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Reflections
Saw Vise Learn how to make and use a scratch stock A steam box built with PVC pipe, a radiator
hose and a few bits of hardware will get you
A few off-the-shelf components and a to stick custom moulding as you build this
started in the world of bending wood.
weekend are all you need to build a solid saw classic mahogany looking glass.
BY M I C H A EL D UN BA R
vise that rivals anything you can buy. BY J O S H UA K LEIN
BY J A S O N T H I G P EN
ONLINE u Start from Scratch ONLINE u Chair Design
ONLINE u Stay Sharp Watch this free video demonstrating the
Not all curves are created equal – find out
Read this free article on the tools and proper techniques for using a scratch stock.
what makes a Windsor work.
techniques to keep your saws sharp. popularwoodworking.com/aug15
popularwoodworking.com/aug15
popularwoodworking.com/aug15
34
COVER PHOTO BY AL PARRISH; SAW VISE PHOTO BY JASON THIGPEN; MIRROR PHOTO BY JOSHUA KLEIN;
RESTORING FURNITURE PHOTO BY BOB FLEXNER; ‘BIRDCAGE’ PHOTO BY ALFRED SHARP popularwoodworking.com ■ 3
CONTENTS AUGUST 2015
12 14 58
REGUL AR S
8
ONLINE u Tool Test Archives BY P E T ER F O LL A N S BEE
Curve
12 ‘Attractive’ DESIGN MATTERS
BY G E O RG E R . WA LK ER
64 Working
Rest for a Memory
Combination END GRAIN
BY S H AW N N I C H O L S
Square
TRICKS OF THE TRADE
FRO M O UR R E A D ER S
Agreement No. 40025316. Canadian return address: 2835 Kew Drive, Windsor, ON N8T
3B7 Copyright 2015 by Popular Woodworking Magazine. Periodicals postage paid at
■
60
Cincinnati, Ohio, and additional mailing offices. Postmaster: Send all address changes to
Popular Woodworking Magazine, P.O. Box 420235, Palm Coast, FL 32142-0235 Canada
GST Reg. # R132594716 Produced and printed in the U.S.A.
■
I
n mid-April, I signed over the deed to match the few remaining original GROUP EDITORIAL DIRECTOR &
on the 1895 house I bought in No- pieces. Repairing and replacing win- Megan Fitzpatrick
EDITOR ■
vember 2001, which I began rehab- dow and door casings. Installing miles megan.fitzpatrick@fwcommunity.com, x11348
bing just weeks later. I “finished” it at of shoe moulding. Crown moulding. SENIOR ART DIRECTOR ■ Daniel T. Pessell
daniel.pessell@fwcommunity.com, x11596
about 8 a.m. on April 15, 2015 (the day I tried – for want of a proper shop
Michael Wallace
SENIOR MANAGING EDITOR ■
of closing) – but I didn’t really finish; space – to sell the house in 2013. No mike.wallace@fwcommunity.com, x11407
one never does in an old house. I simply takers. Turns out, viewers liked the CONTRIBUTING EDITORS ■
handed over the keys. kitchen no more than did I. Bob Flexner, Christopher Schwarz,
But in between buying and selling, So it all came back to where I started. Steve Shanesy
I learned a lot. I ripped out the kitchen. I ran new PHOTOGRAPHER ■ Al Parrish
The first woodworking project – and electric and repaired plaster, installed PROJECT ILLUSTRATOR ■ Donna R. Hill
I use the term “wood- a new subfloor and floor, ONLINE CONTENT DEVELOPMENT MANAGER ■
David Thiel
working” loosely – was put in some new plumb- david.thiel@fwcommunity.com, x11255
to remove the kitchen ing (because I broke a Jacob Motz
ONLINE CONTENT DEVELOPER ■
doors and drawer fronts, pipe – oops) and built jacob.motz@fwcommunity.com, x11005
plug the old screw holes, cabinet s w ith inset CONTENT EDITOR, BOOKS ■ Scott Francis
then paint before replac- doors and drawers, and scott.francis@fwcommunity.com, x11327
myself to install new hardwood floor- are at the office (along with my personal
SUBSCRIPTION SERVICES:
ing atop the pine. bench and tool chest), my miter box is Subscription inquiries, orders and address changes can be
I tackled the main bathroom as my affixed to the small table I set up in my made at popularwoodworking.com (click on “Customer
Service”). Or by mail: Popular Woodworking Magazine,
next major project, tearing it down to friend’s dining room. Part of the cost of P.O. Box 420235, Palm Coast, FL 32142-0235. Or call 386-
the studs and subfloor, and refram- my (quite reasonable) rent is to install 246-3369. Include your address with all inquiries. Allow 6
to 8 weeks for delivery.
ing one wall. By that time – 2007 – I’d miles of shoe moulding. If the house NEWSSTAND DISTRIBUTION:
learned a bit more about making furni- sells before I close on my next one, I’ll Curtis Circulation Co., 730 River Road, New Milford, NJ
07646. PHONE: 201-634-7400. FAX: 201-634-7499.
ture – and that ruined me for rough car- have to move again.
BACK ISSUES are available. Call 800-258-0929 for pric-
pentry. What the heck is 1 ⁄4" “heavy?” Is there a word for a peripatetic ing or visit shopwoodworking.com. Send check or money
Is that 5 ⁄16"? Or is it 11 ⁄32"? Yes and yes. moulding installer? order to: Popular Woodworking Magazine Back Issues, F+W
Products, 700 E. State St., Iola, WI 54990. Please specify
That wall is framed to 32nds. (Yes, I Have miter box; will travel. PWM publication, month and year.
know I wasted a lot of time with that.) Copyright ©2015 by F+W, A Content
+ eCommerce Company. All rights
Then came many small jobs: mak- reserved. Popular Woodworking Magazine
ing and fitting 8"-wide base moulding is a registered trademark of F+W, A
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LETTERS FROM OUR READERS
10° 14°
Oak & Blotching #150, #180 and #220 grit and it doesn’t even with a conditioner, it will some-
I respect Bob Flexner’s experience and matter; some pieces blotch when times blotch. I have used all kinds of
expertise. I disagree with him, however, stained. I have even tried thinning stains, but some oak blotches.
about one particular statement he made the stain for the first coat, but it really Martin Hauer,
in the April 2015 issue (#217). doesn’t make a difference. via e-mail
Bob states that oak does not blotch. Sanding out a blotchy spot doesn’t Martin,
I’ve made many projects from red oak, yield great results, either. Oak has spots First, it doesn’t matter how many grits you
especially flat-sawn. I have sanded to that are more porous than others and, sand through; it matters that you sand out
CONTINUED ON PAGE 10
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Woodturning with Tim Yoder
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Popular Woodworking Magazine has teamed up with well-
known PBS star Tim Yoder to launch a new online video show,
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LETTERS CONTINUED FROM PAGE 8
all the mill marks (from jointers, planers Sam Maloof did some elegant desks
etc.) with the coarsest grit. Then sand to with rounded edges; California Round-
finer and finer scratches with finer grits. over took the idea way, way past its logi-
We all sand differently, but in my opin- cal conclusion. But many of the pieces
ion, you are beginning with too fine a grit. were indeed finished by charring.
I can often get away with beginning my Bill Houghton, Highly Recommended
sanding with #150 grit on factory pre- Sebastopol, California My hands are incredibly dry, and work-
sanded veneered plywood or MDF, but Bill, ing in the shop around lots of sawdust
on solid wood that I have milled myself, I I did not know that either! I’m probably exacerbates the problem – particularly in
almost always begin with #100 grit, then too young to remember it, too...but that’s the winter. So I’ve tried just about every
cream, lotion, balm and treatment on the
sand up to #150 or #180. no excuse (I know Chippendale, after all).
market.
You may not be removing the mill I’m having a hard time finding pictures, While none of them is a magic bullet,
marks at all unless you are sanding for a but I’ll keep digging. Thanks for introduc- the best I’ve found (that doesn’t smell like
very long time with the #150 grit. ing me to a new style. a perfume counter) is O’Keefe’s Working
Second, the term “blotch” is usually Megan Fitzpatrick, editor Hands. It’s a thick paste in the container,
but let some sit in your hands for a few
used in a negative way to imply ugliness,
minutes and body heat softens it enough
and that is how I was using the term. Wal- Paint Transfer Concern to rub in. Plus, there’s no oily residue.
nut and mahogany blotch, but most people I’ve almost completed my workbench — Megan Fitzpatrick
find that blotching attractive. and I want to paint the base with milk
Curly maple, curly cherry and rarer paint. I know Megan Fitzpatrick did the
curly oak also blotch, but this blotching same on her LVL bench. I’m worried
is valued as well. Other than curly oak, the paint will mar anything I clamp in
I can’t recall seeing blotchy oak in well- the leg vise. Has this been a problem? Customer Service
How can I contact customer service with questions
prepared wood. Ron Guritzky, regarding my subscription, including a lost or damaged
issue?
The woods known for ugly blotching are via e-mail Visit popularwoodworking.com/customerservice. Or write
softwoods such as pine and fine-grained Ron, to Popular Woodworking Magazine, P.O. Box 421751,
Palm Coast, FL 32142-1751. Or, if you prefer the telephone,
woods such as cherry, birch and maple. It did at first, but after a few weeks, there call 1-877-860-9140 (U.S. & Canada), 386-246-3369
(International) and a customer service representative will
As I pointed out in another place in the was no paint transfer (milk paint dries be happy to help you.
article, if you followed the manufactur- really hard, but not right away). Also, you When does my subscription expire?
The date of your subscription expiration appears on your
ers’ directions for using a “conditioner,” could line both sides of the vise – the jaw magazine mailing label, above your name. The date
you won’t get good results. So applying and where it meets the leg – with leather. indicates the last issue in your subscription.
