your prices shouldbe. For heaven 's sake , don't start on yoursurvey without hav ing done this.

The semi-production shop has threemain avenues to the consumer: gift andsimilar small stores , direct sales, and mailorder. Each of these avenues has its prosand cons . I'll try to lay them out.

Gift ShopsMarket ing through gift shops and simi­

lar small stores has one major drawbackas far as the small operat or is concerned:your take is going to be, at most, 50% ofthe retail price. So remember, when youdeterm ine your prices, if the consumerpays $10, the most you're going to get is$5. For someone just starting in, theeasiest and least expensive way to sell tothis market is the same one used to makeyour market survey: put the samples inthe car and make the rounds personally.The main disadvanta ge with this is thatit' s very time-cons uming ; and once

you've built up a substant ial backlog oforders, you won't be able to do both theselling and the making .

Another way to reach the gift showmarket is through manufacturers' repre­sentat ives. These people cover sizeable

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areas, usually severa l states , and repre­sent a number of different manufacturersin the same field. However, you don 't wantone who also represents a compe titor.Good "reps" are hard to get because theyusually have a full list of clients. If they like

May 1990 13

Page 14: Popular Woodworking - 054 -1990.pdf

The Business End continued

your line and think they can sell it, and ifyou r commiss ion rate is attract iveenough , you can probably persuade oneto take you on. Be careful in this select ionprocess;a lot of your future is riding on thischoice.

The third path is, for many , the mostinteresting and exciting-at least for thefirst several times they tread it. This isoften called "the gift show game ." At dif­ferent times of the year and in differentmajor cities around the count ry, largetrade gift shows are held .The participantsare manufacturers-large and small- ofthe items found in small gift stores orin the gift departments of large stores ,as well as in many mail order catalogues.The people coming to these shows arethe store buyers, and they usually buyfor a season or sometimes for the wholeyear. I have a friend who works threeshows a year: one each in the east, themidwest and the far west. He gets 75%of his annua l sales from these threeshows.

Doing a show is not cheap . The cost ofeven a small booth is several hundreddollars; and since the shows last a week,you have the cost of a hotel and meals plustransportation to and from the show city. Ita ll adds up to a t idy bu nd le . Thecost-effectiveness obviously depend s onhow many orders you get. If your line sellswell, this is a better method than sellingthrough a manufacturer's representativeto whom you pay a 10% to 15% commis­sion.What's more,you have better contro lover everything. {Editor 's note : for moreinformation about this marketing avenue,see "The Business End: WholesalingCra fts at Trade Shows " in Popu larWoodworking #39, Oct/Nov 1989.]

Direct SalesDec id ing to use the di rect sa les

method of marketing will depend on whatyou see as the future of yoursemi-production shop. If you're content tostay a "mom- and- pop" outfit, making agood living and perhaps a little extra, di­rect sales will serve you forever . On theother hand, if you want to grow and even­tually get into the big bucks , then it will bea good beginning. Econom ically , its bigadvantage is that you get the retail price.This provides quite a bit of elbow room

14

when you're just gett ing going. Addedadvantages are that the costs are thelowest of any of the methods , and you getinto close contact with your end userswhich allows you to monitor what sells andwhat doesn 't.

For direct sales, I recommend combin­ing two approaches : your own show roomand a booth at art shows and local craftfairs. Having your own showroom presup­poses that you either live in an area whereyou can have the store connected to yourliving area, or that your workshop is in anarea where people do their shopping. Ifyou have to open a separate store, thecost rises dramatically .

The art show and craft fair circuit (atleast, where I live, in the Northwest) hasproved to be very good. You build a knock­down booth that you can carry in a smallpickup or on top of a station wagon , loadboxes of products, and off you go. Sellingthis way lets you live wherever you wish.My best example for the craft market is thePortland (Oregon) Saturday Market. Thismarket is held in a river front park everySaturday and Sunday from the middle ofApril through Christmas. There are overthree hundred booths and 3,000- 5,000people go through the market each week­end. It makes for a nice routine: make thestuff all week and sell it over the weekendfor eight months of the year and take off forthe other four.

Mail OrderBy marketing through mail order , you

also get the retail dollar , but the costs arequite a bit higher than direct sales. Atthis point, I'd better define the term "mailorder" as I use it. The process consists ofadvertising for a free catalog or brochurein magazines and newspapers. You getyour orders from the catalog, not the ad.This way, you build a mailing list of peoplewho are interested in what you have tosell. The ads can be smaller and will costless, and more people will write for afree catalogue than will order an itemdirectly from an ad. Once your mailing listhas been built , the amount of advert isingcan be substant ially reduced. An advan­tage for some folks is that here, as indirect sales through the craft market,you can live anywhere you please . Tome, the big disadvantage is that you

have no personal contact with your buy­ers, and monitoring product acceptance isdifficult. Also, in mail order you must shipwithin 24-48 hours after receiving anorder. Th is requires carrying a muchlarger inventory than any of the othermarketing methods.

One-of-a-Kind ShopsFor the one-of-a- kind shop the prob­

lem of reaching the consumer is entirelydifferent. Most of the emphasis is on seil­ing rather than marketing. Even the mar­ket survey is done differently. }n theone-of- a- kind business you're usuallydealing with such things as furniture,sculpture, general carvings, or architec­tural millwork. The output is small com­pared to the production shop, and thevolume-as well as the prices obtain­able-depend almost entirely on the repu­tation atta ined by the craftsm an. Thereputation is developed by the style of thework he has created, by his craftsman­ship, and by the amount of his work he hasbeen able to get into the hands of thepublic.

Having been involved in this kind ofbusiness for many years, I have come tothe conc lusion that there is only one wayfor the craftsman who is just starting tomarket and sell his work. This is by directsales: art shows, craft markets, your ownshowroom, and through reputable galler­ies. The amount that goes through thegalleries should be small compared to theother avenues. However, the gallery salesare essential because this is where youbegin to build the kind of reputation thatbrings big prices later on. But because thegalleries take at least 50% commissions,you can't afford to sell too much throughthem. One very important tip here: neverput a lower price on your work when seil­ing it direct than you put on it in thegaller ies. If you do, the galleries will stopcarrying it.

When you're just beginning, be carefulnot to price your work too high. At first, it'sbetter to allow people to consider yourproducts without price being a major fac­tor. This gets your work out into people'shomes and offices where others can seeit. There is, I've found, a very good way ofdeterm ining when you should increaseyour prices . When you have a three

Popular Woodworking

Page 15: Popular Woodworking - 054 -1990.pdf

months backlog , raise your prices a little;when the back log get s to six months, raisethem some mor e, By the time my backloghad reach ed two years, I was asking andgetting almost six times as much per pieceas when I started. The process took fouryears.

To make this marketing method work ,you will have to be a good salesman .Remember the "What's in it for me?" ruleand concentrate on the person your work­ing on . Never leav e your booth unat­tended , and alwa ys try to speak to or atleast ack now ledg e everyone who comesinto it. This ma y sound like a tall order, butit pays big div idend s. Your own showroomshould be clean and neat and as elegantas you can make it. Use your imaginationand make people feel that you are just asmuch an artist as a craftsman . Whenpeopl e come to your showroom, givethem your full attention and treat them asyou wou ld guests in your home. If thiscauses you to lose some work time, don 'tworry ; you will gain from every minute youspend doing it.

In the furn iture and architect ural fields ,you 'll find that you won't sell manypieces "off the floor." Those pieces will actas samples , and your customers will re­late to them and ask you to make var i­ations of them. In the long run, this is anadvantage because you won 't have tospend time remaking your show pieces.I had one small cabinet around for severalyears, and took at least ten orders basedon it.

Finally , take good color pictures ofeach of your pieces and moun t them be­twee n pl ast ic sheets , in a f ine ,leather-bound book. Keep this book avai l­able in you r showroom and at shows.Make a similarone for each of the galleriesthat carry your work. Create a businesscard that shows the location of you r show­room, and have a supply at all shows andin each gallery.

Whether you make artsy custom furni ­ture or mass produced recipe holders, youcan 't stay in business if your produ ctsdon 't sell , and you can't sell your productsif you don 't get them to market.~

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Page 16: Popular Woodworking - 054 -1990.pdf

Book ReviewsShaker : Life, Work and Art by June

Sprigg and David Larkin, ©1987 (Stewart,Tabori & Chang, 740 Broadway, NewYork, NY 10003) 272 pp., hardc over , $40

This book doesn't quite belong "on thecoffee table," for it verily insis ts that it beread. It isn't really a book about wood­working, and there are no plans here, noteven a measured drawing. But there areabout eight dozen sumptuous color pho­tos certain to inspi re a woodworker tohead for the shop and to build "SimpleGifts" beautifully. With John Kassay's TheBook of Shaker Furniture (Amherst: Uni­versity of Massachusetts Press, 1980)and Thomas Moser's books about Shakerfurniture, this volum e gives the why, asopposed to the how, that some of us needto enable us to build these wort hy originalAmerican pieces. Successful ly complet­ing Shaker style projects probably re­quires that we adopt the Shaker mindset-at least in the shop-and no bookexplains that attitude as well as this beau­tiful volume.

The Conversion and Seasoning ofWood by William H. Brown, ©1989 (Lin­den Publishing Co., 3845 North Black­stone, Fresno, CA 93726) 222 pp., paper­back, $14.95

While this "highly practical manual forthe small timber user" doesn't take us fromtree to table, it does take us from thefreshly cut log to the shop doo r. The earlychapters cover milling logs into timbers bypractical "small" method s, usual ly chainsaw operations. Moisture and shrinkageare covered along with the tools for meas ­uring it. Discussions of kiln and air dryingfollow , including post-kiln protection andseasoning, and how to avoid drying de­fects. Although the dang ers aren 't ade­quately discussed , and the otherwiseexcellent photos show none of the chainsaw operators wearing face shields orhearing protection, those whose acreagereadily affords timber could prof it hand­somely from this volume. Others, like me,will never again be able to go to our timbermerchant without thinking of the poss ibili-

Hugh Foster is a part-time furniture designer/builder in Manitowoc, Wisconsin and theauthor ofThe Biscuit Joiner Handbook(Sterling Publishing Co., 387 Park Ave nueSouth, New York, NY 10016).

16

ties presented here. Were I younger , I'dwant acreage , a solar kiln, and the ambi­tion to use them.

You Can Make Money from YourArts and Crafts by Steve and Cindy Long,©1988 (Mark Publishing, 15 Camp EversLane, Scotts Valley, CA 95066) 231 pp.,paperback , $14.95

If there's nowhere you'd rather be thanyour shop, Steve and Cindy Long's bookwill appeal to you right from the dedicationto "the unemployed , the under-employed,and the unhappily employed."Their prem­ise is that craftspeople who approach theirwork in a serious, business-like manner,can make $20,000 to $60,000 or moreannually. "Oh, I could never do that," youmight be murmuring . The Longs reply thatthere's a differen ce between gifted andtalented-the former means having natu­ral ability, but talent is learned. Take yourwares to the shows, and the customerswill teach you what you need to know .

About 20% of the book is a pep talkfrom which all condescension has beenbanished. Chapters about scheduling andbatch sizes follow. Dwelling here on thefour P's (product, price, packaging andpresentation) would be to steal too muchof the Long's thunder. Suffice it to say,their advice is practical, timely, legal, andabsolutely certain to stay that way . Craftshows are treated thoroughly , and so arestart ing a mail order business, wholesal ­ing products, and other means of broad­ening sales. I've seen no more practicalguide.

Projects for the Router by CaseyChaff in and Nick Engler, ©1988 (SterlingPublishing Co., 387 Park Avenue South,New York, NY 10016-8810 ) 127 pp.,$9.95

First published in 1987 as a GrolierBook Club selection , this book brings to amore general audience a collection ofprojects that should increase the popular ­ity of the router. The trivets here are morehandsome than any I've seen ; the 19otherprojects range from a gumball machine toa kitchen island. Of special interest is therouter table that will help you use therouter as a shaper , spindle cutter , pinrouter, and mort iser. The photos and

by Hugh Foster

three- colo r drawings are exceptional , the

text is spare and to-the-po int, and fre­quent intermissions in the projects sharetips that apply to projects of your owndesign as well as those presented here.

Building Free-Form Furnitu re byCharles W. Durney , ©1982 (TAB Books,Monterey Lane , Blue Ridge Summit, PA17214) 209 pp., paperback , $9.95

Rustic would be a suitable synonym for"free- form." In offering us project s for ouruse and modification , Durney reminds usthat nature is an excellent teacher. Hetreats the reader as his equal in the proc­ess of designing free-form furniture. evenwhen he is sharing shortcuts that as­suredly came via hard work and experi­ence. The book guides us through theconstruction of coff ee tables , sofas ,chairs, ottoman s , various tab les, amantle , lamps , a grandfath er's clock, andmany accessorie s. The writing style re­mains clear and friendly throughout, andthe te xt is profusely illustrated witheasy- to- follow, well-captioned drawingsand photos .

Woodworking Projects II by the edi­tors of Sunset Books and Sunset maga­zine , ©1984 (Lane Publishing Co., MenloPark, CA 94025 ) 96 pp., $5.95

About 79 attractive projects are here,arranged by category and, within eachcategory , by level of difficulty or amount oftime required . "Household Accessories"include 22 items ranging from napkin ringsto a wine rack that will support a gross ofbottles (that's 144 !) The "Furniture" sec­tion opens with an interesting roll-aroundcomputer table , complete with customiz­ing ideas . A handsome cantilevered chair,butcher block table, lawn chair, variousother tables, and a pair of beds round outthis section 's 14 projects . There are 16plans for children's furniture and toys.Thehalf dozen "Hobby and Craft" projects arehighlighted by a slick, quick and usefullooking "non- pro" workbench , and by anattractive sewing center. The dozen yardand garden accessories feature mainlylamps , planters, and birdhouses- all at­tractive. Aimed at the weekend wood­worker, this book would represent anexcelle nt value at twice its cover price.~

Popular Woodworking

Page 17: Popular Woodworking - 054 -1990.pdf

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Page 18: Popular Woodworking - 054 -1990.pdf

VideasceneSam Maloof: Woodworking Profile

directed by Rick Mastelli , ©1989 by TheTaunton Press, Box 06470-5506, New­town , CT 06470 ,60 min" $29.95.

As most craftspeople know , SamMaloof has become something of anAmerican woodworking institution. Itmight even be safe to call him ourcountry 's most acclaimed woodworker.Talented , gregarious, prolific, generouswith his time and magnanimous in hisacceptance of approaches to craft whichvary from his, it is no wonder he hasestablished such a visible profile .

Taunton takes a step in a new directionwith the publication of this video becauseits emphasis is by no means entirely in­structive. This is not to say that a wood ­worker might not learn new approachesand techniques from seeing Sam in ac­tion: he probably would . But it is obviousthat the camera crew which fol lowed himabout recorded in an impromptu fashion .In contrast , tapes in the "workshop" seriesby Taunton are painstakingly staged andimmaculately directed .

Ominously enough , this one openswith a disclaimer of liability if anyone at­tempts to emulate Maloof's techniquesand suffers an accident. I can 't recallseeing a disclaimer on a Taunton videobefore, but, at least in this case , it appearsjustif ied. You'll see some scary things .Sam learned how to do them all by him­self. In his defense, though , he still has allhis fingers , and he's the first to admit thathe takes calculated risks .

The tape seems unclear in its goals.The publisher calls it a "profile," but Iknow Sam, and in my opini on the tapedoesn 't really capture his pers onality.Despite the fact that much of it is overdub­bed with Sam's ramblings about his workethic, about building his home in AltaLama, his love of crafts objects,and so on,there is plenty of room left for someone toproduce a really good portrait of SamMaloof.

The tape misses a lot. For examp le, Irecall his telling me that he worked as acommercial artist before he turned towood , and that the first impetus for making

Alan Marks is a cabinetmaker in CarmelValley, California, and a contributing editor toPW.

18

furniture was totally unrelated to any pro­fessional aspirations. He and his new wifeAlfreda simply could not afford to buy any.The wood for them was salvaged fromsomeplace. His actual career began whena visitor to the house admired the newfurnitu re and showed interest. His work­shop started out as a converted chickencoop , as I recall. It would be foolish foranyone aspiring to do a good documen­tary on Sam to omit mention of thesehumble beginnings. It would be as foolishfor any biographer of Abraham Lincoln'sto leave out any reference to the log cabinin which he grew up.

Some people find Sam ingenuous. Ihonest ly believe he stands in awe of all thepositive things that have happened to himduring his life. Since he can't quite believehis good fortune, he makes it seem morereal by sharing it with everyone.

You'll see Maloof working in his shop,explaini ng some of his methods: thiscomprises perhaps sixty percent of thetape. At least some of the spotty informa­tion will be of use. Some is out of contextand some is unclear (at least to me) . Mostinteresti ng to me is the method Sam usesto shape and glue up his solid seats. Don't,however ,expect to be able to build a chair,or any other piece of Maloof furniture, fromthe information in this tape.

Tips From 17 Taunton Video Work­shops , ©1989, The Taunton Press, Box06470-5506, Newtown, CT 06470, 50min., $5.00 (refundable from first videopurchase from Taunton )

Tips? Really? More like a sampler, ora potpourri . This video essentially pre­views, in the space of its fifty minutes , thecontents of seve nteen other Tauntontapes . It is a sampling for interested par­ties who might want see a portion of theactual tape instead of just reading about itin the manufacturer's cata log.

This is the way the setup works: Buythis tape for five dollars and you get acoupon worth five dollars toward any oneof the tapes in the series. The couponamount will be deducted from your pur­chase price. There is no complete infor­mation about any subject provided in thisvideo. So, by and large, this is a promo­tional tape. Essentially you are paying for

by Alan Marks

the advantage of making a more informeddecision about which tape or tapes, if any,you wish to buy .

Another way you can acquire a Taun­ton tape is to rent it. For $9.95 you can rentany tape for ten days. If you decide to buyit that money is deductible from the pur­chase cost. Guess you'd call that a "rentalwith option to buy".

I have viewed the vast majority. if not allat. the woodworking videos available inthis country during the course of my sev­eral years as a reviewer for this magazine:in my assess ment, Taunton maintains astandard of exce llence unparalleled byother publishers in the field.

Outdoor Furniture , with Steve Bortonand Terrie Lee Hysell, ©1989 by TheStanley Works, Box 1800 Outdoor Proj­ects, Dept. OPB , New Britain, CT 06050,40 min., $14.95

Some time ago Stanley published atape on how to build an armoire (reviewedin this column in PW#49,June/July 1989).This seems to be the latest addition to theseries : it comes bundled with a foldercalled "Outdoor Projects." If you want tobuild the gazebo shown on the cover of thefolder, you must rely on plans and writteninstructions alone. Only outdoor furnitureis covere d by the video.

There are two similar styles of outdoorfurniture to choose from. One is Litchfieldfurniture, the more easily constructed ofthe two , and the other is Galway. You canchoose to build adaptations of either orboth. There are plans for a chair, a smallbench, and a coffee table ineach style andfor a planter in the Litchfield style.

It is possible to build the furniture with­out any pow er tool s, though battery­powered drills and screwdrivers certa inlydo speed thing s up. The drawings areclear and complete, as are the materialslists. The Lit chfield furniture gets assem­bled with screws and the Galway hangstogethe r with mortise and tenon joints.

It seems to me that the tape does agood job, and desp ite the commercialovertones , I recommend it. The advertis­ing hype didn 't bother me that much, and,on the plus side , it even mentions a newlydesigned Stanley hand saw that I'd like totry out.~

Popular Woodworking

Page 19: Popular Woodworking - 054 -1990.pdf

I Tried and True by Graham Blackburn

Shaves and Drawknivesknives sold in nineteenth century cata­logs. Many old cooper 's shaves are ideallysuited to certain aspects of contemporaryfurniture mak ing , particularly wherenon-rectilinear designs are concerned.

Preliminary shaping tools fall into twogroups-those with curved and those withstraight blades. The "American pattern "drawknife is the commonest of the formergroup and is still the most often offered forsale. The blade, fromS"to 14" long,curvestoward you, and unlike almost every othertype of drawknife , is ground in a singlebevel from the front cutting edge to itsback (Figure 1). Its handles are usuallysplayed outwards rather than set at closerthan 90° to the blade. It's relatively easy touse, and cuts best with a skewed slicingaction rather than straight on. It can accu­rately pare and reduce stock to a line, andis ideal for wasting material from a cornerblock or interior framing piece , espec iallyafter

_____---~.5i~Le 8eveL

ens of types in use by a score of wood­working trades from coachbuilders towainwrights . Though woodworking todayis mainly carpentry and furnituremaking,good tool catalogs still list several types ofdrawknife , each for a specialized use.

The innumerable var ieties differlargely in the shape of the blade. Perhapsthe most basic form is a flat or slightlycurved blade 12" to 1S" long and worndown by repeated sharpening to about 2"wide. The front is ground to a bevelededge like a chisel-flat on the back-andthe blade ends are formed into tangswhich are inserted into handles and bentup at various angles from the blade itself(see Figure 1 below) .

Drawknife UsesApart from the many highly specialized

uses developed over the years, most areused either for rough shaping or for curvedwork such as barrel making. Coopersprobably accounted for half the draw-

In the beginning, a cutting edge wasused simply by striking , like the axe oradze. Then came a more controlled use ofthe sharp edge-for cutting or slicing.Over the centuries, we have developedever more sophisticated ways of using thesharp edge , from enclos ing it in a device tocontrol the cutting action , to propelling it byforces other than the unaided hand. Thecommon spokeshave occupies a centralposition between these two main classesof handtools-the older naked-blade typeand the newer enclosed-edge variety.

