woodwork 102 - december 2006

8/8/2019 Woodwork 102 - December 2006

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THE DLT IM ATE 10"C O N T R A C T O R - S T Y L E T A B L E S A W SW /C AS T ]R ON W IN GS & . TABLE

,M o to t 2 H P . 11 O V I2 2r :N .single-phase, P rec is io n 9 ro u nd C o S I iro n ta b Ie s i z e :2 7 " ~ 3 9'~ ' w lw i ng I, S ho p Fox ' A luma-Chis~ lc" F e n c e

A r bo r : ' / 0 ' .LA, R ip ca pad ry : 30" . ,.. .. ... .. .. - C u n i ng C a pati ty:3 ' k "@W ' , 2W@45 '

, A p pr ox , ~ hi pp in gweight : 2 .9 8 I bs ,

M o t o r, 3 H P , 2 2 0 V , single-phase P r ed si o n grou n d cas t ito n \iI b lew /2 cas t iro n e xte ns io n w in gs T ab le size w I w ing ; a ttac hed: 27" x 40"'", A r bo r :% '

(accepts dado b l adesup to ' 1 1 0 " )

Cu t ting. ca pac iry :8"L&26"R

, M a x , dep th o f c u t ; 3 '~' .@ 90 ', 2 W ' @ 45 ' .' ~ A p p r o x, shipping ~. ~weight : 46 5 Ib ;. . . :: .

ONLY $125000

10" LEFT TlLTING SUPERH EA VY-DUTY TA BLE SA W 10" LEFT TILTIN G SA W-a r RA .I 1S& EXTEN SI ON T A B L E, M o t or : 3 HP , nov , single-phase, 3450 RPM-P r eds ton g rou nd cast iro n t;lble, E xt en si o n ta bl e s lz e: 2 7" x 44 ", M b o r: % " (acc.epts dado b la de s u p 10 " / t , " ),Cut t ing Cilpacrty: 8' left, 5 4 " r ig h t,M ax. depth o f cut J " @ 9 0 ", 2 'A i" @ 45 _____ ' A pprox, shipping weigh t : 5 3 2 lb s,

R!GHT-llLTG0444Z ONLY $57500UFT -T ILT

G0576 O NLY $61 S0D GI023SL ONLY $975 00,6" JOINTER 8" X7S" JOINTERS, M o to r: 1 H P, 1 1 OV ,single-phase M o to r: 2 H P , l lOV / 220V , s in g le -p has e , Table size: 6 " x 46" TEF C , 3 450 RPM M a x . de pIl l of Cllt: \ 1 , " , P r ed si o n gr o u n d c as t i ron t ab le M a x. rabbeting capac i ty : ' , s " , Knives , 4 H SS, 8" x W x ~ '( G 0 5 8 6) Cu t te rhead kn lv es: 3 ' C u ttsrh ead s pe ed : 5 5 00 R PM, Cu t te rhead dia : 2\1 ," Cuttethead diameter: 3~' CU t t er head 's pe ed : . .... . .. ~ ~ = - ~. . .J . . . Max . dept h4S00R PM o fcu t: lil" - - _ l 1 l i : C u ts p er m in u te: M a x . rabbeting14 ; 400 depth : 'h "

C as t i ron fen ce Cuts p er minute :22,000 Ap p r ox . sh ipp ing App rox , sh ipp ingw e iqh t; 270 lbs . w e ig h t; 558 Ib s,

I t lC lU U ES A . F REE P AIR O F IN TR OOUC TOR Y P RIC E ISA rm pun eLO CKS 4 8LA a E C L rT T E ltH E AO .GO S 8 6 ONLY $6550SP'RA.l CUTTERHEADGO S 9 3 ONLY $995 00

I N C L U U E SF REE P AIR O FS A FiT V P U& K

& l O C K S

8" X 76" JOINfER, M o t or : 3 H P ,nov , s l n g le ph ase, T EF C, 34 50 R PMTab l e size: 'S" x 7 6 ' 1 0 . " , Infeed toble size: 8" x 43!lo '-C utterh ead kn iv es: 4 H S S , S" x % " Xi,," C utte rh ead spe ed : 5350 R PM 'C u~ Im in ut e: 1 9 ;5 0- C u t t e r h e a d diameter: 3 '1 1 ," I N C l U PE S C A S f, M ax . depth o f cu t' A o " r R O N F E : N C E, M ax. r abbet ing depth : \ I , ", A p p ro x . s h ip p in g w e ig h t: 5971bs . ,

INTRODUCTORYP 'UCEI60452 ONLY $ 3 25 0

P A R AL L EI .O G R A Mf A 8 L E .A P J U S fM E N : TI l nTEM!

IN TR ODU IT ORY P RIC E !60490 ONLY $7500

15" PLANER M o to r. 3 H P , n o v , 5 i ng l e- p h as e P r ed s lo n 9 r o u nd cas t i ron !ableSize: 1 5" ~ 2 0" M a x, c utt in g h eig ht:S ' M in . s to ck t h ickness: t o ' M in. stoc k length: 8" M a x . c u tt in g d ep th : Ii ", F ee d ra te : 1 6 F PM & 30 FP M, C urterh ea d di ameter : 3 " N um be r o f kni~e, : 3 Cu t te rhead speed :5000BPM

O S C IL L A TIN G S PIN D L E I12" D ISC SA N DER 12" BABY D RUM SAND ER,M otor : , H P, 11 0V , single-phase, TEFC C as t iro n tables tilt to 45 ", Osc i l la t ing s an de r t ab le :1 4 1 ' 1 ' " square D is c s an d er table:17 ' // x iO ", Sp in d I e s i z e s : 't\",'h. '~l'h" & 2 "

, S p Ind I e s peed:1 72 S B PM

S t ro k e length : 1-'A pp ro x , sh ipp ing t;nmwe i gh t 18 0 l bs ,

M A l l E I NI SO 9 0 01~ A e r O R Y I, M ax. s t ock size: 12 " w x 3 %" M i n, stock l eng th : S". , D ru m size: 4" B elt: 3 " hook &1 o op A p p ro x , shippingweight 1 99 Ibs .I N O U S : f R I A I . : - D U T YC O N V E Y O R B n r s .S II IE H A ND L ES F O RP O R t A B I L I T Y

~ A N fA Sf I C P RI C EI


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11 /2 UP SHAPER 3HPSHAPER I N C W I I SM I 1 E R & A U I I ES F E N C E W I T HH O L O " P D W NS P R I N I I So M oter: 5 H P. n o v , single-phaseo Tab le s iz e : 20" x 25 %"(20 ' x 5 5% ' wI extension)

M ax . c uttin g w idth : 20"o M ax . cu tting heig h t: 8'o M i n. S loe k t h lc ~ nes ;: V i , ' M In . s to ck le ng th : 7 ,5 "o M a x. c utt in g de pth : W 'o F ee d ra le ; 1 6 F PM & 20 FP M C ut te rh ea d d ia ~ 3 '-'" K niv es: 4 H SS C ut te rh ea d s pe ed5 00 0 R PM A p pr ox . s hf pp in gw eig ht: 9 35 lb s.

M o to r: V IHF l l1 0V / 2 20V ,s ih g Ie - p ha se , T E FC

o P reci si o n g r ound c a st l rc n table T ab le siz e: 1 4" x 1 4'o Table t il l: 45 " r ig ht, IS le ft- Cu t ti ng C i lp~ c it y /t h roa t HI?' M ax . (utting height 6 "o B la de siz e: 9 2\? ' to 9 3~'(I,," to ~' w ide)

o B l ade speed : 3000 FP M04' du st p or to A pp ro x. sh ip pin g w eig ht1 6 3 l bs ,