Can I get back issues of Popular Woodworking
this product as manufacturers instruct I did that on my Roubo bench. Magazine?
Back issues are available while supplies last. Visit
wouldn’t be effective, whatever the cause Or one more option for you: My tool popularwoodworking.com/backissues. Or if you know
of the blotching in your oak. chest is also painted with milk paint, but I the exact month and year of the issue you want, call our
customer service department toll-free at 855-840-5118
Bob Flexner, contributing editor top-coated it with satin lacquer. Nothing to order.
What if I want more information about the projects or
has rubbed off. PWM tools I read about in Popular Woodworking Magazine?
Remember Roundover Style? Megan Fitzpatrick, editor For all editorial questions, please write to Popular
Woodworking Magazine, 8469 Blue Ash Road, Suite 100,
In his article on charred finishing in Cincinnati, OH 45236. Or send an e-mail to
popwood@fwmedia.com.
the April 2015 issue (#217), Seth Gould ONLINE EXTRAS Does Popular Woodworking Magazine offer group
said he was “hard-pressed to find main- discounts?
stream examples of burnt wood…as a Letters & Comments Group discounts are available by special arrangement with
the publisher. For more details, send an e-mail to Debbie
At popularwoodworking.com/letters you’ll Paolello at debbie.paolello@fwcommunity.com or call 513-
finishing technique.” find reader questions and comments, as 531-2690 x11296.
Perhaps he’s young enough, or far well as our editors’ responses. Our Privacy Promise to You
enough from California, not to have We make portions of our customer list available to carefully
experienced the California Round- We want to hear from you. screened companies that offer products and services we
believe you may enjoy. If you do not want to receive offers
Popular Woodworking Magazine welcomes
over style of the 1970s; but charred and and/or information, please let us know by contacting us at:
comments from readers. Published cor- List Manager, F+W Media, Inc.
deeply wire-brushed softwood finishes respondence may be edited for length or 10151 Carver Road, Suite 200
Blue Ash, OH 45242
were common on this style. style. All published letters become the prop-
California Roundover was a classic erty of Popular Woodworking Magazine. Safety Note
Safety is your responsibility. Manufacturers place safety
example of the old saying, “give a child Send your questions and comments devices on their equipment for a reason. In many photos
via e-mail to popwood@fwmedia.com, or you see in Popular Woodworking Magazine, these have
a hammer, and everything he finds will been removed to provide clarity. In some cases we’ll use an
by mail to 8469 Blue Ash Road, Suite 100,
be a nail” – just replace “hammer” with Cincinnati, OH 45236.
awkward body position so you can better see what’s being
demonstrated. Don’t copy us. Think about each procedure
“router and a roundover bit.” you’re going to perform beforehand.
All our woodworking squares feature a The 641 Square, like its big brother 1281, also Our squares’ handle design The 3 ⁄4" thick handle easily stands on edge so you
notch on the inside corner of the handle sports a 3 ⁄4" thick handle allowing it to stand on includes a lip so they can can check and adjust assemblies hands-free. The
so you can mark your pencil line all the edge. You can check machine setups with both rest on the work unaided. 1281 Square features handy finger holes for a firm
way to the edge of your stock. hands free to make adjustments. This handy The cheeks register against grip when checking stock.
little square is small enough to tuck into your the stock for precisely
shop apron pocket. square layout work.
0UJ
See our full line of American made precision
woodworking tools at ^VVKWLJRJVT
Strongsville, Ohio (800) 752-0725
CARD #52 or go to PWFREEINFO.COM
TRICKS OF THE TRADE EDITED BY MEGAN FITZPATRICK
THE WINNER:
S
ome high-end combination Simply attach a 3 ⁄8"-diameter rare- of course. But the 1 ⁄4"-wide mortises
squares have a built-in lip or tab earth magnet to the head. It allows were difficult to tape off. Instead, I
for the purpose of resting the the square to rest in place, no hands cut lengths of 1 ⁄4"-thick plywood and
tool hands-free on a piece of wood. needed. tapped them into the mortises, leaving
But because most common combina- Charles Mak, them proud at the top so I could easily
tion squares lack this handy feature, I Calgary, Alberta pull them out after the finish dried.
developed this inexpensive solution. With the tape removed from the
tenons and the plywood pulled out of
Combination square the mortises, I had nice, clean surfaces
for the glue joints.
Another plus is the finish allows
glue squeeze-out from the joinery to
be easily wiped away with a damp rag.
Robert S. Grisso,
Salem, Virginia
On-hand Straightedge
A straightedge is handy in every shop,
but I don’t think you need to spend
Workpiece
money on a machinist’s straightedge.
Instead, use your jointer plane (or
Rare-earth magnet whatever your longest plane is) as a
straightedge. These 22"- to 24"-long
tools are more than accurate enough
for woodworking.
For the greatest accuracy, take a
reading of a surface with the tool on
the corner between the sidewall and the
Keep the Correct Allen Rice Bags as Base Stabilizers sole – you’ll easily be able to see where
Wrench Always at Hand Some machinery, such as dust collec- the low and high spots are.
Every power tool in my shop requires tors and band saws, are somewhat top- Christopher Schwarz,
an Allen wrench for adjusting or re- heavy and can be a little tippy Fort Mitchell, Kentucky
moving components. The problem is, To help overcome this slight nui-
each one is a different size, and some sance, try placing a sand- or gravel-
are metric while others are Imperial. I filled rice or bean bag on the base.
used to spend a lot of time finding and These type of bags are usually lined Welding Pencil on Dark Wood
trying various Allen wrenches before with plastic, which keeps the small If you have trouble seeing layout lines
finding the one that fit. grains of sand from escaping, and they on dark wood, stop by the welding sup-
Finally, I got smart and glued a rare- have strong, durable handles. plies area of your local home center and
earth magnet, with the appropriate I have also found these sand- or pick up a welder’s pencil or two. These
Allen wrench attached, to each tool. gravel-filled bags to be very useful in silver pencils show up great on walnut,
End of problem. large flat glue-ups to press seams level. ebony and the like.
Bill Wells, Fr. Chrysanthos Agiogregorities, Derek Olson,
Olympia, Washington Etna, California La Crosse, Wisconsin
is that one of the spokeshaves should ing cut. PWM Cash and prizes
have its blade flipped bevel-up, adding Joe Powers, for your tricks and tips!
25° to 30° to the cutting angle. Palo Alto, California Each issue we publish woodworking tips
Every spokeshave I’ve used will al- from our readers. Next issue’s winner
low you to flip the blade. On a typical receives a $250 gift certificate from Lee Val-
ley Tools, good for any item in the catalog or
on the web site (leevalley.com). (The tools
pictured below are for illustration only and
are not part of the prize.)
Runners-up each receive a check for
$50 to $100. When submitting a trick,
include your mailing address and phone
number. All accepted entries become the
High-angle 70°+
spokeshave for property of Popular Woodworking
cutting
smoothing angle Magazine. Send your trick by e-mail to
popwoodtricks@fwmedia.com, or mail it to
Tricks of the Trade, Popular Woodworking
Magazine, 8469 Blue Ash Road, Suite 100,
Cincinnati, OH 45236.
Typical 45°
spokeshave cutting
for shaping angle
popularwoodworking.com ■ 13
TOOL TEST BY THE STAFF
S
ome router tables have gotten so
complex and expensive that they
actually rival a decent shaper. I’ve
always preferred simple router tables,
so I was curious to assemble and use
the new Kreg Precision Router Table.
Like most Kreg products, the parts
are well-made, nicely finished and fit
together with little fussing. In particu-
lar, the base is made from heavy, well-
finished steel. And the 1"-thick tabletop
is smooth and flat. All the components
bolt together, so I recommend you add
a little thread-locking fluid to the nuts
and bolts to keep the base solid through
years of use (router tables tend to vi-
brate a bit).
Let’s start by looking at the tabletop. Heavy-duty. The steel base of the Kreg router
It’s made from a high-pressure lami- table helps it stay put when you are running
nate over an MDF core. To keep the heavy stock, one of its many advantages over
top from sagging under the weight of benchtop units. Plus, the simple micro-adjust
a heavy router (or lift), Kreg includes feature allows you to make tiny changes with
surprising and measurable ease.
two heavy folded steel supports below
that stiffen the top.
The included 3 ⁄8"-thick insert plate an included tool. Finally, there is an that problem, or perhaps a little rosin
is made from phenolic and stayed flat aluminum T-track at the front of the on the threads of the machine screw
when I hung a heavy 13 ⁄4 horsepower table so you can use a coping sled or that locks everything.
router on it. The insert plate needs to other shop-made accessories that use One of the nicest features of the
be drilled and counterbored for your a miter bar. fence is its micro-adjust knob. Nor-
particular router, or you can ask Kreg to One of those accessories is the in- mally, these are too complex to be effec-
do it for you. The plate is leveled to the cluded router table fence. Surprisingly, tive. The Kreg is ingenious, dead-nuts
tabletop with eight Allen-head screws it locks like a T-square fence for a table simple and doesn’t get in the way when
and secured with four machine screws. saw on the right-hand side of the table. it’s not needed. The fence also includes
The router table comes with three Then you lock the left end of the fence a decent dust-collection port, a guard
plastic throat inserts that have differ- with a toggle. This system allows the to keep your fingers intact and the alu-
ent openings for large and small bits. fence to stay parallel to the miter slot, minum T-track on its top so you can
They lock and unlock cleverly with which is handy for cope cuts. add a variety of stops and accessories,
The T-square fence moves smoothly such as featherboards.
and allows you to square it – both to At $499, you would be hard-pressed
Precision Router Table the miter slot and to ensure the fence to build a router table this nice without
Kreg ■ kregtool.com or 800-447-8638 is 90° to the table (a nice touch). One some serious scavenging for parts. So
of my few beefs with the fence is the if you want a table that is simple, well-
Street price ■ from $499
toggle clamp on the left end. After set- made and gets you to the part where
■ BLOG If you don’t want to own a router
ting it to lock nicely, it would loosen you are making furniture (not shop
table, check out this solution.
up after a couple of operations on the appliances), the Kreg is real contender.