Belonging to the naked-blade class isthe drawknife, an ancient tool whose va­rieties are legion. All share one feature­a simple cutt ing edge held by a handle ateach end. Spokeshaves today are directdescendants of the drawknife, linkingthem to the enclosed-edge tool typified bythe plane. Like the drawknife, they exist inan almost numberless variety. Betweenthem these two tool types comprise one ofthe largest classes of woodworking imple­ments , and include tools that are a curiouscombination of both , such as the scorpand the inshave . Listing a few of the varie­ties-travishers, buzz , barrel shave, bentshave, bottle shave , jarvis shave, swift,downright, nelson , jigger, headingknife , crumm ing knife , hoopmaker 's drawing knife , how­eling drawing knife-suggeststhe huge diversity that such anapparently simple tool hasachieved. I'll d iscuss themajor var ieties and , mostimportant , how they relate totools we might find usefultoday . \ \~\

Drawknives \ \ IDrawknives were employed ~\\

by the Vikings in shipbuilding . ...-::-::The first known Western European ex­amples didn 't show up until late in theseventeenth century, when carpentersand coopers eagerly adopted it. By themid-eighteenth century there were doz­Graham Blackburn is a furniture designer/maker in Aptos. California and the author ofmany books including Floors , Walls andCeilings.

May 1990 19

Page 20: Popular Woodworking - 054 -1990.pdf

continued

Popular Woodworking

over a metal plate , vir-~ tually guaranteeing, .' - ~ they'll never be pulled~ .~ e-: -rC ' ._ off. All other methods invari-_~ 4 -.j /'~ J' ably fail , given enough time and

q ----/h- I use..~C ':;}:::)IVALI Sharpening an unsupported blade is

v ;::....(~ awkward and hardly conducive to produc-~. ing the best edge. It usually results in a

'l.~ ) less than perfectly sharp tool,which in turnresults in inferior work and the erroneousconclusion that the drawknife isold-fashioned and inefficient. Carving outa rebate in a 2 X 4 block in which the bladecan rest without rocking is a good solution(Figure 3). The drawknife can then befirmly clamped to the block, which can beheld securely in the bench vise.

Of all the odd shapes and varieties thatexist, there are two which deserve con­

siderat ion by today's custom wood­worker-the inshave and the scorp(Figure 4 below).Originallycooper'stools used for shaping the interior ofbarrels , both are valuable wherever

there is any scooping or hollowingwork to be done , such as for chair seats.

SpokeshavesAt one time, only tools intended for

shaping wagon wheel spokes were re-F~. 3 D-flIwknif'e .5VJa-vpeVl iv::r Block.. ferred to as spokeshaves. But since tools

Fig. 2 ~u.sl:,qble HotMdle. DYCjwkni Fe.

Triedand True

Wlv>g Nvt firv

VleyVSt /~ >p/~ oF H"'l1dle

20

assembly, when the piece can't be takento the table saw or bench vise.

As the name implies, the drawkn ifewas originally intended to be pulled to­wards you, the work being held be­tween a fixed support and yourchest , or clamped in a shav inghorse. Its lack of any built-in guid­ance is not the obstacle to accuracyyou might think. I remember watch ­ing old- time woodworkers usingthe drawknife almost as if it were aplane, cutting as evenly and closely to theline as most of us can manage with allsorts of jigs and fences ! Nevertheless, itsbest use today is for quickly removing a lotof material. Thus it's better to choose amodel with handles that slope downwardrather than project out in the same planeas the blade. This form encourages a"greedy" cut.

Other forms of drawknife, with straightblade of various length and width, can beuseful, but the best all-purpose drawkn ifehas adjustable handles (Figure 2 above). 1/ / IThey can be rotated with respect to the )}

plane of the blade, and with respect to 11the angle at which they hold the ) Iblade . When not in use , thehandles can be rotated all the / /way inwards to protect the t I jcutting edge. . Ah

Select ing a superior­handled tool and sharpening itefficiently are not always easy. The bestmethod of handling consists of tangs in­serted completely through the woodhandle and formed into a riveted head

Page 21: Popular Woodworking - 054 -1990.pdf

DiYeetioYl iYZIM wh ich S;FVk e sl1ave VVIl/S I:: be lJse d..in O"Ydc-r 10 Clvoid CoYl~Ylf GYVlivt

~. 6 !folder fOy

smrpeni~

SpokeSh ClVCI3ltlvies

with a transverse blademounted in a metal or woodstock and provided withhandlesat each end are all shaves-in­cluding the drawknife-it's convenient torefer to their smaller cousins-the en­closed edge type with stocks-as spoke­shaves. Before the introductionof metallicspokeshaves in the last century, all suchtools could be divided into two maingroups: those with blades formed likeminiature drawknives, the tangs of which §held the blade in the handled wooden ~stock,and those with blades likeminiature ~plane irons, held in the handled wooden ~stock with a wedge, just like plane irons in ~wooden planes (Figure 5). .~

The former, long the standard and still ~common in antique shops and flea- ~ L..- --J

, ,~k/ "~ . '~" I

(r;;/~ \ "~ ~~ ~ =-=-~( . ~/~- -,<-- . ,~~

L....- , ;/, : / . \\~ ://;/I!J __.markets, is the simplest I ~\ /, .' ., V.

type, usually made of beech /( ~/I \ ) point at which~ 1J/.; theor boxwood, Despite the fact that it fMfly endsof the blade are formed intois the quintessential "old tool," perfect for ~ . ,, ;'1 the holding tangs. Better modelsthat antique look in your toolbox or even were made with various methods of ad­on the mantel, it is-in contrast to most justing blade depth by screws on theother "tried and true" tools-difficult to rec- tangs, but the introduction of the modernommend. Because such a small area of type is one of those rare instances ofthe wooden stock contacts the work, it's genuine progress with no loss of applica­

quickly worn-as evidenced by the tion in exchange for the ease of usegreat many examples fitted with brass gained.

wear plates-and the iron isdifficult to Metallic Spokeshaves<!' adjust.These facts can result ina Though metal-bodied spokeshaves

jumping, chattering tool that may break when dropped on hard floors,1)11 takes either too large or too it's a small price to pay considering their

small a cut. The blade design mouths don't get larger with use and theireaves little margin for repeated shar- blades are much more easily adjusted.

penings-quite apart from the fact that Early types held the blade in place by asharpening at all is very difficult without single screw through a plane-type capmaking some kind of miniature holding jig. iron, but later models have almost univer­The blade is soon worn away past the sally adopted two adjusting screws, which

May 1990 21

Page 22: Popular Woodworking - 054 -1990.pdf

continued

Ul1iveY.5cl1 5poke.s~veFig. to

very tight radius (Figure 9), but otherwisearen't as handy as flat soled models. It's

difficult to keep a round soled tool'sblade in constant , even contact with

.~

curving work.A variety appearing about a cen­

tury ago and recently reintroducedis the adjustable chamfer spoke-

Ch~W\fEy Spoke.sh.?rve

makes alignment as well as blade deptheasy to set.

Sharpening the small iron is " "'-like sharpening any plane iron, lbut is considerably easier if you ./' L,

make a wooden holder (Figure I) V\

6 on the previous page). Keep-ing a very sharp iron and a small ~

mouth are the secrets to using this I

tool. Because of the tasks it's intendedfor, you're always running into contrarygrain (Figure 7), and reversing direction isoften easier said than done . It's better toadjust the tool so that you can make a

~'1:i\.~V-.thinner cut with an extremely sharpblade. If the work permits , use itat an angle-as if the iron wereskewed in the tool-but withspokeshaves made with spe- ;: e/1cially shaped soles for cutting ':, II/

anything other than a flat sec- Ition, this is not possible . I

The type just mentioned withhollowed or rounded soles (Figure8) are designed for forming rungs andcurved chair parts. Another variety madewith the sole rounded from front to back,sometimes referred to as circular shaves,are useful if you must work the tool in a

shave (Figure 9 ).It's often more conven­ient than a router with a chamfer bit, beingeasily adjusted for any widthchamfer up toan inch and a half, and perfectly safe andquiet into the bargain. For larger scalework-post and beam houses, for ex­ample-there's a similar idea applicable

~ to drawknives. This consists of a pair ofi adjustable attachments that can be fixed~ to the drawknife blade to produce a kind ofggiant chamfer spokeshave.}; One last variety-the universal shave.~ (Figure 10)-deserves mention, althoughj it's no longer made and can command

L..- """"'::::-- ----' = quite a high price because of the interest

_ of collectors in all things£ c~ Stanley®. Apart from its unique­~~ ness in the world of metallic spoke­

shaves by virture of its wooden handles,its claim to fame lies in the removeability ofeither of these handles and its use as akind of rebate spokeshave-the blade ex­tending right up to the edge of the sole. Foreven greater convenience , either handlecan be reattached at ninety degrees to thestandard angle , providing greater controlin tight corners . Moreover, as originallysold, it was provided with two interchange­able soles-round and flat-together withan adjustable mini-fence. If you find a uni­versal spokeshave, even one missing theoptional attachments, purchase it; this toolis still to be treasured as the apex of thespokeshave maker's art.~

22 Popular Woodworking

Page 23: Popular Woodworking - 054 -1990.pdf

L

Project for the Shop

~@~fi@f1~~®

If@@O®by Don Kinnaman

Here are three designs for devices tolocate and mark the centers of round ob­jects . Tools A and B work the same waybut are made differently. To make A, startwith a piece of good quality plywood that is1/4" X 12" X 12". Carefully layout and cutthe 45° diagonal from one corner down tothe 2" leg as shown. (For best results, usea table saw with the blade raised to fullheight.) Now cut out the L-shaped basefrom some 3/4" X 12" X 12" plywood mak­ing certain that everything is perfectlysquare. Glue and screw the two piecestogether, bore a hanging hole, and apply acoat of finish.

The other version of this tool (B) startswith a 12" X 12" piece of 3/4" plywood. Layout a line dead center along its length , andcut a dado the size of your centering stickon the right or left side of the line so thatone edge of the channel is on dead center.Layout and cut a perfect 90° set of diago­nals that are bisected by the dead centermark , then install the centering stick.

To check the accuracy of these twotools , use them to scribe three linesacross the end of a tin can from differentangles. Hold the thick portion againstthe side of the can like you would the stockof a square, and mark along the "blade. "All three lines should cross at the samepoint.

The third centering tool (C) is sort of abig funnel (in fact, a metal funnel of goodsize will work the same way). Cut a 4" to 6"long piece of 2 X 2 stock as shown. Cut acentered slot on each of the four sides forthe legs. Make four matching curved legsfrom a 6" X 18" piece of plywood so thatthey taper outward at the bottom asshown. Before assembling, draw diago­nals from corner to corner on the end of theblock and use a drill press to bore a 1/4" ~

hole through the center. Glue the legs to ~the block and fashion a long 1/4" rod with ~

a point on the end. To use the tool , slip the ~

legs down over your round object and tap ~

the rod to mark the center.~ gDon Kinnaman is a retired high school .~woodshop teacher from Phoenix, AZ. ,g L- J

May 1990 23

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by Stan FoxHere's a child 's chair that doubles as a

toy box. It makes an excellent gift, takesonly a few hours to complete , and if youuse common pine the total cost shouldn'texceed ten dollars .

Starting with eight feet of 1 X 12 stock ,cut four pieces , each 11-3/4" long, for thesides (A) of the toy box . From the samestock cut the seat (8) 12-3/4" long , and thebottom (C) 9-3/4" long. The waste will beminimal since you 're using the dimen­sions of the board as it comes from thelumber yard . With glue and 1-1/2" finishingnails , fasten the front and back pieces

Stan Fox has designed and built a number ofwooden items for children in his shop inRockville Centre, New York.

24

between the sides as shown in Figure 1.Use five nails on each joint, with the top­most nails only 1/2" down from the topedge. This last point is important since itwill help keep the lid intact , as you'll soonsee.

Put glue around the edges of the bot­tom piece , insert it, and nail through thefour sides while holding it flush with thebottom edges . Use three nails on eachsurface . To help you hold the bottom inplace while fasten ing, drive a nail partwayinto the outs ide surface of the bottom be­fore you apply the glue . You now havesomething to grasp to help maneuver thepiece into place. Glue on the seat and nailit down through each corner. Cente r a nailalong each edge, too. Countersink all the

nails for finishing later . Sand the box at thispoint in order to counter any slight mis­alignments that may have occurred duringassembly.

With the blade about 1" high, slice thetop of the box off in four cuts. Todothis, setthe fence on your table saw 2-3/16" fromthe blade (be sure this position clears anynails). Push the box throug h carefully andslowly; any undue twisting or press ing onthe bottom may cause the blade to bind orto chip the wood at the corners. Bear inmind that at the beginning and end of eachcut you are slicing through a grea ter thick­ness. You now have a perfectly fitting lid,and it's clear why the topmost nails fasten ­ing the sides to the front and back had tobe positioned so near the top edge . Hold

Popular Woodworking

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®

---:--1-_ -1-16","

®

Figure 2. Positioningthe Backrest Support align

with, / back/ corner

Toy Box/Chair

CUUing List

Finished Size

Qty Part T W L Piece

4 A 3/; 11 ' /4" 113/4" sides

1 B 3/4" 11 ' /4" 123/4" seats

1 C 3/4" 11 ' /4" 93/4" bottom

1 0 3/4" 4" 123/4" backrest

2 E 3/4" 3'/4" 163/,6"backrestsupports

Supplies

10 #8X 1'/4" flathead wood screws

40 1'/2" finish nails

2 1'/2"wide flat hinges with screws

©Figure 1. Assembly

co~.sE~e-,

J:JV>c.ggV>L..- --J~

the lid on with masking tape while fasten­ing two flat hinges to the back, 2" from theside edges .

Cut the backrest (0) to size. In thecenter you can trace and cut with jig, sabreor coping saw a simple design such as aheart or star , or perhaps the initial of theyoungster who will use it. Make the twobackrest supports (E) using the full-sizepattern in the PuliOut™ Plans section ofthe magaz ine. Bore three holes in thelower end of each support, and two in theupper end . Since you'll be using #8 ,1-1 /4"flat head wood screws , use a #11 twist drilland then countersink each hole. Be sureto place the screw holes so that you end upwith both a left- and a right-hand piece,not two identical pieces. To ensure this

result, hold the pieces together and thenmark the hole locations on the outside ofeach . Next, attach the backrest betweenthe supports, near the top, flush with theback edges of the supports ; then glue andscrew. Glue and screw this assembly tothe box with the supports positioned asshown in Figure 2.

Finish off all countersunk holes withwood filler , or you can use wood plugs tocover the screw holes. Then sand andfinish as you like. The proportions of thecompleted project are so designed thatwhen the youngster opens the lid andrests it against the backrest, it will stayopen without a supporting arm. I suggestnot placing a latch on the lid so that Juniorwon't be tempted to lock Fido inside .~

May 1990 25

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To~Axel Lindgren and his family by the hand--earved canoe. Above,Axel holds the traditional carving tools-stone and elk antler wedge.Below left, the carved nose and bridge across the bow are shown. Inthe center, Axel carves out the paddler's seat with a modern adze. Tothe right, the newly finished vessel is ceremonially ''purified.

Axel Lindgren Builds the

Yurok Canoeby Deborah R. Upshaw

For centuries, Native Americans living along the coastalredwood belt of northern Californ ia made and used redwood logcanoes for hunting, fishing, transportation, and ceremonial pur­poses. The Yurok, the Tolowa , and the Wiyot tribes all carvedredwood vessels , and they often traded them for goods made bytribes living inland.

Despite the immense changes that European settlement andmodern industrial life have brought to this region, the art ofcarving the redwood log canoe survives to this day, thanks topeople like Axel Lindgren-a man who dedicates his life topreserving his Native American heritage and culture. A mixtureof Irish, Swedish and Native American, Axel prides himself onbeing a documented fifth generation Yurok of Tsurai Village(pronounced "chur-eye").

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Connie Lindgren Garcia, wearing a 100 yearold, authentic Yurok ceremonial dress made ofbuckskin and adorned with natural materialsincluding Abalone and Dentallum tusk shells.

Here in Tsura i-now the Californiacoastal town of Trinidad-Axel recentlycompleted his third hand-earved red­wood canoe, following the traditions of hisforefathers . "I learned how to carve theredwood canoe in 1970 from DeweyGeorge, who was a 100% Yurok Indian. 1hope to pass on this knowledge to my foursons," states Axel matter-of-factly.

Axel, who is President of the TsuraiAncestral Assoc iation, admits that littlehas changed in his small coastal commu­nity. The widely known and picturesqueTrinidad Head--ealled "Tsurewa" by theYurok and meaning "mountain- by- the-

Deborah R. Upshaw is a freelance writerfrom Eureka, California and a frequen tcontributor to Popular Woodworking.

May 1990

sea"-still dominates the landscape, making it one of the mostscenic spots on earth.

Axel often lectures in schools and at campfire programs in theCalifornia State Parks, telling others about the Yurok culture andway of life. "My grandmother , Eliza Lindgren, was the lastmedicine woman of the Stone Lagoon-Little River area," hesays, "and the hand-hewn wooden surf nets on display at theTrinidad Museum were made by my father."

But Axel is best known as a canoe maker. His first redwoodcanoe is on permanent display at the Trinidad Museum . Hissecond is in the South West Museum in Pasadena , California.The old growth redwood log from which Axel carved his mostrecent boat was donated by Louisiana Pacific Lumber Company .It's estimated to be about 825 years old and weigh ten tons, witha lumber potential of some 3200 board feet!

"The size of the log dictates the size of the canoe ," Axelexplains. "This particular one measures 20 feet long--42 inchesbetween the outside center edges and 13 inches from top tobottom, with a three inch thick floor." Though he occas ionallyuses the traditional Yurok tools of elk antler and bone, Axelprefers to keep these aside for exhibition, and usually selectsmodern steel hand tools.

"I begin by splitting the log down the middle using a sledgehammer and a number of steel wedges. Sometimes I use .wedges made of elk antler. I strip away the cull parts until I getdown to solid wood.Then Ibegin to carve and hollow it out, goingby feel as a potter does. I use both the curved cutting edge adzeand the straight edge adze," he continues. "And the double bittedaxe is as good as any. One thing special about this axe, however ,is its curved handle-it conforms to the curve ofthe cut." Axel alsouses a broad axe made of bone or stone, and a steel chisel witha curved cutting edge.

After splitting the log, he carves "body parts" into it to form thevessel. The bow and stern resemble the bridge and cheeks of thehuman face. Other parts, including the lungs, heart and kidneysare also carved into the log. Axel describes their significance-

"The canoe itself is a symbol of the continuation of life.And the

Axel, with his sons and friends , takes the canoe for its maiden voyage.

27

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Above, the canoe is broughtdown the hill for launching in Trinidad Bay, California . Below, Axelandhis daughter Connie after the ceremonial purification of the canoe.

tine Trinidad Bay. As the canoe burned,Axel and his sons constantly stirred thefire with long sticks to prevent the flamesfrom consuming the boat. Afterward , theyrubbed the charcoal away using burlapsacks. Axel pointed out, however , that hisforefathers would probably have used softbrush, like alder leaves.

"Caring forthe canoe is simply a matterof keeping it damp-in or near the water ,or in the shade, " he says. "Any cracks thatappear on the canoe after it is finished aresealed with Douglas fir pitch. The Indianswould have collected the fir pitch in carvedsoapstone containers."

The only parts added to the sol idcarved redwood canoe are the bumperand the yoke . "Two sticks about 5/S" thickand one foot long are taken from the topsof fir trees. They are then burrowed intotwo holes made at the front of the canoe.They are bent and folded across horizon­tally , and then bound inside and out withspruce roots or hazel nut twigs . Thismakes a natural bumper. They hadn'tdiscovered chrome yet! The yoke, addedat the front and formed from the forkedbranch of a tree, is a symbol of wealth."

Axel intends to take the completedYurok canoe on a voyage up the coast toSeattle, Washington for a Native Ameri­can conference held on Puget Sound. Thecanoe will also be part of the White Deer

~ Skin Dance, itself part of a ten day renewalg and fertility festival held at the Hoopa.[ Reservation in Californ ia. After that, it will

secret of its design. If it tips over, it rolls be put up for sale.~right back up. When the Yuroks huntedsea lions, many of which weighed from1000 pounds to a ton, the men would turnthe canoe over on top of the animal. Whenthe canoe flipped back over, right side up,the sea lion would be inside."

After carving the canoe for nearly ayear, Axel readied it for the Yurok purifica­tion process. The canoe is filled with itsown redwood chips and shavings, piled uparound and underneath the vessel, andthen set on fire. "The practical part of thisis that it seals and tempers the wood.That's what we used before there wasThompson 's Water Seal," he says laugh­ing. "The fire burns away the unevenedges and takes away the slivers on theinside and out. And it's a ceremonial act torid the boat of demon ic spirits."

Axel recently purified and launched histhird canoe in front of television cameras, Axel's sons offer canoe rides to the pub lic onnews reporters and a large crowd at pris- the day of the Salmon Festival.

partscarved into it have both symbolic andpractical importance. For examp le, thenose at the front is used for tying theanchor or securing it to a tree. At the back ,just below the seat , are the kidneys.They're used to brace the paddlers ' feet.Toward the front is the heart which mayhave a hole drilled into it for a mast andsail." When I asked why this canoe 's hearthad two lines carved into it, Axel explainedthat they represent his own surgical scarsafter he underwen t heart surgery lastyear.

An important feature of the vesse l'sdesign is the carving of the canoe 's bottomfrom the inside center of the redwood log."That's the heartwood," expla ins Axel ,"and that's where you want the toughest ,most durable wood . That's where thecanoe will take the bumps from the rocksand from dragging along the beach ."