IN tW ()E S Q UIC KBi .ADERELEASE SYST tM , 'I."B LADE , F E NCE SM IT ER I IA UD E

o M oto r: 1 HP , 1 1 O V l 2. 2 O V ,s l ng Ie -p h a s e, T E F C

o P re cis i on g ro u n d castl ro n ta b Ie D elux e e xtrude d alu minum fen ceo C utt in g c ap ac ity /th ro at : 1 31 '. .'o M aX . c uttin g h eight: 6 '

~~~~~~. B lade s ize: 9 2 1 '. . " - 9 3W longlUi" -'A" wide)

2 b lade sp eeds: 1500 & 3200 FP M A pp ro x ..s hip pin g w eig ht: 198 Ibs.

I N e LU O E S f EN C E , M I T E R I I A U G E .v 8 L A D E s Q U I CK 8 LA D E R E L E A S E..

mftMM A P E I N fiB1"_-.180 900 If A C T O R Y !R EG . . !9~

G0555 SALE $395a

- M oto r::2 H P, 110Vf220V , .s ing le -pha .se , T EFC , 1725 RP M

P r eel si o n ground cast l ron lab Ie-T ab le siz e; 1 7'x I ; x l Y .l " M ax. c uttin g h eigh t: 1 2' B la de le n gt h: 1 3 1 ~ . B la de s iz e s: W -I

.,,-~.~ B lade speeds: 1600 & 3300 FP M D ust p ort: (2 ) 4' A ppro x. ship ping w eight 3 421 bs.

M oto r: 1 !o SH P.110V /22 ( )V ,single-phaseo P re cis io n g ro un d c ast iro n ta ble T able siz e: 20 \4 " x 1 8', S pi n d I e tra ve l: 3 " 2 I nt er ch an ge ab le s pin dle s; !h ' & 'h " S pindle o penin gs o n table:1~', 3W'& 5~ S p In d I e s pe ed s: 7 0 00& 10,000 R P M M ax . c utter diam eter: 5 ' A pp ro x. s hip pin gw eig ht: 2 21 Ib s.

t i jOWIIWI0PTl0llAl.0170eWII I&

I I l l C L U l l ~ S 1h~S L A P E . f E N tE s

H E A V Y - l l U T V M I T E RM A D : 1 : i : : l0 0 I & A U HG0513X ONLY $795 ~G0580 ONLY $325

I N C I . l J 1 ) [ S M I ~ I I A U I I Es 'F E NC EWITHS AF T V G U A RD SS o H O L D -P O W N S P RI N & S

M o to r: 3 HP . n o v , single-phasew / r ev er si n g s witc h

P re clsio n g ro un d c as t Iro n ta ble T ab le s iz e wI s ta nda rd w in g

at tached: 30~" X 2 8 \ 1 , 'o 3 [ nt er ch a ng e a b l e s pi n d ie s:\I ,",W&1"

S pl n dl e tra ve l: 3 " S pindle openings O nta ble : 1 % ~ 2W~4&5 1 , ' , '

o S pin dle s pe eds : 7 00 0& 10,000 RPM

A pp ro x. s hip pin gw e Jg h t: 3 S 71 b s

24" VARIABLE SPEEDDRUM SANDER

M A & N E T I CS W I T C HIN TR OD UC TO RY P RIC EI

G0454 ONLY $1175 _ Gl035 ONLY $51500aGl026 ONLY $950.

I N CL U D iS AH E A ' I V - D U T VR U 8 B E RC { ) N V E V O R B E L T !

2 H P C YC LO N E DUST C O LL EC TO R5S GAL . STn . M o to r: 2 H P , 2 20 V , s in gle -C O LL EC T IO N l lR U M p ha se , T E FC C la ss " F'

o A mp s: 1 2.5 C y cle /R PM : 6 0 H erW34S0RPM

I nt ak e h ole : 7 " Impe ll e r. 1 3 Y l " steelo Su ct io n c a pa c it y: 1354 CFM II!.......@25'$P

S ta tic p re ss ur e: 1 0. 4' F i l trat ion: 0.2-2 micron,99.9%effide(lcy

o F ilt er s u r fa ce a r ea : 8 6 s q. ft . A pp ro x. s hip pin g w etg htl

) 3151bs.- - -

3 H P CYC LONE DUST COLLEC lURS59A l . S ' TULe O L U C T I O N D R U M D rum mo to r: 5 HP , 2 2 0V , single-phase, C on ve yo r m oto r: V , HP C on ve yo r speed: v aria ble, 0 - 2 0 FP M, M a x. s to ck th ic kn es s: 4 v , , ' S an dp ap er : 3 "

hoo k & lo op D ust p o r t s : ( 2) 4 ' A pp ro x. s hip pin gweight :489lbs

M oto r: 3 H P, 2 20 V, s in glep ha se , T EfC C la ss " F'

o Amps: 19.5 C y de /R PM : 6 (1 H e rt z!34 50 R PM Intak e ho le; 8"o Im pe lle r: 1 5" s te elo S uc tio n c ap adry ; 1 65 4 C [email protected]"SP

S ta rl~ p re ss ur e: 1 4 .2 "e !! n ... - .. ~-I . Fil tration: O.Nmicron,9 9 . 9% e ff ic ienc y

F ilte r s ur fa ce a re a: 108 sq . A pp ro x. s hip pin g w eig ht:3961bs ,


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WE DESIGN OUR MAOIINES TO lHE MOST SIRINGENT ~.

S f . . ANDARD . ...S , TRIPLE .. O IECK. . EACH ONE FOR QUAlIIY . .. 2 .A SSURA NC E A NDBA O< EV ERY M AC HIN E wmt A FULL 1 lI I '.A BlW crYEA R W A RRA N1Y !

2HP 10"HYBRIDCARINETSAW 14" ftANDSAWW /C A IU N ET S-T AN DAll the heavy-duty features of our cab inet s aws 'We t ook the most popu la r bandsaw size andmixed w i th all of the features of our contractor added many features usually found o n ly o ns ty le table saw s . la rge r & more expensive mach ines .

f E A T U R E S : IncludesBlade , f e n c e+ 2 H P , 1 1OV1220V, & H e av y- Du ty M i te r G a ug es ing le -phase mo to r F E A T U R E S :+ P re cis io n g ro un d c as t ir on t ab le + 1 H P , , 'O V 1220V, s ing le-phase, TITe mo to rw /w ings : 27" D x 39W ' W T ab le tilt: 45 r igh t, 1 0 ' le ft+ Arbo r : % " _ . l + M a x. c utt in g he igh t: 6 J ' (12" w i o ptio na l e xt)+ Lef t t ilt in g b lade + B la de s iz e: 9 3 \ 1 2 " (W - % " wide)+ 4" dus t po rt B la de s pe ed s: 1 5 0 0 & 32 00 RPM+ Shop Fox' Aluma-Classic Fence + Qu i c k re lease blade tens ion ing All...+ Ap p ro x , s hip p in g we igh t : 3 69 Ibs. B all b ea rin g b la de g uide s A pp ro x . s h ip p in g w e ig h t: 256 I bs .. . . . . .~ / ~..HP..M O R T Is iN G M A c H iN E w is T A N D . . . . . . . . .... r . . . . . . . . . . . . . . . . . . . . . . . . . . . .i..H P S H A P E R

This mortising workstation handles This fuji capacity 3 HP Shaper will handle the smal les teverything from s tandard cab ine t door profi le cut te rs al l the way u p to th e larg es t p an el cu tte r ssti les to pos ts an d beams u p to 9" wide . w ith its th ree spindle sizes , 3 " sp in d le trave l an d 5 Wmax imum spindle open i n g .F E A T U R E S :

Un iqu e s w iv elin gh ea d a ss em b ly !+ , 1 1 2 HPj 1 l OV / 2 2 0V , s ing le -phase motor+Table size: 1 9" x 12W' V ert ic a l sp indle tra ve l: 9 "+Spindle speed 1 ,72 5 RPM. .. A ir spring a ss is te d h ea d re tu rn. .. S o l id cas t iron cons t ruc t ion. . A ng led fence adjustment+ A p pr ox . s hip pin g weigh t : 3 15 lbs .

lS" PLANER with CARINE'f STANDEquipped with pedestal mounted thermal overloadsafety switch, cast i ron extension wings,an im press ive 15 " x 8" capac i ty anda built-in mobile base.f E A T U R E S : ~~B+ 3 H P , n ov , s ingle-phase mo to r '

F e e d rate: 16 & 3 0 F P M T ab le size: 15 " x 20 " C utte rh ea d dia me te r: 3 "+ Cutterhead spe ed: 5 ,0 00 R PM

K n ives : 3 ( HSS ) A ppro x . shippingwe igh t :6751bs .

F E A T U R E S :. . . 3 H P, 2 2 0V , s ing le -phasetLarge p r ec i si o n g r o u nd

cas t i ron t ab le : 3C l 'h ' x 2 8 \ 1 4 ". .. S p in dle s: W , W, an d 1 " (Included). . S pin dle s pe eds : 7 ,000 & 10 , 000 RPM. .. S p in dle tr av el: 3 ". . S pindle openings: 1%" ,2%" , 4 u & 5 1 / 2+ Buil l- in 3' du st p or t. .. A p pr ox . s hip pin g we Igh t 35 3 Ibs.

MINI PLANER/MOOLDe,ROpen sided Mini Planer/Moulder allows plentyof flexibility for profiling mouldings and panels.

F E A T U R E S : 2 H P , 220V , s ing le -phase mo to r C uuerhead speed : 7000 R PM+ F e ed r at e: 1 5 F P M (W 1 69 3),

'1-18 FPM (W 173 9 ) M ax. profi le deptb: % " , ! l:::~~==_"f'IJ+ Max. pro f i le width : 6% "+ P l a n in g w id th : 1 " F u ll s ele ct io n o f M in . stock l eng th : 9 " M o u l d i n g ,K n i v e s M in . stock th ickness : W ' A l s o Available+ M a x. s to ck th ic kn es s: 8"+ App ro x . sh ipping w eigh t: 20 0 Ibs.

SPOP .FOX is a registered trademarkofWoodstock Internadonal, [email protected]'z

TO SEE OUR INNOVATIVE MACHINESAT AN AUTHORIZED DEALER, PLj:ASECALL FOR THE LOCATION NEARESTYOUI

SHOPFOX.BIZ 1-800-840-8420


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CONTENTSDECEMBER 2006 NUMBER 102

T o n B ro o ks : W o r k in g w h ere 57 A Sm ail B oxar t an d fu nc tio n co llid e BY MICHAEL CULLENBYSCOTT GIBSON

60 The B est o f th e O ld is N ew :0 A Vval l M in o r: B en t lam in at io n s S A P FM inSavannahan d h am m e r v en ee r in g BY MARK ARNOLDBYJONATHAN BENSON 65 The C oped M o rtise an d T en o nA B ow l o f W o o d en F ru it BYTON)' KUBALAKBYCHRIS CHILD 72 Inspired by China: An In t e rv iewGa l l e ry with C l if to n M o n te ithTIMOTHYGORMAN. 2006 I TE . . .. BYJOHN LAVINE

E stim a tin g f o r F u r n itu r em a k er s 80 In dex fo r Woodwork ) I ssu e s 1 -1 0 0BYRICHARD JONES COMPILED BY MARY PELLE"TIERHUNYADI

4 COMMENTARY6 LETTERSU BOOK REVIEW14 EVENTS16 BACK ISSUES18 SHOPTALK20 TIPS & TECHNIQUES77 CLASSIFIED ADS79 ADVERTISERS INDEX

O N TH E C O VERjo n B ro o ks s ha pe s a c ur ve 00o n eo f h is s cu l pt ur al f u rn it ur e p ie ce s.P h o ro : S co tt G i b so n


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COMMENTARY

Tradition a n d In sp ira tio nMany years ago I was commis-sioned by a l o ca l g a ll er y to makea reproduction o f a museum piece, adrop-front desk that had been part of aCalifornia Arts and Crafts exhibition atthe Oakland Museum. It was the firstreproduction J had been asked to do,and I was excited because the piece hadcaught my eye right away when I firstsaw the show..Ondisplay, the desks t o o d inclosedp os it io n , d en yin gany look at whatlay inside. Ireturned to themuseum a num-ber of times tostudy it , to take inall its de ta i l s .It was a strik-

ing piece, withpatinated,pounded c o p p e rhardware and ac a r v ed panel ofeucalyptus leaveson its front, butwhat T came torealize was thatthere was some-thing b ey o n d th edetails t ha t rnade

bad inspired me, a n d h o p ef u lly , had thatp re se nc e 1 bad fi r s t fe lt .In this issue are articles concerning

two major furniture exhibitions: a showfeaturing reproductions of Americanperiod furniture held .ea r l ier t h i s s u mm e ra t th e Telfair Museum in Savannah,Georgia, and another inspired by classi-ca l Chinese furniture opening la te r t his

fa ll at th e P eabo d yEs s ex Museum inSalem, Massachu-s et ts . I n both showsth e fo cu s is ,o n con-temporary furni-tureill a ker s-members of theSociety of Ameri-can Period Furni-ture Makers a : t theTelfair" and a vari-ety of studio furni-t u r e r n ak e r s (mos t lyfrom the U .S ., bu tCanada, China and

~ Japan aswell) at the~ Peabody. Both..~ shows reference'" traditional work.. .~ The s imila r i ty~ would seem toend there, forthe pieces at theTelfair We r e very

recognizably period furniture forms ..,whereas the range of work that will bedisplayed at the PEM (as can be seenin the interviews with Michael Cullenand Ye u n g Chan previously pub l i sh ed ,and with Clifton Monteith in thisissueli s unmistakably contem poraryin its take an Chinese originals. But I'mstruck by how much alike they soundwhen talking about the essence ofmaking fu rniture, regardless of thestyle in which they work or theirsource of inspiration. Throughouttheir comments is a common under-standing that what matters most is togive life, a real presence, to the nextg en e r a t i o n of wo r k .

John Lavine, edi tor

J on B rn o ks ' studio.Ideasto inspire the work, posted on 3. wall in

the piece capti-vating. There Wa s , for sure, a certainmystery about that hidden interior thatboth aroused my interest and fired myimagination. But besides that, the piecehad a certain p r e s e n c e , a vitality that Icouldn't exactly specify but tha t I c o u l ddefinitely feel all the same,Me)' the show ended, I finally got a

chance to see inside that desk, and I wasthoroughly disappointed to find th at th einterior didn't live up to m y expecta-tions ..It didn't even live up to its ownexterior ..At that point 1 understood fO Tthe first time that my reproduction ofth e p ie ce couldn't bea s imp le c o p y o fthe original. What I had to do was cre-ate an interior of m y own imagination,one that tried to live up to the ideal that

D EC EM B ER 2 006www . .woodwork-mag.com