Price correct at time of publication.
router table. An F-style clamp can fix — Christopher Schwarz
CONTINUED ON PAGE 16
SuperMaxTools.com www.gorillatough.com
888.454.3401 ©2015 The Gorilla Glue Company
W
e might admire a graceful
curve in nature without
understanding what lends
it a sense of spring and vitality. Small
details can often make the difference
between a curve that sings and one that
just seems to plod along.
If you’re like me, you may have
reached for a coffee cup or soup can to
trace a curve to guide a saw cut. For a
smaller arc, we might fish out a nickel;
for a larger arc, we grab a bucket or
paint can to trace.
One woodworker shared with me
that she used a circular drip pan from
a water heater to trace an arc. This
method has one primary advantage
that cannot be discounted – speed. Just
grab that coffee cup off the shelf (being
careful not to spill), trace a pencil line It’s fast, but ... If speed is your need, a soup can provides a quick template to trace a curve on that
bracket foot. But is there a better way?
around the rim and go.
Yet all arcs traced from a soup can are
Rites of spring.
not equal. There are a few subtle points A View Askew The arc on top
that lend a natural and organic feel to It makes no difference what tool you is defined by a
a curve. Once you understand this, it’s use, an arc is just a portion of a circle square and has a
a bit of a curse. You’ll spot an awkward and it doesn’t matter whether you trace mechanical feel
mechanical-looking curve and think the rim of a garbage-can lid or draw it to it. The other
two have a bit
to yourself, “soup-can curve.” with a compass. of spring. Note
I prefer a compass layout for two they both fall
important reasons. It can be adjusted short of either
to any size arc, and, more important, connecting true
a compass layout helps ensure that the vertical or true
horizontal.
arc has an organic feel to it, and is not
static and mechanical looking.
Just how do we avoid a curve that
seems forced or artificial?
First, it’s important to realize a few from a straight vertical and flows into
things our eyes naturally key on. We a true horizontal. This tends to look
all have an awareness of when things static and mechanical, or “soup can.”
are plumb and level. A slightly tilted Another way to visualize it is that an
picture on a wall can drive us batty. arc that springs tangent from vertical
Even when we’ve used a carpenter’s and flows tangent into horizontal is de-
level, we still step back and confirm it fined by a square – the height is equal to
Lively curves. Nature is our model. It is with our eye. the width or extension. Perhaps that’s
replete with curves that effortlessly carry the When it comes to curves, our eye will what lends it the mechanical feel.
eye and have a sense of life. pick up on any curve that springs up If you observe curves springing from
CONTINUED ON PAGE 20
18 ■ POPULAR WOODWORKING MAGAZINE August 2015 PHOTOS & DRAWINGS BY THE AUTHOR
SINCE 1989! SHOP FOX® machines are
backed by a 2 Year Warranty!
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• Camlock fence with HDPE face • Drill chuck: 5⁄8" iron tables (2)
• Speeds: 12, 250–3050 • Sanding belt size:
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• Table: Round 123⁄8" dia. • Belt Speed:
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• Table tilt: • Disc size: 12"
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nature, you will note that they often to find that “Goldilocks” arc that feels
spring slightly askew of true vertical or just right.
Given
end just shy of horizontal. Take a look An arc where the height-to-width radius
at the curves in mouldings on tradi- ratio is closer together, say four parts
tional furniture. If you observe closely, high to five parts wide, will have a
you will notice the height of the curve strong, compact sense to it. Increas-
compared to its width is not the same, ing the difference, say three parts high Fulcrum
thus it is not defined by a square. to five parts wide, will result in a more
To create a lively looking curve, you gradual, gentle arc.
want something that appears to spring Once you have established the be-
in motion and flow upward. It’s OK to ginning and ending points, you need
have a curve spring from vertical, but to locate a fulcrum point to draw your
it will have more lift if it ends just shy arc with a compass.
of horizontal. Here is a simple method for locat-
Fulcrum
Conversely, a curve can flow into ing an unknown fulcrum when all you
a horizontal line, but it will feel more know is where the curve begins and
organic if it begins slightly askew from ends.
vertical. The key is to not begin at ver- First, understand that any two dif-
tical and end at horizontal with the ferent radii on a given arc will intersect
same curve. at the center, or fulcrum point. So all Given radius
you have to do to find a fulcrum is to
Find the fulcrum. The given radius springs
Practical Layout Strategies find two different radius lines. from the end where the arc runs tangent to
First, establish the starting and ending To locate a fulcrum for an arc that vertical or horizontal. Use the end points
points of an arc by asking: what is the springs up from straight vertical, you marked by arrows to draw a pair of intersect-
curve’s function? Do you want it to tie already have one radius line given. Just ing arcs. Connect the intersections with a
line and extend it. Where it crosses the given
seamlessly into a horizontal line like extend a horizontal line from the spring
radius is the fulcrum.
the cutout that spans a cabinet base? point or beginning point and know
In that case, you might spring it up that the fulcrum will lie somewhere
slightly askew from vertical, then let along that line. and radius lines) in your inner eye. The
it flow tangent to a horizontal. This arc To locate a second radius, open your ability to visualize is one of the keys to
will be shorter in height than width. compass wide and use the beginning making better design decisions.
Or, is this curve meant to carry and end points of your curve to draw So send that empty soup can to the
the eye upward like a large cove in a two overlapping arcs. A line drawn recycle bin. PWM
crown moulding? That curve springs through where those arcs overlap is
tangent to vertical, but ends just shy of your second radius. Where it touches George is the author of two design DVDs
horizontal and will be taller in height the given radius is your new fulcrum. (Lie-Nielsen Toolworks) and writer of the
Design Matters blog.
than width. You can experiment with Use the same method to find the ful-
different height-to-width combinations crum for a curve that terminates at
horizontal, but in that case, the given
radius is a vertical line dropping from ONLINE EXTRAS
the termination point. For links to all these online extras, go to:
■ popularwoodworking.com/aug15
Sharpen Your Inner Eye BLOG: Read more from George R. Walker on
his Design Matters blog.
OK, I admit that once you understand
how to avoid a static-looking curve, IN OUR STORE: George R. Walker’s DVDs.
you can use that knowledge to trace a Our products are available online at:
graceful arc with just a soup can. But ■ ShopWoodworking.com
there are other reasons beside the size About This Column
Lift the gaze. The limitations of the can. Design Matters dives into
large arc in this cove
By actually taking your hands and the basics of proportions,
moulding is taller in
eyes through these simple geometric forms, contrast and compo-
height than it is wide;
sition to give you the skill to tackle furniture
this helps the eye flow layouts, you will begin to visualize the
design challenges with confidence.
upward. arc and its hidden structure (focal point
Big Book of
Woodworking
2015 catalog
TO ORDER:
• Go to woodworker.com/pw15 or
• Call 800-321-9841 (mention code pw15)
CARD #54 or go to PWFREEINFO.COM
Maximum Strength
Maximum Control
Historic proportions
and details
are still the best.
13⁄ 8"
15⁄ 8"
31⁄ 4"
161⁄ 2"
7"
71⁄ 2"
23⁄ 4"
1⁄ 7" 51⁄ 2"
4" thick
3⁄ 4"
51⁄ 2"
1⁄ 2" thick 7⁄ 8"-thick spacer
53⁄ 4"
7⁄ 8"
61⁄ 2"
7⁄ 8" thick
55⁄ 8" 4"
51⁄ 4" 53⁄ 4"
7⁄ 8"
7⁄ 8"
INTERIOR FITTINGS
TOP TRAY
TOOL HOLDERS
Completely stuck. Mould the entire stick *Made from multiple boards; **Plywood if making a marquetry lid
of wood before cutting it apart for mitering.
This ensures the moulding will match at the
corners. Yes, clamp. Glue the
short grain of each
miter and clamp it at
the corners. The glue
will have more strength
this way.
popularwoodworking.com ■ 25
the miters themselves. Then clamp
the corners while the glue dries. At 257⁄ 8"
this point I would typically work on
the lid and its dust seal. But because
21⁄ 2"
Jameel Abraham was working on the lid
panel (you’ll see that article in the next 26"
issue of this magazine), I fitted out the 8" 1⁄ 4"
SUPPLIES
Tremont Nail Co.
tremontnail.com or 800-835-0121
1 ■ 6d clout nails
#CT6, $12.71 (1 lb. box)
Peter Ross, Blacksmith
peterrossblacksmith.com,
919-663-3309 or
peter@peterrossblacksmith.com
2 ■ Chest hinges
Smooth-sliding bottom. The bottom boards
are the only part that touches the runners. So Proud bottom. Here you can see how the 1 ■ Crab lock
shoot them to perfect length until you get the bottom protrudes from the end of the tray, Call for pricing.
sliding action you want with zero racking. making the tray a cinch to fit.