Another excellent feature is thecanoe's low center of grav ity. "That's the

28 Popular Woodworking

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workshop, a good adze can have many uses- like shap ing bowlsand chair seats , and for all large carving projects. The curvedblade adze is the ideal tool for roughing out , while one with astraight blade does nice finish work. If you've ever seen a genu inehand-hewn beam, not the ersatz type made with a disk sander ,you were probab ly impressed with the uniform chip placementand the resulting pleas ing texture . Some hand-hewn beamswere done with the broad axe, but when you see a beam with abeautiful , uniform, undulat ing pattern , you 've discovered the

The Indian AdzeAn Easily Made Tool from Out of the Past

by Warren AsaLast summer I spent ten weeks traveling through Alaska and

British Columbia in search of Native American woodcraft. Ivisiteda dozen carv ing workshops-some are large tribal carving shedswhere several sixty-foot totem poles can be worked on simulta ­neously ; others are small , one person operat ions. In every case ,carv ing adzes were in use, and in every case they were made bythe carvers themselves from tree crotches , just as their ancestorshad done. Today the elk antler or stone blades have beenreplaced with ones of steel , but many craftsmen still bind theblade in place with rawhide in the ancient manner.

As a student of Indian lore Iknewthattheadze had been muchused by the northwest coast Indians in olden times , but I had noidea that it was so popular today. This fact inspired severalideas- as a woodworker, I thought here is an easily made toolthat many woodworkers would like to have in their shops. Fromthe view of the blacksmith who has made the eye-handledEuropean type adze ,what a simple and inexpensive way to makea fine tool. And as a student of Native American arts and crafts ,I felt very priv ileged to discover this old tool so completelyintegrated into modern workshops. 2:;

The adze was a highly regarded tool in Amer ican pioneer :£

days ; it was used to square logs for construction, to form ship 1>

timber and ox yokes , and to make railroad ties. In the modern ~a. '--- ~_ _1

Warren Asa has been woodcrafting since his scouting days. He spe­cializes in native American folk craft.

The raw material for making Indian adzes-handles, blades, bladeblanks, and cordage and bolts for fastening.

May 1990 29

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Making the Handle

The adze handles and blades below are ready for mating.

track of an adze.The art of the northwest coast tribes has a unique

qual ity, recognizably different from that of any other Northor South Amer ican native groups. The Tlingit, Tsimshian,Haida, Bella Coola, Kwakiutl , Coas t Salish and Nootkapeop les used the adze to create much of this distinctive art. Inancient times, the tool fashioned totem poles , shaped planks fortheir houses, hollowed and dug out canoes , and served through­out their extensive woodworking repertoire. Today they aremainly used on totem poles,decorative wall hangings and animalmotifs.

With my interest aroused, I started asking quest ions about thebest wood for handles , the types of steel, and the size and cuttingangle. Vine maple, common along the northwest coast , was themost often suggested wood for hand les. I've used it several timesand it is a good handle wood . But any reasonably tough woodwith a bit of flexibility will do. I've had good luck with ash, oak,other maples , and some of the fruitwoods .

The larger shops I vis ited had adzes in several sizes, fromlarge two-handed types down to small finishing models . For thehome shop, try handles from 10" to 14" in length. The thickerbranch of the crotch takes the blade and the smalle r branchbecomes the handle. When you're tramping the woods looking

(;for adze handles , keep your eye open for crotch angles of 30° to ~

45°. The wide angle will make a good roughing-out adze , while ithe tighter angle serves for a finish ing model. ~

The easiest way to get a blade for your adze is to use a chisel, ~

either a straight carpenter's mode l or a curved carver's gouge. If c, '--------------------- ----'

The roughing-out adze above is checked for correct angle beforemounting the blade. The finishing adze below passes the 9(J' test.

you don 't mind sacrificing the chisel , grind off the socket or tang,being careful not to overheat it and draw the temper from theblade end. If you want to keep the chisel intact, mount it as is­provided the blade and socket or tang are not too long.

Another approach is to have a blacksmith or metalworkermake some adze blades for you. Or try it yourself-the makingof a straight blade is not diff icult. You'll need a piece of tool steelroughly 1/4" X 1-1 /2" X 7". I've used steel from large saw blades,springs and files . Not all such "pick up" steel is perfect , but witha bit of trial and error you 'll find something that will work for you.Grind the angle on the blade at 20° to 30°, but don't finish thesharpening; that is, leave the edge about 1/32" thick. This thick­ness will act as a safeguard during tempering.

Drill a hole in the blade now so it can be bolted to the handle.If you're working with a hardened piece of steel , it will have to beannealed before you can drill it. Heat it red hot in a charcoal orcoal fire and then bury it in the hot coals and let the whole masscool slowly for several hours . Since I use carriage bolts to fastenmy adze blades , I square up the round hole after drilling to acceptthe square shank of the carriage bolt.

To the non-blacksmith, which includes almost everybody,tempering is a unique and mysterious operation to be viewed withawe. I'm sure that 1,500 years ago the famous sword makers ofDamascus were suspected of possessing magical powers. Buttempering is not all that mysterious or difficult, and if you'd like togive it a try, I'll tell you how. You will need a heat source ,like anold blow torch, a modern acetylene torch , a powerful camp stove,a hot charcoal fire, or a blacksmith's forge . Set up a work areaoutdoors away from combustibles, and have a pair of tongs orhefty pliers at hand and some sturdy leather gloves.

Tempering is a two-step process that realigns the molecules

30 PopUlar Woodworking

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rub the butt end ofthe hardened bladeon a hefty piece of

hot bar stee luntil the colors

appear as below

uniform, dull cherry red

blue---..,f--

purple

plungeblade endfirst into alarge container of water

Step Two:Drawing the Temper

Step One:Hardening the Steel

in the steel so that the finished piece has the necessary hardnessand toughness in the right places . Tempering is always some­what of a trade-off between hardness , which is required to holdan edge, and toughness, which we need to keep the blade frombreaking. To start the process , fire up your heat source, grasp thesteel with the tongs and heat it to a uniform dull cherry red. Thisis not as hot as the bright red heat at which blacksm iths worksteel. Holding the metal as shown in the illustration, plunge itsharp edge first into a large container of water. If the steel is sohard that a file won 't touch it, you have completed step one. If it'snot "glass hard," you either don't have tool steel to begin with, orit wasn't hot enough when you dipped it.

This first step is often referred to as "hardening" and must befollowed by a second step called "drawing the temper."To do this,polish one side of the blade with emery paper . You can hold theblade directly in the flame to draw the temper , but I suggest amore cont rolled method . Heat one end of a rather hefty piece ofbar steel red hot and lay it in a convenient,safe place. Next,graspyour blade with the tongs, polished side up, and start rubbing itagainst the hot bar. Rub in such a way that the butt end of theblade receives the major transfer of heat. After about thirtyseconds you'll notice that the steel at the butt is turning a palestraw color. This will be followed by a darker straw which shadesinto purple and finally blue. Keep rubbing the blade on the baruntil the colors run clear down to the cutting edge .When you havea dark straw color (some might call this yellow-brown) at thecutting edge, plunge it into water as before.With any luck, the buttend of the blade will be blue when you cool the blade-whichmeans it will not be very hard but rather will be tough and won'tbreak. You can temper other tool steel using this same tech­nique. Before you get too involved, though, read more about thesubject. Most books on blacksmithing have a whole chapter ontempering.

It's now time to prepare a handle to accept your blade. Whatyou want is a 90° angle between the taper you ground on theblade and the fingers of your hand as you grip the handle (see the E

photo to the left). A carpente r's square will help with the layoul. £When you have achieved the angle, mark the handle and saw off .~

othe waste slab. Check again to see if you still have the 90° angle. ~

If not, doctor it with a spoke shave, rasp or disk sander. Then cut .~

the insert to receive the blade. Have your blade overlap the wood ~from one-half to two-thirds of the blade length. If you have ~"---------7trouble gett ing a snug fit, rub the back of the blade with a pencil strop. Why all this con- cern about sharpen ing?and fit it in place. The pencil lead marks on the wood will show Simply because a sharp adze is a happy adze , and awhere to remove stock for a tight fil. happy adze cuts cleanly and almost effortlessly. Re-

The handle of an adze, just like the handle of a hammer or an member this, and sharpen often while using your adze .axe, should be thinned down at the neck to provide a bit of spring Now we come to perhaps the most critical step in the project­to prevent arm fatigue. The handles for finishing adzes should be attaching the blade to the handle. Of the many adzes I observedgreatly thinned to permit plenty of spring-necessary for flipping during my trip, this attachment appeared to be the biggestout the small chips madeduring finish work. In addition to shaping problem. When the head of a tool made with an eye-like athe neck and removing splinters, you can finish the handle as regular hamme r, axe, or adze-loosens, it's dangerous becausefancy or as rustic as you like. there's always the possibility that it will go rocketing across the

The final sharpen ing of the blade should be done on some sort shop. The Indian adze is generally not dangerous when the headof cooled stone so the steel will not overheat and draw the is loose, but it cuts less accurate ly, thechipsdon'tpopoutaswell,temper. I use an old-fashioned foot-powered water stone wheel. and the handle gets chewed up. The lesson should be loud andIt will take fifteen minutes or so to grind away the 1/32" edge you c1ear-mounllhe adze head accurately and strongly the first timeleft on the blade, but don't rush it. After the cooled wheel,continue around . I recommend bolting it to the handle. If you go this route,with a fine sharpening stone and then proceed to a hone. The drill the hole in the handle at this time. I countersink the nut ifnext step is leather impregnated with rouge, and finally, a leather there 's plenty of wood in the handle; if not, I tighten the nut over

May 1990 31

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These typical Native American totem carvings clearly show the marks left by the adze. Note theforehead of the figure on the left and the eye and chin of the figure on the right.

for wirewrapping ,drillholes

and insertwire ends

splicingrawhide laces

that is swung , must be respected . Yearsago I learned axemanship from a moun­tain man in New Mexico. He had a rule thatapplies perfectly to the adze: "when chop­ping, know what you'll hit if you miss whatyou're aiming at." So rule one is be carefulwith your adze. Rule two is keep it sharp.After hitting the work , a dull adze bouncesaround causing all manner of mischief.

Experts say of everyth ing from nailhammering to flycast ing that "it's all in thewrist ," and skillful use of the adze doesrequire dexterity. After you've made a fewadzes , have a long practice session on alog or thick plank. Try roughing out atrough with a curved adze , practice takingout small chips with a straight-bladedmodel , and try both tools going across thegrain. Even with a sharp, perfectly de­signed adze , it's difficult to work with muchsuccess across the grain, but you shouldbe able to cut smoothly at a 45° diagonalto the grain. Many light strokes do morework than a few haymakers that bury theblade in the wood . But even on your lightblows you must use enough force to flexthe handle a bit so the chip will pop out. Fora first project try something that can belargely completed with the adze, like acanoe paddle , tray or bowl.

~ As with any arm-swung tool, extensive~ practice makes for accuracy of cut andi confidence of mind. Work with your home­s made adze until you get the feel of it, and~ then be surprised at the uses you find fora this old-new tool.~

wrapping partiallyremoved toshowbolt

th eadze .I've usedvarious types ona number of projects, and I am still learn­ing about this versatile tool. The Indiancarvers are amazing in their ability to wadeinto a huge trunk of yellow cedar with acurved adze and take out prodigiousamounts of wood when roughing out a to­tem pole. The next day they may finish abeaver motif in alder with delicate, rapidstrokes from a small straight adze. Whenasked about their talent, they shrug andsay, "I just do this all the time." The skillacquired from years of practice is evident.

One thing I can say for sure is that anadze, like any sharp tool, especially one

that portion of the handle with walnut orpecan oil. You can buy walnut oil (see"Household Cooking Oils as Wood Fin- .E

ishes" in Popular Woodworking #53 , £March 1990), or put a few nut meats in a .~

osquare of cloth, crush them, and rub the swood with the oily cloth. .~

I make no ~claim to ex- ~

pert isewit h

a washer and do the wrapping over the topof the nut.

I've wrapped adze blades with cord,rawhide , and wire; each has its strongpoints . Cotton , linen, fish line , or anon-stretch synthetic cord are the easiestto use. Keep the cordage tight as youwrap. You can tie these materials withconventional knots or use a whipp ingtechniques as used on the ends of rope.Rawhide, however, is the authentic Indianway of fastening an adze blade . It'ssoaked in water for several hours beforeuse and shrinks tight and hard when itdries. It can be purchased at leather craftstores. Do not use so-called "rawhideboot laces" since these are actually madeof tanned leather and have nothing incommon with real untanned rawhide. Theillustration (above right) shows the Indianway of splicing two pieces of rawhidelacing. Wire is harder to use than the otherwrapping materials, but it's strong anddur able. My favo rite is a 20 gaug enon-rusting type made of Inconel, but anyflexible steel wire- even baling wire-eanbe used. The best way I know to anchorthe ends of the wire is to drill a hole the sizeof the wire at the start and finish of thewrapping.

I always varnish my adzes wrappedwith cord or rawhide because if they gettoo damp and the bind ing materia lstretches, there goes your tight fit. Useany good quality exterior varnish and let itreally soak into the wrappings. Apply asmany coats as needed to saturate thebinding. Since I don't care for varnish onthe hand grips of my tools, I usually rub

32 Popular Woodworking

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5s::5'"'"£;

~Bos:a.

3-Dimensional Tic Tac Toeby Curtis Dillon

A grade-school teacher introducedour class to three-dimensional tic tac toeback in the early sixties. It soon becamean obsession, taking up all our time atrecess. I remember playing in great tour­naments , holding the pieces betweensweaty palms while waiting for my turn,hoping the enemy wouldn't see my line ofattack. Schoolmates would look on, hop­ing I'd lose so they might play the winner.

We soon learned to make our ownsets-a bit ragged in appearance butfunctional nonetheless. Imade my first outof the side boards of an old cotton trailer,a broom stick, and the dowel reinforce­ments inside my mother's kitchen curtainrods. The game board consists of twohardwood boards , one a square playingarea centered on top of another, rectangu­lar piece which provides storage for eachside's pieces. Dowels act as the stacking

Curtis Dillon is a veterinarian in Conroe,Texas, who likes to blend wood, metal andleather in crafting personal functional items.

May 1990

pins, and the playing pieces are cut from1" dowel rod, center-drilled, and dividedinto dark and light. For playing rules anddiagrams , see the sidebar on page 35.

Use 1 X 6 clear ash, beech, birch, ormaple because they'll best match yourdowel stock. If you intend to paint theboard, use white pine or even 3/4" ply­wood. Since dressed 1 X 6 stock is 3/4"

thick and 5-1 /2" wide,cut the playing boardprecisely 5-1 /2" square. Cut the 11" longbase board from the same stock.

To mark and drill the faces of theboards, first cut out the template in thePuliOutTM Plans located in the center ofthe magazine. Tape it to the top face of the

\playing board-the side with the bestgrain. With a center punch or large bluntnail and a mallet, lightly tap a dimplethrough the paper and into the wood ateach of the sixteen drilling points. Accu­racy here is essential for the final appear­ance later. Now remove the template andcut it down the middle (on the dotted line).Tape the halves to the top face of the base

board, one flush at each end. Mark thedrilling points as before and you're fin­ished with the template.

Now center the playing board preciselyon the base board and clamp the twotogether , using C-elamps padded withscrap. The side edges should be flush andeach end of the base should extend ex­actly 2-3/4" on either side of the playingboard. You can use a hand drill , but theresults are likely to resemble what myschoolmates turned out. I recommend adrill press for a real "picket fence" appear ­ance. Use a 15/64" bit, clean it often whiledrilling, and go slowly. You don't want toburn or ream out the holes too much, orsplinter the exit holes. Pass the boardconsistently in the same direction underthe drill press, so that any small deviat ionin angle affects all the holes in the sameway. To get the C-elamps out of the way,drill two of the holes at oppos ite corners ofthe playing board all the way through bothpieces. Then cut two 1-1/4" lengths of 1/4"dowel,sand lightly, and drive them into the

33

Page 34: Popular Woodworking - 054 -1990.pdf

r-r-r n 1/4"

9/32" - .jI I

- 1-- I I I r-r-:

-1 - I I

( ! ! J2'/2"

I I

'/2" I II I

"T I I

21/ 2"15/64 4" I I-, L.- I I 31/ 4"I I I

11/1 6" r-I P/a"l I I I I I I I II I I I I I I I 3/

4"

I I I I I I I I II I I I I I I II I I I I I I I

I I I I I I I I I I I I I I I I 3/4

"I I I I I I I I I I I I I I I II I I I I I I I I I I I I I I II I I I I

I I 11" II I

I- 5'/2" -I

Figure 1. Side View See the PullOutTM Plans section for a full-size pattern.

l

holes to secure the boards together tem­porarily without clamping.

Drill the remaining holes completelythrough both boards . You should end upwith a total of thirty-two holes-sixteenthrough both boards and eight at each endof the base board.

After lightly marking the edges of thetwo boards so they can be rematched, usea blunt nail to knock out the temporarydowels in the same direction they went in.Once separated , the boards can besanded and any burrs or splinters re­moved from around the holes . Decide nowwhether you want to leave all edges crispand square. If you do, soften them slightlywith a sanding block. This design will mostlikely chip through usage , so considerchamfering them. The chamfer should notextend more than 3/16 " onto the face of theboards, and do not chamfer the edgeswhere the two boards meet (see Figure 1above). Final sand now.

To make the stacking pins, clamp two1/4" diameter , 36" long dowel rods side byside in a padded vice and mark off sixteen4" lengths. On two more rods, mark offsixteen 3-1 /4" lengths. Saw them all off fora total of thirty-two stacking pins-be sureto saw consistently on the same side of themarks. Lightly chamfer both ends of allpins with sandpaper, a power sander , oreven a bench grinder. The chamfer at oneend will facilitate driving them ; the other

will allow the playing pieces to drop easilyonto them.

Position the boards together on a flat,stable surface. Apply a small amount ofcarpenter's glue around one end of two ofthe 4" pins and drive them through thecorner holes you used earlier to pin theboards together. Tap them down with awooden mallet until they're flush with thebottom of the base board. Drive the re­maining 4" pins through both boards. If thefit is too tight, sand them lightly. Wipe offany excess glue. The sixteen 4" stackingpins should now stick out evenly 2-1/2"from the top surface of the playing area.Tap lightly from the top or bottom to eventhem out-before the glue dries. Next,glue and drive the 3-1 /4" long pins into theholes in the ends of the base board so theyalso project 2-1 /2". You may need to sandthe bottom of the base board again. Bothboards should now be firmly joined andready for finishing.

On to the playing pieces. Clamp a 1"diameter, 36" long dowel rod in a paddedvise and mark along it every 1/2", markinga number of extra pieces beyond thesixty-four required . To saw them offevenly , try this jig : take a 2" to 3" length of1" internal diameter pipe (copper tubing oreven cardboard will work). One end mustbe cut straight and true. Pass the dowelrod through it , and using the pipe'ssquare-cut end, pencil the circumference

of each 1/2" mark along the rod. Saw offthe sixty-four pieces and some spareswith a fine-toothed back saw.

To center punch each piece accu­rately , make another jig using your 1"diameter pipe and the 3" to 4" piece of 1"dowel left over . One end of the dowelpiece must be center punched accuratelyand drilled about 1" deep. Size the hole alittle smaller than the diameter of a cut off,blunt 1-1/4" nail which you drive into thehole to make the punch (see Figure 2). Itshould fit snugly inside the 1" diameterpipe jig ; if it's loose, wrap it with tape tosnug it. Now place a playing piece on yourwork surface with the even end of the pipejig over it. Drop the punch down throughthe pipe and tap it lightly with a mallet tomark the piece. Repeat the procedure onall the pieces .

Accurately drill each through the markusing a 9/32" bit in the drill press. Makesure the piece lies flat while you drill byholding it with pliers (wrap the jaws withtape to protect the pieces). An even betterway to hold them is to drill a 1" hole in a flatpiece of 3/8" plywood which you've firstclamped to the drill press table . Eachpiece can be placed in the hole and drilledaccurately. If the pieces fit snugly in thehole and you keep the plywood clamped inthe right position, there 's no need to centerpunch the pieces at all. Lastly, sand thepieces and slightly chamfer the rims of

34 Popular Woodworking

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o

@ooo

valved with offensive plans that they failto calculate the opponent's intentions.The experienced player learns to openseveral lines of attack in case one isblocked, and to force the opponent toplace pieces where he can build onthem. It often turns out that the loserwas unable to block two lines of attackin one move. The need to think severalsteps ahead and to visualize multipledimensions are fun challenges-andsure to interest and benefit kids.~

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Ways of Winning

How to Play the Gameby Curtis Dillon

Players take turns placing piecesone at a time on the stacking pins. Theobject is to get four pieces in a row, asopposed to the three required in theoriginal game. A row can be in anydirection-horizontal, vertical or diago­nal- as the illustrations below show.

Three-dimensional tic-tac-toe isan excellent game for appreciating thedifficulties of simultaneous attack anddefense. Players must not get so in-

nail

ayingece

owel

insideameterpe or

opperubing

d

1"dipict

~ -1"--·

pipi

Figure 2. Center Punch

level work surface

each side so that the players can easilyseparate and grasp the pieces on theboard .

Begin finishing by brushing on a dilutedstain quickly. Several such applicationswill be more effective in covering all thesurfaces than a concentrated wipe-on,wipe-off type stain. Don't allow it to pool atthe bases of the stacking pins. When dry,spray on a thin coat of low-gloss polyure­thane or varn ish. When brushed on, ittends to run and pool around the pin baseslong after you've finished . Half the piecescan be colored by stringing them on a wireand dipping them in the diluted stain untilthey match the color of the board. Theother set should be left natural or staineda distinctly lighter color . When dry, sprayor dip them in diluted clear finish. If youwant to paint the boards instead, brightlycolored spray enamels are best. Wewoodworkers may take pleasure from thenatural beauty of the wood, but most kidslike them loudly colored.