EditorJO HN L AV IN EAr t D i re c to rJOHN KlRlKOS

COlltribllt ing EditorsC HR IS C HIL D, M IC HA EL C UL LEN ,TER RY M A R TIN , K ER RY P IER CE ,DOUG S T OWEIllustratorM lKEBRAYPublis"herT HO M A S T OL DR IA N

A d vtr ll sin g S a le sL A UR A EN G ELAdv e rt is in g C o o rd i n a to rH O L LY L UN D G RE NProduc t i o nManage rG rN N Y G R EE N FIE LD

Produc t ionT A R A O KUMAControl lerABBY TOLDRlANCircu la t i onA NG ELA C LA RK

WO O DW O RK NUM UER 1 02Woodwork ( rS SN # /0 45 3 04 0; , " p ub /i sl re d Il i marull lyby R o s s P e r i o d ic a ls . t n c , 4 2 D ig it al D r iv e IS, N """to . C A94949 ; I c / e p i . ' " , , " ( 4 15 ) 3 8 2 -0 5 80 . fa x (415) 382-0587.Peri"di i ;Jl l . p < 1 S l O E < ' pllid o. ! 1 ' 1 1 1 ' 1 1 1 0 , G A 9 49 47 a r id Ma i -r imra l ",ail in.l t"f f ices. Q,p yr igh t C 2 00 6 by RaSt P~riQdi .",Is. In c . . AI I , ig lm , e, "" " ed . Re p .r i ll tiMg ,i l l w h o le o r ;1 'p a rt . " e xp r es sl y f u ,b id d ." =.j:JI b y " ,r i t" m (nr" , i :;sio l lof' lre P I , b U , h " e , "

POS TMAST ERSf tJ l i Of/(l",$ clUltlgl'SIt1Wo o d wo rk . P O B o !;:1 5 29 , R o s s . .C A 9 49 51 .

ADVERT IS INGP a r a r l ., rt i'; "8 r n t" " p l" a l" ml1 Laura Engel (415)3822872 Or .maill.ur'Iossperiodicals.ro",.

SU BS CR fP TIO N S ER V IC ESFor , , ,I7 !H:r ipr iol li !lquiri", . p i _ l I S e roll (4,15) 382-05SO.fox( 41 5 ) 3 8 2 05 8 7. visit ,,,,,,,,,.woodwork-mag.rom Of ",rir,10 Woodwork. 4 2 D ig ; t al D riv e #5 , N o vato . C A 9494.9.Fo r drallgJ l ofat idrru, p l~ 4 $ C ; "d " d" o M r u J d , 1 l S S G l o r r l l , . i l l ,rI"Wd d d "" " a n d. if pouibl" QrladJirnu Iobel f r O l l l a ,""",IIi s s " , , , PII1 t IS.a l lowal lea .r s ixwe .s forat idrwiob.a ,a l lged.

ED I T OR I AL CONTRLBUT I ON ST / , e " rc we / comod a " d th ou Id b~ "dd r w ; . < 1 to !h .E d il or . W o o dw o rk , 4 2 D ig ital D r ive #5 . N ov ato , C A9 4 94 9 , " 'x Dmpa n ie d by r et ur n p o >t


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F or A F ree C atalo g O r T o F in d Y our lo ca l W o odc raft s to re , V is it w w w .w o odc raftc om O r C all 80 0-5 42-9 11 5.

Lie-NielsenB ro nze N o.2 B en ch P la neO f fe rs a h ea vie r, h ig he r Qu alit y t oo lt ha n S ta nle y's r eg ula r lin e o f p la ne s.W it h lo c kin g a dju stme nt s cr ew s ,p re cis e f ro g a dju stm en ts c an b e m adefro m the rear w itho ut rem ov ing thec ap a nd b la de .

W hen w oodw ork ing is your passion,w oo dw o rk ing to ols, supp lies andexpert adv ice fro m W oo dc ra ft can helptake your w oodw ork ing to the nex t level,

PfE IL "S w iss M a de "Ca rv in g T o o lsExc lu siv e Un it ed S tatesd is tr ib ut or o f " Sw is s Ma de "to ols. F or o ver 3 2 y ears w eh av e o ff er ed o ur c us tomer sc ar vin g to o ls t ha t w e b elie vea re t he f in es t in th e w o rld. T he set oo ls a re made w lt l1 a d ed ic at io nto Qua li ty u nsur pa ssed in l oday 'sh ig h- te ch wo r ld .

CROWNR o se w oo d a ndB rass M ark ing SetWe'v e c om bined the beau ty an dr elia bilit y o f im p or te d r os ewo oda nd s olid b ra ss w it h th ese t hre ec la ss ic b en ch t oo ls .


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Ali carpenter and ModelsI'm writing to applaud you for the Art

Carpenter coverage (and the rest of a finem ag azin e .) H e w as an early inspiration forme to use maquettes in m y design process.1visited Art s om e years ago to talk to himabout h is m o de ls .I h av e so m e nice slidesfrom that meeting. Anyway, I justcurateda s h ow of rnaquettes by studio furnituremakers at the Fuller Craft Museum inBrockton. Massachusetts [Th e Sca le o fTh ing s to Cottle , Tu ly I-November 19,20 0 6 , features J o h n EverdeU, P o W i lso n ,Judy McKie and others] and, asl was put-ting together the finishing touches, Artpassed 00. I fs serendipitous tha t IW&S ableto dedicate the show to h im .Inoticed that no one inyour coverageofArt mentioned the models, so I thoughtI w ou ld w rite and share this wi th you.M ark D el GuidiceNorwood, M assachuse t ts

A .r l.ar .rayo f m o d e ls o f furniture p ie ce s by ArtCarpenter. They were.normally set On ~hclvesihh is sho wro om fo r c lien ts to see .

Antiques and RefinishingThankyou somuch fa! the article writ-

ten by B ob Flemer on refinishing and con -servation. The points h e m ad e were out-standing. Now when questioned by clientsabout antiques that Deed complete refin-ishing versus conservation, I hand Bob'sar tic le to th em to r ead . T his has mad e ourjob of informing so much eas ie r!Guy and Kat ie BovieAlpha Restoration StudioEmeryville, California

Three cheers for Bob Flexner aridWoodwork ! His ar t i c l e 0..1 1 T he A n t iqu e sRoadshow vs. refinishing iswell thoughtout, accurate and fair.We restore, repairan d conserve fine antique dock cases.This issue h;1"5caused us to think deeplyso that we can develop a po l i cy that keepsOUI customers happy and a dd s v alu e toapiece, as opposed to hurting it. When wereview a. prospective piece with a collec-tor, our discussion hits all thesame pointsBob's statement does. Obviously a rareclock that has survived in great shapeshould be conserved, not refinished .Butw h at a bo u t the p ie ce th at w a sn 't s o lu c ky ?N ow is the time to consider repair an drefinishing. It is also the ' time for me tostate our credo. It is imperative that thiswork be done with correct materials andmethod .. This means that the piece iscarefully studied and a plan is made.Choosing correct first and secondarywoods, glue, fasteners and of course, fin-ish. Now, to the best of your ability fol-lo w the methods o f the original bu i l de r .It's a lot of work but om experienceshows our customers always gain valueon their original investment. In theantique w o rld , th e m ain reason refinish-in g has such a had reputation is that it isalmost always done badly. In dosing 1would Liketo say that anybody that fin-ishes wood. old o r new, should re ad B ob's

'" book, U nd er sta nd ing W ood F illis hing .~ R ead it cover to cover, an d when you're done, wait a month and read it a g a i n .~ Edward]. Schmidt1; ; Schmidt & S o h n ei via email

Enjoyed the article by Bob P l exn e r re:Antiques Roadshowand what makes ferth e deterioration o f frnishes. o n furniture.1have always wondered abou t the f in i sh-iug of interior of carcase wo r k . Mth thehumidity of indoor environments beingprime movers I n c au s in g the expansionof wood in indoor environment, would-n 't it be wise to 'Seal the interior of carcasework? Itseems tome tha t would serve toslow down the penetration of water viath e interior route. Itseems like w e in thewoodworking world often take greatpains to protect the exterior of carcaseswith elaborate surface sealing, only toleave the interior virtually naked. I sel-

dam see the interiors of carcase workeven touched by a finish.A ny thoughts or comments on this?Should an interior at least be given thesame se ale r as th e e xte rio r!J o hn McGlynnSan Francisco, CaliforniaB a b P le xn er r ep lie s:S ix th o u g h ts .F ir st, in te rio rs o f catcase fu m it u r e l oo k

a nd f ee l b ett er w ith & I f inish app l ied . T ha t is ,& IS l o ng a s t il e fi ni s h is smooth-wi thoutdrys pm y orexeess ive d u st. So there is a l eg iti~m a te r ea so n rofmish i r i s i , l e s a n d rm d e r si de s ,

Se cond , a fin ish mere l y s low s th eexchcmge o f m o is tu re va po r in a nd ou t ofwood; it do e sn't s to p t h e e x ch a n g e . So f tr Ii s h~in g in sid e s d oe m 'tp re ve nt w a rp in g in ca s esw he re th e w ood h as n't b ee n d rie d proper ly .It j u s t ' re ta rds t h e wa rp . i~ g f o r a fe w w e e k s o rmo n th s . T h ic ke r f in is h e s re ta rd bet t er .

Third , if you fo l low th e widespread log ico f t ry in g to ma k e m o is tu r e -v a pOI' exchangeeq ua l 011 both s id e s o f w ood , YOIl wou ldnee d to apply exa ctly th e sam e am ou nt o ff in is h to b oth s id e s. Sealing one s ide wi thone coa t of f i lr ish w hile coa ting th e oth erside w ith th re e co ats w ou ld n't h elp m u ch .One- th i . rd to b e e x a ct.

F ou rth , if you follow th i s equaUzi t lglo gic, y ou w ou ld h ave to ta ke in ro ac eo un th e e ffo ctd oo rs a nd d ra we rs h av e i l ' l r e duc -in g th e e xtr em e s o flm m i d ity within ca r -ca se fu rni ture compared to w ith ou t. H oww ou ld you d o th at? W ou ld you a pp ly few erc oa t to th e inter iors of dosed -ca se f um i -t u r e th an to th e in te rio rs o f open -ca se f u r -n i t u r e t H ow wou l d YOH d e te rm ine th enu mber o f coa ts to apply to th e In te rio r o fQ ches t -o f - d rawers ' 1 ' 5 . a kitchencabil let?

F i ft h ! l o ok at th e evidence.Insides o f c a r -ca se [um i tu r e a nd u nd er sid es o f ta ble to psw e r e r a re l y i fe ve r f in .i sh e d b e fo r e th e 1 9 50 5.If wa r p s ha ve occu rred in t h i s J l~mi t u r e(we're ta lk ing abo l~ t a severa l - I l lmdn::d"years pa n o f t im e ), th ey have a l m o s t a l w ay s b e enth e r es ult o fe xp os ur e to e xc es sive m o is tu reo n t h e o u ts i d e o r to p si de , a s I d e s cn 'b e in th ea rticle . H ow w ou ld fin is hin g th e in sid es o ru nd er sid es h av e p re ve nte d th is ?

Six th , keep in m ind th e rJ .if fenm ceb etw ee n th e ne ed to v e ne er both s id es top r ev en t w a rp il fg a nd th e my t h offmishitlg

ccmtinue .d 011 pa g eS


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lNSP1RD BY CH1NACONTEMPORARY fURN1TUREMAKERS EXPLORE CHINESE TRAD1T10NS

rough a landmarkltural exchange, 21ternationally knownudio furniture artists createw works inspired byellar examples of historicinese furniture. See these stunningw pieces on display among thequisite works that inspired them.

Peabody Essex Museum, Salem, MAOctober 28, 2006 - March 4, 2007

a d a C a b in e t, 2 00 6, B ria n N ew e lL P IE 1MPeabody Essex MuseumEast India Square I Salem, MA 01970 USA 1978-745-9500 I pem.org


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both s i d e s to p r even t warping. It's th ew a te r- ba s ed a d h es iv es we use that m a k ev en e er in g b oth s id e s n ec es sa r y (i t's n ot n ee -essary with con tac t cement). The waterswells the veneer which then s h r i nk s dur-in g d ry ing a nd cu p s th e w ood . No th ings im i la r o cc ur s wi th a finishD isco u r se an d D ead M ice1have admired the content and designof yo u r magazine for many years, thoughI never gave much thought as to why.Upon reading yOUT 1OOthissue commen-tary the reasons for my admirationbecame clear. Inyo u r editor's column youacknowledge "the breadth of OUI collec-tive experience inwood." You also ask thepoignant question "what do we do withwood, and why do it?"I find such thinking encouraging and

outright refreshing given the typicalwoodworking discourse, or lack thereof.Toshio Odate answers your editorial ques-tion quite forcefully and convincingly Mr.Odate seems to touch on "the breadth (Ifo ur .. . " through exploring ar t an d c raf t , atleast relative to woodworking.

As a young self-employed wood-worker, and during my years at PollaroCustom Furniture, I felt compelled todebate the ideas of art and craft. I suppo eprimarily for two reasons. Fir t, I wasseeking a place/audience for my work.Secondly. and r admit this reluctantly, toachieve a certain status for my work.I am a "self-taught" craftsman and