Chest Lifts
While you should carry your chest
by holding its bottom (or put it on a
Rack at the back. This simple rack can hold a Quick saw till. Kerf the block of wood for the cart), the lifts help you get the chest
variety of tools. My other favorite form of rack saws, then shape the block so it looks nice into position or to balance your load.
is a board that is poked with 1⁄2"-diameter (top). Then screw it to the side of the carcase Each lift is made from a single piece of
holes on 11⁄8" centers. and to a bottom board (bottom).
oak that looks like a dog’s bone when
you begin. You turn down the center
This detail makes the trays easy to back wall is made from scrap bits of oak to make a handle. Then shape the ends
fit. You only have to get the bottoms that I glued together, then screwed onto of the “bone” to make them look nice.
to slide smoothly on the runners. The the back wall with No. 8 x 11 ⁄4" screws. I used a simple ogee curve.
trays never touch the runners or inter- The saw till for the panel saws is The proper way to attach the lifts is
fere with the sliding action. simply one piece of oak with two kerfs to screw them in place from both the
So fit the bottom boards so they are cut into it. One kerf is for the crosscut outside and the inside of the chest. The
a close but smooth fit on the runners. saw and the second for the rip saw. This screws from the outside pass through
Now dovetail and assemble the till holds the saws at their tips. The the narrow ends of the lifts. The screws
trays. Then nail or screw the bottoms weight of the handle and the teeth at
on. If you need to use multiple boards the heel of the saw prevents the tools
for the bottoms, shiplap the joints at from whipping around in the chest.
their mating edges. The till for the backsaws is made and
attached in the same manner. The only
Racks & Tills difference is that there are two blocks
I like simple racks and tills for my of wood and three kerfs in each for the
chests because that leaves more room dovetail, carcase and tenon saw. This
to arrange the tools. The rack on the till is at the back of the chest.
Turn the bone. The center section of the dog Screwed either way. Affix the lifts
bone is turned down to 1" diameter. Then Rasp the bone. Then shape the ends of the lifts. This with stout #8 screws from both the
remove the piece from the lathe. shape leaves plenty of meat for the screws to bite into. inside and outside of the carcase.
popularwoodworking.com ■ 27
from the inside are driven into the thick “There’d be as many as 60 cabinet
part near the handle. makers in some of these rooms and
they all had these chests all paint-
The Lid ed black and if you opened them
If you are skipping the marquetry up, oh inside would be veneered
panel, make the lid from a softwood and all the trays in mahogany with
that doesn’t move much, such as one lids on them. Beautiful.”
of the white pines. And glue it up from — from “Memories of Waring & Gillow
several pieces of quartersawn or rift- of Lancaster. An Oral History by Gillow
sawn stock to further reduce seasonal Craftsmen 1928 to 1962,” by Pauline Bell
movement.
After cutting the panel to size – it’s
a bit larger than the rim of the carcase I attach the seal using a combina- Keyholed. The only tough part about install-
– attach it to the carcase with hinges. tion of glue and nails. Glue and nail ing a crab lock is cutting a well-placed and
With the lid in its final position, you the front edge of the dust seal to the crisp keyhole. I bore the hole for the round
part of the key. Then I cut the remainder with
then can build the dust seal around it lid. To attach the “returns” along the
a chisel.
to create a perfect fit. ends of the chest, use glue and nails
After building about 20 of these along the front 4" of the lid. Then use
chests, I have found a better way to nails alone for the rest. This fastening The Best Finish
make the dust seal fit. I rabbet each method allows the top to move. Almost all traditional tool chests were
piece until that piece fits perfectly flush To keep the chest secure, I installed painted. It is the most durable and easy-
with the top skirt and the top edge of a traditional crab lock – a blacksmith- to-renew finish. You can use any paint
the lid. I can adjust this fit in tiny incre- made lock built for chests that allows you like – milk paint, oil paint or latex.
ments with a shoulder plane. for some wood movement. They are Paint the outside of the chest, but leave
Then, once all three pieces of the easy to install because they are surface- the inside of the chest bare – or use a
dust seal fit perfectly, I dovetail them mounted to the inside of the chest. And coat of wax alone if you like.
together at the corners. they are gorgeous. If you insist on a film finish for the
inside, use shellac. Please avoid oils –
Rabbet the seal. The they will stink forever.
rabbet on this piece Once your chest is complete, my
of the dust seal allows
final caution is to avoid bringing it into
you to sneak up on the
perfect fit all around. your house. Many chests like this begin
their lives intending to hold tools but
somehow end up at the foot of the bed
stuffed with blankets and doilies. A
sad situation, indeed. PWM
ONLINE EXTRAS
For links to all online extras, go to:
■ popularwoodworking.com/aug15
Rabbeted dovetails.
This joinery looks a VIDEO: Take a short video tour of the chest.
little involved, but it’s BLOG: Read more about making “dog bone”
actually simple. Begin chest lifts.
by cutting a tail on the
BLOG: Read about a commercial crab lock.
seal, then show it to its
mate. You’ll then know PLAN: Download a free SketchUp model of
what to do. the traveling tool chest.
TO BUY: “Build a Traditional Tool Chest in
Two Days,” a video by Christopher Schwarz
available on DVD or as a digital download.
Our products are available online at:
■ ShopWoodworking.com
I
f you sharpen your own handsaws, rehab, I began to design my own saw threads-per-inch Acme-threaded screw
a proper saw vise is an essential vise. The result is a vise that not only and wing nut. Acme thread is capable
tool. The jaws on a saw vise clamp has a classic look, it is a workhorse that of applying a great deal of force, and
down tightly on the saw plate, has greatly surpassed the performance the threads won’t gall, strip or weaken
holding it securely as you file each of any other vise I’ve tried, new or old. over time.
tooth. A well-built saw vise will absorb All you need to make it are a few off- I used this combination with great
vibration and chatter, resulting in faster the-shelf components and a weekend. success on a Moxon vise I built during
filing, longer file life and better results. You can use any hardwood you like, the past year. The wing-nut assembly
There are a handful of new vises in provided it’s straight-grained rift-sawn can be easily made if you have access to
production today and vintage versions or quartersawn material. For this vise, a welder. If not, buddy up with a local
are plentiful. Vintage versions are great, I used some hard maple and white oak welder and have him or her fabricate
but damage and wear can pose prob- scraps. one for you. It’s simple and straight-
lems. The clamping mechanisms on a forward.
lot of old vises are a weak spot, either Clamping Mechanism Using a hacksaw, cut a 41 ⁄2" length
broken or worn past the point of use. This shop-made saw vise excels due to a of threaded rod. Weld a nut on one
After months of searching for a well- few key features that all work together. end, creating the threaded post. For
made unit that wouldn’t require a lot of The heart of the system is the 5 ⁄8", eight the wing nut, cut two 21 ⁄4"-long pieces
PHOTOS BY THE AUTHOR; ILLUSTRATIONS BY DAN PESSELL FROM THE AUTHOR’S MODEL popularwoodworking.com ■ 29
rotate the workpiece and make a pass adding slope to my gullets if needed.
on the other long edge. Incrementally Mark a 1 ⁄4" flat along the jaw face,
move the fence away with each succes- then two bevels on the edges. Then
sive pass until the recess is complete. mark and drill 11 ⁄2"-diameter holes for
Change to a rip blade, then rip the the inside corners of the jaw cutaway.
piece in half. You are left with two jaws Rough out the chamfers on the band
that are 4" x 18", and each has a 1"-wide saw; clean up the cuts with handplanes.
“grip” at the top. The goal is to remove as much “vi-
The jaws are shaped to work with the sual” weight from the vise as possible
saws in my arsenal. I prepared a tem- while retaining its mass and strength
plate for the jaws using posterboard, where needed (similar to the concept
Ready for welding. I chuck the handles in then placed each saw I own on it to behind Windsor chair seats).
my drill press and buff them to a sheen using simulate the actual filing position. Once the bevels are done, cut the
progressively finer grits of sandpaper. After
I marked where the handles interfere jaws to shape at the band saw, then
welding, I apply gun bluing.
with the vise jaws, then used those clean up the cuts using a combination
marks to dictate the shape of the jaws. of rasps, files and scrapers.
of 1 ⁄ 2" rod. One end needs to be fl at, Using a combination of drafting tem-
while the other gets a bevel of around plates, I sketched out a shape that is Leg Prep
25°. (I’ve found 25° is just the right angle both pleasing and functional. The tops The legs are built from 6/4 hard maple
to provide a solid grip while remaining and backsides of each jaw are angled and are cut to a final width of 4". I ma-
low profile.) A simple wooden jig holds so I can get up close with my saw files, chine all of the components to almost
the components in place while they are
welded together. Then apply a coat of
gun bluing to the hardware, followed
by a few coats of 3-in-1 oil.
(Editor’s note: McMaster-Carr sells
“Acme Handle Nuts” if you wish to buy
rather than make a handle.)
Jaw Prep
Shape shifter. A custom template for your
I used a single piece of 8" x 18" 8/4 rift-
vise jaws allows you to play with a multitude
sawn white oak for the jaws, ripping the of shapes and configurations. Find one that
piece in half after the following steps. accommodates all of your saws while leaving
My longest backsaw is 16" long and mass in the center where it’s needed.
my largest handsaw is 28" long. The 18"
jaw length of the saw vise allows me to
sharpen every backsaw I own without
repositioning them. My handsaws only
have to be repositioned once. Only the
top 1" section of the jaws will contact Quick work. Hogging out the excess using a
stacked dado set is the most efficient stock
the saw plate.
removal method to create the jaw’s recess.
To accommodate the thicker back
on a backsaw, cut a 1 ⁄4"-deep recess in
all but the top 1" of each jaw. This is
best accomplished with a stacked dado
set on the table saw.
With the fence set 1" from the blade,
make your initial pass on the jaw, then
final dimension a few weeks prior to assembled later, but first cut the joinery
13"
the build to allow them to acclimate to and drill for the hardware
the shop. Then, using winding sticks The leg tenons are 5 ⁄8" thick, 3" wide Centered
on tenon
and handplanes, I fine-tune each one and 2" long. I offset my tenons toward 4"
before cutting the joinery. Square stock the outside, using a 9 ⁄16" interior shoul- 1"
is vital to this build. der to keep a flush surface on the inside 21"
of the jaws.