When the finish is dry, glue a piece offelt backing to the bottom so it won't scuff.Another nice touch is to add brass fixturesto the corners , especially if they aren'tbeveled . You can also vary the playingpieces by making one set out of 1" squarestock, or out of grooved dowels . Nowstudy the sidebar and get familiar with thegame before you show it to the kids-thatway you just might stand a chance.~

May 1990 35

"

Page 36: Popular Woodworking - 054 -1990.pdf

APopular Woodworking Project

Fretwork Shelf and Mirror

by Devore O. BurchThis handsome shelf wou ld look marvelo us hanging in a

hallway; it provides a place to set your keys and gloves and hasa mirror for checking your appearance before you step out. If youlike, you could build it with a raised panel in place of the mirror ,or you could simply make the back from one solid piece. The shelfshown here was made of Douglas fir finished with Minwax®golden oak stain and Deft® clear sat in lacquer.

This type of scro ll saw work was very popu lar in years goneby, but somewhere around World War II it seemed to fade away.With the advent of many high- tech jig saws as well as otherreasonably priced scro ll saws , this type of construction seems tobe regaining popularity. Whether your saw is new or old (mine isover 40 years old), you will enjoy the end product.

Start by planing your mate rial to 3/8" thickness. If you don'thave a planer , you can buy 3/8" material through many mail ordersources. Refer to the cutting list for the sizes you'll need.

The back frame is rabbeted for the mirror, and this rabbet isalso incorporated in the joinery that connects the stiles (A) to therails (B). The stiles have tenons on each end that fit into therabbet, forming a lap joint (see Figure 1). After cutting these fourpieces to size, set up the dado head on your table saw tocut 1/2"wide X 3/16" deep. Attach a wooden auxiliary fence to thesaw's fence and bring it up against the blade to cut the rabbet onDevore O. Burch is a woodworker in Fort Worth, Texas.

36

the inside back surface of all four frame members. Using the mitergauge with this same fence and dado setup , turn the stiles over,and rabbet the ends on their front surface. This forms the tenons.

Next scoot the fence over toward the blade, cutting into thewooden auxiliary fence so that only 3/8" of the dado blade isexposed . Use this setup to cut the rabbet on the inside backedges of the sides (C).

Cut the shelf (D) to size and round both corners of the frontedge with a 3/16" round over bit [Editor's note : I used the roundportion near the bearing on a small ogee bit to round this to mysatisfaction).

Chuck a 3/8" straight bit in your router , and set it to a depth of3/16"by placing the router base on the surface of one of the sides(C) and lowering the bit into the rabbet you cut along the backedge earlier. As shown in Figure 2, a fram ing square makes agood fence to guide the router in cutting the dado for the shelf.Measure your router base to determine its radius, and add 3/16"(the radius of the 3/8" bit) to determine where to clamp the squarein relation to where you want the bottom of the dado . In this case ,the bottom of the dado should be 2-1 /8" from the bottom end ofthe sides, so add 2- 1/8" to the formula above and clamp thesquare with its tongue at this point and its body aligned flush withthe back rabbet. Mark the width of the shelf on the side pieces ,measuring from the edge of the rabbet to determ ine where to stoprouting. Be sure to rout these pieces as oppos ing right and left

Figure 1. The Back FrameAssembly As Viewed From Behind

3/'6"X '/2"rabbets

3/16"

X 1/2"

rabbeton front surface

Popular Woodworking

Page 37: Popular Woodworking - 054 -1990.pdf

Figure 2. Using a Framing Square as a Router Fence

PieceL

15" mirror

w

Supplies

Cutting List

Finished Size

T

Fretwork Shelf and Mirror

B

oc

triangular hangers

2

2

2

2 A

8

Panel retainers and triangular hangers are available from:Armor Products, Box 445, East Northport. NY11731 . (516)462·6228orMeisel Hardware Specialties. Box 70.Mound.MN55364-0070.1-(800) 441-9870.

Qty Partradius of router base

plus radius of bit

8

sides , and when youstop the cut, wait for therouter to co me to acomplete stop befo relifting it out of the cut.

Now you're readyfor the scro ll sawi ng.Transfer the patternsfor the sides and rails(fr om the Pu liOut™Plans section) onto oneof each of thesepieces.Tape the twosides together and thetwo rails together withtheir rabbets facing in; use several pieces of masking tapeon all the edges. Now drill holes through the pieces in each of thecenter cutout areas so you can thread your scroll saw bladethrough, and cut both pieces simultaneously. Make all the inte­rior cuts before cutting the outer edges.

Sand all the parts before assembly. If you were careful withthe scroll saw, you shouldn't have to do much more than softenthe corners on the fretwork. Touchup work in the cutouts can bedone with small files or an emery board.

Glue the back frame together first. Smear a little glue on thestile tenons and clamp them so the outer edge is flush with the

~ ends oftherails. Usesmallhandscrewclampswith wax paperto~ hold these lap joints. When this frame is dry, finish assembly ofE{? the piece by gluing the shelf and the frame between the sides~ (see Figure 3).5 Apply the finish of yourchoice,and install the mirror with panel~ retainers. Then attach two triangular picture hangers, and decide:§( ..... where to hang this charming shelf.~

Figure 3. Assembly

May 1990 37

-------------------------_......_------

Page 38: Popular Woodworking - 054 -1990.pdf

Cutlery Box

Cutting List

Finished Size

Qty Part T W L Piece

2 A \ " 53/4

" 93/e" sides

B 1/4" 5" 85/e" centerdivider

C '/4" 4'/2" 5'/4" front divider

D '/4

" 5" 5'/4" back divider

E 1/2" 43/

4" 5" front

F '/2" 53/4" 5" back

G 3/4" 5" 83/e" bottom

1/4

" X l/S"

dado

®

®

about 1/16", and then jigsawing their finaloutline. Glue and screw the sides to thefront, back and bottom . Idrilled a pilot holeand threaded the six holes per side with a#6 drywall screw to prevent breaking offthe brass screws.

After finishing with Watco ® light walnutoil, I let it dry for a couple weeks and thenapplied two coats of Oeft® semi-gloss.With its solid yet gracefu l look, the cutlerybox makes a fine accessoryin our kitchen.~ ..-.--,===1

See the PullOuFM Planssection for full-size patterns.

by L. M. KueckLike many woodworkers, I'm always

looking for ideas for projects that will comein handy around the house. Most of myinspiration comes from woodworkingmagazines or from my wife who asks mequestions like, "Would you please buildme a cutlery box?" This design is easy tobuild, permits easy access, and with its re- ~movable partitions, is easy to clean. i

Begin by transfering the patterns for ithe sides (A) and dividers (B), (C) and (0) ~L -=~~~~ ~from the PuliOutTM Plans to your wood . a.

Saw and route all the pieces to the dimen­sions given in the cutting list. I planed the1/4" stock slightly to assure an easy slidefit in the notches and dadoes. Cut 1/4"

wide, 1/8" deep dadoes down the insidesurfaces of the sides (marked on the Pull­OutTM Plans) and down the center lines onthe inside surfaces of the front (E) andback (F) to receive the dividers.

To shape the hearts, try using a 1"Forstner bit, overlapping the two holes

L.M. Kueck crafts wood in Reseda, GA.

CutleryBox

38 Popular Woodworkin~

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- --

~ullOutTM PlansPopular Woodworking #54

May 1990

Pages 39-54

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Page 44: Popular Woodworking - 054 -1990.pdf

I 3-D Tic Tac Toe Board I

II

+ + I + +I

II

II

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+ + I + +I

II

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Transfer pattern to playing board to mark drilling points . Then cutpattern down centerl ine to mark base board drilling points.

Page 45: Popular Woodworking - 054 -1990.pdf

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Page 46: Popular Woodworking - 054 -1990.pdf

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Page 55: Popular Woodworking - 054 -1990.pdf

APopular Woodworking Project

A Handy Step LadderFigure 1. Cutting Diagram

F

A

16"

30"

14" B B41

/4

"

31/4

"

2"H

31/8

"

AC

23/8

"

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and will serve faithfully for many years.The ladder uses mortise and tenon joineryfor sturdiness as well as good looks. Itfolds for easy storage and is light and easyto handle.

Start CUUingCut all the pieces to the rough sizes

given in the cutting list. One eight-foot#2 knotty pine 1 X 10 will give you theright amount of material for this project,if you follow the cutting diagram shownin Figure 1.

by Richard R. SteussyHere is a piece of furniture for your

kitchen that your wife will love. And evenyou can use it to get to those top shelvesof your cupboards. I made mine out ofpine, stained it "driftwood," and finished itwith polyurethane. This handy ladder willlook good stained to match your cabinets

Richard R. Steussy is a hobbyistwoodworker and the inventor of theEze--Anglegu ide®, available from SteussyCreations, 334 Atherton Ave., Novato, CA94945.

May 1990 55

Page 56: Popular Woodworking - 054 -1990.pdf

~ Now set up to cross cut at 65°. I uses: my Eze-Angleguide® at the radial arm;, saw (see the photo at left) by using tem­i plates that add up to the complementary.[ angle of 25°. You might choose to set the

miter gauge on your table saw. Trim oneend of the stringers (A) at 65°;then meas­ure from the point to the blunt end andmark the finished length of 27-1 /4" at 65°(see Figure 2). Since the design calls forthrough-mortises to join the steps (B) tothe stringers , you don't have to worryabout rights and lefts. Finish-cut the backlegs (C) at 87-1/2° with a length of 24-1/2"from point to blunt end (I use my 2-1/2°

template).While you're set up to cut at 65° you

should make the mortise guide asshown in Figure 3. This is a simple jig

The author uses his Eze-Angleguide® to cut the angles on the ends of the stringers and the made from 1/2" scrap. It has two parts:back legs without changing the 9CJ' setting on his radial arm saw. the base (D) and the fence (E). Cut

them both 18" long and glue and nail

I•

Figure 3. The Mortise Guide

Figure 2. Layout of the Leg

them together (with nails well in from theends). Trim one end of the jig at 65° suchthat the blunt end is on the side with thefence attached.

This jig is used for marking the mor­tises and also routing them. To layout themortise on the jig, place it on the tablewith the point to the right and towardsyou. Measure 1" and 3" from the bluntside of the angle towards the point. Makevertical marks across the end of the jigfrom top to bottom at those points (seeFigure 3).

Stack both stringers (A) on the tablewith the pointed side to the right and

c towards you. Mark this as the top end.~ Measure and mark 9-1/8"and 18-1/4" from~ the point of the stringer (see Figure 2).i Place the jig on top of the stringers with the~ fence away from you and overhanging the

.~ stringers. With the angled edge of the jigL..- ---l~ positioned at the 9-1 /8" mark, mark the

56 Popular Woodworking

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Figure 4. The Tenons on the Steps

Use the mortise guide jig for marking the start and stop points of the mortise; than clamp it inplace to guide the router and plunge-cut the mortise in both stringers simultaneously.

excess glue from the joints with a triangu­lar scraper. I find that a cab inet scraperremoves dried glue cleanly so stain willtake. Use a belt sander to sand the ends ofthe tenons flush.

The next step is to join the glue blocks(I) to the top ends of the stringers. I useda biscuit joiner. I secured the stringerassembly in my vise and clamped a glueblock to the inside end, flush to the top.Align the lower corner of the block with theblunt edge of the stringer as shown inFigure 5. Mark a line across the end of thestringer and onto the adjoining surface of

lower cross pieces (G and H) as shown inFigure 5.

Now put a 1/4" pilot roundover bit inyour table-mounted router and rout all thepieces with a slight bullnose effect. Do notround the stringer ends and rout only threeedges on one side of the glue blocks (I).Then use a pad-sander to do a thoroughjob of sanding all the parts.

After assuring that your steps will fit thestringers ,spread glue carefully on only thetenons . Use two pipe clamps on each sideat each joint, and draw the stringers to­gether evenly. After a few minutes , clear

length of the mortise across the stringers . (;Move the jig 1/2" to the left and draw a line ~that is parallel to the first line. Finally, mark ~

lines perpendicularly from those on the !edge of the jig . This will show the exact Ioutline of the mortise. Repeat this proce­dure at the 18-1/4" mark.

You will use these marks as your guidewhen cutting the mortise with your router.Chuck a 1/2" straight bit in your router, andmeasure the distance from the edge ofyour router base to the edge of the bit.(Mine measured 2-7/8" from edge of baseto edge of mort ise.)

Place the two stringers and the jig ontop of a scrap piece to protect your worktable. Line up the stringers and clamp thejig at the right distance from the mortiseedge.

Using the end marks of the mortise asthe starting place , plunge the router intothe cut. Gradually go deeper with eachpass until you get through both stringersand into the scrap.

Making the StepsCut the steps (B) to finished size ac­

cording to the cutt ing list and layout thetenons as shown in Figure 4. Set the tablesaw fence to 3/4" from the outside of theblade. Lower the blade to make a 1/8"deep cut for the shou lders on each end ofthe steps. Make a pass on each face ateach end, holding the workpiece againstthe miter gauge.

Next, raise the blade to 3/4"and set thefence to 5/8" on the inside of the blade.Pass each piece through on each endtwice to cut the cheeks. This should resultin a 1/2" thick tenon.

Now reset the saw fence at 1-1 /8"to theoutsideof the blade . Running the steps (B)vertically through this setup, with eachedge against the fence , should result in a2" wide tenon .

It is wise to use scrap to determine thecorrect saw setups , and do not cut yourpieces until you are sure that the width ofthe tenon you leave is correct to fit themortise. After sawing the tenons , roundthem carefu lly with a strip of sandpaperuntil they fit the mortise tightly . Dry-fit thetenons into the mort ises, and mark themfor reference (where the marks won'tshow).

Final PreparationRound the corners of the top (F) (I use

a 6 oz. tomato paste can lid as apattern) . Cut a 3/8" deep X 3/4" wide rab­bet across the ends of the upper and

May 1990 57

Page 58: Popular Woodworking - 054 -1990.pdf

Position the hinge with the spine just past the point on the end of the stringer and facing up. Use scrap wood ripped to the right width to prop theback leg assembly up flush with the back of the stringers .

the glue block; use this as the referencemark for your biscuit joiner. If you don'thave a biscuit joiner, drill pilot holes andcountersink for screws in the stringers.butdon't assemble these pieces permanen tlyyet.

Assemble the back legs and theircrosspieces as shown in Figure 5. Useglue and countersunk drywall screws .

Now you are ready for the hinges. Iused Brainerd #9102, 9/16" wide antiquebrass hinges. Laythe hinge on the pointededge of the stringer with the spine of thehinge facing up and hanging just off thepoint. Mark and drill the three pilot holesand attach the hinge with screws. Attachthe other hinge the same way. Next, placesome 1-1 /2" wide scrap under the backlegs to shim the assembly up flush with thestringer assembly so you can attach theremaining hinge leaves.Now you can gluethe glue blocks (I) to the stringers usingeither biscuits or screws, and set thewhole assembly aside to dry.

The last step before attaching the topis to rout two 1/4" grooves on its undersideto accept the spines of the hinges. The top ~

view in Figure 5 shows their location. Now :position the hinges from the assemb ly into ;,

.0

the grooves. You should be 1" from each go

side and the grooves determ ine the dis- -a.

58

tance from front. Clamp the base in place hinge folding up.and drill two pilot holes in each glue block. After touch-up sanding, I gave theThen finish the job with drywall screws. ladder a coat of "driftwood" stain. Allow itLay the ladder on its side and fit a card to dry, then sand lightly or touch with finetable leg support (after removing the but- steel wool. Then it is ready to finish with atertly from the end) to one of the stringers coat or two of polyurethane.and back legs. Position it so that it will After using this ladder, you'll wonderopen wide and yet close properly with the how you ever got along without it!~

Mortise the underside of the top to accept the spine of the hinge.

PopUlar Woodworking

Page 59: Popular Woodworking - 054 -1990.pdf

Attach a card table leg support to one of the stringers and back legs so you can lock the ladderopen. For this application, you'll have to remove the "butterfly· that usually attaches to thetabletop.

2

·11 14"

~ L--

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Handy Ladder

CuttingList

Finished Size

Qty Part T W L Piece

2 A 3/4" 3'/4" "30" stringers

2 B 3/4" 4'/4" 14" steps

2 C 3/4" 2" "251/2" back legs

0 '/2" 4'/2" 18" jigbase

E 1/2" 2" 18" jig fence

F 3/4" 9'/4" 16" top

G 3// 23/8" 14" uppercrosspiece

H 3// 3'/8" 14" lowercrosspiece

2 3// 2" 6'/8" glueblocks

Supplies

card table leg brace

2 9/'6" wide strap hinges

16 1'/4" drywall screws

Card tablelegbrace#01211 available from The Woodworkers'Store,21801IndustrialBlvd.,Rogers,MN 55374.Antique brass9116" strap hinges #H2206 available from Craftsman WoodService Co., 1735W, CortlandCt., Addison, IL60101 .

e: "rough length beforecutting angles0~<Il-'E0....>-.0

'"c.g~10g

Figure 5. Orthographic Views

May 1990 59

Page 60: Popular Woodworking - 054 -1990.pdf

APopular Woodworking Project.....--- ------ ----- - - - -------- --------, 0

s::;'"CD£1>.,~s:Q.

Computer Security Cabinet

Cutting List

Finished Size

Qty Part T W L Piece

1 A 3/4" 8" 44" keyboard

shelf

1 B 3/4" '231/2" '201/4" rightside

1 C 3/4" 16" 363/4" back

1 0 3/4" 16" ' 231/4" left side

1 E 3/4" ' 383

// 24" top

1 F 3/4' ' 383/4' 20" front

1 G 1/4" 11/2" 383/4" lip

2 H 3/4" 41/2" '141/2"

printertablelegs

1 I 3/4" 18" '14'/2"

printertabletop

1 J 3/4" 7" 363/4" inside shelf

Supplies

6 1/4" X2" lagboltswithflatwashers

6 \ " lead anchors

9 #8X3/ 4" flat head wood screws

12 #12 X3/4" flat head wood screws

3 6" right angle brackets

2 3/4" X48" piano hinges

1 single--barrel sliding door lock

11 3/4" chair leg braces

2 door pulls

'includes 1/8" facing strip

by Evan MadsenWhen our church purchased a com­

puter system, part of the planning was tohave a security cabinet built over itwhich would also function as a dust cover.The security feature was mainly to keepinquisitive youth from playing with it,and also for maintaining software fileintegrity.

The space allocated for the computersystem was on an existing 24" widecountertop which did not allow enoughroom for the keyboard. After exploringseveral possibilities, I came up with thedesign shown here. The front and top ofthe cabinet are hinged on full-length pi­ano hinges so that they can be folded up,out of thewaywhen the computer is in use.

Evan Madsen is a hobbyist woodworker inLa Mesa. CAlifornia.

60 Popular Woodwork ing

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®

1/ ..deep X 13/ ..wide dado4 16 '

1/2" from the edge

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

G

I\ I ,......

~L..---~1-- .::::::::::::::::::: ........

------ -----=------- ------ ---..: =::::::::::::-=------- -- -...::::..------ -- -----~ -- ---@ ----------~::::::::::.:::::::::..----- -- --..:::.-:::::::.----- -- ---.:.----- ------- -------------- ----

Figure 1. Assembly Diagram

@

c:o

BE{:>.Ll

~.g~~ L.- --1

the keyboard sits on an external shelf (A),mounted on three heavy-duty 6" anglebrackets I bought at a local hardwarestore. I used 1/4" X 1-1 /4" moulding tofinish the edges of the ash plywood andalso provide a nice 1/2" lip to hold thekeyboard in place. The shelf is purposelyabout 6" longer than the cabinet. Theadded length makes handy room for pen­cils, floppy disks, or whatever. The posi­tion of the shelf puts the keyboard at therecommended standard height of 26-1 /2"for optimum comfort for the average per­son. The keyboard is connected to thecomputer with a flexible cable and storedin the space alongside the computer, in­side the cabinet when not in use.

The right side (B) of the cabinet issolidly fastened to the countertop and tothe back (C) of the cabinet with 3/4" chair

leg braces (a nice-looking right anglebracket). The back and left side (O) of thecabinet are securely fastened to the con­crete block wall with six 1/4" X 2" lag boltsand washers. I drilled the mounting holesin the walls with a carbide-tipped masonrybit and used expanding lead anchors inthe holes.

Inorder to match existing wood grain inthe doors and cabinets in the room, Imadethe cabinet from one 4' X 8' sheet of 3/4"lumber core ash plywood. The existingcountertop had an integral 4" backsplashalong the back and side, so my cabinetwas built to set on top of this backsplash .The cutting list and illustrations reflect thisdetail. Ialso hadto notch the front and rightsides of the cabinet to accommodate thisbacksplash (see Figure 1).

Cut the various pieces to approximate

size according to the cutting list and thecutting diagram in Figure 2. The top (E)and the front (F) hang overthe rightside by1/2" when closed. I made a 1/4" deepX 13/16"wide dado on the inside surfacesof these two pieces on the right side only,leaving the 1/2" overhang. This groove"captures" the right end, increasing thestability of the cabinet when closed. Cutthis dado; then measure from it to deter­mine the finished length of the back (C). Iglued 1/8" strips of 3/4" oak to the edges ofthe plywood pieces where they would beotherwise visible in the finished cabinet.These strips matched well with the ashand gave a nice appearance. Attach thestrips to the rough-sized panels ; then trimthe panels to finished size with the stripsagainst the fence.

Next, using carpenter 's wood glue and

May 1990 61

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16"

<D

III ~

I ~II

-

-J 2" LI

f41/

2"

- t

©

® @

(connecting the right side (B) and theback) was still in the bar clamps , I rein­forced it with two chair leg braces on theinside corner .

The next step was to glue the lip (G) tothe front edge of the top (E). This ade­quately covers the joint between these

<D

®

®

o ®

IIIIIIIII

: ~II

I II II ~:

IIIIIIIIIIIIII

~ I

®

4-- - - - - - - -18"-------~,..