artist, as are so many American artisans.This dynamic seems to elicit a trade offbetween great creative freedom inexchange for the dear definition and s e cu -rity a more traditional apprentice pro-gram might a ff o rd . T h ro w inthe need tofind a financial footing to follow our pas-sion and the picture can get quite murky.M y woodworking career began hang-ing crown molding and building plasticlaminate pieces jus t to make ends meet.Upon discovering marquetry my path hasbeen driven toward the "decorative art"area of OUI medium, leading tomy currentstage, where most of m y work includeswood but leans toward the non functional.It eems to me thatto develop a fur-

ther discus ion requires that each mod-ern woodworker answer the question of"why do it" for themselves; a very indi-

Gord Peferan:s "Prosthetic:'

v i dua l process to be su r e . Today, a s I p ra c-tice my various artistic rnediu rns andwork as a woodworking instru ctor in aNew Jersey high school, the issues seem abit more transparent.When 1am teaching what matters is

good, diligent work and strength of char-acter in performing that work. As anartist, I know art when I see it, regardlessof the medium. Additionally, I knowgood execution when I see it, and I knowpassion when I encounter it. What doesremain elusive, and therefore more beau-tiful when found, is the harmonious bal-ance of all these components.Thus a discourse still seems essential.

If nothing else it is fun and enriching.Also it takes the solitary artisan out of theself imposed vacuum of thought andpurpose. [would like to be a participantin your magazine's fine discourse andevolution. 1 remain an appreciativereader. Thank you for your thoughtfuland quality filled approach.Daniel Gordonwww.danielalangordon.comv ia emailI subscribe to a number of magazines

whose titles would uggest that their pri-mary focus is woodworking. (Thirteen ormore-I guessIam afraid I will miss

something') I have been engaged in thipattern of reader hip far over 25year -you know, I began so far back that thereweren't that many magazines on the sub-ject around. I have been with you folksfor a long time.A ll that just to saythanks for being the

one magazine on the subject of wood-working that Imost look forward toreceiving. No compromises apparenthere. A top quality magazine on the sub-ject of woodworking with well-writtenarticles and great photography. Always afresh and interesting idea or two. You3 don't look or read like the other maga-E zines and you stay very close to the sub-g ject; woodworking. Great idea! Keep it. , . >!l up! Don't sci! out to Readers Digest or

~ anyone else! Thanks, Woodwor k !8 Kent A. Ryan~ Cincinnati, Ohio~

I read and enjoyed your column [Com-mentary, Woodwork#l00]verymucb,andI feel somewhat l ike a parishioner some-times feel when he thinks the preacher ista lk ing about him! I do understand and Iaccept thefact that this woodworking worldis not just about making something func-tional (furniture, a house, etc) and pleasingtomy eye.And J thankyou forthe kind ref-erence to my work in mentioning me' wond e r i n g out loud" about Pe te r an ' s table.[also read-reread and read again-

Glenn Adamson's comments on Pereran's"Prosthetic" with Peteran's commentsabout said piece; and the orily thing I reallyunderstood from either writer was thedescription ofthe dead mouse that felloutof the seat of the cha i r . The rest ofitmigbtas well have been written in Chinese!Which I well know is myloss.I'm honestly not trying to start lip any-

thing; 1just do not understand a lot ofthings that are so wide ly acceptedas"good"in this world today.Thank yon for Woodwor k ; I just

renewed for a couple more years eventhough normally atmyageI don ' t evenbuygreen bananas! It's got to be good for me(though 1may not reallyLikeit) to seewhatthe rest of the woodworking world is doing.JohnMcAlisterCharlotte, North Carolina

con tin ued on p ag e 1 0
http://www.danielalangordon.com/http://www.danielalangordon.com/


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B uild in g a T oo l C hest R ev isited1am designing a tool chest and the

ar t i c l e , "Building a To01 Chest" byMichael Cullen in the October 2006 issuew a s tim e ly . H o w e v er , Ifound t he q u alit yof this article fell short of your custom-ar y standard. The article was a difficultread because a couple cr i t i ca l steps wereout of sequence and there we r e incom-plete sentences. The drawings in partic-ular had n um e r o u s labeling e r r o r s , whencompared to the Bill of Material. I amconsidering incorporating features fromhis design and would be grateful if youcould print th e corrected d r aw i n g s .T o e J o h ns o nv ia em ai lJohn L avine r ep Ue s:I a po log ize fo r th e m is ta ke s and th e COI'l-

fusion it m a y h ave ca us ed . Th e prob lemcam e from th e fa ct tha t th e il lu stra to r a ndI w ere working from fW o d iffe ren t vers ionso f th e Pa rts L ist- th e ve rs ion p u b lish ed inth e a r ti cl e contained em entry l ab el ed " D-Cart;:ase .B4ck" tha t was not OTI rile i l lustra-to r's lis t. C on se qu en tly , a ll of t he l tJ be li ng inth e d ra wing s a fte r t h e f ir s t three part s is of fby one le tte r , e .g .


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LoveWood?"I really love the processof thinking through howa cabinet goes together ... "MikeM.cGlynn specializes inArts &Crafts furniture and has built piecesthat appear in the National Register ofHistoric Homes. He is truly passionateabout woodworking. Whetherselecting wood. hardware or theperfect finish.he counts on Rockierto provide quality tools and supplies.

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BOOK REVIEW

The W oode n Bow lby Robin WoodAmman ford , Carrnarthenshire:Stobart Davies, L t d . , 2005.181 pages, including numerous colorand b&w images, index.lSBN 0854421300Reviewed by Bdward S. Cooke, Jr .

While we currently have' a plethoraof books 0 .11 wood turning fromthe perspective ofconternporary practice,books OD historical tuened vessels areconsiderably harder to come by. For:many the seminal publication has beenEdward Pinto's Tre en a nd O th er W oo de nBygones (1969). B u t the broad strokes andcelebratory tone of Pinto and the fewothers who have written on treen havemad e . it d i f f i cu l t to recover a deeper, con-textual history of turned wood. Theseexi s t i ng works p r ov i d e d little sense ofscales of production, change over time ofmaterials and u s e s , or the specific Anglocontext. Robin Wood's new publicationTh e W ood e n B ow l takes a great step inaddressing the need for such a volume.Drawing upon documentary evidence,archaeological finds and f i e ld reports,museum collections, and his own expe-rience at the lathe, the author has com-piled an insightful and informative his-tory of wooden bowls and dishes inBritain during the Medieval andEarlyModern periods. Wood c on clu de s th atBritain was a "woodenware culture" from500 to about 1600.Wood b eg in s h is volume by addressing

the characteristics of the two differentclasses o f l a t he s : reciprocal (which includestrap, bow; and po l e lathes) and continu-ous lathes (wh i ch include g r e a t wheel,treadle, and water powered lathes), Hee xp lain s d ea cly w hy th e p o le lat he was th eideal too] fO I British turners who madebowls, why the bow and treadle latheswere more suited to small work, and w hyth e g rea t w hee l lath e w as m o re s uite d fo tpewter finishing and large work. Af t e rintroducing the possible tools, Wood dis-cusses the most common woods used inBritain. Based on his examination ofwrit-te n and artifactual records, he concludesthat alder w as the mostcommon wood for

bowls from 500-1100, and that ash andthen beech replaced alder after that time.Eng l i sh sycamore (Ace . rp seudop la t a l l u s . atype of field map l e ) became the p re fe r redtimber for the larger dairy bowls of then i ne t e en t h and twen t i e t h centuries. A spe-cial t ype of t u rn e d d r in k in g v e ss el, r e fe rr edto as m aze r, w as turned in a m o re refin edmanner from burl or figured crotch tim-be r and w as often ornamented with s i lve ror gilt mounts and prints (a decorative sil-ver roundel placed on the inside bottomof th e bowl). The readily produced alderbowls, the more embellished mazers, andth e evidence o f lo v in g repair o f woodenbowls reveals that such wooden vesselswere owned by all levels o f society.Within his history of wooden bowls,

W.ood provides a basic chronology thatdemonstrates that most people drankfrom wooden bowls and ate fromwooden plates or dishes during the cen-tury he identifies as the "Golden Age ofWoodturning." What I found particularlyrefreshing was his awareness o f the larger

world of household consumption; hisperspective is not myopically focusedupon the lathe-turned object. Instead hetalks about the increased number ofturned plates and dishes that becamenecessary when more people sat downand ate at a table rather than eating anddrinking from hand-held bowls while onthe go. The changing reliance on potteryalso dramatically affected turned wares.U p u n til the end of the 15 t h century, pot-tery was u s e d for storage and cooking,while wooden vessels and dishes wereused fOT all drinking and eating, Theintroduction of German salt-glazedstoneware jugs began to encroach uponth e monopoly of wooden b ow l s and bythe mid-16th c en t u r y the individualwo o d e n drinking b ow l was an o bje c t o fthe past The production of t i n -g l azede a r t h e nwa r e plates in the 17th centuryan d the n re fin ed ea r t henware s in the 1 8thcentury further undermined the preva-lence of wooden d i she s and pla tes . But asbowl turning declined, turners found


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BOOK REVIEW

ABOVE-Bobin Woodtl l:rninga repl ica bowl.

O'PPOSIIE.TOPI0 BOTIOM-Robin Wood 6tudyinga large bowl (c. 1545AD)from the Mnry Ras e .

Repliea of a 'Iudor porringerturnedb y R o bi n Wood.

n ew o u t l e t s fo r their ski l l s in th e p ro d uc -t i on o f tu rn ed .e lem en ts fo r fu rn itu re o re ve n tu rn ed chairs.W o o d is at h is best w hen d raw in g

in fe r e n ce s abo u t th e o bje c t s ba sed o n h iste ch nic al k no w le dg e. His d i s c u s s i o nin clu d es th e c o nve rs io n o f t im be r (h a lflo g fo r bo w ls , sp lit t in g th re e d ish b lan ksf r om a lo g inw hich th e ev en tu a l base ist owa r d s the c en te r o f th e lo g ) , the axedw ork n ec e s sary to p rep a re th e s to c k tom ou n t o n th e la th e (e vid en t in th e axef ace t s o r bark sp o ts o n th e ex te r io r o fm an y bo w ls ), t h e premium p laced o ns t e ady , efficient t u r n i n g in which n om o t i o n is w as ted , an d th e lack o f f in eab ras iv e s o n an y bo w ls bu t m aze r s . H eh as g ro u n d ed tu rn in g back in the n ec e s -s i ty o f m ak in g a l iv in g . . W oo d m arv e lsh ow a p ro fic ie n t tu rn er u sin g ap ole lathean d a n ap p re n tic e ax in g o u t b la nk s c o u l dm ak e s ix te en d ish e s o r p la t te rs a d ay , o re ve n fo rty -e ig ht sa uc er s a d ay (p . 9 2) . H isc h ap te r s o n m aze r s an d th e w o o d enbow ls an d d ish e s r e c o v e red f r o m th e