Joinery Prep Flush the legs at the top, clamp them 1⁄ 2"
To accommodate the massive force that together, then mark and drill a pilot hole,
Hinge, 1" up
can be applied by the Acme screw, I located on center 3" from the shoulder, from bottom
decided on a drawbored mortise-and- for alignment. Now on the front of the
tenon joint between each leg and its front leg, drill a shallow 13 ⁄8"-diameter
corresponding jaw. The parts will be recess to house the washer.
4"
11⁄ 2"
EXPLODED VIEW
SUPPLIES
Enco
use-enco.com or 800-873-3626
Straight & square. After roughing out the stock and letting it acclimate, I check for twist using a 1 ■ Acme threaded rod,5⁄8"-8, 36"
set of winding sticks. I square the stock using handplanes before laying out the joinery. #408-0202, $10.53
2 ■ Acme threaded nuts, 5⁄8"-8
#407-2202, $2.56 each
1 ■ Extra thick washer, 5⁄16"
#319-8049, $1.24 each
McMaster-Carr
mcmaster.com or (330) 995-5500
1 ■ 1⁄4"-20 flat-head socket cap screw -
23⁄4" long
#91253A558, $9.50/pack of 10
1 ■ 1⁄4"-20 brass threaded insert
#90016A029, $11.97/pack of 25
1 ■ 12" length, 1⁄2" steel rod
#8920K155, $3.32 each
Tandy Leather Supply
Plumb the depths. I hog out most of the tandyleatherfactory.com
mortise waste on the underside of the jaws
Moxon moxie. Using a Moxon-style vise to using a 5 ⁄8" Forstner bit at the drill press, then 1 ■ 1"-wide x 50"-long cowhide strip
elevate the work, I cut the tenons by hand. use a wide chisel to clean up the edges and 4526-05, $16.99
(Use your excess Acme thread to make one of corners. The valleys created by the bit make a Prices correct at time of publication.
these devices; you won’t regret it.) good guide to create plumb walls.
popularwoodworking.com ■ 31
ADJUSTING THE VISE JAWS
On the inside surface of the back leg, Leather Hinge The last bit of drilling is for the two
drill a 5 ⁄8"-deep, 1"-diameter hole, then The jaws on a saw vise don’t need to 1 ⁄4"
through-holes in the hinge (the
trim it with chisels to form a six-sided open up a lot to work effectively, be- leather won’t hurt the bit).
mortise to house the captured nut for cause most saw plates are less than
the wing-nut assembly. .040" thick. A hinge that opens far- Compound Spring Joint
Now drill 5 ⁄ 8"-diameter through ther just adds potential for slop to be The final and most important feature
holes in each leg for the threaded Acme introduced. of this saw vise is what I’ve dubbed
rod. By using a 1 ⁄2" x 1" x 4" “hinge” of a “compound spring joint.” This is a
white oak with leather strips glued spring joint on both the vertical and
to each side, the jaws can be opened horizontal planes of the jaw. You’re
enough to slip a saw in while introduc- likely familiar with the concept of a
ing a clamping force that holds the saw spring joint when gluing panels; the
in place, even with the Acme screw concept works the same here. I like
loose. This allows you to fine-tune the to add both spring joints as the final
position of a saw before final tightening. step in shaping the jaws. A lot of mate-
This force can be adjusted using two rial has been removed from the jaws
hinge mounting screws (see “Adjusting
the Vise Jaws” above).
For those screws, drill two 1 ⁄4" coun-
tersunk through-holes from the front of
the long leg, located 91 ⁄2" up from the
bottom of the long leg and 1" in on each
side. Now clamp the legs together with
the inside faces touching, and mark
the inside face of the short leg for the
threaded-insert hole locations (11 ⁄ 2"
from the bottom of the leg).
Though the packaging says to use a
3 ⁄8" bit for the threaded-insert mortise, Depressing work. Using a block plane, start
forming the lateral spring joint by taking a few
I prefer a 25 ⁄64" bit; the tolerances are
Nut housing. To house the nut on the light passes in the middle, working your way
threaded rod, chop out a mortise on the back too tight with the smaller bit. to the edges with each pass. The resulting
of the rear leg. A 1" Forstner bit removes most Drill mortises, and place the thread- depression should be approximately 1⁄16"
of the waste; a chisel takes care of the rest. ed inserts in them. when complete.
Final Assembly
Once the jaws have been shaped, spread
a liberal layer of glue into the mortise, applying heat or moisture to the hide Once the vise is securely mounted,
insert the tenon and drive that 5 ⁄8" dow- glue, then plane the top of the jaws slip in a saw, carefully adjust the tooth-
el home. The joint should be rock-solid smooth and glue a new strip of wood line, clamp down on the wing nut and
and ready for a century or more of use. on top. After blending the new piece in get to sharpening.
After trimming and flushing the with the existing jaw, glue the leather With a proper saw vise such as this
dowels, it’s time to add the leather strips back on and get back to sharpening. one, keeping your saws sharp is easier
to the jaws and complete final shaping. You can replace the jaw faces the than ever before. PWM
Gluing leather strips to each jaw face same way, reintroducing new spring
not only increases the grip strength, it joints as you do. Jason owns Texas Heritage Woodworks
also protects your saws from damage. A few coats of boiled linseed oil fol- in Cedar Park, Texas.
Liquid hide glue and plastic wrap make lowed by a 50/50 blend of beeswax and
quick work of the leather install. paraffin are my go-to finish for shop
After the glue sits overnight, remove tools. I use a polissoir to apply the wax
the plastic wrap and add the fi nish- and burnish the wood. The Acme screw ONLINE EXTRAS
ing touches to the jaws. I like to cut a will benefit as well from the same wax For links to all online extras, go to:
■ popularwoodworking.com/aug15
chamfer on all edges using a drawknife, mixture – a few dabs on the threads will
WEB SITE: Visit Jason Thigpen’s Texas Heritage
rasp and spokeshave. The chamfer not keep them operating smoothly.
Woodworks web site for high-quality tool
only adds visual interest to the piece, it rolls, shop aprons and more.
also makes the vise more user-friendly. Using the Saw Vise
ARTICLE: “Saw Filing – A Beginner’s Primer,”
The longer front leg on the saw vise free at vintagesaws.com.
Care & Maintenance allows it to be secured several ways to
TO BUY: “Super-tune Your Backsaw with Matt
The beauty of a wooden saw vise is its your benchtop – it can be gripped in a Cianci,” available as a DVD or download.
ability to be maintained. Like a wooden face vise or leg vise. If you have an apron
IN OUR STORE: “Handsaw Essentials,” by
handplane, a wooden saw vise can be around your bench, a couple of dog holes Christopher Schwarz, in hardcover or PDF
tuned and repaired as atmospheric and holdfasts can hold it in place. download.
conditions and wear dictate. The additional contact area created Our products are available online at:
If the top of the jaws get beat up over by the longer leg helps stabilize the vise ■ ShopWoodworking.com
time, you can remove the leather by during use.
popularwoodworking.com ■ 33
Build a
fancy grain of the fine, wide, single-
board tops. This was the very height of
elegance during the Queen Anne and
Chippendale periods.
Though a birdcage mechanism looks
complicated, it can be easily accom-
‘Birdcage’
plished using typical woodworking
skills, as long as the proper order of
procedures is adhered to. This proj-
ect is a great example of the virtues
of “working to your work,” or letting
the previous step define the next step,
BY ALFRED SHARP and gauging the fit of adjacent pieces
directly off one another rather than re-
lying on complicated layout and precise
measurements. There is some of that
of course, but mistakes and misalign-
ments can be minimized by progres-
sively moving from one logical activity
to the next.
So let’s begin. I’m making a pedestal
for a rather large and fancy scalloped-
edge table, but the dimensions illus-
trated here can be scaled up or down
for different sizes and styles.
A birdcage assembly consists of
eight parts, not counting hardware –
the upper and lower plates, four balus-
ters (or spindles), a notched “washer”
and a wedge-key. It all spins on a main
spindle (hence the name) which is part
of the table’s pedestal.
And in typical 18th-century fashion,
the mechanism is made from the same
primary wood as the table – in this
case, mahogany.
D
uring the first third of the 18th undignified reaching for the teapot, rip it to 8" wide. Square one end and
century, tea drinking first sugar, cream or pastries. crosscut one piece exactly 8" long; this
became a popular pastime in Moreover, until the last third of the will be the lower plate. Crosscut the
fashionable homes in England and its 1700s, furniture in homes was cus- remainder to 91 ⁄ 2" long; this will be
colonies, hence the appearance of a new tomarily pushed up to the walls when the upper plate. Center the lower plate
furniture form – the tea table. not in use, leaving the middle of the on the upper plate, grain aligned, and
Besides the “gee-whiz” factor of a room open for multiple activities. A scribe the extents of the lower plate
tilting and rotating fixture for the finest round, rotating tea table that would onto the upper plate. Leave 13 ⁄ 16" x
tables, the “birdcage” mechanism that also tilt to a vertical position could 13 ⁄16" x 3 ⁄4"-long “spigots” on either end
facilitated that movement had practical be handily situated in a corner of the of one edge of the upper plate. These
applications. These tables could rotate, room to not only save space, but show will become the hinges on which the
allowing hostess and guests to avoid off the elaborately carved rim and the tabletop tilts.