-J 2"L

Figure 3. The Printer Table

Figure 2. Plywood Cutting Diagram

two pieces when the cabinet is closed andgives it a neat appearance. Next, I cut the4" strip from the rear of the top piece andglued it in place to the back, left and rightside pieces . I also used four chair legbraces (two on the back and one on eachside) to further strengthen the butt joint.While the glue was setting up (about 30minutes), I cut the piano hinges to properlength.

The next step in the cabinet assemblywas to install the two piano hinges, beingcarefu l to line up the two top pieces andthe front piece in sequence. I left a 1/8" gapon the left side so that the cabinet top andfront would clear the wall easily as they areraised and lowered.

There was a sufficient amount of theash plywood left over to make a simple butconvenient table to set the printer on, withroom for an ample stack of continuous­feed paper underneath . The legs (H) andtop (I) of the table were assembled with aglued butt joint and three #8 X 1-3 /4" flathead wood screws on each leg (see Fig­ure 3). The space to the left of the tablewas designed to conta in the multiple elec­trical outlet voltage protection box. Thisbox was equipped with a switch which isused as the main system power on offcontro l.

In order to match the existing wood­work in the room, I chose a Danish walnutstain followed by two coats of tung oilwhich gave it a pleasing satin finish.

The secur ity lock is a single-cylindersliding door lock which features a hard­ened hook that rotates under a plate thatis flush-mounted directly on the counter­top. The positioning of this lock plate wasdone after the cabinet was built and in­stalled. I used my router to make thenecessary clearance slot in the counter­top for the hook of the lock.

After the cabinet was installed and the~ computer equipment was in place, I de­~ signed a removable shelf (J) to fit aroundB the rear of the printer and the computer. It1; sits on top of four additiona l 1" chair leg.j braces which are screwed to the back andj sides of the cabinet but not to the shelf

1..- ---1 = itself. This allowed a conven ient place for

the paper output from the printer to fold upon and for storage of manuals and floppydisk files.

The final step was to install two pulls oneither side of the centered lock on the frontof the cabinet to enable easy opening andclosing of the hinged panels .~

three #8 X 1-3/4" flat head wood screws inpre-drilled countersunk pilot holes , I as­sembled the left side (D) and back (e)pieces with a simple butt joint. I didn 't wantscrew heads to show on the visible partsof the cabinet (and I didn 't want to useplugs) , so while this second butt joint

62 Popular Woodworking

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Panel Layout Form

r r r

r r r

r r r

r r r

r r J+

, r r r

r r r

by Don Kinnaman 0When you want to make a project from

plywood or other paneling, determiningprecisely how much to buy can be very 6difficult. This scale drawing layout form isjust the ticket for figuring accurately theamount of material you need. It's also 12excellent for just "imagining on paper"newprojects , or what might be done with largepieces of scrap pane ling. Photocopy this 18page as many times as you like for yourown personal use.

Outl ining the project pieces on paper is 24especially important to keep waste to aminimum, or when the grain pattern is anessent ial part of the project's overall de- 30sign and appearance. Outline the piecesof the project using the foot and inchdivision lines as guides. Don't forget to 36take the saw kerf into account when you'retrying to squeeze in as many pieces aspossible. Use the blanks below to record 42basic information, and save the layoutforms with your project plans.~

Don Kinnaman is a retired high school 48woodshop teacher from Phoenix, AZ.

54

60

66Project

72

Panel Material & Thickness78

Notes84

90

Sheet- 01__ 96

May 1990

6

6

12

12

18

18

24

24

30

30

36

36

42

42

48

6

12

18

24

30

36

42

48

54

60

66

72

78

84

90

48

63

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APopular Woodworking Project

Making Windsor Stoolsby Walt Panek

I have always been fascinated by theassembly and construction techniquesinvolved in making Windsor chairs. I enjoythe woodturning aspect of chairmakingmore than the bending or carving , so Iadapted some of the Windsor chairmak­ing techniques to what I call my "WindsorStool." Like a Windsor chair, the undercar­riage of my stool will actually get tighterwith use.All parts will lock together withoutthe use of glue, although I do use glue forfinal assembly.

The SeatIt is necessary to make the seat first so

the other parts can be fitted to it. I haveexperimented with several styles of seat

Walt Panek works wood in Kingsport,Tennesee.

and found that the most popular andcomfortable seat is high in the center androunded on the edges. This design doesnot cut into the back of the leg and is easyfor short people or children to get off andon.

I make my seat out of solid 2" stock­usually local hardwoods like oak, ash, orpoplar which are commonly available inwide boards. This eliminates the step ofedge gluing and follows the Windsor tradi­tion of a one-piece seat. The seat blanksare selected for color because the seat isthe most visible part.

The diameter of the seat will vary from11" to 13", depending on the size of thestock. Cut rough stock to approximatediameter with a band saw. Mount theblank on a faceplate and rough-turn it

round and flat. Layout the three leg loca­tions on the circumference of an 8" diame­ter circle using the indexing head on thelathe. When making sets of stools, I orientthe leg sockets so the grain or color will becontinuous when all the stools are lined upwith the legs in the same relative positionas shown in Figure 1.

Next I drill the holes in the seat blank,which is clamped to my drill press table, atan angle of about 15°.

I bore holes with a custom made ta­pered drill bit (see "Chairmaker 'sDreamer" below). This bit cuts slow butleaves a perfectly polished and taperedhole. The drill press is necessary be­cause all the holes should be exactlythe same depth for the top of the seatto look right where the legs come

II

.------------------------------------------------, ~s:5'"..:;~

'"*s:a.

64 Popular Woodworking

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13" roughseat diameter

lay out legs on8" diameter

Figure 1. Layout of the Seat

wedges should be orientedperpendicular toseat grain topreventsplitting

wedgesshould runperpendicular tolegs' annual rings

through. Also , if the bit is not fed perfectlystraight and slowly, it will grab and ruin thehole.

My original bit for drilling this taperedhole was a spade bit ground to the rightshape. It did work, but it was not stoutenough to scrape the deep hole and drill­ing was extremely slow. After drilling, turnthe seat on the outboa rd spindle of yourlathe and sand through 220 grit.

The LegsA three-legged stool will always sit flat

on the floor and is more difficult for kids torock, which is bound to extend its life.Additionally, the three stretchers form atriangle which will help hold the structuretogether. It is impossible to pull out onestretc her without bend ing the adjacent ~

tenon or leg. The finished height of the j

stool is 24"-suitable for a standard 36" ~high countertop. f

oIn keeping with the Windsor tradition, ~

my leg is a var iation of the bamboo style § L...- ---I

Chairmaker's Dreamer

7.04

- 1.50~5.00~3.00

200 1 l j

I r=t- 2 62--i

LOO \~temperthis area

1o{;-b 1 E--~1~Tdiameter E - __]7

r .500 diameter .500

I made the cha ir reamer of mydreams by turn ing a piece of l ' drill rodon a metal lathe. First anneal the steelby heating to a dull cherry red andallowing it to cool very slowly. Turn it tothe profile shown in the top view above .Now mill away the portion shown in theside view, leaving .005" for final grind­ing. Grind the flat surface smooth to .5"thick and lightly hone away the tool

marks.Harden the tool by heaating it to

bright red and quench ing it in a light oil(SAE 20). Now temper it by heating thebusiness end to a straw color andimmediately quenching it in oil to roomtemperature.

Hone the flat cutting surface andpolish the outside diameter.Then grindthe clearance angle on the end .

Rough-turn the seat on the outboard side ofthe lathe.

Clamp the seat blank to thedrill press with the table tilted to 1SO, and

drill the holes with a special tapered reamer.

May 1990 65

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Layout the major diameters along the length of the leg stock using the pattern shown in Figure 2, and checkthe turned diameters with the sizing tool shown in Figure 3.

which was popular on later Windsorchairs. Iusually make the legs of maple forstrength and rigidity.

You'll find a full-size pattern for the leg(including the tapered tenon ) in the Pull­Outnt Plans section in the cente r of themagazine. Use it to make a notched layoutstick to precisely locate all of the majordiameters for parting tool cuts (see Figure2). Other construction deta ils are alsonoted on the stick.

I also use a custom made sizing toolshown in Figure 3 to check the diameters.This tool is made from thin aluminumwhich can be easily cut with a band sawand filed to size. The dimensions of thetool do not have to be exact as long as theyare close. These diameters are then con­nected by eye and finish sanded . Turn thetapered tenon a little overs ize; then return

it to the lathe after a trial fit in a taperedhole.

When the tenons all fit. cut a notch fora wedge with a band saw. Be carefu l to cutacross the annular rings so the leg won'tsplit when a wedge is driven in (see Figure1). The seat and three legs are thenrough- assembled with each leg markedfor a correspond ing seat hole. Orient thenotches in the tenons so they are perpen­dicular to the grain of the seat; this pre­vents the seat from splitting when thewedges are driven in.

StretchersI make my stretchers out of rough 1"

walnut or cherry . The blanks must bese lected for stra ight gra in , becausepeople frequently stand on stool stretch­ers. It is important that each stretcher bemeasured and fitted individually . Small

errors in drilling angles in the seat aremultiplied over the distance to the stretch­ers. There is usually about 1/2" differencein the required length for each stretcher .

Drill holes for one stretcher with anelectric hand drill. Measure the distancebetwee n the top of these holes, and add1- 1/S" to this distance to determine the fin­ished length of the stretcher (that is 1/2" foreach tenon and l /S" to "stretch" the legsapart).

Cut the stretcher blank to length beforeturning. I use a mini drive center whichallows me to completely turn both tenonswithout remount ing the blank. Idon't use apattern since most stretchers are differentlengths. After turning the blank to a uni­form 1" diameter, I locate the center andmark 1/2" on each end for tenons.

Cut a taper from the center to a small

r 7"i4'T 6

' T 6' -l1:21/ 4"

11- ------- - - -------- - - ------ -- - - - - - -~

1" 11/ 8" 13/8"7/

8" 1"

5/8

"

13/ 4"

15° leg on 8" diameter 13" seat diameter pattern for 24" high stool

Figure 2. The Leg Pattern See the PullOut™ Plans section for a full-size pattern .

66 Popular Woodworking

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1" 11/ e" P ie"

13/4

" 7/e"5/e"

I IFigure 3. Diameter Sizing Tool

shoulder at each tenon and cut a "V" in thecenter to match those in the legs.

Fit this stretcher in place before drillingthe two holes for the next stretcher.

AssemblyAssemb ly of your Windso r Stool is the

most reward ing part . Dry-assemble thestool to check the fit. Place the stretchersin their corresponding holes and then fitthe tapered tenons in the seat. As youdrive each leg home with a wooden mallet,you'll hear a sat isfy ing "clunk" as thematched tapers on the legs and seat"mate." At this point, the stool should becompletely rigid so the only way to take itapart is to drive the ends of the tenons(which extend through the seat) back outwith a wooden mallet.

If I am satisfied with the fit and stabilityof the stool, I disassemble then reas­semble with white glue on all of the tenonsand inside the notch in the tapered tenon .Yellow glue does not give enough workingtime to assemble the stool.

I drive in contrasting wood wedges(usually walnut ) in the top of each leg untilI hear the characteristic "thunk" indicatingthe wedge is home.

When the glue is dry, I sand the pro­truding leg tenons flush with a 3" disk in anelectric drill and finish with a foam-backed5" disk.

FinishFor a finish, I seal with sanding sealer,

sand with 220 grit no-fill paper or steelwool, and apply several coats of tung oilvarnish.This finish gives a natural appear­ance to the contrasting woods. On the topof the seat , I apply a mixture of carnaubaand beeswax with a buffing wheel whichgives a nice patina and feel to the naturalcolored woods.~

May 1990

Once the wedges are glued in, it's impossible to pull the stool apart.Belt sand the wedges and the ends of the legs flush to the seat.

67

Page 68: Popular Woodworking - 054 -1990.pdf

The Turner's Page Early American Candlestick

6" dia

dia

16" dia3" dia_4" dia

ole, 1" deep

Turn the base to 4-1 /8" diameter and drill a 1/2" hole atleast 5/16" deep to accept the stem. Remove this piecefrom the lathe and set it aside for now.

Mount the stem blank on your lathe and turn it downto a 1- 3/4" diameter along its full length. At the head­stock end , carefully turn a pin that is exactly 1/2"

diameter and 5/16" long to fit in the hole in the base. Usethe part ing tool to cut the stem to the required 8-1 5/16"

length and remove the stem from the lathe.Now re-attach the base and faceplate to the lathe.

check to see that you have a very snug fit between thebase and stem. Spread glue on the pin of the stem, fitit in the base, and, using the tailstoc k as a clamp, allowit to dry for 24 hours. Make sure that the tailstock isexactly centered on the stem before tighten ing andallowing the glue to set.

When the glue is dry, remove the tailstock and turna 3/4" hole that tapers slightly in the end of the stem.Insert a 3/4" dowel that is about 1-1 /8" long into the holeand center it on the tailstock. This will make the candle­stick one solid unit between centers. Finish turning it asshown in the illustration , sand it with 400-grit paper andapply the finish of your choice. ~

r-2 la-t 3/ 4"dia. h3/ "

. 6 I / 111/ "dia" 4

"1/" )_~__~ ~ : \ ~ 1/ 2" dia11/ " t 2 : : - 15/ S" dia

~ S \ ~ ~-~; L1"d'. _ ~ ~ la"

_ _ 17

/

L l/ "5/ "dia 1

,~ 5/ "32 16

- - _5/16

" dia

t I

11/2

"

9" 1- - - - - t- _ 1/2

" diaI

111 "

6'1;f'-1-- 3/

16" dia

I

11/ 2"

1- _J " diaI

11/ 2"

~ groove 3/ " diaI /~1 1 1i!::=:1, r ..--'L ~

,J

11 ,, 1 1/ " dia J16 - 2

<:o'"a;z<i<:J::L- ----l ~

John A. Nelson is a woodworker and draftinginstructor from Peterborough , New

Hampsh ire, and the author of 26... " books on various subjec ts,

including How to Build a Grandfa­ther Clock (TAB Books, Monterey

Lane, Blue Ridge Summit , PA 17214).

by John A. NelsonThis candlestick is an exact copy of an origi­

nal antique found in Maine. A pair of these willadd warmth and a look of eleganc e to any tablesetting.The origina l antique was made of maple,but cherry, walnut or any hardwood will do.You'll need two pieces; one that is 3/4" thick andabout 4 -1/4" square for the base ; the other,1-3/4" square and about 10" long.

To make the base, scribe a 4 -1/4" circle ontothe stock with a compass and cut it out. Glue itto a 4" diamete r piece of softwood with a pieceof paper between them so you can easily prythem apart later. Let the glue dry overnight.Center and screw a faceplate to the softwoodwith short screws and attach it to the lathe.

% d """

68 Popular Woodworking

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Captain's Bedby James H. Schroeter

When it was time to move into our new addition, we decidedto replace the bed and add more storage space. I wanted thestorage capacity of a dresser located in the unused floor areabeneath the bed. But most platform beds seem just massivestacked planks with drawers added as an afterthought. I wantedthe look and feel of quality furniture , so I decided to design myown.

My plan is based on a captain 's bed built into the side of a ship.The quartersawn oak head and footboards give a built-in impres­sion, and the flush drawers and inlet handles enhance the senseof permanence and quality , while providing 24 cubic feet ofstorage space . With its knock-down fittings , the bed readilydisassembles into flat , transportable sections, yet when reas­sembled it maintains its rigid structure.

Getting StartedI used kiln-<!ried ash, maple, and quartersawn oak, as well as

plywood , to build the bed. Although the cutting list and theinstruct ions here reflect my wood choices , feel free to usewhatever strong and durable wood you like. I chose ash for mostof the visible parts because it matches other furniture in the room.It doesn 't have a particularly lively grain, however , so I selectedthe quartersawn oak, with its bolder figure , for the head andfootboard panels . They 're glued up from pieces resawn andbook-matched. I resawed the maple for the drawer boxes, too,but you can use any 1/2 " material , including plywood.

James H. Schroeter is a chemist and project admin istrator in Milwau ­kee who enjoys woodworking as a hobby.

Acclimate all your stock to room conditions before cutting, andsaw pieces to their final length only after planing to properthickness and width. Allow any resawn stock to accl imate againafter resawing. Surface all faces and edges so they are flat andperpendicular, and sawall boards and plywood pieces to theirfinal width and thickness as specified in the cutt ing list. Note thatthe dimensions of the false drawer fronts (K) are slightly oversizesince final trimming should take place only after the draweropenings have been framed.

Curved Side Pieces and BedpostsThe curved side pieces (A) are cut from two pieces of ash , but

be sure to leave the 1/4" tail piece on each curved sect ion asshown in the full-size PuliOut™ Plans in the center of themagazine . When the curved sections are glued to the sides , thetailpiece and the flat portion provide clamping space .

Cut the pointed tops of the headboard posts (B) and footboardposts (C) with a miter box. Mark the posts on all four sides and,as you cut and turn, line up each mark with a reference point onyour miter box to insure that all angle cuts will start at the samelevel. Then trim the posts to their final length.

Head and Footboard Stiles and RailsCut a 1/4" wide, 1/2" deep groove centered along the inside

edges of all the head and footboard rails and stiles (0, E, F andG). The head and footboard muntins (G) and the wide headboardrail (E) have this groove cut in both edges. While you're at it, cutthe same groove on the inside edge of each side stile (H). Set theside stiles aside for now.

Now, as shown in Figure /, cut 1/4" thick, 1/2" long tenons on

May 1990 69

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®

®

grain) first , and then the sides. Sand both faces ofthe panels smooth. If you plan to stain the bed,coat both sides of the panels with a penetratingsanding sealer and stain them now, so that no un­stained wood will show should the panels move intheir frames due to changes in humidity.

Head and Footboard AssemblyBefore any gluing, dry- fit the pieces and pan­

els as shown in Figure 1, and check for square­ness. Earlier, when you laid out the posts andmarked the positions of the mortises , the postsstood out from the panel frame 1/4". Ifyou have thepieces flat on the work bench, insert the footboardpanels with their best faces up. Insert the head­board panels with their best faces down, however,since the insideof the headbo ard will be the visibleside. Mark on rails (0) and (E) the position of themuntins (G), and disassemble the frames. Applyglue to the tenons on each end of the muntins andclamp them in pos ition.

~::;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;~~~:::j~:T~~ Next, slide the panels in face up. Apply glue to thetenons on the end stiles (F) and insert them into the grooves inthe rails-but push them in only until the outer edge of each stileis flush with the shoulders of the rails. Make sure the panels are

Figure 1. Headboard Assemblyc:

~..--'EL..- -'{!.

the ends of stiles (F), muntins (G), rails (0) and (E), and, while ~you're at it, down the side edges of the plywood cross partit ions ~

(0) . Set the partitions aside . ~

Check for fit by laying out all the pieces for the head andfootboard frames and assembling them. Mark the mortises on theposts (B and C) as shown in Figure 2 to accept the tenons on therails. Mark them such that when the head and footboards areassembled the posts will be flush with the frames on the insidesurface (toward the mattress) and 1/4" proud on the outsidesurface . When the fit is satisfactory, disassemble the pieces andstore them while you make the oak panels (L).

Head and Footboard PanelsStart panel construction by flattening one face of each board

on the jointer and then squaring up one edge. Rip the oppositeedge parallel to the first, joint it smooth , and plane all the pa~e l

pieces to the same thickness-3/8" or slightly greater . Book­match and arrange them to give a pleasing grain pattern . Checkthat all edges join smoothly with no gaps and apply glue. Clamplightly, being careful not to bow the thin panels . You may want toplace wax paper on the top and bottom of the panels , and clampthem between cauls to keep them flat while you tighten the edgeclamps. When the panels are dry . scrape off any excess glue.and cut them to final size.

Bevel the edges of the panels to achieve an edge thicknessof 3/16" . To do this, tilt the table saw blade to 5° out of square(away from the fence) ,set the fence at 3/16" from where the bladedisappears into the table , and run the panels through vert ically.[Editor 's note: for more information about this procedure, see"Panel Door Construction " in Popular Woodworking #45, Octo­ber 1988.) Run the panels through with their best faces flatagainst the fence . Bevel the top and bottom edges (across the

®all mortises

L~are 1/4" wideand 1/2" deep

21/ 2"

541/ 2"

45°

51" ~ ©

l ~29"

28"

I I11 1/"1/ "--llC- 4

2~2"

Figure 2. Head & Footboard Post Mortises

70 Popular Woodworking

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When you rout the second side of the curvedpiece,you may need toplace masking tape on the first sideto support the bearing pilot of the round over bit.This helps prevent a ridge down the edge 's centerthat must be sanded off. The corner brace (partiallyvisible) is fine, but the dowels described in the textare just as strong-and won 't show.

(;s:'5<1lQ)

£~o(;s:0.

seated in the grooves and no glue hasreached them-they must be free to move intheir frames . Check for squareness andclamp until the glue dries.

Lastly, apply glue to the tenons on the railsand to the (outer) edges of the stiles, andclamp the head and footboard posts in posi­tion until the glue sets. Remove the clampsand scrape any excess glue from around thejoints. Sand, apply sanding sealer , and stainthe entire frame as you did the panels . Afterstaining, I finished my head and footboardswith two coats of oil.

Sides and PartitionsTo assemble the sides, first shape the ten­

ons and the top and toe recesses in side stiles (H) as shown inthe PuliOut™ Plans. Note that of the eight side stiles, four arelocated at the ends of the side rails (I), while the other four arespaced at 26-1/2" intervals along them (see Figures 3, 4 and 5).The two types require different detail cuts: the center side stiles(H-a) need a slot for a cross lap joint,w hile the end side stiles (H­b) take mortises instead. The PuliOut™ Plans include full-sizepatterns for each, and Figure 4 shows those portions of the siderails that form joints with the stiles. Four of the side rails, the topface (I-a) and toe (I-e) pieces, receive no tenons or mortises. Ichose the joining method shown in the patterns because thetenons weren't difficult to cut with my router and a tenoningtemplate, but feel free to use any durable joint, such as blind orthrough dowels. Your goal is a rigid, permanently square frame.