1 5 4 5 sin k in g o f the M ary R ose are pa r -t i cu la r ly successful examples o f h isap p ro ach to th e ma te ria l. A f in al chap t e ro n th e su rv iv a l o f tu rn in g in r u ra l a r e asof W a le s a lso f le sh es out th e c han gedm ark ets fo r w oo den bo wls , la r g er v e sse lsbeing u s ed more fo r dairy p r o c e s s i n g ,c h op pin g v eg etable s , o r ev en w ash in g s il-v e r . P o t t e ry , t h en enamelwa re , a n d f in a llys ta in le s s s te e l bad re p lac ed m an y o f thet r ad it io na l w oo den ware fo rm s.V I l h il e 1 f o u n d W o od 's v olu m e en o r -

m o u sly sat is fy in g , I s til l f o u nd a few areasin w h ic h h e co uld im p ro ve the v o l um e .Keying i llu st r a t io n s to th e text t h r o u g hfig ur e n um be r s w ou ld m ak e c ro ss -r e fe r -enc ing eas ie r fbr the reader . I s ome t ime sfo u n d m yse lf w on d e r in g w he th e r a c e r -ta in o b je c t w as i llu st ra te d o r o at . A c le arim ag e o f th e p o le la th e w ith a ll th e p ar tsmarked would also h av e m ad e h is dis-c u ss io n abo ut the l o ca t i on of the t o o lrest o r th e d e ta ils o f th e ap p en d ix (a 1 93 6letter f ro m th e turner Ioseph Hughesthat exp l a i n s the po le lathe ) m o re e ffec -t iv e. I a lso fo un d myse l f w a ntin g g re ate rdeta i l a b o u t ho w h e d ed u c ed th e w ork o fd i f f e r en t turners when discussing s o m eof the round bo xe s r e c o v e red f r om theMary Ro s e (p, 1 22 ). F in ally ; w h ile 1 f in dW o od 's d isc u ss io n abo u t the decline o fw o od b ow ls c on vin cin g , lthink h e co uldbav e sp en t c om p arab le effo r t exp l o r i n gw hy woodtuming to o k o ff around 500and s u b s um e d a s t r o n g pottery t r ad i t i on .I s there a lin k to the dearing o f th ew o o d s , the development of tools, thel im i t s or t h e c o sts o f pot tery , o r a c han gein fo o d w ays? Som e idea about w hyw o o d ru rn in g to o k o ff a t that limeshould b e e xp lo r ed .r o ffe r th ese suggestions because t h eo ve r a l l quality o f the research and writ-in g is so s tr o n g an d fr e sh , R o b in W oo dhas cer ta in ly d ra w n ar te n tic n to th e cu l-t u r a l h e r i tag e an d utilitarian beau ty o fth e m ost qu o t id ian o bje c t o f Med ieva lan d E a r ly M o d e rn B r ita in . I hope oth-e r s fo llo w h is le ad , bo th in the s tu d y o f"w oo den ware c u ltu re " in o th er r e g io nsan d in the m ak in g o f s im ple bo w ls .E d wa r d S . C oo ke ir . is th e C h a rle s F .MontgoflUJry Professor o f Amer i canD ec or ativ e A rts a t th e D ep a rtm e n t ofth e H is to ry o f Art, Ya l e Uni ve r s it y

ITheworld'Sloldest woodg~(llog.kdJy fdudly ,~l!d:!H.e,

IllisuOlie .... od ;sper 'tel fot Iine 1'


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The Events section lists shows and callsforentries, Pleasesend information to:Woodwork, 42 Digital Drive #5, Novato, CA9 49 49 .N e xt D e ad lin ec ---9 O c to be r 2 0 06 .

CAL IFORN IARWcrt Brady; 5 S ep l.-3 D O c i.; P re sn o. ar t M u se um ,F r es n o, ( 55 9 ) 4 4 1- 4 22 0 ; wwwmmo a rtm u .l C L lm . o 'l lPllilip ~",I Mill! MQI/ l t l lmp. 7 Oct.-4 No"'~del MllI10GaUe r y , L o s A n g e le s; ( 3 1 0 ) 47 6 8508 ; " ' ,, , w . d elmwo , o omA Rlmai !s lu1Ct CIIbintl/ R c d i J ' a l v e r e d ; ongoing ""hibil; J - PaulG elty M useu m, Lo s A n ~t os ; ( ~ l(}) 440-7300 .Arti s try il l Wood, 22 My-3 Sep~: Sonoma CountyM u se um , S an l" R .o sa; ( 70 7) 541 - 9 7 67 .}'I'tr 31, 100! i .

NE V A D A1 0 0 y o u , I \ I I I OO aw i , . . , All E . ' I I , i b i r i o " fJ { It,e V i t T I ! D e s I g nMUS I '1 /m ; 2 7 M a j '- "l act" N evallii M .u seu m o f A rt , R en o;( 7 7 5 ) 3 2 9 - 33 33 .N~YORKS""""~ r WQi ld F l /n,; I ,. " " S I " ", ,; 1 0 ) 0 0 " . .1 6 Sept . ;S h er ad a Go . ll el 'J ', H u d s on ; ts 1 8 ) 8 2 8 9 75 0 .NORTH CAROliNAAli"" DiIV;S:~!l 19 Aug . - tO Ot t . ; S o u th e rn H l g hl .a n dCniJ I Gui l d , Ashevil l i :; l B2 8) 2 9S C 79 28 ,l ' ENNSVLVANIA. A1 f 'f URN a li ve ; ; FQ rm a n d Spirit ' I J l u g , -. l l O c t . ) V I O O lT hr um g C en te r, P hih ld elp hia ; ( 21 5 J 92j sooo .11 M /(Qehler. WOM St! l lprw~; 4 A ug .- l I N ov .: So c: ie ty fo rContempora ry Craf t ; Pi.t . t5hurgil ; ( 41 2 ) 2 6 1- 70 0 3.II M arl" '" H uw YO IlSliu [ r; C o l ll j" g BO I ln is ; l II S ep t .. 3 1D oc .; W h ar to n E sb el'ic k M u m ul1 1, P oQ U ; (6 !O ) 644-S622 .TBNNBSSEEG I lv IJ ! O ' G r ad y : F"N1 j " , ~ IS A\ 'g 22 &pt. . ; Appa l l l ) : h (anCen l l : r forCraft, Sm i th v i ll e : ( 6 1 5 ) 5 97- 6&11_T E X A ST I l ; C t 1 >AlmiJ1"~ A 1 " k ~ SII(""; 26 0 a . 2 Dec; Kerr An andCu l t u r a l Cl:nter. Ker rv iUe; (830) 89S,2911.WAS H I N G T O NGarry KirOXBCl l I I f f l : ca n N 1 J : Q,QIC / tU l .!w ; 6 lu ly - 26 Nov ; :B e U e v u . A rts M u se um . & 1 Ie -v ue : ( 42 5) Sl l I OnO,

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4 sw: 1- 01.1) 0 /IWil l iam nd M~d I I , i l j ii s t nb . l el lo u lC ' f -Thh l . Pence1 i i , ~Omuro : II C h ippcndale S ly le irror 1 I0 i l< : r ' ,Th l F f u , ' l l l b l eIm l e 5--SOI.D OUT II !- I lJwllu.n Tho" , " S lr in gm g a nd B ae di n g ~th. 'll"Mru:tilcPbn.M,r ! . pan " " "~ I . PI.n. Splo lch in g -The B'IIle ' l 1 l re o -~Dovct a i l s1 55u e 6--S01.D OUT The olor'$ Craft Ul."'~ o f S t ai n in g5I1ol" , , , , ,de RoUerThbk & SIO) l ld Desk Bo xI.,,,e 7-S0lJ) OUT Air P u r iJ Y in g M a s ks r$$ue W o.:t '94

I.. "" . 1 6 lu ly lA u g '9 2 ' Io m M c f a d de n -P r o f il e.......8 WlJ l le r -W ,ofl ' rey 0.1 . , Issue 23 Oct '93 Se a Shel l Om"er Pu l ! .Po ShUll Leon , l t - ; i ! ro f i l e Chmnrur.ker-Pmm. N o t O ll F r om . V ; "l ln r n. kt r FiUk' i l Hal f -Co lumnsA Crib f or D ~ I !i )' I.orl M okinS N orth coast Se"l er s &Sa nd ln g Scaler> ~n r -Boe l lR l>d re rATh illk in ~ "n " O r.eo l In d i l i n lkIw : 6~ ' : : ' 1 f , n~ t i~~an d i n ' & , b r B u l T a r dAIU'! :l l . l i "n rio Md l l h i n n y A F indy Gmfted O , m in g G a l) ge S.1~ng- I R < > c hF i lm Finjshq and C a " , . . , Sca.;~ A M 'g .1 zin . R ud eH""'th.i'C~r. FUl i sh ln g " " " ,io n C h in " " B lo ck F I , m . 1ss ",,300:'94r ap.1nmS: rws J o e Gr;oham-l ' rofile""u.9~ntft'91 Issue 17 Sept/Oct '9~ Mr i k in I1 . Win d s o r Chai rSlCpben' i ~ro ! lL : /< l ITeyS t3 t o n -Bo Ul l . ke r 1$.".24 Dec '93 D ouW e Tong ue and~LJef" Annt - i d e - ir A Conve r t ib le n ' J i bed C " ' r y Up ! o n - -P l om . G r o o v e JO i t l ~in lshes an d th e W.ath " , 1 ; 1 "" , I L II Il r. Mou l in s A SCnllo l ' ' ' : ! : , lbp Lowb o y ~i; ;n FooI1b~ T.,bl.R 9 u to ' T er n ~"!t M ort i s in g Thmio ! Meoqu i r . M i lkBased Pa i r us g F urn itu re o f 0 0 1 1 King1\ T h ov o l, ng r e. tl .1 h bl ~ S~ I~ 1 0 1 n e r ! ] /I So uthw m C obi n e tA \ In11tSid. able ~~~~a::f;4 l s s u e 3 l - - 5OLD OUT. .. u e IO--SOLD OUT

rSSUf' 18 No",{D~ '92 Sax; '" MoCollum-p",m. l"u" ,b' 99~ I h j " no f .k y -l >! ( Im eS "" d- Sh .d .d L an eu e & n tl ln g2 n gin .. r in g P ri ol OCotchesan~ How 10A\ 'o idThc'f l1Q uic k lin d boy C if t I II c asJ o A n n S < h uc l r- P r o Ji l.l ss u e S 6 Ap r i l ' ! l S I1 o. L; Par t JG I b "" . G l ll t . .. F . ct or yT o urI .. ue 51 Ju n e '99~I= d W as n ef-P ro m." ' l1 I~r!""n Folk Mllrqll~t ryH , n d "m fo, lOin"),M~rti! , i < : W in dso r,P I IT I, . R ou t. r P I.n .n d in il C u rv es wil l i a R o u re rl\;l:Iiluo,.!,,,,j~!C o Il 1< :m p o l" ry W o o dS eu lp nir e Iis>u" 59 0", '99J . B.BIIIllk-ProfiltBuildi" .l la 1l.~'Wi~, PI 2~.'!~~~~k~~~W " r~ be nc h fe r th e 9 0's1, !';m e se M a ,k in g G at_ geC im le mp "r .I ry W o odStulptu(e2Issue 60Dec 11)9M i l . . K a '1 ' il o w -P r q 61 .lntreductien II > Ve n c uP r tf o lio S ta ndPa. ' l te W u . F in is h . .T ra di ti on .1 P o rl --PmfikS h.l" r (N .l B o_VcneeL' ing'Sunbur.stsSwed ish Rm-Oa !v I ng5


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o go ll al C an dle S ta nd Issue 78 Dec 102 M ;;e tk Sw itch e san R iem en schne id er C IIo r l .! R .d iJ-. ..P ro fil. M .l ' s J; J JU l d l' um i .w ; , S u r n :yD . s i g r u \ i B uUdil \g n Be due 66 D '0 0 Sri"", " "" ", ti on o n Wo o d I",". 90 0,,, '04l l C a o tJ .- p ", r, l. M l I I i , l u " B",,"Thmins, Joh. Ml I c n ; 1 h - Pm51 e8 < C n lf u B oo k c as e ~b1!~~t~~~~J1f~nes Crn l l sm ,m R o t : k < r , 1 ' a r t 1Spoonmai< in s ~ t~ r . ; ; ,W;8 < Lod le sM a k i ng D . "k u ,m l " 'r t m .n ~n n S m J; lL B< > : t t S KDUrying R l 1 d r . Hd fMod e J s &~. - fu reG . u~o in er y, P .r l I 1..tc h A d ho sio n T "'t V~i1Li Vas i l l iQu- - P ro f il .A JU &Crafts T res tl e ' I1 I >L .. 6 9 lnee '0 1 But lwood C . . d l " l Io ld er I .. u e 9 3 l u! t. :'0 5R ub bi ng O U I I 'h li$ h l'etorl'o~ra.In t nx lu o t io n to In lay g~~l I ! .o r~~~T rn p . zo . id I l OO" , o oo l lg Schoo l n;", , , . . ,nd Crownj~.l'lat"'umi ! l l l C en te r S hu ,. SI" ryFumi~ Cho . i r s c r fC .R . zyJn ntoshe 7 J I 'd> '02 b$u.~b()oj Th rn ed Georgian Detail '\ 1 'o o d - p ro f lL . S < < > 1 1 ~ id . - l ' ro6[e Issue 97 F.b '06& Crn l t . S id oo < 1. o- ~Mel l i rO t CUt t in g Ven . . .. . Mi l k ing - r ., y 1 1 1l l li n ll T ! lsOI l c i nn . 1U AnC , n i< l1 ' l .m i tu r e l 'u rn ilU'" 1m " , Tnsman i i lu e 7 5 lu ne '0 2 \ k I, , , tl n e '. D a y Bi)r Issu "!1 9 J un e '0 6S"~1 'mm. Tu r~e r ' s S an dp ap er R ec kpld !< \ vL T hbl. Nom , So r t o riW l -P r o l iJ .fr.nch l '1 l)W.lng 1..,"087 r m l . '04 ~ ~~ ~ ~ I~ 'P l !t ?, :t l! r> ln .Io :u t -~l ! so :oo lm-Profi ) .n :A d ar ru S ch o ol ~ .. nAr i n . : l ' I ! l b ; , '1 ; P a r t ~ A Bo x w it h W o o de n H i n ! : . . .P I . " ", rn . . . ru n g iiI.' i::\\; R ' l b l < ! m s A ffo rd ab le I lo p:" uil . K l ne O!r t< ! r of D,, ' ;>


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SHOP TA L K

N ew D ir ec to r fo r N BSSThe North Bennet Sreet Scheel has

named M ig u e l G om ez-Iban ez as its n e x tE xecu tiv e D irec to r. A 1 999 g r ad u a t e of itsfam ed C ab in e t an d F ur n itu re M ak in g p ro -g r am , his f u r n i t u r e is widely held in p r om i -nentcollections, including a gallery benchc reated fo r B os to n 's I sabe lla S tew ar t G ard -ner Museum. Burton M.Har r i s , NBSSBoa rd p re sid en t, sa ys :

" M i g u e l br in gs g reat L ead ersh ip sk ills

Tha flrst blod.good 800ugh 10

honor theCarter brand.

Pow: I J IDn mil iod I t > o r I hIndudlan hard....d

Ruba c k con s INcf io< lMokh t o o t h _Idod

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SHOPTALK

Committee of the Fuller CraftMuseum inBrockton, Massachusetts.Most recently, he just completed atwo-year term as the President of theFurniture Society.He was unanimously elected by

the Board after a nationwide searchconducted by a committee comprisedof faculty, staff. Board and alumnimembers. "The final interviewprocess, as well as t J1C search processgave input to eve ry constituency ofthe school and an opportunity to playa role:' adds Harris,Founded in Boston's North End in