34 ■ POPULAR WOODWORKING MAGAZINE August 2015 PHOTOS BY THE AUTHOR; ILLUSTRATIONS BY DONNA R. HILL FROM THE AUTHOR’S DRAWINGS
Drilled & marked. After finding the center
Two blocks. Match the upper and lower point on the exposed faces of the taped-to- Four corners. Drill through the top plate in
plates to one another, but leave enough on gether top and bottom, drill a 13 ⁄4"-diameter the package and into the bottom one, stop-
what will become the top plate for two hole through the bottom and into the top; the ping 1⁄4" from the press table (in other words,
13 ⁄16" x 13 ⁄16" x 3 ⁄4"-long “spigots.” bit should stop 3 ⁄8" above the table. drill 13 ⁄8"-deep holes).
Carefully band-saw away the waste table). Be sure to mark the hinge edge nish the surface of the spigots, making
on the upper plate, leaving the spigot of the lower plate for later registration. them more durable for the life of the
on each side of one end of the upper This ensures that everything will line tilting movements.
blank. The grain of the wood should up perfectly when it’s time to assemble Radius the top arris of the upper
be in the plane of the spigots. Clean up the cage. plate from one spigot to the other (I use
the sawn ends of the upper plate and Set up a 5 ⁄ 8" bit in the drill press a block plane); this will create clear-
align it carefully with the lower plate, and stop the bit’s travel 1 ⁄4" from the ance for the top to tilt from horizontal
making sure the grain of both pieces machine’s table to vertical.
is also aligned. Then fix the two plates Turn the package over so that the top Now you’ll need to lay out and mor-
flush together with tape along their face is up. Drill a 5 ⁄8" hole in each cor- tise for a latch that locks the table in the
edges. Label the top surface of the up- ner of the package on the prick points horizontal position. There are several
per plate and the bottom surface of the (stopping 1 ⁄4" from the table). types of latches available, but a proper
lower plate. Undo the two-panel package and one should include a keeper to hold
Locate the center of the lower plate radius the bottom arris of the lower
with diagonals; prick with an awl. Turn plate, either with a roundover bit in
the package over, establish diagonals the router, a block plane or a mould-
on the top of the upper plate (excluding ing plane.
the spigots), and locate prick points 1" Locate the center of each spigot end
in on each diagonal. on the upper plate, scribe a 13 ⁄16"-di-
Set up a 13 ⁄4" Forstner bit in the drill ameter circle, then nick the four spigot
press and limit the bit’s travel 3 ⁄8" from arrises flush with the dominant edges.
the machine’s table. Place the two-part Round the spigots using a chisel.
package on the drill press, bottom-up, Drill a 13 ⁄16" hole in a scrap piece to
and drill a 13 ⁄4" hole in the dead center test the fit. It’s good to be a little tight
of the package (stopping 3 ⁄8" from the here at first because the fitting will bur-
popularwoodworking.com ■ 35
Upper plate is
13⁄ 16"
x 8" x 91⁄ 2";
3⁄ 4"
two spigots become
hinges
13⁄ 16"
13⁄ 4"
8" Hinge
spigot
41⁄ 2" 2 7⁄ 8"
5⁄ 8"
1⁄ 2" 1⁄ 8"
13⁄ 16" 3
5⁄ 8"
1"
8"
ELEVATION
WEDGE KEY
the latch tongue. The keeper needs Measure the actual bit used to drill
to be mortised into the top face of the the center hole in the plates, and turn
upper plate, on the arris opposite the carefully to that diameter. Use a test
hinge end. First measure and mortise- block to check the fit. Strive for a snug
in the edge lip. Then position and scribe fit with the skew, and a square shoul-
around the face lip of the keeper. In my der where the birdcage will ride on
case, I have the stylish curves to deal the lower plate (if it’s out of square,
with, so I use carving gouges to chop that results in rapid wear on the plate).
the edges of the mortise. Then work to the final free-spinning
fit with sandpaper. There shouldn’t be
Main Spindle any excess wobble.
Next, turn the 13 ⁄4"-diameter x 41 ⁄16"-
long main spindle on which the entire The Washer
birdcage spins at the top of the table’s A notched decorative “washer” and
pedestal. Turn only the spindle sec- key hold the birdcage firmly to the
tion of the blank, as it will be handy main spindle. Typically, the washer
to have the ends remain square for the was turned from a single piece of wood.
following steps. I have departed from this tradition a
Use the tip of a large skew chisel to bit because the short grain in such
nick the arrises on the spinning blank Nick & turn. After nicking the arris corners, a piece is quite vulnerable to break-
first, then clean the spindle area round. turn the spindle round. age. Instead, I laminate three layers of
Key Mortise
Key notch
Place the lower plate on the main spin-
dle, then drop on the notched washer.
Mark the location of the bottom of the
notch on the spindle.
Fashion a wedge key out of stock Key mark. With the lower plate and washer in Slot layout. Using the measurements pulled
thicknessed to a fat 5 ⁄16". The dimen- place on the spindle, mark the bottom of the from the key, mark the location on the spindle
sions shown in the Wedge Key illustra- notch for the key. for the key slot.
popularwoodworking.com ■ 37
face of the key will fully engage the
mortise shoulder. Clean up any irregu-
larities in the walls of the mortise.
At this point, the key should still
be a little too thick to fit into the 5 ⁄16"
mortise – so carefully plane and sand
the sides until you get a snug fit.
Fit the lower plate, the washer and
the key and test for ease of rotation.
Arc marks. A curved scraper can be marked to establish the curve of the spindle. Then use the Be content at this point if it’s still a
scraper to scrape a spindle-support trough in a piece of scrap.
little stiff; that’s better, because finish-
planing the plate will make it a little
thinner, and you don’t want anything
to wobble in the end.
You can now go ahead and turn the
pedestal below the lower plate, and
dovetail it for the table’s legs.
Balusters
Now it’s time to turn the four small
balusters that connect the upper and
lower plates. You can turn two spindles
Plunge cut. After aligning the bit to the center Key angle. Use a chisel to cut the slope for on one blank without experiencing
of the blank and supporting the spindle in the the wedge key’s slot, angling down from the any serious chatter; two 1" x 1" x 10"
scrap’s trough, drill the mortise. wider side of the mortise.
blanks will do the job.
Lay out the 11 ⁄8"-long top tenons on
either end of the blank, along with a
little excess for the lathe centers. The
baluster portion is 27⁄8" long. Finally,
mark 1 ⁄ 2" tenons for the lower plate.
Leave space at the juncture of the two
lower tenons to allow you to cut them
to final length once they’re off the lathe.
The most typical baluster pattern
is shown in the Elevation illustration
on page 36, but you needn’t match it.
Carefully nick the portions of the
turnings that remain square so as not
Key fit. Plane or sand the sides of the wedge Fit to turn. Test-fit the lower plate, washer to shatter the fine arrises (just as you
key to not only a nice finish, but to a good, and key and give it a spin (it should be a tight
did when turning the spindle). Turn the
snug fit in the key mortise. fit at this point).
baluster profiles. Strive to get a good
match from piece to piece, but don’t get
to make a shallow concave trough in mortise between the two scribed lines. too OCD about it; a close examination
a block of scrap wood thick enough to Now measure the height of the of most originals shows a surprising
bridge the gap between the spindle and wedge key at the higher side of your amount of discrepancy between dif-
the mortise table. 13 ⁄4" mark. Scribe that measurement on ferent turnings on the same piece of
Trim the block to just snug under the the spindle above the mortise. Extend furniture.
spindle to support it. Mark the center on the lines formed by the walls of the Turn the tenon portions to a close
the square shoulder of the pedestal blank mortise up to this mark on one side of 5 ⁄8"-diameter. Mark the cut-off points
and line up the mortise bit. Drill the the spindle. on the tenons and separate the pieces
Carefully chisel in from this upper- using either a band saw or backsaw.
most mark on one side of the spindle, The tenons in the upper plate will be
“Nothing is hard, some things just
take longer than others.”
angling down to the top end of the wedged. So center and square a layout
mortise on the other side. line atop the long tenons and saw to
—Jim Ipekjian,
cabinetmaker Use a square file to refine this sloped about 1 ⁄4" above the baluster shoulder.
shoulder so that the upper angled sur- It is important that this kerf be paral-
lel and perpendicular to the square sec- Square the balusters to the lower plate.
tions of the baluster. Why? The wedge Put the assembly onto the main spindle
must be inserted perpendicular to the to ensure everything will go together Wedge. After assembling the mechanism,
grain of the upper plate, so that driving as it should and still spin. glue and insert the wedges perpendicular to
the grain of the upper plate.
it in won’t split the plate’s grain. And Apply glue to the appropriate sur-
because the balusters must be square faces of the balusters and upper plate,
to the perimeters of the plates, the kerf and assemble and clamp everything elongated screw slots at their ends to
must also be. into place. Again, make sure the wedge allow for wood movement in the top.)
Now stain and finish the balusters kerfs in the baluster tenons are perpen- When it’s time to finally assemble
and the inner surfaces of the plates – dicular to the grain of the upper plate. all the components, rub a little bees-
because it would be difficult to do after Drive appropriately sized wedges into wax on the main spindle and shoulder,
the birdcage is assembled. Be sure to the kerfs of the tenons. the bottom of the washer, around the
tape up the tenons and temporarily plug When the glue is dry, trim the up- main spindle holes in top and bottom
the holes so the finish won’t interfere per tenons and finish the top of the plates and on the hinge spigots. Don’t
with the glue joints later. birdcage. put wax on the wedge key or its slot.
The hinge spigots fit into 13 ⁄16" holes Everything should work smoothly and
Assembly & Hinge that just verge into the edges of cross- look very smart.
To put the birdcage mechanism to- grain battens that will be installed on Now congratulate yourself on a job
gether, first glue the balusters into the the bottom of the tabletop. well-done. PWM
lower plate. Use a relatively slow-setting This allows the top to sit flat on the
glue, and make sure the kerfs in the top of the birdcage. Locate the holes to
Alf is an award-winning furniture maker who lives
balusters’ tops are perpendicular to center the birdcage under your top. (Of and works in Woodbury, Tenn. See more of his work
the grain of the plates. course, the battens will need to have alfredsharp.com.