Source ListThe 1/4" X 20 threaded inserts and T- nuts are available

from The Woodworker's Store, 21801 Industrial Blvd., Ro­gers, MN 55374-9514, tel. 1-612-428-2899, and from AlbertConstantine & Son, 2050 Eastchester Road, Bronx, NY10461, tel. 1-212-792-1600. Solid brass inserts are availablefrom Woodworker 's Supply of New Mexico, 5604 AlamedaPlace, NE, Albuquerque, NM 87113, tel. 1-505821-0500, andfrom Woodcraft, 210 Wood County Industrial Park, Box 1686,Parkersburg, WV 26102-1686, tel. 1-800-225-1153. Blumdrawer slides are availab le from Woodcraft and TheWoodworker 's Store. Recessed campaign-type drawer puisare from The Woodworker's Store (catalog #07420).

Captain's Bed CuttingList

Finished Size Finished Size

Qty Part T W L Piece Qty Part T W L Piece

ash oak

4 A 3/4" 6" 7" curved pieces 6 L 3/

8" 257/8" 203/8

"head &foot-board panels

2 B 1" 1" 541/2"headboardposts maple

2 C 1" 1" 29" footboard 24 M 1/2" 51/4" 301/2" drawer sidesposts

head &foot- 24 N 1/2" 51/4" 25\" drawer ends4 0 3/

4" 3" 63" board rails plywood

1 E 3/4" 6" 63" wide head- cross

board rail 4 0 3/4" 18" 541/2" partitions

head &foot lengthwise6 F 3/

4" 3" 201/2" board end 1 p 3/4" 18" 813/4"

stilespartition

head &foot 12 Q 1/4" 25" 301/

8"

drawer

3 G 3/4" 6" 20'/2" board

bottoms

muntins2 R 1/2" 31" 821/2"

platform

8 H 3/4" 5" 18" sidestiles

panels

10 I . 3/4" 3" 821/

2" siderails

Supplies

platform 12 5" X5/8"

mending plates (4-hole)18 J 3/

4" 1" 24" supports 12 2" X 1/2" mending plates (2-hole)

12 K 3/4"

*6" *263/4"falsedrawer 16 corner angle bracketsfronts

rough size-trim toexactsize after fitting 12 ' / 4" X20threaded inserts

' /4" X20tee-nutsAt the Lumber Yard

20

Assuming you use the woods I chose, 44 '/4" XI ' /4" machine screwsyou'll need 58 board feet (includes 10%waste) of4/4ash forparts A, D, E, F,G, H, I, 24 '/4 " X I " machine screwsJ andK (a fewfeet less if you makehidden

20 ' / 4" X3/4" machine screwsparts J from scrap two-by).ForBandCyou'llneed 2 bf of5/4 or, if 5/4 is unavailable, 5 bf 28 ' / 4" nutsof 8/4-the finished thickness of Band Cmust bea full inch. M and N require41 bf of 44 fender washers3/4 maple (since they're drawer pieces thatdon't show, youcould use a cheaper wood.) 48 1" flat head wood screws

Parts P and 0 require 3 panels of 3/4"28 5/

8" flat head wood screwsplywood (or 2 if you use 4 X 10 sheets), R

needs 2 panels of 1/2", and4 panelsof 1/4"12 recessed drawer pullsareneeded forpartsQ . Ifyoudon't haveany

scrap lying around to use, yousoon will! 12pr drawer slides

May 1990 71

Page 72: Popular Woodworking - 054 -1990.pdf

Figure 3. Side Frames, Partitions and Platform Assembly

®

Dry-fit the side frames and check forsquareness. Glue the stiles and the hori­zontally positioned rails togethe r, holdingthe top face and toe rails aside for themoment. Continue checking for square­ness as you adjust the clamps .

Now drill a pair of holes for dowels inthe bottom edge of each curved piece (A)and correspond ing holes in the upperedges of the top face side rails (Figure 5).Also drill for a dowel in the edge of thecurved piece that will face the head/foot­board post, but don't install this dowel untillater. Peg and glue the curved pieces totheir rails, clamping on the flat surfaces .When the glue has dried , scrape off anyexcess and sand off the tail piece (usingthe nose of a belt sander) so that thecurved edges flow smoothly into the rails.As shown in the photo on the precedingpage, round over the top edge on bothsides of these rail assembl ies to within 1"of each end with a router and 3/8 " roundingover bit. Now glue the rails (l-a) and (I-e) inposition. Finish the frames as you did the

72

head and footboards .Earlier, you cut tenons down the side

edges of the cross partitions (G). Cutcenter slots in two (G-a), and 26 -7/8" fromeach end of the lengthwise partition (P) forcross lap joints. The other two cross par­titions (G-b) will be positioned flat againstthe head and footboards . Cut a 3/4" wide,3/8" deep dado down their centerlines toreceive the ends of the lengthwise parti­tion, as shown in Figures 3 and 7.

Since they don't show, the eighteenplatform support strips (J) can be rippedfrom any scrap you might have lyingaround the shop. Glue and nail them to thesides of the partitions, flush with the topedges as shown in Figures 3, 6 and 7.Note that the cross partitions with dadoes(G-b) receive support strips only on thedadoed side, while the other two (Ova),and the lengthwise partition, have stripson both sides. I sanded and sealed thepartition subassemblies with shellac .

Assembling the BedThe assemblies you have made so far

(head and footboards , side frames, andpartitions) are the separate componentsthat the bed can be broken down into formoving. To assemble the bed , thesecomponents are joined together withmachine screws bolted through mendingplates or into threaded inserts as detailedbelow.

Start by assembling the partitions andfitting their tongues into the grooves in theside stiles. Position a pair of 5" X 5/8"

mending plates near the top and a pair of2" X 1/2" plates near the bottom on eachend of the two partitions (Ova) where theyjoin the side stiles (H-a) as shown in Fig­ure 3. Mount these mending plates on op­posite sides so thay you can bolt them to­gether with the partitions and side stilesbetween them (Figures 6 and 7). Mark theplate locations, drill 1/4" holes all the waythrough , and bolt them in place.

The mending plates on the two endpartitions (Ovb)are used not only to attachthem to the side stiles (H-b), but they per­form a second duty of securing the head-

Popular Woodworking

Page 73: Popular Woodworking - 054 -1990.pdf

Figure 4. Side Ralls

@

When you remove the head and foot­boards, the dowel centers should haveprecisely marked the drilling locations .Now glue pegs in the holes you madeearlier in the curved pieces. Rejoin thehead and footboards to the bed, carefullyinserting the projecting ends of the pegsinto their holes in the posts. Although noglue should be used in these holes (so thebed can be taken apart), the dry-fit pegswill provide enough strength to counter

head and footboards, one above and onebelow, in line with one of the cornerbracket holes in each pair. Figures 6 and7 clarify where to put the screws and bolts.

With everything together but the plat­form and drawers, you can mark wherethe dowel holes in the curved side piecesmeet the head and foot board posts.Loosen the screws holding the boards tothe side frames and end partitions, insertdowel centers, and retighten the screws.

board or footboard to the rest of the as­sembly. Instead of througlH:>olting, you'll ~have one bolt running through the mend- ~

ojng plate, through the side stile, and into a ithreaded insert mounted in the head/foot- ~

board frame (Figures 6 and 7). Use5/8"flat!!;;

head wood screws in the other holes. A ~

little trlal-ano-error fitting is necessaryhere, so assemble and clamp the sideframes, partitions and head and foot­boards together, and eyeball where thepartitions, stiles and head and footboardscome together .

Removing the end partitions (O-b) mayhelp you figure out where to put the mend­ing plates and threaded inserts. Positionthem such that the threaded insertswill belocated in the 3/4" stock of the head andfootboards while also lining up with onehole in each plate. As shown in Figures 6and 7, use the outermost hole in the 5"plates in order to reach past the panels (L)to the head and footboard end stiles (F).The longer plates are especially neces­sary here, so that they will reach out farenough to permit mounting the threadedinserts into the head and footboardstiles-and not into their panels.

With the entire bed assembly clampedin position, check for squareness, anddrillthe holes, being careful not to drill all theway through the head and footboardstock. Remove the clamps and enlargethe holes in the 3/4"stock to the propersize(3/8" or 5/16" depending on the particularinsert). It helps to lubricate the insertswithbeeswax and turn them in with a socketwrench and short hex-headed bolt.

Put 1-1/4" X 1/4" machine screwsthrough the outermost holes in the 5"plates, through the holes drilled in the endside stiles, and into the threaded inserts inthe head and footboard stiles. I followedthe same procedure with the 2" platesbelow, mounting the inserts in the bottomrails of the head and footboard. Figure 6shows the approximate insert locations.

Assemble everything-put machinescrews through the holes in the pairedmending plates joining the partitions to theside stiles and secure them with nuts.Screw through the plates on the end par­titions and stiles, and into the inserts in thehead and footboards . Now, as shown inFigure 6, add corner braces in pairs onopposite sides above and below tostrengthen the joints between partitions.Bolt them together through the centerpartition Install threaded inserts in the

May 1990 73

Page 74: Popular Woodworking - 054 -1990.pdf

Figure 5. Bed Side View

~2" X 1/ " mending platevV- 2

2" X 1/2

"

mending

Plates\'1'--1J

/

_ J• 3"• \

-©Figure 6. Inside End View

flat headwood screw@

//~ ""

-: / tee-nut

/ / ~@~Iat head wood screwflat head wood screws/ / / /

,///, / ~// /here. machinescrewsbolt / Jmachine screws herethroughstileinto~hreaded /'/ bolt into inserts ininserts mounted Inhead & /' muntin (above) andfootboard stile (above) ' / rail (below)and rail (below) /' > ~

IIIIIIIIIII

! @I

diD OIIIIIIIIIIIIIII

r -----IIIII

r ' I

i @ I .L ---- -- r - -- - - --------- ---------- - --- ---- -- -- ---- - -- - - - ----- ---- -- - ----------~------r - - -- --r--- l

I I

: © :® i machine screw & fender washer ® Q) ! ®i

I

74 Popular Woodwork ing

Page 75: Popular Woodworking - 054 -1990.pdf

any stress put on the curved pieces by the mattress.

Drill a hole in the centers of the suppo rt strip s (J) and on the

faces of the two top side rails for the T-nuts which secure theplatform panels (see Figure 7). Place the platform pan els (R) inpos ition and mark the location of the holes from the underside.Turn the panels ove r and drill the holes. Replace the pane ls,

insert the J-nuts and use 3/4" X 1/4" machine screws and fender

washers (washers with overs ized outs ide diameters) to attachthe panels.

DrawersBegin by cutt ing a 1/4" wide, 1/4" deep groove 5/16" from the

bottom edge of the drawer sides (M) and ends (N) to accept the

T-nut

®

machine screw& fender washer

only those plates &bracke ts installedalong top edges ofpartiti ons and sidestiles are illustrated

platform (R) re­moved this side

threaded insert installed in stile (F)\

corner bracket

~I----- 28" - - - - - - - - -+ .-.,/ 1

5" X 5/a" mending plate

@- - - - -t- - - - - - - - - - - 313/

4" - - - - -j-..-Vl

o

Figure 5. Bed Top View

May 1990 75

Page 76: Popular Woodworking - 054 -1990.pdf

r-----------------, or----~~~,..,,-~~~-~~·:;"'"'":;};

"'o15s:a.

Figure 8. Drawer Assembly

The drawer handles were inlaid with the chipcarving tools shown here. An inlay plane orsmall router would work well, too. The drawerfront was stained before scribing and carvingfor clarity .

with the bottoms, checking for squarenessand that no glue stops the bottom panelsfrom floating in their grooves. Clamp untilthe glue is dry; then seal and sand thedrawer bodies. Install the drawer slidehardware according to their instructions. Iused 22" Blum slides (see the Source Liston page 71).

Trim the false fronts (K) to exact size(about 26-3/8" X 5-7/8"), allowing 1/16"

clearance on each side. I used recessedbrass campaign handles with a bail pull(see the Source List), but the followinginstallation procedure should cover anyrecessed handle with blind attachments .First make a router template out of 1/4"

hardboard or plywood and test it on scrapwood. Center the template on the drawerfront and rout the mortise. To mark theattachment holes, try this method: cut theheads off two machine screws andsharpen the ends. Screw them into thethreaded holes in the back of the handle

round over both edges\-_/?"4~___

round over the insidetop edge only

Drawer edges were rounded on a router table.Marks on the fence show where the ends ofeach board should be at the start and finish ofeach cut toallow for a one inch unroundedarea.

drawer bottoms (0). Cut these pieces tolengths that are appropriate for whateverjoining method you use to make up theboxes. I routed dovetails ; if you were torabbet the corners , your finished lengthswould need to be different. Each drawershould be custom fit, so measure theopenings carefully and adjust the sizes asneeded.

Rout to within 1" of the ends on the topedges of the drawer sides and ends with a1/4" rounding over bit (photo above) . Routon both sides-except for twelve of thedrawer ends which will join to the falsefronts (K); these should be routed on theinside edge only as shown in Figure 8 andin the far right photo above . Drill andcountersink a hole in each corner on theinside of these front ends 1-1/2" in from theedges for the 1" flat head wood screwsthat will attach the false fronts .

Dry-fit; then apply glue to the drawersides and ends. Assemble them together

This detail shows the fully rounded drawersides, half-round front, and unrounded portionat the end of each edge. Also illustrated are thetwo different ways of attaching the false drawerfront described in the text.

and insert the handle into the mortise. Atap with a soft mallet when the handle is inposition will mark the hole locations. Drillpilot holes in the mortise and temporarilyfasten the handle to the drawer front withscrews. Check the handle's position andscribe around it carefully with a sharpknife. Remove the handle and chiselingaway the wood to the thickness of thehandle, as shown in the center photoabove. Remove the waste by chiselingfrom the mortise toward the scribed line.When you're finished, put the handlesaside for installat ion after the next step.

To mount the drawer front on thedrawer body, slide the body into position inthe bed, place the front against it, andshim the front into position. Now use thehandle pilot holes as guides to drill throughthe drawer body. Enlarge the holes to1/4"-or whatever size machine screwsyour handles require. Remount the frontby attaching the handle with 1" machinescrews (those supplied with the handlesprobably won 't be long enoug h) andfender washers . Adjust the position of the

false front by tapping; then secure itwith 1"flat head wood screws in the fourcountersunk holes you drilled ear­

lier in the front end ofthe drawer body. If thefront needs adjusting

later, the flat head screwscan be replaced by fender

washers and round head woodscrews (see the photo above).Remove the handles, sand and finish

the drawer fronts , and remoun t thehandles. If you like, decorate the panels or

~ central head and footboard stiles with~ carvings or other decorative work. My wife.;. stenciled the stiles to match the room'si border. Add a mattress , sheets and pil­~ lows, and you've got a brand new bed-

L...-- ..J,§ and a fine piece of quality furn iture.~

76 Popular Woodworking

Page 77: Popular Woodworking - 054 -1990.pdf

Focus on Carving

Carving Two-Point Perspective

Make a clay model to get a feel for creating the illusion of depth.

- .

William H. McMaster is Chief of the Education Division of theCalifornia Carvers ' Guild. His "Focus on Carving" is a regular featurein pw.

by William H. McMasterIn the last two issues we developed the mechan ical basis for

the carving of a Californ ia fishing boat in perspective relief. Asuccessful carving depends on more than just drafting a pattern .We'll make a clay model to create the illusion of depth directly.You'll gain insights that would not be possible if you just startedcarving . If the illusion does n't look right after one try, you canchange it until it does-something that would be impossible if youstarted carv ing right away . Relief carving is different thanin-the-round carving in that you don't try to duplicate reality , butrather create the illusion of reality.There are many ways to createthis illusion and we will combine the principles of inverse depthperspective with direct depth perspect ive and the techn iques offoreshorten ing that we discussed in the previous articles.

For the clay model I chose grey-green Roma Plastilina ofmedium cons istency (Number 2). This will be a relatively smallcarv ing, and you won 't need to put fine details into the clay ;so thischoice is adequate for study ing the illusion of depth. For a baseto support the clay while modeling , I used a sink cutout whichusually can be obta ined for free from a cabinet shop that doeskitchen counters. The clay adheres nicely to the plastic laminatesurface which won 't leech the oil out of the clay as untreatedwood will do. You don 't need an armature in this model except forthe mast and the outboard rigging. Two pieces of plastic coatedcopper wire can be used for this purpose . The plast ic coatingprevents the sulphur in the clay from corrod ing the wire .

You'll need only a few tools: a flat wire tool for large cuts, a thinwire tool for deta iling the boat, and a serrated wire tool forsmoothing the ocean surface (which does not have to be done

perfectly). The smoothing is accomplished by repeatedly crosshatching with the serrated tool and smoothing with your fingersuntil you have the relatively smooth surface needed to study thecontours for the proper optical effect.

Model the boat first , and when you have it to your satisfaction,add the ocean background. Put in some waves near the bow togive an illusion of motion . I've added a land-fall on the horizon ofthe scene to emphas ize it and add interest. We'll use it to carvea view of the Battery Point lighthouse at Cresent City , California.The photograph shows the clay model and you should note howcrude it is. The purpose is only to understand the carving. Figure1 (on the next page) shows in cross section the contours devel­oped in the clay model with reference to the pattern lines of Figure2. Use these contours to provide guidance for the carving .

Notice how much of the carving is done near the top surfaceof the wood , no matter how far away it would be in real life. Theillusion of depth is created by the many concave and convexsurfaces going deep into the wood and form ing defining shad­ows. The deepest part of the carving is near the bow of the boat ,

" and you'll carve the water surface with a combination of direct......._ ... ~ and inverse depth perspective to effectively use the full depth of

~ the wood.~ In starting the carv ing I first mount the pattern directly on the~ board with a spray fixative . This will be cut off when V-tooling the

L- ___=~___===___=---=_ ___= __' Q. outline and shaping the surface , so be sure to have a clear plastic

May 1990 77

Page 78: Popular Woodworking - 054 -1990.pdf

EDcBA

Figure 1. Cross Sectional Countours

copy of your pattern to use as you proceedfurther. After carving awhile , it's best towear a cotton cosmetic glove (available atdrugstores) on your left hand to keep theskin oils off the wood , especially if you'reusing basswood as I did.

Carve a relief of this type with yourwood positioned at a minimum of forty fivedegrees. When carving horizontally , youtend to lose your sense of perspective.This is particularly true for larger reliefcarvings. As you carve , frequently standback about eight to ten feet and view yourcarving in a strong side or top light so youcan see the effect of the shadows . Re­member, interpretation by the eye is thekey to a successful perspective carving.

Start the carving by roughly shapingthe water surface. The first cut is madewith a V-tool to establish the horizon. Thenestablish the low of the water surface nearthe boat using a deep gouge along theregions of cuts two and three as shown inFigure 3 on page 80. These cuts slopedown from the outer edges of the carvinguntil they reach full depth at the bow andstern. Notice that they go to a depth ofabout 17 mm at the bow into the 19 mmthick wood. Be careful and don 't over cutor you'll go through the board ; in fact, go alittle shy of the full depth now so that you'llhave space for the final shaping and fin­ishing. Cut this groove first to establ ish thedepth, and then shape the concave curva­ture of the water , phas ing in to this depth .Do not finish the water surface at this time .

The photo below shows the initial rough-outcuts. In the photo below right , notice that thelighthouse and boat details neve beenstarted. The shadows mark the contours ofthe water,'-':--~---:---~-"'----'-=:--""'----'o r----------------,

s:- -- '5

'"'"£>­

D

'"oos:c.

The water and the boat must be coordi­nated to get the desired optical effect , andyou'll want to see how the boat looks on it.

The next step is to shape the hull andthen the water according to the profiles ofFigure 1. To get the proper depths use adepth gauge made by laying a ruler acrossthe uncut wood and a nail or wire to find thedepth as shown in Figure 4 on page 80.This is especially important for the verydeep cuts. In Figure 1 note how manypoints on the boat are carved near theoriginal surface of the wood. Also note thatthe horizon meets the sky perpendicu­larly. This will make it appear darker incontrast to the sky, thus increasing theillusion of depth.

Once the hull has been shaped ,rough-in the cabin so you can place the

78 PopUlar Woodworking

Page 79: Popular Woodworking - 054 -1990.pdf

A

horizon

B c D E

s the carving. These are the larger ones;~ carve them deep enough to cast shadows.~ The smaller ripples are put in later and~ give a texture to the surface .~ I have found that texturing is best done! on a smooth surface. Therefore, sand all

parts smooth and check their contourshadows. On the larger expanses of thewater surface, I used an orbital sander tospeed the process along. Then , to makethe boat more realistic, the mast and rig­ging were completely cut through at thedeep regions. This helps achieve continu­ity when texturing the water.

The final step is to texture the smallripples and wavelets. Keep in mind thatthe farther away they are in the scene, thesmaller, closer together , and less welldefined these details are. The texturing isdone with a ball-nose shaped U- tool. Forthe foreground I used a 4 mm blade and Icompleted the background with a 2 mmblade. The ripples are carved close to­gether in a generally horizontal fashionwith short strokes, and the edges aresmoothed using a fine pad of Scotch-brite.If that's not available, fine steel woolwill work. Be sure that youdo not create any

I(

Figure 2. Pattern with Section Lines

mast and rigging. These outermost formsare done before the final shaping of thecabin. The amount of wood required forthem determines the depth at which youcan carve the cabin. The cabin is the mostdifficult part of this project ; its sides mustbe parallel to the hull and the spacing mustlook realistic. Be sure to get this correct inthe clay model and follow it carefully whenyou carve the wood. Once the mast andrigging have been carved, finish shapingthe cabin and work on the finer details ofthe boat. You will need small gouges forthis purpose and I prefer to use those thatcan be held in the hand like a pencil. Theygive the best control for detail work.