1885, NBSSis known internationallyfo r excellence il l t ea ch ing traditionalband skills. ull-time programsinclude Bookbinding, Ca rpen t ry .Cabinet and Furniture Making, Jew-e l ry Making and Repair, Lock-smithing, Piano Technology, Preser-vation Carpentry. and Violin Maltingand Restoration. Workshops are alsooffered. For more details about theschool, visit www.nbss.org.

~~" , . . fo r t ire w o o dw o tfc er c o nc er ne d B b o :I I m I f l I tl o n I who w a n t s th e bes t poaIIIe dustInIpor fJb Ie ptdcIgel

~1000+cfm~ Q u ie t 78 dBA @ 10 '~ E as y Assembly (1 hr )~ H igh ly Po r tab le Rol l , Anywhn

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D e ~ l c o t e d 1 0D u s t C o l l e c H o nS i n c e 1 9 9 5 ! DIf.,.~UtyA dlaI ~ m a y wty I I I Q h I I YIn~.5 ' Tall x 4 ' W id e x 2 ' D eepT u m Y o u r S h o o V a c u u m I n t o a C y c l o n i c V a c u u m !C aptures 9 9% o f the w asta befo re It reachesyour shop vacuum. Sand fo r hours w ithoutc le an in g y ou r ftlte rl"AUl can sa y is WOWI Just as adve r t i s ed , 9916 orm ore o f th e dust is cap t u r e d by th e c yc lon e ! ~ ~ ~ ~. .~BICall for FREE Brochure! Order Online!1 . 8 0 0 . 7 3 2 A 0 6 5 w w w . o n e l d o - o l r . c o m
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T IP S & T E CH f\. I IQ U E S

Creating a Drilling TemplateT h e o r ig in al. p he n olic s ub -b as e o n m y

old router w as distorted and theattach-ment ho l e s in the base of the router areblind. To make a t emp l a t e for accuratelydrilling the ho l e s in m y D ew sub-base Iu se d th e fo llo w in g p ro c ed u re :1..I drilled a ho l e at the center o f the

template and at the approximate locationso f th e at ta ch m en t sc re w s that I traced fromth e o r ig in a l su b-base . T h e d iam ete r o f

T H E . W O R L D 'S F I N E S TC H I S E L SO u r h ll ges ele c tio n o fJapanesech ise lswlHlake as ha rp er e dg eand h old ill o nge r t ha nan y other. ch i se lin lhewo r ld . P e rio d .T he y a re8\1aHabie foru se w ith th ehea\ l ieslofh amm ers o rfortne mos tdel icate ofc u ts . B a ck e db y o ve r 1 00 0

y ea rs o fsword -mak -i ng t rad it ion ,our chisel-

ma k er s p rid eth em s elv es o n

m a kin g o nly th ebest. F or a tw o-yea r subsc ri p -

tio n to o ur c ata -lo g with

tile largests ele c tio n o fJapanese

woOdwork i ngt oo l s re fl e c ti ng

this age-oldp rid e a ndt racmon, send

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t he s e h o le s is such that s tee l bushings (tos e rv e a s dr i l l ing gu i d e s ) fi t into these ho l e s :th e c en te r b u sh in g tig h ~, w h ile th e at ta ch -ment hole bush ing s with s ome play. Theb ush in g in the center o f the template hasan in s id e d iam ete r o f 1 /4 " to fi t a router bit( w h ic h a ls o happens to be th e d iam ete r o fth e g u id e drill inm y fl y cu t t e r ) .2. r put a 1/4" router b it in the r o u t e r

collet. Using appropriate size machines cr ew s , 1 fix ed th e at ta ch m en t hole bu s h -

WOODSpecialtyf o r l a v e 1 ' l w f w o o d . c o m

O n e o f N o rth A m erica 's mOMcomp r e he n s i v e i nven t o r i e s o ffin e hard wo od s an d ven ee rs.

Serving woodwo . r k e r ss ince 1973 .

S hip pin g d aily acrossNorth America.

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in g s to th e router base. J smea red the wal l sof the holes in the template with epoxyg l u e , pressed the center bu sh in g ln te thetemplate, a n d s li pp e d th e assembly o v e r t h e1/4" router bit and the bush i ngs . It is ag oo d id ea to Ugbr ly wax th e router base,the sc rew s an d the router bit prior toasse m bly so th ey d o n o t g et s tu ck T he o u t-s i de su rfac e o f t he b u sh in g s , au the o therband, should be cleaned with ace t one .3 . A f te r the epoxy h ard en ed I removed

the template. Since the epoxy fixed theb u sh in g s at the c o r r ec t p o s it io n s , t h e b o le sin the t emp l a t e (and consequently in anyji g O r sub-base drilled wi th it ) a re perfectlycen t e red . If necessary, I < ;a nu se m y lly c u t-te r to e n la rg e th e hole in th e c en te r o f theji g an d it is s till centered. TIns is par ticu-l a x l y imp o r t a n t if th e n ew su b-b ase is to beu se d w ith te m plate g u id es .

T he same t r ick with f ix ing bu s h i n g s inslightly lar g er h o le s w ith e po x y c an b e u se dto m ak e an y d rillin g j ig s wh ich h av e t o bea cc u ra te ly m a tc h ed t o e xis tin g holes.

F r an k P en ic ka , Mou n : Pem' l, Newfouna-la nd , C an ad a

LaylQn. N J( 9 78 ) 9 4S .S200


23/100

TIPS & TECHN I QUES

EXACTCENTER f .ST IMATE PCENTER

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1'R1i:E CAIALOGI

B ig CenterIfyo u need to find the center o f s om e -

thing bigger than can be reached with anormal center square, the m eth od sh ow nhere can be used for an y circle, such as around table, a ba r re l , or e ven a p lo t o f l an dPuta board across the circle at a dis-

tance f rom the estimated center that canbe reached by your largest try-square,Mark the places where the edge of theboard to uch th e ru de . M e asu re an d.m arkhalf this distance. Put the try-square on thismark and draw a line near its tip. This willp as s t hr o u g h th e c en te r o f th e c ir cle .Repea tth e p ro cess fro m an oth er po sitio n an d thetwo lines wil l cross at the center. If youwant tomake sure, r ep ea t a th ir d time.

Pe r cy B l a n d fo r d , S tr a tf o rd - o n- A v on ,Eng l andSUBMISS IONSSend your original tip or technique,along with a photo, a sketch, or a plan to:Techniques, Woodwork Magazine, 42Digital Drive #5, Novato, CA 94949. Wepay $35 to $75 for each item we publish.

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JONBROOKSWorking where art an d fu n c t io n c o llid eBY SCOTT GIBSON

Y QU ' 1 l 6 .m d 1 0 .n B r O O k . . 5' p lace a fe wm ile s o u ts id e a li t t le N ew H am p-sh ir e to w n cal le d N ew B o sto n . H iss tu d io a nd ho u se ar e o n th e left , j u s t as th eg rav e l r o ad s ta r ts to asc en d a s lig h t g ra de .A nd w h en yo u sp o t th em , th e r e 's no mi s -tak in g th em fo r an y th in g e ls e .T h e sho p c o mes f i rs t . I ts a s ymme t r i c a l

face , u ne ven c lad din g o f r o u gh sh in gle s , th ebig n o r th - fac in g g las s w in d o w s an d i tssw o op in g , p arab olic roofall say: T h is isw he re J o n B ro o k s w ork s .A few h u n d red fe e t fa r th e r u p th e ro ad isth e h o u se , s tan d in g a t th e ed g e o f a b ro ad ,g re en f ie ld . L ik e th e w o rk sh o p, it is o u twa r d l yan am alg am atio n o f i r r e gu la r ly sh ap ed p ie ce sw ith sh ag gy , sh in gle d w alls an d a co lo rfu l ,c e r am i c ch imney . Y ou rn ay lo o k a t it fo r a f e wm in ute s be fo re r e a liz in gth a t th er e ar e virtu-ally n o squ a re c o rn er s o n th e bu ild in g .B oth s tr u ctu re s , a lo ng w ith la rg e p ie c es o f

sc u lp tu re d ot t in g th e law n s an d f ie lds n ea r by ,

"Coat and Hat Rack" (1980); basswood, oak;60" l!; 24" x 24".

"Matisse Chair" (1999); maple, Slain,oolored pencil, Iaeq L1 er; 72" x 27" )I e 27".

are th e r e su lt o f m o re th an a qu ar te r -c en tu ryo fha r d w o rk a nd a rt is tic a tt en tio n . F re qu en tlyp h o to grap h ed an d by n o w w ell-k n ow n , th ec o m po un d h as bec om e an ic o nic r ep re sen ta -t io n o f B r oo k s' n o n -t ra d it io n al , a n yt hin g -b u t-r ec ti lin ea r fu rn itu re a nd sc ulp tu re .

S tep p in g in s id e th e h o u se th a t B ro o k ss ha re s w ith h is wi f e , Jam i B oy le , yo u asc en da c urv in g , o pe n- tr e ad staircase an d en te rth e m ain liv in g sp ac e , w he re yo u can beg into tak e in th e ro u g h p lan k f lo o r bu rn ish e dby u se , th e e xp o sed f ram in g, an d p arabo licr o o f . .B ro o k s bu ilt th e h o u se h im se lf in th eear ly 19805-00 a sh o e s tr in g -n o t lo n gaf te r h e r e tu rn ed f r o m th e W es t C oas t w ithh is f i rs t w ife , M o na ..

T h e h o u se se em s s to p p ed a t a m om enfrom a d iffe r e n t t im e; it s o rg an ic sh ap ean d cu rv e s , i ts u n p re te n t io u s bu ild in gm ate r ia ls , e v en th e bo ok s s to re d . n ea t ly oshe lv e s be tw een s tu d s , m ak e a f r i end lyr e fu ge fo r an a m iab le n on -tr ad it io na lis t . Ie n o u g h to m ak e yo u si t d o w n an d "d ialo g ue " a w h ile , as B ro ok s is fo nd o f say in

T h e furniture an d sc u lp tu re f ill in g ths p ac e span a c are e r o f bu ild in g s tr e t c h in gback m ore th an 30 year s . A m o ng th e ear le s t p ie c e s a re fu nc t io na l o bje c ts m ad e fr ob ig ch u n k s o f w o o d -fo u n d s tum p s anlo g s- w hic h B ro o k s c arv ed to c r e a te chai rtab le s an d ev en a co a t an d ha t ra c k .A t th e other e n d o f th e spectrum are t

m u ch m o re d elic ate p ie ce s th at c harac te rizh is p re sen t w o rk . H e s t ill be g in s w ith fo unm ate r ia ls -p r im ar i ly l im bs o f h ard an d som ap le th a t h e g ath e rs in th e w oo ds aro unh is h o u se -bu t th e re su lt is an y th in g bru st ic . S tic k s ar e c ar e fu lly jo in ed [s e e s idbarj in to b eau tifu lly s in uo us lad de rs , t ab lan d cha i rs , a s w ell as m o re sc ulp tu ra l . p ie ceth en p ain te d, s ta in ed , d ec ora te d w ith p as tea nd c olo re d p en cils , a nd f in ally d ea r-c oa te dIt's as if tw o p eo p le a re r e sp o n s ib le f

th e fu rn itu r e : o n e p e r so n sp ec ia l iz in gh eav y , m usc u la r fo rm s m ad e from u n d isg u ised b lo ck s o f w oo d , th e o th e r fav o r insprightly, p la yfu l s ha pe s that a re u su al ld ec o ra te d w ith p ain t.H ow B ro o k s g o t f r o m o n e p lac e

an o t h e r isa c o mb in at io n o f u pbr in g in g,e d uc a t io n , a r t is t ic o ut lo ok , an d an u n e xp ec te d o pp or tu n ity that fe ll in to h is l id u r i n g a t im e o f p er so na l u ph eav al.N O T A BO Y O F TH E C rTY

B ro o k s g rew u p in M an c he s te r , a sm ac ity in so u th -c en tr a l N ew H am psh ir e . Hw as th e m id dle o f fiv e ch ild re n w ith tw o ste r s an d tw o b ro th e rs . H is fa th e r w asp a th o lo g is t w ho m et h is w ife - to -be w hish e w as en ro l le d in a n u r s in g p ro g ram .

I n t h e. la te ;405 o r e ar ly ' 50s , B r o ok s' p aen ts bo ug h t fo u r ac r e s o f lan d an d a c abw ith o u t e le c tr ic i ty o r r u n n in g w ate r in t


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to w n o f N ew B o sto n , j u s t wes t o f Man c h e s -ter. "Itw as ju st m a gic al," Brooks says of theweekends and s umme r days roaming thewoods in N ew Boston and the rest of th eyear exploring what wooded areas Man-ches te r bad to o f f e r . " In th e f o r es t , there wasa sense o f re fu ge that 1 n e ve r felt an y placeelse. I could go into the forest and be com-pletely alone and f ee l extremely safe, almostlike being in a church.I fu n this asa child-a holy experience, very powerful-and it'sstill true today."And encouraged especially byhismother,

Brooks also found he liked carving. "I hadseen th e work o f Constantine B ran cu s i, asculptor, and really got charged up by whathe w as doing:' Brooks says."I realized itwaspossible to communicate through workingwith your hands, working with wood andmaking things. He created archetypal formsthat had a certain power in them that com-municated deeply to me. It's like any spiri-