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popularwoodworking.com ■ 39
18th-century
Reflections BY JOSHUA KLEIN
E
ven before the days of Facebook
and selfies, Americans were
undeniably conscious of self-
image. In both Europe and America,
the 18th-century genteel elite kept spe-
cialized accessories for maintaining
appearance. Among the most important
of these was a reflective mirror. Because
these “looking glasses” were typically
heavily ornamented with elaborate fret-
work and gilded carvings, the look-
ing glass itself has become an icon of
refinement.
This looking glass is based on a
piece sold at Skinner Auctioneers in
2014. What drew me to this example in
particular is that it is a vernacular ex-
pression of a form often punctuated by
excessive ornamentation. It’s charming
because it reveals the maker’s obvious
awareness of high-style fashion but
intentional artistic restraint.
Traditional Construction
Traditionally, mouldings were stuck in
long lengths (8' or more) with mould-
ing planes, then miters were cut along
the length to ensure consistency of the
profiles at the corners.
As much as we all may appreciate the
efficiency of wooden moulding planes,
not every woodworker has access to
properly tuned ones. But is there an-
other way to cut custom profiles simply,
efficiently and inexpensively? There is:
Just scratch them.
Using a scratch stock is a straightfor-
ward method for making elegant cus-
40 ■ POPULAR WOODWORKING MAGAZINE August 2015 PHOTOS BY THE AUTHOR; ILLUSTRATIONS BY DONNA R. HILL FROM THE AUTHOR’S DRAWINGS
Fading in. It’s hard to start the
profile on the very edge so I just
A true start. Holding your stock secure, true Tilt into it. By leaning the top of the scratch stock forward, fade it in. As you progress, the
and square is essential to get the frame to the cut magically becomes smooth. If you’re bouncing off pencil marks will be scraped
come together right. your tracks, slow down and tilt forward more. away.
tom moulding profiles without fancy your body down its length. It helps to Doe’s foot
tools. I trace out the profile onto a cutter tilt the scratch stock forward because it
blank (a piece of an old handsaw blade) tends to produce a smoother and more Stand tall. Instead of attempting to plane the
with a fine-point Sharpie. Then it takes controllable cut that way. rabbet with the profile down, turn it on its
outer edge. It seems counterintuitive but it
only a couple minutes of file work to The first passes work better when
works like a charm.
shape the profile (keeping a square only moderate downward pressure is
edge will help in use). Some folks use applied. Continue scratching until you
slipstones to finish shaping the profile see the profile begin to emerge through Planing rabbets on small, short stock
but, because we’re using this scratch the penciled hatch marks. When the like this can be a little tricky. The key is
stock on long grain that is tame, I have pencil is gone, you’re done in that spot. to stand the pieces up on end so that you
not found that extra sharpening step Short passes are not a problem for have enough clearance to your bench-
to be necessary. the initial scratching; it’s for only the top for the planing.
Because of the consistency of the last few that you need to make full- Because you will be exerting side-
profile, the primary benefit of scratch- length passes with the cutter. ways pressure with the plane’s fence,
ing moulding is that it is possible to With the moulding scratched (feel you will also find a notched batten (also
utilize short offcuts for this project. free to touch it up with #180 grit if need- known as a “doe’s foot”) to prevent lat-
Start by planing a square edge onto ed), use a marking gauge to establish eral movement a boon.
an overlong (and wide) piece of ma- a line for the thickness of the frame With the rabbets cut, turn your at-
hogany. It’s impossible to get a good- pieces and rip the piece free. tention to the miters. I used my miter
looking profile at the ends; the extra Once the pieces are scratched and box for this, but you could use a shop-
length allows you to fade the profile ripped, place them profile side down made miter box or even cut freehand
in and out. The extra width makes it and plane them to final thickness. (A to lines laid out with a bevel gauge.
easy to hold the work firmly in a vise. toothed planing stop provides excellent Because I used my miter box, the accu-
Draw hatched pencil marks across workholding for this.) rate miter was easily cleaned freehand
the surface. with my smoothing plane. This method
Now, holding the fence of the scratch Rabbets & Miters is easiest if the plane is placed on its
stock up tight against the stock, slowly The next step is to plane the rabbets in side to the bench and the sawn miter
begin pushing the cutter away from which the mirrored glass will be set. is brought to the iron.
popularwoodworking.com ■ 41
Glue the Frame the mitered joint, then press the pieces saw, then pare them flush with a chisel.
Forget fancy jigs. You don’t even need together. Depending on the ambient Though the glued miter joint should
clamps to glue the frame. All you need is temperature, I will hold them with fin- hold up for a long time, it never hurts
a little hot hide glue. One of the reasons ger pressure for two to five minutes (I to have the splines as backup.
I love hot hide glue is its self-clamping use 192-gram-strength glue). Once the
property. In my conservation studio, first corner is glued, you can move to Fretwork
I routinely exploit this quality when the next. But move the frame gently – The elegant fretwork on period look-
attaching tiny broken fragments that the glue is still drying. ing glasses was often constructed of
would be near impossible to clamp. I If something goes awry, use warm a figured mahogany veneer glued to
merely hold the pieces in place for a water and take the frame apart to reglue a secondary wood such as pine. So I
few minutes until the glue gels. As it it. (That’s another beauty of hide glue: followed that practice.
dries, it pulls the pieces together. The infinite repairability.) I resawed and planed the pine to
same technique applies here. The next day, saw a kerf into each thickness, selected my veneer piece,
To assemble the frame, glue one cor- corner and glue in splines from veneer then hammer-veneered the crest veneer
ner at a time, working your way around. stock. After that glue is dry, cut the to its substrate.
Apply the hot hide glue to each side of splines close to the surface with a back- Hammer veneering is based on the
same self-clamping property of hot
hide glue exploited for the miters. Ap-
1⁄ 4" thick
37⁄ 8"
Glue block
Glue
blocks
11⁄ 16"
91⁄ 4" Check, please. Don’t neglect to check for
square along the way. It’s easier to adjust
3D PROFILE ELEVATION things while the glue is still tacky.
*Use overlong & overwide stock; cut the frame pieces to final width & length after Extra insurance. Adding splines in the corners
sticking moulding of mitered frames is an historic fail-safe in case
the glued miter ever lets go.
T here are many fancy ways folks have come up with to enlarge and
transfer a pattern. The simplest and most enjoyable way I’ve found is
to search for the proportions with my dividers and transfer them to a piece
of posterboard of the final width and height. Historic furniture (yes, even
vernacular pieces!) was usually designed using classical proportions. This
system may sound intimidating but it’s so easy to use because it’s nothing
more than finding simple whole-number ratios. That’s why I say it’s enjoy-
able. Besides, how deep will your understanding of the piece be if you just
traced a template someone else (or some copy machine) made for you?
Taking the few minutes to investigate the logic of the design not only
informs you of what the artisan envisioned, but it also teaches you to design.
This is a case of the “give a man a fish versus teach a man to fish” proverb.
Start hunting for the dimensions by drawing a box around the fretwork
in your picture. (It is only necessary to do one-half.) First off, spot the high
and low spots as well as any peaks. You will find that these key areas in the
design are likely going to be laid out in some whole-number ratio. You will
notice the bottom of the inside of the scroll lines up exactly in the center
of the box you’ve drawn around it. Also, the spurs on the side peak exactly
one-quarter of the way up from the bottom.
As you define these key points, transfer them to your posterboard tem-
plate. Pretty soon you will begin to see the road map for the lines emerge.
After you have mapped as many places as you can find, it’s just a matter of
connecting the dots. With a little
practice and an eraser, freehanding
the curving lines between points Bird’s mouth. An L-shaped jig with a notch
is not difficult, especially if you in the top surface for the saw blade makes it
pencil in grid lines. When all is easy to saw out the scrolls of the crest, with
drawn, carefully cut both sides out plenty of support for the work. Because the
bird’s mouth is designed to clamp in a vise, it’s
together. —JK
easy to adjust the height as needed.
popularwoodworking.com ■ 43
time at all. I think the majority of the
finishing time on this project was some-
where around 20 minutes split between
two sessions. Because of alcohol’s fast
evaporation rate, multiple layers can
be applied one right after the other.
I loved the beautifully rich color of
the crest veneer (it is new old stock),
so I shellacked the crest a couple times
to use it as a reference for the color of
the rest of the piece.
To begin working up the color on
the frame and the edges of the fretwork,
Beautiful old color. This new old stock ve- apply with a rag TransTint dyes mixed
neer has an incredible depth of color not seen in alcohol. In order to give the color an
on most mahogany available today.
authentic-looking depth, it is important
to layer colors on a little at a time.
A little at a time. Add your layers of dye I ended up using Medium Brown,
a little bit at a time. It’s impossible to get a
Reddish Brown, Van Dyke Brown and
convincing color in one fell swoop.
a touch of Honey Amber, each applied
individually in a dilute concentration.
overnight, transfer the crest pattern, glue it to the frame. I made a triangular As you apply each layer, you can
then cut it out with a coping saw on glue block to attach to the back for ad- subtly shift your “brown” to the red side
a bird’s-mouth fixture. Cut right on ditional support. of the spectrum with Reddish Brown or
the line. Because there typically was shift it the opposite direction (green)
not a lot of clean-up done on period 200 Years in 20 Minutes with Van Dyke Brown.
fretwork, leaving saw marks is period- The finish is fun. With a combination After about 15 to 25 back-to-back
appropriate. of shellac, dyes, pigments and paste layers of color, I gently padded on shel-
Attaching the crest to the frame is wax, 200 years of grime and patina lac. This, of course, can lift the color – so
easy: Plane it fl at on the bottom and can be convincingly mimicked in no don’t re-pad an area until it’s dry to the
touch (only a few minutes). When you
Muddy it up. By using are confident that the color is locked
earth pigments over in you can apply more shellac until the
the shellac, the grain
pad begins to drag.
becomes partially
obscured. This goes a At this point, stop and let it dry a
long way in mimicking bit. After an hour or two, give it a quick
years of grime. scuff-sand with a maroon Scotch-Brite
sanding pad to cut some of the dust
nibs. Then it’s back to padding.