Once you've rough- shaped every­thing, check contours by moving a ruleracross the surface under a spotlight and

May 1990

watching the shadow. This will reveal anhard-te-see irregularities in the contour.Stand back frequently and observe howthe shape looks.

When the shape of the water has beendetermined, carve in the bow waves andthe turbulence behind the stern. The bowwaves are started using a deep gouge tocarve out the troughs as shown in regionA of Figure 3. The bow waves are thenrounded over into these hollows. Theregion behind the stern below line B isfairly flat and sloping in from the corner. Asmooth curve along B phases the twocontours of the water into each other inthis region.

An ocean is not smooth, so carve insome cross waves in the foreground ,especially in the lower right hand corner of

t

In this oblique angle photo,the shadows clearly reveal theconcave-convex surfaces and the actualdifferences in depth.

79

Page 80: Popular Woodworking - 054 -1990.pdf

After smoothing, the waves are textured asshown to the left above. The finished carvingbefore framing appears at left.

All surfaces are shaped and smoothed beforedetail carving.

geometrical patterns while texturing.If you're using basswood, a stain is ap­

propriate . First cover the carving withMcCloskey pre-stain. After it dries, youcan make corrections in the carving andresand any area needing it. Use theScotch-brite to remove any little fuzzies.The prestain makes the wood somewhatgummy, so be sure your tools are sharp ifyou are going to carve after the surfacehas been coated. Recoat the surface ifyou rework it, or the stain won't go onproperly. I then applied McCloskey pecanstain.

Our carving of a fishing boat in theCresent City harbor with the Battery PointLighthouse in the distance is complete.We have used the principles of depthperspective and foreshorten ing deve l­oped in the previous two articles of thisseries. I hope you now have a feel forthese techniques which produce the illu­sion of depth in a shallow piece of wood,and are ready to apply them to carvings ofyour own design.~

cut two

I

II

I,,I

I,I

It

ruler

carving

cut 1

cut three

....B

--- --------------------------~~~

-----------------,

Figure 3. Initial Cuts

Figure 4.Measuring Depth of Cut

....------------------------------,~'5'"'"-::li''"c:o~;;§"0c:

'"~s:a.

80 Popular Woodworking

Page 81: Popular Woodworking - 054 -1990.pdf

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May 1981Sound and Its EffectsGood will' s Contract Shop

July 1981 $1.50Assemhly FurnitureSolar-Heated Wood DryerApr il/May 1982 $1.50Makin g Wooden BoxesAhrasive Belt Cleaner Test ReportTahl e Sa w Hints

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Aug/Se pt 1982 $1.50Starting a Woodworking BusinessTahl e Saw Maint enanceRockwell Speed Block Sander

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Page 82: Popular Woodworking - 054 -1990.pdf

Calendar Events of Interest to Woodworkers

Francisco,CA94129.Tel. (415)929-0202 ester, MA 01605. Tel. (508) 753-81 83 For Information,contact: WoodworkingIfyourgroup Ishavinganevent Association 01 North America, Box 706,you would like other wood· Connecticut Date: May18-20 Plymouth, NH 03264. TeI.1-800-521-workers to hear about, fclease Event: 20th Annual May CraftFair 7623 or(603)536-3768send us all pertinent In erma- Date: June 1-3 Location: Worcester Craft Center, 25tlon at least three months be- Event: Spring Crafts Festival Sagamore Rd., Worcester, MA Date: May11 -13fore the opening date. We will Location: BerlinFairgrounds, Berlin, CT For information, contact: Worcester Event: AmericanCraftat the Armoryf,ubliSh It for you In Calendar Juried shows, 200-250 exhibitors CraftCenter (see above) Location: Seventh Regiment Armory,ree of charge. For information, contact: Arts & Crafts NewYork, NY

Festivals,Box412,Canton,CT 06019.Tel Minnesota For information, contact: AmericanArkansas (203)693-6335 Craft Enterprises, Box 10, New Paltz, NYDate: April 6-8 12561.TeI.1 -800-836-3470Date: May26-July 22 Georgia Event: ACC Craft Fair Minneapolis

Event: International Turned Objects Location: Minneapolis Convention Cen· Date: June 14-17Show Date: May4-6 ter Event:SixthAnnual National ConferenceLocation: Arkansas Art Center, Liltle Event: ASalute to American Crafts For information, contact: American Location: Rensselaer Polytechnic lnsti-Rock Location: Atlanta Apparel Mart, Atlanta, Craft Enterprises, Box10, New Paltz, NY tute, TroyThis juried selection of notable latne- GA 12561. TeI.1 -8oo-836-3470 For information, contact: TImber Fra-turned works from around the worldpre- For information, contact: American mers GuildofNorth America, Box 1046,miered in 1988 at the Port of History Craft Enterprises, Box10, NewPaltz, NY Nebraska Keene, NH 03431.Tel. (603) 357-1706Museum inPhiladelphia, and isnowtour- 12561 . TeI.1-800-836-3470ingNorth AmericathroughJanuary 1991 Date: May 4-6 North CarolinaForinformation,contact:SarahTanguy Illinois Event: Nebraska Woodworking Showor Jonathon Glus at the International Location: Aksarben Field, 63rd &Shirley Date: April 19-27ScUlpture Center, 1050Potomac Street, Date: April 20-22 Streets,Omaha Event: Class:Wood, Craft, ArtN. W., Washington, D. C. 20007. Tel. Event: Chicagoland Woodworking Show For information, contact: 1990 Wood· Location: Penland School, Penland(202) 965-6066 Location: Odeum, 1033 N. Villa Ave., working Shows,1516 S. Pontius Ave.,Los For information, contact: Registrar,

Villa Park Angeles, CA90025. Tel. (213) 477-8521 Penland School,Penland,NC 28765.Tel.California For information, contact: 1990 Wood· or 1-800-826-8257 (704)765-2359

working Shows,1516 S.PontiusAve.,LosDate: May5-6 & 12-13 Angeles, CA 90025. Tel. (213)477-8521 New Jersey Date: April 19-27Event: Buildingthe Norwegian Pramwith or1-800-826-8257 Event: American Craft ShowroomSimonWatts Date: April 21-22 Location: High Point, NCLocation: National Maritime Association, Maine Event: Flemington Crafts Festival For information, contact: Buyers Mar·SanFrancisco Location :Flemington Fairgrounds,Flern- kets of American Crafts, 3000 ChestnutFor Information,contact:National Mari· Date: April 27-29 ington Ave.,suite300,Baltimore,MD 21211. Tel.time Assoc., Bldg. 275, CrissyField, San Event: 1stAnnual PortlandWoodworking For information, contact: United Craft (301) 889-2933Francisco,CA94129.Tel.(415)929-0202 WorldShow Enterprises, Box 326, Masonville, NY

Location: Portland Expo Building, 239 13804. Tel. (607)265-3230 Date: May 28-June BDate: May 11 -13 Park Ave., Portland Event: Class: Wood Carving & ShapingEvent:Southern CaliforniaWoodworking Forinformation,contact: Woodworking Date: May 20 Location: Penland School, PenlandShow Association of North America, Box 706, Event: Arts &Crafts atVerona Park For information, contact: Registrar,Location: Pasadena Center, 300 E. Plymouth, NH 03264.Tel.(800)521-7623 Location : Verona Park, Verona, NJ Penland School,Penland,NC 28765.Tel.GreenSt., Pasadena or (603)536-3768 Forinformation,contact:Rose Squared (704)765-2359For information, contact: 1990 Wood· Productions, 12 Galaxy Court, Belleworking Shows,1516S.Pontius Ave.,Los Maryland Mead, NJ 08502. Tel. (201)874-5247 Date: June 11-22Angeles, CA90025. Tel. (213)477-8521

Date: April 27-29 Date: June 2-3Event: Class: Furniture Design

or 1-800-826-8257 Location: Penland School, PenlandEvent: WardWorld Championship Wi ld· Event: Spring Nomahegan Park Art & For information, contact: Registrar,Date: May 19-June 3 fowl Carving Competition Crafts Show Penland School (seeabove)Event: Ninth Annual College of the Red· Location:Ocean CityConvention Center, Location: Nomahegan Park, Cranford,woods Furniture Show Ocean City NJ OhioLocation: Highlight Gallery, 45052Main Forinformation, contact: Jane Rollins, Forinformation,contact:Rose SquaredSt., Mendocino, CA 95460 Ward Museum of Wildfowl Art, Salisbury Productions, 12 Galaxy Court, Belle Date: April 6-8ForInformation,contact: Collegeof the State UniversityUniversity,Salisbury MD. Mead, NJ 08502. Tel. (201)874-5247 Event: Greater Cleveland WoodworkingRedwoods, 440 Alger St., FortBragg, CA Tel. 1-880- 742-4988 Show95437. Tel. (707) 964-7056 New Mexico Location: I-X Center, 6200 RiversideDate: June 10-16& 17-23 Drive, ClevelandDate: June 4-15 Event: Summer CarvingWorkshops Date: April 14-15 &21-22 For information, contact: 1990 Wood·Event: Workshop: Basic Carving with Location: Salisbury State University, Event: Building the Norwegian Pram with working Shows,1516S.PontiusAve.,LosRobert Fowler Salisbury Simon Walts Angeles, CA 90025. Tel. (213)477-8521Location: College ofthe Redwoods For information, contact: Christine Location: Albuquerque Woodworkers or1-800-826-8257For information,contact: Collegeofthe Brown,SalisburyStateUniversity Univer- AssociationRedwoods Woodworking Program, 440 sity, SalisburyMD. Tel. 1·880- 742·4988 For information, contact: Jim Linke, OklahomaAlgerSt.,FortBragg,CA95437.Tel.(707) Albuquerque Woodworkers Assoc.,1414964-7056 Massachusetts Silver St., Albuquerque, NM 87106. Tel. Date: April 7

Date: April 7&8(505) 243-7234 Event: Workshop: BetweenCenters

Date: June 9-16 Location: Moore-Norman School, Nor-Event: Buildingthe HerreshoffPramwith Event: Design & Construction withBent New York manSimonWalts WoodNioodForming, Michael Fortune For information, contact: DiannaLocation: National Maritime Association, Location: Worcester Craft Center, 25 Date: April 6-8 Ewoldt, Moore- Norman Voc-TechSan Francisco Sagamore Rd., Worcester, MA Event: Second Annual Buffalo Show School,4701, 12th Ave. NW,Norman,OKForInformation,contact:National Mari· For information, contact: Worcester Location:Erie CountyFairgrounds,5600 73069. Tel. (405)364-5763 ext261time Assoc., Bldg. 275, Crissy Field, San Craft Center, 25 Sagamore Rd., Worc· McKinley Parkway, Hamburg

82 Popular Woodworking

Page 83: Popular Woodworking - 054 -1990.pdf

Date: April 21Event: Turned Lidded BoxesLocation: Moore-Norman School, Nor­manFor Information, contact: DiannaEwoldt, Moore- Norman Voc- TechSchool (see above)

Oregon

Date: March 17-April14Event: Women in the WoodsLocation: Made inJefferson Gallery

Exhibit of Northwest women wood­workersFor information, contact: Made in Jef­ferson Gallery, Jefferson, OR

Date: April 29Event: Seminar: Woodworkers & UsersGuideto the Spinning WheelLocation :OregonSchoolofArts&Crafts,8245 SW Barned Rd.,Portland,OR97225For information, contact: Becky Ban­yas,Tel. (503)297-5544

Date: April 29-May 12Event: Table, Lamp + Chair: DesignersTakeA Dare!Location: Foundry Loft Apartments, 849NW Everett, Portland

Furniture and lighting design cornpeti­tion &workshops;entry forms due April 6For information,contact: IBD,2701 NWVaughn St., suite 608D, Portland, OR97210·5328

Date: May 6Event: Seminar: Art & Practice of BirdCarvingLocation:Oregon SchoolofArts &Crafts,8245 SW Barns Rd., Portland, OR 97225For information, contact: Becky Ban­yas, Tel. (503)297·5544

Date: May 19&20Event: Seminar: Stool Design & Con­structionLocation:OregonSchoolofArts&Crafts,8245 SWBarns Rd., Portland, OR 97225For information, contact: Becky Ban­yas,Tel. (503)297·5544

Pennsylvania

Date: April 21-22Event: 1990 Craft WorkshopsLocation:State College, Pennsylvania

Furniture Design and ConstructionwithTage FridFor information, contact: PennsylvaniaGuild of Craftsmen, Box 820, Richboro,PA 18954. Tel. 215-860-0731

Date: opens April 21Event: Pennsylvania Lathe-Turned Ob­jectsLocation: Woodmere ArtMuseumForinformation,contact:Woodmere ArtMuseum, 9201 Germantown Ave., Pbila­delphia, PA19118. Tel. (215)247·0476

Tennessee

May 1990

Date: April 19-May 19Event: Rude Osolnik: A RetrospectiveLocation: Arrowmont School of Arts &Crafts, GatlinburgFor information, contact: ArrowmontSummerWorkshops,Box567,Gatlinburg,TN 37738. Tel.(615)436·5860

Date: June 4-8Event: Workshop: Segmented & StavedDecorativeTurningsLocation: Arrowmont School of Arts &Crafts, GatlinburgFor information, contact: ArrowmontSummerWorkshops (seeabove)

Date: June 11 -15Event:Woodturning-Functional &ArtisticLocation: Arrowmont School of Arts &Crafts, GatlinburgFor information, contact: ArrowmontSummerWorkshops (see above)

Utah

Date: April 27·29Event: Utah Woodworking ShowLocation: Salt Palace, 100 SW TempleSt., Salt Lake CityFor information, contact: 1990 Wood·working Shows,1516S.PontiusAve.,LosAngeles, CA 90025. Tel. (213)477-8521or1-800-826·8257

Washington

Date: April 5-May 31Event: Dinner forEight (exhibit ofdiningsets)Location: Northwest Gallery of FineWoodworking, Pioneer SquareFor information, contact: NorthwestGallery, 202 First Ave. S, Seattle, WA98104. Tel. (206)625-0542

Date: opening May 25Event: Lamp &Lighting ShowLocation: Artwood Gallery of Fine Wood­working,BellinghamForinformation,contact:Artwood,1000Harris Ave., Bellingham, WA 98225. Tel.(206)647-1628

West Virginia

Date: April 23-29Event: Class: ChipCarving

Part ofSpring Dulcimer WeekLocation: Davis&Elkins College, ElkinsForinformation, contact: AugustaHeri­tage Center, Davis & Elkins College, El­kins, WV 26241. Tel. (304)636-1 903

WaShington, D. C.

Date: April 19-22Event: The Washington Crafts ShowLocation: Departmental Auditorium,1301 Constitution Ave., NWFor information, contact: Women'sCommittee Office,A&11465,SmithsonianInstitution,Washington, D. C.20560.Tel.(202)357·2700

Index to AdvertisersAmerican Woodworker 9Cascade Tools , Inc 8, 12Clayton Enterpr ises 9Dollar Trading Corp 9Econ-Abrasives 9Everlast Saw and Carb ide 12Forrest Manufacturing Co 15Grizzly Imports 2Highland Hardware 84John Reed 84MLCS Ltd 17Penn State Industries 84PW Back Issues 81Red Hill Corp 7Rodman 7Singley Specia lty 84Skil Corporation 92SteussyCreations 9Taylo r Design Group 2The Fine Tool Shops 15The Japan Woodworker 84The Winfield Collect ion 84Tole Wor ld Magazine 3Truly Persnippity 7Vidwood 83Watco 13Wood-Mizer 84

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Page 84: Popular Woodworking - 054 -1990.pdf

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84 Popular Woodworking

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PW Showcase order form on page 87

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Osc illati ngSpindle Sa nde rs

For large or smallshops. Ideal for con­tour sanding. Quickchange drums. 2/3"- 4" . Sati sfactionguaranteed. 1 yearwarranty. 5 modelsto choose from.

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WoodworkersTh e Fin e Tool sShop catalog offersproducts for profes­siona l woodwork ­er s and se rioushobbyis ts . Sp e­cially selected offer­ing s rang e f rommeasuring . mark­ing and draf tingneeds to the finestchisels and carvingtoo ls.

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How to FinishWood

Color brochure fea­tur es comprehen ­sive . step- by- stepdirections for woodfinishing with WatcoDanish Oil Finishes.Highlights includecolor chart. finishingtips and troubl eshooting sugges ­tions.

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85

Page 86: Popular Woodworking - 054 -1990.pdf

PW Showcase , order form on page 87

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86 Popular Woodworking

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Popula r Woodwnrk inuProject Booklet

De s i g nedfor home of­fice use, thissturdy deskis easy andinexpensiveto construct.With its two

drawers and two shelves, it's perfect for asmall woodworking business or any otheroffice use. Students will love it. too!

Please circle #280

Free

Saw PerfectAngles

New Eze-Angl e­guidecR"l lets you saw160 different angleswithout changingyour saw. Cut 22-1/2"oc ta go n s ,45 "squares, etc., in­stantly. Works ontable saws, too. FreeBrochure.

SteussvC reat ions

$80.00

Please circle #270

Hack Issue sMore projects! Allavailable back is­sues of PW (atleast 30). Each is­sue has 4- 6 proj­ects with plans,plus all the regulardepartments thatmake PW a valu­ableadditionto thewoodworker's li­brary.Popular

Wood\\"orkinl-(Back Issues

I------------------~ - - - - - -----------~-I

PW Showcase Order Form PW #54 May 1990

Savetime. postage and stationeryby using this coupon toorderall the additional materials you'd like to receivefrom ouradvertisers.

How to order:1. Just circle thenumberson the coupon thatappear nextto theShowcase items that interest you.2. Complete theanswers to the questions on theorder form.3. Print your name and address on theorder form. We must haveyourZIP CODE.4. Total the costs for the priced items, plus $2.00to helpcoverpostage and handling charges.5. Cutouttheorder form and put it in an envelopewith total payment (check, money order, orchargecard info) and send to:

Popular WoodworkingBox 2506Boulder. CO80329-2506

$2.00

Circle the catalogs and productinformation you want to receive:

101 . FREE 163. FREE 222. FREE102. $33.99 164. $69.95 225. FREE103. $1.00 165. $22.95 226. $2.00104. FREE 181 . $1 .00 228. $15.00120. $0.50 182.$8.00 270. $80.00122.$1.00 183. FREE 280. FREE123. FREE 184. FREE 330. $4.50140. $94.00 200. $22.95 340. $17.00161 . FREE 210. $0.25 350. $30.00162. $1.00 221 . FREE

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This isn't mycopy of Popular Woodworking, but I wishit was. Start mysubscription atonce for :o 1year (six issues) $1 7.00(circle 340above)0 2 years (twelve isssues) $30.00 (circle 350 above)

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Tell Us How You Liked This IssueI. My favorite project in this issue is the:

a. Child's Toy Box/Chair e. Handy StepLadderb. 3- D Tic Tac Toe f. Computer SecurityCabinetc. Fretwork Shelf &Mirror g. Windsor Stoolsd. Cutlery Box h. Captain's Bed

II. My second favorite project in this issue is the:

a. Child's Toy Box/Chair e. Handy Step Ladderb. 3- D Tic Tac Toe f. Computer Security Cabinetc. Fretwork Shelf & Mirror g. WindsorStoolsd. Cutlery Box h. Captain's Bed

III. My least favorite project in this issue is the:

a.Child's Toy Box/Chair e. Handy Step Ladderb.3- DTic Tac Toe f. Computer Security Cabinetc. Fretwork Shelf& Mirror g. Windsor Stoolsd. Cutlery Box h. Captain's Bed

IV. Ofthe regular features, the one I liked the most was :

a.The BusinessEnd e, Focus onCarvingb. Book Reviews f.Out of theWoodworkc. Videoscene g, Project fortheShopd. Triedand True h.The Turner's Page

V, What is your age?

a. Under 24 b. 25-35 c. 36-45 d. 46-60 e, Over 60

VI. About how much doyou spend onwoodworking permonth?

a, Under $100 b. $100-$200 c. $200-$500 d. Over $500

I VII. About how many projects doyoubuild each year?

L _ -.!.~der ~ ~ ~O_"": ~1-=- ~.~.~~. Over 2~ _ City, Sta~z~ ~u~x~~5~6-.J

May 1990 87

Page 88: Popular Woodworking - 054 -1990.pdf

SALE: MOVEABLE LOUVRE SHUTIER manu­facturing equipment. Standard slats, Reasonable.1-71 4-849-3808

WOODTURNING LATHES; bowl, spindle, largeswing, long bed, slowspeed. DeRose & Co" Box150. Mechanicsville, VA 23111. (804)746-1705

..,..-"., ..........Create pop ular and profitable

plywood "c ritt ers". Incl udes LIFE SIZE patternsI and painting instructio ns for a sheep, lamb, pig let,I rooster , hen with ch icks. duck with ducklings. geese, owlI and more ! Onl y 57.00 .