tual experience yo u havewhere a light comeson and you say, 'Yeah, I want to do that"He copied Brancusi's work. His parents

set aside space in the basement for a smallworkshop, and Brooks' mother bought himtools, found him anend cut of Hondurasmahogany from a local.furniture manufac-turer, and enrolled him in art classes at theCurrier M useum o f A rt in Manchester.Wh a t he really wanted was a mentor,someone he could apprentice with. That hecould not find.Bored by school, Brooks says he didn't

enjoy an altogether smooth adolescence. Arthad become a way out,but when hemetwithhis h igh school guidance counselor, he wasencouraged to think of art as an avocation,not a vocation. Brooks had other plans. Heap plie d to b oth the R h o d e Island School o fDe s i g n a nd the Rochester Institute of ' ' Ieeh-nology, and was accepted at both. He pickedRochester because it was farther from home.

"Franklin Chair" (1973); black waIn.ut;48" x 56" x.24".

"BIm Landscape" (1.978);elm.Ieather, ~bon}';28" x 48" x 24".

Like hill fu:rni ture, the living room inBrooks'house (at left) as well as the house exterior(lower right )reflea. his search for somethingb ey on d c en v en ti on .

1W O B IG IN F LU EN C ES A T THE S TARIn Rochester, Brooks was lucky enoug

to fall under the influence oftwo powerfwoodworkers, the visionary studio furnturernaker Wendell Castle, who had justarted teaching at Rl'I, an d B ill K aise r , tconsummate engineer and technician."Wendell kind of represented the rig

brain activity and Billwas extremely goowith joinery and the physics of puttinthings together, and th e combination wexcellent," Brooks says. He worked in Catle's studio on weekends and during tsummer at a time when Castle was woring with laminations. Brooks liked the idbut saw a different path. "Why glue uboards when you've got trees that aa l ready in one piece?" be asks.After flailing in high school, Brook

became a regular on the dean's list, mainbecause he loved what he was doing. Hearn ed a BA and then a M FA degree anmarried Mona, a fellow RlT student, justhe was finishing. school.They left almost immediately for S

Francisco ..There, Brooks worked two dayweek at whatever jobs he could find anMona did secretarial work tohelp t hem maends meet. But his focus was woodworkin


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started carving figures, working with thed cuts of i ndus t r i a l - s i zed wood beams.It wasn't furnituremaking be was inter-inas much a it was working with the

Itwas the wood that kept hisivided attention.

F IR ST V IS IT TO TA SM AN IABrooks might have stayed in San Fran-indefinitely. Although high land prices

scouraged his urge to build a home, they Area was an exciting place to live andwas having some success selling hisrk. There were also legal entanglementssulting from his refusal to be inductedto the military in 1 9 6 7 . The case draggedand eventually Brooks was acquitted. Hes freeto go, an d that's exact ly what Monanted to do: Go home.They moved inbrielywith h is parents, byw full-time residents in N ew BOStOJ1,andksdiscoveredto his surprise tha t he actu-liked being around them. So they boughtme land just down the road and began tork on their own house and studio.It was not only the beginning of Brook'silding campaign but also the start of hismmitment to land conservation. His own

IS-acre parcel was the first to get a protec-tive easement barring development. Even-tually, more land followed, including the150 acres his parents owned. Now theBrooks/Boyle compound is part of a 185-acre plot of conservation land.All the while, Brooks continued work-

ing in h i s f am i l ia r "subtractive" style of fur-niture and sculpture, Among the pieces offurniture from the era is a huge seat carvedfrom a pine root Brooks picked up at theManchester dump. It's now parked in hisliving room-too big, he says, to be movedwithout disassembling the house.He had a number of clients, some of

whom had followed him from his SanFrancisco days. He was beginning to getsome recognition from museums. H is workhad sold well enough to fund constructionof house and shop. He had more work linedup. His marriage was a little shaky. but in .general his working life was looking up.Then Tasmania struck.It began with a visit from a Tasmanian

named Kevin Perkins who was touring theU.S. and wanted to vis i t . Perkins was on thefaculty at the University of Tasmania. Soonthey were talking about a un iversity resi-

dency for Brooks. Brooks' daughter, Rebecca,wanted to go.Mona did not. And so in 19 83 ,father and daughter caught a plane whileMona stayed behind. That was that.InTasmania, an exposure to aboriginal

art and culture, an entirely new landscapeto explore, the dissolution of his marriage,and being literally on the other side of theplanet all helped Brooks make a majorchange in direction artistically."The combination of all the things that

were happening tome:' he says, "made it nec-essary for me to change, metamorphose, inorder to get through-still with a love oftrees, love of landscape, love of nature, butjust corning at them in a different way."Until then, he bad what be calls a "sort

of George Nakashima" sensibility and foundthe idea o f paint on wood a sacrilege. But inTasmania he began experimenting withconstruction using lighter materials, join-ing them together, rather than makingpieces through a process of carving awaymaterial from the whole log. He began tin-kering with color, and before long he was"throwing paint at everything."Itwas an almost complete reversal in

style, and Brooks jumped in all the way.


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W hen h e g o t back to th e U .s " , h e fo u n d itim po ss ib le to r e tu r n to h is o ld ways." I h ad c lie n ts w h o I 'd p u t o n h o ld ," h e

says. "I to ld th em I w as g oin gto T asm an ia fo ra year , an d th e y sa id , 'Oh, n o p ro blem , w e'llg e t back to th e p ro je c t w h en yo u g e t back . 'A nd th en w hen I r e tu r n ed , I c a lle d th em u pan d to ld th em m y d es ig ns had chan ged an dI didn't fe e l I c o u ld g o backw ard s , an d ass o o n as I sh o wed th em my D ew wo r k t h eysa id , 'S e e yo u aro u n d . ' I lo s t a lo t o f m y ear -l ie r c li en t e le th at w as to ta lly e na m ore d withthis ea r ly w ork .. I fe lt I n e ed ed to m ov e o n : 'I t m ay h av e been a s etb ac k, b ut it w aso n ly te m po ra ry : &h is w o rk c o n tin u e d toev o lv e , so d id th e bu s in e ss s id e o f h is s tu -dio. T hat 's b een aid ed in no small mea s u r eby jam i B o y le , W ho B ro o k s met c o n t r ad an c in g a t th e lo c a l to w n hall i 1 1 1991 . Theyw e re m a rr ie d in 1 993 . In ad dit io n to w o rk -ing at h er o w n sp ir i tu al co un se lin g , Boylehas becom e B ro o k s ' m an ag e r , le n d in g amore organized approach to work andscheduling and ove r s e e i n g an up-to-datewe b s it e ( www . j on b r o ok s .o r g ).Brooks now has a l e n g t h y resume and his

w o rk ha s been so ug ht by m a ny p riv ate c ol le c-to rs as we l l as n um ero us m u seu m s, in clu din gthe Renwick Ga l l e r y of th e SmithsonianAme r i c a n Art M u seum , th e Museum of F i n eArts inB os to n, th e A m er ic an C raf t M u seu min N ew Y ork , an d th e F ulle r C ra fi .M u seu rn inB r o ck t on .M a ss ac h u se tt s, H e t e a ch e s r e g u l ar lyan d h e h as h eld se ve ra l r e sid en cie s, in clu d in ga se c o nd to ur in T asm an ia .


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looking at a work of art you get somethingnut of it. It's not through a verbal dialoguewith the artist who made it . It's totallyinde-p e n d en t , a v is u al e xp e rie n ce ,"Brooks go es through periods when he's

more interested in sculpture th an he is Inmaking functional furniture, but he's also apragmatist. "I'm surviving off my work," hesays , "so . if adient comes to me and says,'Make me a table: or 'Make me a chair,' I'myo u r guy: Unless they come up with a set ofp lan s and I 'm s up po se d to f o l l ow them; thenI say, 'Sorry.' I 'v e g o t to . have some f r e e d omin design. Otherwise, I'm divorcing myselfas an artist." Happily, "Angel Dog" wasrecently purchased by the New HampshireCouncil of the Arts and will be on public d i s -play in one of the state buildings.TRADITION AND THE PRESENTAlthough his work doesn ' t bear much

resemblance to conventional furnitureforms, Brooks is a member of the NewHampshire Fu . r n i t u r e M a s te rs A s so cia tio nand th u s r eg u lar ly rubs elbows with moretraditional woodworkers, including some

very good period fumituremakers. He's agreat admirer of their skills and believesthat tradition is necessary as a way of"informing u s o f where we are."Bu t Shakerand Federal are just not his path ..His studio reflects his working style-

simple, direct and low-key ..He has a bighandsaw and a Jointer/planer r o l l ed off inthe corner, but there is no tablesaw, no.power miter saw , n o . drillpress, shaper, nol o t s of t h i ng s that most shops have. He d o e smost of h is work by hand, and h is techni-c al s k il ls are considerable [see sidebar]."A s woodworkers, we tend to get really

over-immersed in the process," Brooks says."What kind of finish, what kind of wood,what kind of joinery, you know, all thatk in d o f ho gw ash . B u t ultimately the piecehas to stand on its own merits."I tend to align myselfwith the studio fur-niture movement and tend to have more

interest in it;'he says."If l'm flipping through[amagazine] and see another Shaker table orsome rectilinear chest of drawers that I'ves e en g az illio ns o f v er s io ns o f, I 'm n ot n ec e s -sarily going to stop there. But ifI'm turning

the pages and see a bunch of eyeballs painton the front of nne Imight stop and a'Okay , what's g o i n g on here?"Brooks also sees his work as a way

documenting the time in wh i c h he livesspeaking to . current even t s in th e worlH is work does not look overtly politicabut Brooks is not an a rt is t r e cl u se . His f igto w in conscientious objector statusph ilosophical rather than religiougrounds during the Vietnam War was flowed by arrests in New Hampshireprotests directed against the Seabroonuclear power plant. His environmentaawareness was heightened by h is expeences in Tasman ia . And he w a s p ro f ou n daffected by the events of 9/11."S tyx Iad de rbac k C ha ir s " (2 00 3) ; m ap le . p as te l ,lac qu er ; 8 8" x 2 4" x 2 4" e ach .

"R an fre d D in in g S et" ( 1995 ); m ap le , w aln ut ,c olo r p en cil , ac ry l ic , lacqu er , 8 4" x 1 20 " x 6 0" .

"C u t l y S ty x L a d de r ba x" [detnilJ ( l9 9. 8) ; m a p le ,a cr yl ic , l ac qu e r; 8 4 " J( 2 4" XU".


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Improv ing onNatu re 's Cu rv esJO N BROO KS ' SCULP TUPA L STY LE o f wood -w o rk in g r elie s h ea vily o n th e c ro ok s a nd b en ds tbato c cu r l1atural lyin m a ple tr ee lim b s a n d s ap lin g s;