I ACCENTS Oept. ER40. Box 73 87, Gonic, NH 03867

C~~Ql?S.R!-~S~T!-~qq:.~2~0.9i':.'~_"i'!l'.?!,d!2 -:JBOAT PLANS. Over two dozen good wood/ply­wood designs 11 '- 66' sizes. Powerboats, sail­boats. dinghies, motorsailers. Pleasure/commer­cial. General data, descriptive list $5.00. NilsLucander. P. O. Box 7752, Tacoma. WA 98407.Tel. 206-752-6528

PLANS AND KITS

CLASSIFIED

WOODEN GEARED, WEIGHT-DRIVEN,pendulum-regulated clock plans. Average skilllevel. $10.00. BOB MEYER, Box 275. Elgin, MN55932

WOOD PARTS, CRAFT SUPPLIES CATALOG$2.00. Little Shepherds, Dept PW, 9658-E W.Chatfield Ave.. Littleton. CO 801 23

MODULAR BOOKCASE- portable,sturdy. Easyto build. Plan 1a, $2.00. WS Designs. 1833 Gow.Wichita, KS 67203-1414

TOOLS

"WELD" YOUR OWN BAND SAW BLADES,Plans $3.00 + SASE to J K. Woodcraft. 3398Aquinas, Rochester, MI 48309

II

BOOKS & CATALOGS

WOODWORKING VIDEOS. Beginning to ad­vanced. Catalog $1 .00. DRTV Dept. P, Box 3539,Napa, CA94558

VIDEOS, BOOKS ON ELECTRICAL wiring,plumbing,carpentry,welding,upholsteryand100'sof other titles. AAVIM, 120 Engineering Center,Athens, GA 30602. 1-800-228-4689

ROUTER BITSAND SHAPER CUTIERS custommadetoorder.For freebrochureorinformation callorwrite: True Cut Tool Corporation. 1074Hwy 93South, Victor, MT 59875. Tel. 1(800)262-2487

WOOD WHIRLIGIGS. Full- size patterns. instruc­tions. Wind-d riven 13"- 22" bee. chipmunk. dog.coyote. roadrunner. cat. songbird. duck. $3.25each: any four. $12 .00: all eight. $23.00. P. Skov.3380 Fourth Ave.. #26, Yuma. AZ 85365

FREE BROCHURE- Woodentoy parts. patterns.books. Catalog-$1.00 . Woodentoy. Box40344-PW, Grand Junction. CO 81 504

TRELLIS PLANS-Architecturally appealing.Change unsightly areas . nosey neighbors. intowallsofflowersandfoliage.4'-8'-12'wideto8' tall.Only $6.95 from L. Stewart Enterprises. P. O. Box10297. Ft. Wayne. IN46851

MAKE ACTION MECHANICAL WHIRLIGIGS,toys, decorations, displays. Wooden AnimatorPlanBooks Catalog $1.00. Solipaz, Box 366, Lodi,CA 95241

FULL SIZE PATIERNS for 3 interlocking. free­standing, wooden dinosaur puzzles: Mix/match.Fun for everyone. $3.95 to VORTREKKER, P. O.Box 651000, Dept. MM, Salt LakeCity, UT84165

PLANS FOR DUST COLLECTION system blastgate. Simple/inexpensive to make. Send $4.00 +SASEto: J K. Woodcraft. 3398 Aquinas, Roches­ter, MI48309

3 DELIGHTFUL DINOSAUR PUZZLES $2.00Easyfull-size patterns.Steve'sWoodworking.546CatalinaSt.. Laguna Beach, CA 92651

GUITAR, BANJO, MANDOLIN, VIOLINanddulci­merkits .Finishing supplies.Free96-pagecatalog.Stewart-MacDonald . Box 900P. Athens. OH45701 . Tel. 800-848-2273

CAROUSEL LOVERS-build your own table-topcarousel, size 17" X 19". Patterns and plans,$1 2.75. D. L's Woodshop, R. R. 2, Box 38,

IAm~e~~

, I nc lu~~~~~~I~~r~~~~~:~nti~ :I inst ructions for g irl with watering can, Dut Ch . :I bo y and g ir~ leprechaun/elf. Amish man and Wife. II comic bending lady and farmer ... more! Only $7.00 I

I ACCENTS Dept LR40. Box 7387. Gon ic . NH 03 867 I

C~QQQ.~R..Aft Q~T.!'bqq:.~2,;,0Ei':.'~_,,!i!!,_o!,d22 -:J

100 FULL-SIZE WOODCRAFT PATTERNS:Windmills, Birdhouses, Toys, Etc. $4.50. Catalogalone $.50 Hayes Patterns. 6E Willow Street,Woburn, MA 01801

CRAFTSMEN-TURN ANY OBJECT INTO aconversationpiece. Learn howto apply the crack­ledfin ishand the worn antique finish. Learn paintstomping, rag roll ing, and paint graining. For de­tailed, easy-to-follow instructions send $14.95(check or money order) to: Creative Touch, P. O.Box 28362, Columbus, OH 43228

MODULAR STORAGE SYSTEM forshop,garageor asfurniture. Designfor three sizes. $5.00 post­paid. Z. V. Enterprises. Box 4977, Arcata, CA95521

ROUGHED OUT BLANKS, 42 differen t 80%roughed out basswood blanks of birds, animals.and characters. Also supplies. Free brochure withSASE to West Falls Woodcarving P. 7458 Ell icottRoad. West Falls, NY 14170. (716) 662-3648

BUILD YOUR OWN WATERBED AND SAVE.Mattresses. Heaters. Massage Systems, Hard­ware. Packages, MOREll Send $2.00 for Catalogwith FREE planset. Woodins' Waterbed Connec­tion; 45Industrial Park Rd.. Dept PW, Albany, NY12206

TOYSOF WOOD, free plans info,Tarjany Designs,Box8846, Dept H. Calabasas, CA 91302

BESTSELLING BANDSAW TOYS! Unique newdesigns: 1957Corvette.1957Chevy.1935Auburn,Jeep. Pickup-Full sizepatterns: $2.00 each- Allfive: $8.00. Woodcrafts byJohn Daly, Rt. 10-Box708. Lake City. FL 32055

SUPER WOODCRAFT PATIERNS windmills,wells. vanes,whirligigs, bird houses, jigsawing forfun orprofit.Catalog $1 .CRAFTER'S, 11840NorthU.S. 27, Dewitt, MI 48820

MAKE WOODEN TOYS. wh irligigs. door harps.dollhouses, clocks, music boxes, weather instru­ments. crafts . furniture with our plans. parts. kits.supplies. Catalog $1.00. (614) 484-4363. CherryTree Toys. Belmont. OH4371 8-0369

132 Helen Aven ueMarkh am, Onta rioCana da L3 R Ij5

Electro ph ysics(416) 470-9 522

Repair bandsawbladesin less Chan CWo minutes with the

ELECTRO ~BAND SAW BRAZER

#101BDo inSi.de contour sawing ea~jer andlaster. MakeyourownbandsawsIromcoil stock. Brazercompletewith klt.$75.50 Mfrd. by . _

NELSON & JACOBSON, INC.3546 NO. CLARKST. , CHICAGO, IL 60657

1990 LEATHERCRAFT CATALOG. 100 pages.Largest selection available of genuine leathers.tools. kits. books, supplies. Fine tooling. utility.garment leathers, suedes, exotics. Belt. wallet.moccasin kitsand more! Low prices, quantitydis­counts. Send $2.00 pstg/hdlg to: Tandy LeatherCompany, Dept. PW490C, P. O. Box 2934, Ft.Worth, TX 76113

Wood Moisture MeterEND WOOD WARPING NIGHTMARES FOREVERI,0EAf. FDICHOME 0'" INOUmlAl. CJl(YJNG OF AU K,NDS OF WOOD

High prKlslon Instrument measures wood moisture In range ]X to 5~P!rfeci for hobby or profession. Why pay morel Gel tht BEST for LESS'

Spedal Introduc tory offer 1188 Clnadlan (SI 5S U.S.) $10 shippI ng .Wood probe. cable, batt eries 1n<ludedl OntOilrlo ~s ldfnts add ~ PST.Certmed cheque, money order, Vln. (COOIn ( ..n.ld ...only) Det.lls·

FREE ILLUSTRATED CATALOG of books forwoodworkers: instructions, scaled drawings, pat­terns for furniture, toys, house carpentry, duckdecoy, bird andfigure carving , chip carving,woodsculpture, lathe work, more. Most$4.00 to $6.00.Write: Dover Publications, Dept. A226, 31 E. 2ndStreet, Mineola, NY 11501

88 Popular Woodworking

Page 89: Popular Woodworking - 054 -1990.pdf

I CLASSIFIED

WOODS

EARN $1 00-$500 PER DAY in furn iture strippingand restoration in your home. Training, turn keyshop setup. Investment required. Bob's Classics,406 No. Superior, Emmetsburg, IA 50536. Tel.(712) 852-3046

89

VACUUM CLEANERS "Discount Prices" NewRainbow $599.95. Kirby. Filter Queen. Tri-Star.Panasonic. Details: ABC Vacuum Warehouse.6720 Burnet-PW.Austin.TX78757(512)459-7643

EPOXY! EPOXY! EPOXY! Laminating. De­coupage. Repair and Assembling epoxies. 160z!$1 0.00. 320zl$17.00. HCH COMPOUNDS. 11 455NewkirkJ1420. Dallas. TX 75229. (214) 243-8494

VILLAMARIAWOODWORKSHOPS,Aug.12-18.1990: carving classes in caricature. birds. water­fowl.relief. marquetry.P.O.Box37051.Minneapo­lis. MN 55431

LET THE GOVERNMENT FINANCE your wood­working business. Grants/loans to $500,000yearly. Free recorded message: 707-448-0270.(KC1)

CLASSIFIED INFORMATION:Classified Rate: $1 .50 per word; 15-wordminimum;Classified Display: $150 per inchfor 1 issue, $11 0 perinch for 6-time rate (6consecutive issues). Payment must accom­pany all Classified ads (not commissionable).Deadline for Issue 55 (July1990) is April 2,1990. Popular Woodworking, 1320 GalaxyWay, Concord, CA 94520, (415) 671 -9852.

REMARKABLE TEXAS PUZZLECRAFTS! P I ~ ns

and kits. Ideal business. Fascinating designs withsample$3. Scotlyn , RTI·40. Bangs. TX76823

WOODWORKING INSTRUCTORS & HEADMAINTENANCE. coed resident camp in Massa­chusetts. Contact Marv Lein. Camp Emerson. 5Brassie Road, Eastchester. NY10707. (914) 779­9406, (800) 955·CAM P

WOODWORKING INSTRUCTORtoteach and livein at summer camp for teens in New Milford. CT.July/Aug '90.Buck's Rock. 193N. Detroit Avenue.N.Massapequa. NY 11758. (516) 293-8711

LIVE, WORK AND PLAY IN PARADISE! Own aprofitable. well-established furniture refinishingbusiness inHawaii.Great familyopportunity. Rain­bow Isle Restoration. 1-808-822-5437

SPRAY-ON SUEDE LINING: Finish any projectwith a soft touch. Free Brochure with sample.DonJerProducts,Ilene Court-Bldg.8G. Bellemead.NJ 08502. (800) 336-6537

I I

MISCELLANEOUS

WHITE CEDAR LUMBER for indoor and outdooruse. White cedar carving blocks. Send for freeinformation and sample. Seaside Forest Products.R. R. 2, Box 980, Lubec. ME04652

HIDE GLUE-Woodworking and Glass Chipping.11 Gradestochoose from.Call orwriteforprice listand technical information. Bjorn Industries, Inc.,Box 1280, Matthews, NC 281 06. 704-845-2288.

USE YOUR SCRAP WOOD. Make charming mini­ature furniture. Bookshows how. FREEDETAILS!SAMPLE PLAN. RAI (PW4). Box 586. Alpharetta.GA30239-0586

BUILDING? RESTORING? REPAIRING? UseChern-Tecn.tneepoxyglueprofessionalsuse.Strength andreliabilityproven inboatsandaircraft over15years.lntroduc·tory Offer: 1/2 pt. T-88 Epoxy Glue only 59.95 ppd. USA.Orders shipped within 48 hrs. Technical staff on call toanswer your questions. Chem- Tech. Dept.PW. 4669 tan­derRd.,ChagrinFalls,OH 44022.(216)248-0770.VISA- MC

PINK IVORY LOGS & other rare African hard­woods for sale. World's rarest commercial hard­wood. Phone today or write for details and FREEcatalog. (213)542-3576. Exotic Hardwoods. 4100Spencer Street. Torrance, CA 90503

Manufacturer Deec tLargest & hnest setecnon Oak. Walnut Hickory.

Maple Che rry Mahogany Teak even treate d dowelsQuantity discounts

MIDWEST DOWEL WORKS. INC .4631 Hutcrunson RoadCmcmnatr. OH 45248

151J1 574 ·8488Cata log on request $1 00

BASKET WEAVING AND CANING SUPPLIES.Large selectionweaving materials books, hoops,handles, tools, and misc. Retail and wholesale.Catalog$1. Refundable. Royalwood Ltd .517-PW,Woodville Road, Mansfield, OH 44907

INFORMATIVE 208-PAGE CATALOG for wood­workers, woodcarvers, upholsterers, antique re­storers, including many unusual, hard-to-finditems.Send$1 .00to Van Dyke's, Dept. 50, Woon·socket, SO 57385

(AR) CURVED GLASS for curved glass chinacabinets. Call Universal Glass Co. for quote orbrochure. 1-800-446-5504. P. O. Box 2097, Alma,AR 72921

DOWELS - PLUGS - PEGS

SELECT AND BETTER HARDWOODS:Walnut­National Average 4.32!bf: OUR PRICE 3.22!bf:Cherry-NoA. 2.98!bf: OUR PRICE 2.07/bf: HardMaple-N.A.2.04/bf:OUR PRICE 1.58/bf. Catalog$1.00.MasterCardiVisa.BadgerHardwoods,Rt.1.Box 262. Walworth. WI 53184

POST OFFICE BOX BRONZE DOORS: No. 1$5.00: NO.2 $6.00: NO.3 $9.00. plus $1.00 eachshipping. SASE: Hubbert Woodcrafts. P.O. Box1415. Fletcher. NC 28732. (704) 687·0350

I~====

BURL, FIGURED LUMBER- Most Westernspe­cies.squares,slabs,whole.Samplekits.SASE list:EurekaHardwoodSupply, 3346 0 St., Eureka,CA95501 . (707) 445-3371

"GOOD WOOD " PENNSYLVANIA HARD­WOODS. Over 2000 sizes, 12species. 1/8" to 2"thick. Surfaced, kiln-dried. Small orderswelcome.Free catalogue: Croffwood Mills, RD #1 Box 14L,Driftwood, PA 15832

MESQUITE LUMBER, SASE for prices. Include$2.00 for sample. H. Nordmeyer. P.O. Box 68.Knippa. TX78870

WOOD SUPPLIES WHOLESALE: Shaker pegs.candle cups,hearts,dowels,toyparts,free catalog.Rainbow Woods. 20 Andrews St., Newnan, GA30263

HARDWOODS UPS-Red Oak, Walnut, Cherry,Hard Maple. Custom- made furniturepanels, chairseat blanks. Sendstampedenvelope for prices. R&EHardwoods,212Main,Garden City,M064747;(816)862-8333

May 1990

DIY PLANS FOR INDOOR/OUTDOOR furniture.workbench. children's toy. etc. Catalog $1.00.LLEPW. Box 908. Cornville. AZ 86325

KJ222ifs!s1Jg15 Species available in Strip or Plank

Harmony Exchange(704) 264-2314

Materials for Log & Timber const.

NATIVE AMERICAN HARDWOODS, 21 domesticspecies from the greatest hardwood forest in theworld. Call 1-800-688-7551 forcatalog

PLANS FOR 350 +TOOLS Catalog $1.00 (refund­able). Wood-Met Services. Dept. PW. 3314 ShoffCircle. Peoria. IL61604

UNUSUAL BUTTERFLY PATTERNS, clowns.wall plaques. book racks. etc. Send$1 .00 for bro­chure. Happy Beaver Woodworkers. P. O. Box5142. Sta. 1. Roseburg. OR 97470

COMPLETE PLANS TO 4 DIFFERENT, easy tobuildgun cabinets. Our biggest seller!$6.50. Plan­fan. Box 473. Bridgeport. NE 69336

KILN-DRIEDHARDWOOD AND PINE LUMBER.paneling. flooring. Ceramic tile inserts. Free Cata­log. Catskill Mountain Lumber. Box 450. SwanLake. NY12783. (800) 828-9663

CLOCK PLANS-Make handcrafted clocks forgifts or profit. 6 plans $5.00. Kent Anderson. 107O·Neil. Ames. IA 50010

IFIGURED MAPLE-QUILTED, BURL, CURLY,SPALTED.Boardsand Blocks.AlaskanYellow Ce­dar. Randle Woods. P. O. Box 96. Randle. WA98377. (206)497-2071

Page 90: Popular Woodworking - 054 -1990.pdf

lOut of the Woodwork

The Other SideThey say that when your children grow up and leave home,

you soon find yourself missing the peanut butter and jelly on thedoor knobs, the dirty clothes and homework papers stuffed underthe bed, and not being able to use the telephone whenever youplease. They 're right.

This fact makes me wonder what I would miss if my husbandwere not a woodworker. What first comes to mind are the stacksof woodworking magazines and project plans which have to bemoved and put back each time I vacuum the carpet in his den.That's exercise Icould possibly go to flab without. And what aboutthe problem of storag e space? It's pitifully lacking in the base­ment of our little ranch house for anything not directly connectedto the working or storing of wood and tools. Ii he didn't enjoy hishobby, then I suppo se we wouldn 't have to rent the mini­warehouse for stor ing our Christmas decorations, garden tools,lawnmower, and for those various boxes of junk we've accum u­lated over the years.

Around 11 pm I wou ld miss the shrill sound of his router as heexecutes yet another mag ic maneuver,while remaining perfectlyoblivious of the hour . And the odors.... I can 't forget that life wouldbe dull without the fragrance of turpentine permeating thehouse... the aroma of the many paints and stains, some of themsecret home-brews concocted from vinegar, ammonia, and thelike... and the pungent scen t of fresh-sawn lumber still smokingon the table saw-were it not for the tell-tale buzzing of the blade,you'd swear the house was afire .

Elaine Laney is an architectural draftsman. free-lance writer and thewife of a wood addict in Hendersonville. North Carolina.

"I wish he'd get anothe r set of plans...I'm tired of these FHA models."

90

by Elaine E. Laney

Ahhh, the sawdust throughout the carpet and his clothes nowcomes to mind. Once in the washer, sawdust becomes anintegral part of each laund ered load . doing it's scourin gside- by- side with the detergent. And there are the wood chipsand those little spiral shavings from his block plane, alwayslurking on the cellar stairs . awaiting a sneakered foot to transportthem into our living areas . They never wait in vain. or for long. Ourcats play with the springy shavings the way other housecats playwith balls of yarn.

I would miss the thrill of finding a check written to a specia ltylumberyard for an unpronounceable wood species costing $40 aboard foot. I would be deprived of the challenge of trying everysolvent known to woman in an effort to remove a hardened globof waterpro of glue from the pocket front of a good shirt. My carwould no longer be permitted the luxury of parking in the fresh airat curbside. but would have to lodge in the carport where now arestored his homema de wooden boat together with stacks ofdowned tree parts, await ing his saw and the requisite number ofyears of drying in the mountain air.

Most of all, I would feel let down at not being an indispensablepart of his hobby . Gone forever would be those romantic mo­ments when he calls me away from cooking dinner to provide anextra pair of hands to hold, measure, clamp . push, pull, spreadglue, or give approval. support or consolation.

Of course, I suppose I wou ld miss running into things-thehomemade spring pole lathe in the middle of the darkenedbasement (positioned there so I wou ld notic e it?)... thesi xteen -foot 2 X 12 in the lum be r rack designed forfourteen- footers (those extra two feet can decapitate you if youpass by at a speed above "mosey"). And that cabinet placedstrategically in a sunny basement window that somehow nearlybroke my shin- oh, how foolish I was-I could have hurt thatcabinet! Icould miss that kind of excitement, too (Iwish I'd missedthe darn cabinet).

Now that I've laid them out before me, maybe I wouldn't missthese things in my life, but...

I'd surely not enjoy doing without the linen cabinet he built...the living room chair, the bedside table, my home drafting board,the dining room hutch, the lady 's writing desk, the scores of smallstands, stools, bookcases, racks, shelves, closet organizers,storage cabinets and boxes.

Where would we be without his dexter ity and handiness, orwithout the dozens of space-eonsuming but truly ingenious,lovely-to-Iook- at, one-of-a-kind hand tools he's crafted him­self? We would be rickety-rackety falling apart-that's wherewe'd be! So keep on woodworking, dear , and as soon as , hearthe belt sander turn off , I'll go down in the basement and tell youso, I'll check the progress of your latest project , and if I'm lucky I'llget a sawdust hug. Because of that dust , I have lots of tan in mywardrobe , I may look better in bright colors , but I'd rather have thehugs !~

Popular Woodwork ing

Page 91: Popular Woodworking - 054 -1990.pdf

Next Time

Coming upin the July Issue of

Popular Woodworking: .........~..............._~~---L.-'-~_-=--= .....

Old-FashionedSchool Desk

Special Planes

Bee Hive Jewel Chest

On sale in· early June.

Page 92: Popular Woodworking - 054 -1990.pdf

.EXPERT

EXPERTGI

Powerful plunge routershave always been beyond thEgrasp of budget-consciouswoodworkers.

That is,until Skil handedthem the new Model1835.

This versatile tool com­bines smooth plungingactiorwith apowerful 1%HoPmotor.

Ithas an adjustabledepthstop for fine tuning. Big,easy­to-grip handles.Convenientwrench storage slot Acom­partment that holds 3bits.

All that with aprice tagthats under $100.

You can also rout out aseparate niche with our112 H.r version,the Model1823 plunge router.

So take the plunge andcall your Skil representativetoday Because these tworouters are carved out for

success. S~/l

Ii su«: 'IiMO.flSC" ., . oJ, I orporation,Subsidiary of Emerson Electric Co"4300 W Peterson Avenue,Chicago, IL 60646, © 1989Skil Corp.