But sometimes h e c an 't f in d wha t he wan t s ina s ing le p ie ce o f maple , S up po se , fo r e xam p le , h eis a ss em b lin g t he s cu lp tu ra l m id se c tio n o f a f em a lef ig ur e a nd h as Come to th e de lic ate c urv e w h er eh ip mee t s le g. I fh is s to re ho u se o f m a ple s tic k s c a n 'tproduce th e r i gh t nuance o f m o tio n, B ro ck s cang r a f t tw o p ieces o f w ood t o g e t h e r to a ch ie ve ItSo , whi l e h is wor l< ; s e em s to be al l sm o o t h cu rvesw ith nc rea l start a nd s to p, it m ay ac tuaJ ly be aseries o f t ru ncated sec tio ns jo in ed to ge the r w ithh id de n r no ru se -a nd -t en cn jo m ts .

O n ce B ro ok s h as decided r o ugh l y whe r e th etwo sectiens of w ood must be b r o u g h t t oge the r . he cuts 0 ' 1 1 bo thp ie ce s s o they a re ro u.g hly sq ua re . T he n h e drills J u t the cen te r o fe ac h p ie ce with a s pu r b i t, l aY i ngou t a r ro ss ha ir a t each cen t e r wi tha s tr ai g ht edge a nd p .e nc il o r s im p ly d rillin g into th e p ith at the r en -te r o f the s tick

The ho l e s , w h ic h w ilt accommodatete no ns m ade fr er n Del r in plas-t ic , m u s t be deep en ou gh to en gag e th e b it afte r he has c u t back th ej o in t F r om s qu a re to 4 So .A f te l- la yin g o u t th e 4 5a a n g le d c u ts , Brookscm bo th with a Japanese r i p b la de a nd e xt en ds the h o le s f ur th er in toeac h p iec e (I ).

I n g en er al, B r oo k k e e p s th e d i ame t e r of th e D elr in ten on to o ne -ha lf o r less o f the d i ame t e r o f th e s t ick M o r tis e d ep th d ep en ds onth e diameter 0r th e p ieces+d eep er m o rt lse s fo r Ia rg e -d a rn e te r s tic k sand teno ns-as w ell as the na lu ra :l c urves o f the w oo d.

Put t ing o n e o f th e pieces in a v ise , B r oo ks u se s a lo w -an g le b lockp la ne to H atte n a n d sm oo th th e c ut He i ns e rt s a Delnn tenon into thepi ece an d assembles th e two pieces i n t h e f irst of many t e s t f i t s ( 2 ) .

" F or m e , p er so n ally , I feel like Twant toa liv e , p ay d o s e attention to what's goingin the world and try to stir that in withemotional relationship with trees andre and all of that and give back to soci-wha t I've digested and ' ta lk about whatlik e to be alive t oday . "SLO W IN G DO WN H ER E , TH AN KSB ro o k s is now 62 and doesn't show anys of stepping away from h is studio. H eally works a lO-hour-plus da y in the

dio and begins every day with a walk on

The j o i n t a lm o st c erta in ly w o n't fit precisely th is f i rst t im e . B ro o ksuses a b lo c k o f cha lk to help him identi fy the h ig h p o in ts on th eunp l anned s ide o f th e jo in t apply ing cha l k to th e smoo th s id e , a ss em -b lin g th e jo in t. ta kin g it apa rt and then l o ok i n g to see w ha t must beplaned on th e ro u gh side (3). S lo w ly th e twopi eces come together-chalking , scr ib ing ( 4 ). a ss embl in g . d i sa ss embl rn g . p la n in g a n d re -assern-bling-unti l th e jo in t h as b ec o m e in v is ib le .

On c e th e j oin t f its c orre ctJ y, h e. c an w o rk th e o uts ide surfaces o fth e mat ing pieces un til they b lend sm oo th ly (5 ).D elr in is a va ila ble In a v ar le ty o f d iam ete rs so it can be u sed on

sticks o f ma ny s iz es . ,I t is very smoo th , s o B ro ok s mou n t s it on h is l at h ea nd c uts 1 1 ' 1 a series o f s ha llo w g ro o ve s w it h a hacksaw blade togjveth e glue s ome t h i n g to g rab . H e fo l l ows t ha t wr th iii g oo d ro u gh in g upwith v er y c o ar se sandpaper .

S lo w-se tt in g ep oxy seals th e jo in t bu t fo r g o o d measure Br eok sa dds s ma ll-dia m ete r O eJ rin c ro ss p in s to lock we t e n on s in p la c e.-SG

ope of the many trails he has cut throughthe w oo ds . .The day I visited he w as n urs -ing a c racked rib, injured in a fall off hisbike, bu t still f ee l i ng - spry e n o u g h to work,He has, h ow eve r , sp en t so me time t h ink -

ing about what w ill e ve ntu ally be co m e ofhis house, wor k sh op and grounds ..Thebuildings on wh ich he has worked for solong are indelibly Jon B ro o k s , very muchlike the P e nn sy lv an ia c o m po u nd built overa . 40-year period byWharton Esberick. Esh-erick's studio and house have now becomea museum and Brooks wonders if some

s im i l a r arrangement migh t be made to pre-serve h is h o ld i ng s .In the meantime, he keeps a close eye one v en t s u n fo ld in g around him, finding rea-son fo r c on ce rn in the world at large butalso a s en se that he is o n the right t r ack .

"A m I going to get totally depressed? No.I feel I've gotalot of joy and a lot to cele-brate in my l ife," he says. "I bel ieve I'mdoing the work I'm supposed to be doing."S co tt G i bs o n is 4 fr ee la n ce . w r ite r a n d p h o-to gra ph er w ho live s in so uth ern M ain e.


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AWall M irror with C urve sU sin g ben t lam in ation s an d hamm er ven ee rin g to create bowed partsTEXT AND PHOTOS BY JONATHAN BENSON

When designing a piece of furniture Iam often inspired by curves, which I feeladd a unique energy and elegance to thework. Many of the pieces that I produceincorporate bent-lamination plywood pan-els covered with fine veneers. When con-structing these panels, the problem of whatto do with the edges must be addressed.

Simply painting the edges doesn't work,because the glue seams between the layersof the panel will telegraph through thepaint, causing cracks to appear on the sur-face. A solid wood edge can work in somecases, but many of the panels that I createcontain compound curves; tbis creates toomany curves to measure, layout and apply

WOODWORK 30 DECEMBER 2006

a solid edge in a practical way. Still, I wto create the illusion of a solid wood pawith a grain pattern that is consistethroughout, and T need to accomplish tquickly and on an infinite variety of curvSince I usually make up the panels w

raw un-backed veneer, I always have soextra material available that exactlymatcthe veneer on the surface. To me the obous solution isto apply some of the leftoveneer from each panel right on the edThe best way to do th is usesa technique browed from a time when veneer was applwithout clamps: hammer veneering.This process has many applications.

this article 1will demonstrate hammveneering on the edge of a curved framea mirror. To enable you to construct tproject, 1will also describe in detail howmake the bent-laminated sides for the mfor and put itall together. This project dnot require any type of veneer press, vuum bag or complicated equipment. Althe gluing and pressing can be accomplished using these two techniques anhandful of clamps.The process of hammer veneering

been around for centuries, and the glue twas traditionally used w as alwaysan orgacompound such as hide glue, made frthe hide, bone and blood of animals. Hglue has some desirable qualities that hkept it in limited use even in this agemodern adhesives. Itcan be melted andmelted even after it bas been applied, sis a reversible process, important for furture repair. The glue attains its full bondistrength quickly as it Goals,which allowsthe application of veneer without clamusing only an iron and a veneer hammerEarly in my training, 1learned the t

ditional method of hammer veneering whide glue from Tage Frid, Once I gotknack of it, I found this method to wwe l l when applying veneer to variocurved shapes. I also found th is methodbe messy,smelly and time-consuming. Fthermore, hide glue bas several problem


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PLA N S A N D PA TTERN S

C UR VE D -S ID ED M IR RO R

SIDE VIFWAllE~""E I:'ty!:!Ol!_~OT~O~TING

/~" PLYWOOD

SOLIDropFR"Mf

SOLIDi!>OTTOM"kAME

SIDE ITOP f~AMEJOINERYsloe I 80TTOM FR....MEJOINERY

~ND OFCLAMPING FOil:M

ALLOWANCE FORva:" e . lA .Nk:ETEACf1 SIDE

/f l N IS~~OEN D

MAl~ClAMPING---FORMSHAPE


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related to longevity: since it is organic, iteventually breaks down and decays, partic-ularly when it is exposed to heat, sunlightor moisture. I liked the technique, but Lwasn't satisfied with the adhesive.One day while I was using hide glue to

hammer veneer a curved panel, my hop-mate suggested that I try yellow (PVA) glueinstead. He had used yellow glue with suc-cess to hammer veneer the flat edges ofshelves. Some experimentation revealedthat after PYA glues are allowed to set, theycan be softened and reset with heat using ahousehold iron. I was quickly able to covera variety of compound curved edges usingthis technique. When better quality PYAglues such as Titebond II came on the mar-ket, I found them to be just as easy to useand even more durable.For most projects, I begin with a full-sizeddrawing. Since many of my pieces are sym-metrical around a line through the center ofthe piece,1 usually draw only one half-com-plex curves are hard enough to draw once,let alone twice. These curves can be drawnusing a compass, a curved object such as acan or a bucket, a thin flexible stick, a Frenchcurve, or, as I often do, they can be drawnfreehand and then refined. However youaccomplish it, some type of accurate full-sized drawing is important since it will beused to trace the shape of the curve for the

bending form and to create a pattern pieceused at various times during construction.A bending form is usually made of verti-

cal ribs spaced about 1" apart with blockingand framing to hold them in place. The ribsare spanned with a solid flexible material tocreate a smooth surface ("blanket") for thelaminates to form to when they are gluedtogether. Typically, two mating forms areused. [Note: If you intend to build thisproject using a vacuum press, you will onlyneed to make the convex side of the form.The construction of that side will be thesame as the process described below.]When determining the exact radius of thecurves to be cut into the ribs, we need to addup the thickness of the finished workpieceand the thickness of both blankets. If this isnot done, the radius of the top and bottomof the form wil l not match up, resulting ingaps within the finished panel.I u se 3/8" bending plywood for the blan-

kets; alternatively, you can use several lay-ers of 1/8" plywood or any other type offlexible material that won't crush underpressure. The panel thickness wil l be 3/4".Combined with a 3/8" upper blanket and a3/S" lower blanket, this will create a totaldistance between the upper and lowerforms of 1-1/2". This dimension should betransferred onto your drawing and will benecessary for generating the pattern piece.

I usually make a row of marks aboutapart as shown in the drawing detailthen connect them with a freehand linNext the ribs need to be cut out. I

make a top and bottom pattern rib. Cyour curve from the drawing onto a sof tracing paper and attach it to some gquality plywood using either tape or ctact adhesive. The ribs should be a mmum of 2"-3" at their narrowest poinprevent them from flexing duringclamping process. I make every laminapanel about 1 " longer than it needs to ballow for any slipping during the gluprocess and so I can make a good cleanat each end later. You wi l l need to addextra length to the pattern rib when lait out. For the width of my panels, I usuadd at least 1/4" on each edge for the sreason. Cut the rib pattern using a bandor a jigsaw, staying as

woodwork 102 - december 2006

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