With the finish a little tacky, I
dropped burnt umber powdered-earth
pigment into the creases of the mould-
ing. Don’t worry about being too per-
palm (it’s way better than tack rags). I can buff it to sheen after only a minute
The next step is, I think, the key. or two. Other waxes I’ve tried seem to
Too often in faux-patinated pieces, low take a lot longer to haze before buffing.
spots and partially filled pores are left
with a higher gloss than the surround- Add Glass & Hang
ing areas. This is the opposite of what For the mirror, I used a small piece of
we find on truly antique pieces, because salvaged 19th-century material. You
the dirt and grime in these places is al- can purchase 1 ⁄8"-thick glass and have
ways duller than the surrounding areas. it cut to size from glass suppliers. Or – if
To simulate this, brush on a final you feel up to the task – you can buy a
coat of matte shellac before rubbing glass-cutting tool from any hardware
popularwoodworking.com ■ 45
Furniture
Restoration
BY BOB FLEXNER
T
hirty-five years ago, I traded $125 Alas, more than 30 years had to go
worth of work for the mid-19th- by before the motivation to tackle the
century Empire chest-of-draw- project presented itself – the desire of
ers pictured here. You could argue that my daughter-in-law to have the fully
I paid too much, because the amount of restored chest-of-drawers.
work involved in restoring it was con- The problems were typical for Em-
siderable, but it was an impulse trade pire chests-of-drawers, or for any old
and I could see that the chest would be veneered chest-of-drawers for that
beautiful when fully restored. matter. Veneer was missing in several
dozen places, and the drawers didn’t
slide well because of wear to both the
bottoms of the drawer sides and the
runners the drawers slide on.
In addition, the shellac finish was
so badly crazed that it almost totally
hid the beautiful wood underneath.
In this article I’ll show you how to
make the repairs. But first, a word about
animal hide glue.
popularwoodworking.com ■ 47
Flatten the wear. As on the substrate and clamp on the re-
long as the wear to the placement veneer. I used hot hide glue,
drawer side hasn’t cut
but you could use any adhesive. Finally,
into the groove into
which the drawer bot- trim the patched veneer if necessary.
tom slides, or split the
wood, the easy way to Finishing
build out the wood is This chest-of-drawers was originally
to first flatten the wear
finished with shellac, which was used
with a router and 1⁄2"
straight bit using the jig on almost all furniture from the 1820s
setup shown here. to the 1920s. As you can see from the
“before” picture on the first page, this
finish was in very bad shape.
To strip the old shellac, you can use
any paint stripper, but for flat surfaces
I like laying out cloths or paper tow-
els, then wetting them with denatured
alcohol. After a few minutes, it’s usu-
ally easy to simply wipe off the shellac.
This avoids complications with many
strippers, including having to remove
all the residue wax in some, or having
to dry out the very slow-evaporating
solvents in others.
For the new fi nish, keep in mind
that high-performance finishes such
as polyurethane and catalyzed finishes
will be very difficult to strip in the fu-
ture without damaging the wood. Oil
and wax aren’t good choices in my mind
because they are too thin to create the
proper appearance, nor do they offer
much protection.
Glue on new. With the bottom of the drawer side perfectly flat, it’s easy to glue on new wood, Shellac or lacquer would be best,
followed by trimming it with a handplane so the drawer slides easily on the new runners.
but shellac has the downside of being
available only in gloss sheen. To make
the router just short of the drawer front Veneer it satin to create an “old” look, you have
and use a chisel to remove the fi nal The veneer on this chest is rich Cuban to rub it out with an abrasive such as
piece of wood. Finally, glue on strips mahogany with a tighter pore structure steel wool, and this leaves noticeable
of wood to rebuild the sides and trim than mahogany commonly available scratches.
to size with a handplane. today. It is also double or triple the But the chest was originally finished
If the damage has penetrated the thickness of modern 1 ⁄32" veneer. with shellac, and my daughter-in-law
groove, or if the wood has split at the One of the primary lessons furni- likes gloss, so shellac is appropriate.
groove, the best repair is to remove ture restorers learn early on is: Never Had the chest still been in my shop,
the drawer sides, cut off the damaged throw anything away. And indeed, I would have sprayed the shellac. But
part, glue on replacement wood, and I had saved some old solid pieces of I had taken it to my daughter-in-law
recut the groove for the drawer bottom. Cuban mahogany. These matched the by this time, so I brushed the shellac,
color and texture of the existing veneer sanding between coats and thinning
perfectly, which made the fi nishing each new coat more to reduce brush
“When we build, let us think that process much easier. marks almost entirely.
we build forever. Let it not be for The easiest way to patch missing So after three decades on hold, my
present delight nor for present use veneer is to make straight cuts with bartered chest became a great gift. I’d
alone. Let it be such work as our the grain at the edge of the damage call that an excellent trade. PWM
descendants will thank us for.“ using a box knife or a chisel. Then fit
—John Ruskin (1819-1900) replacement veneer, also with straight Bob is the author of “Flexner on Finishing,” “Wood
artist, scientist, environmentalist, Finishing 101” and “Understanding Wood Finishing.”
philosopher, critic cuts, into the voids.
Wash off the deteriorated hide glue
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popularwoodworking.com ■ 49
Steam
Powered
B Y M I C H A E L D U N BA R
L
ong ago, some caveman made
a cur ious discover y: Wood
becomes pliable when it is both
hot and wet, allowing it to be bent to a
desired shape that it retains when dry.
Ever since, woodworkers have been
bending the stuff.
Bending, like carving and turning
furniture parts, does not usually cre-
ate a finished object. It is a technique
you incorporate into your work, and
is a skill worth developing because it
makes you much more versatile. As
you are about to learn, bending wood
is more of an art than a science.
Bending is used by lots of wood- Tension & Compression
working trades, including boatbuild- You will better understand bending if
ing and cooperage. It is most closely you are aware of what happens during
associated, however, with common the process. Look at wood under mag-
chairs – ladderbacks, “Fancies” and nification and you will notice its simi- Unfortunately, a bending strap is
Windsors – because every one of these larity to a sponge. If you wet a sponge, not always practical and I am forced
forms incorporates bent parts. But I’ve you can squeeze it a lot. However, it to bend some parts without support.
used bent parts for all sorts of other does not stretch nearly as much. If getting wood hot and wet was all
projects, too, ranging from a coat rack When plasticized, wood is also ca- that mattered, bending it would be
to a steering wheel for an antique car. pable of being squeezed, but like the a lot easier and far less complicated.
Wood is capable of being bent – a sponge, it does not stretch well. As However, you do face a number of con-
state known as plasticized – when it wood bends, its thickness contains a straints. Accept the hard reality that
is both hot and wet. Those conditions neutral line. The wood inside that line bending is an art; failure is sometimes
are reached at 180° Fahrenheit and is in compression (being squeezed); unavoidable. The best you can do is to
25-percent moisture content. the wood outside the line is in tension achieve a sustainable success rate. The
The old guys boiled their parts in a (being stretched). following will help you avoid failure as
metal trough called a chairmaker’s cop- This is why bendings most com- much as possible.
per. Boiling water in a long container monly fail on the outside surface.
is awkward, and fishing out the parts Whenever possible, I use a bending Species & Sources
is risky. That is why I prefer steaming, strap, a metal strip as long as the part Wood selection is paramount. Some
and rely on an efficient and easy-to- with stop blocks on each end. In use, species bend better than others and
build steam box (see “PVC Steam Box,” the bending strap becomes the neutral choosing the wrong wood for the job
page 52). line, so all the wood is in compression. is an invitation to disappointment. A
popularwoodworking.com ■ 51
PVC STEAM BOX
A little help. With two people working, and a strap providing the
Forms. For complete bends, I use a form that matches the shape I wish neutral line to keep all the wood in compression, a steamed piece can
to accomplish. The block at the top of each holds a wedge in place. be bent around a form all at once.
using riven stock – because they rarely To overcome that excitement, I ad- That said, you don’t want to stop for
fail in bending. vise my students before beginning, a cup of coffee on your way from the
In Windsors, crest rails often have “Speed is your enemy.” While they steam box to the bending form.
carved volutes in their projecting ends, work, I repeatedly warn them to slow
called ears. Volutes are easier to carve down. Bending must be done gradu- The Bad News: Failures
while the crest is flat because the stock ally, because unlike a sponge, wood If a bend is going to fail, it will happen
can be clamped securely. compresses more slowly. Rushing the in one of four ways. The most common
Partial bends are accomplished in a job will result in more breakage. A com- is a delamination; the part separates
two-part press made to yield the desired plete bend can take up to 45 seconds along the grain.
curve. I secure the press’s two halves in (less for a partial bend). Second most-common is roll up,
a vise, so bending is as easy as turning where the piece bends as desired,
a handle. When done, I secure the press but doesn’t remain flat in the proper
in a clamp so it can be removed to free plane. This occurs when bending a
up the vise for the next bend. part against its narrow dimension. (It
Each chair style has its own form, happens in classes most often in sack-
and they are not usually interchange- back arm rails.)
able. My bending forms for complete
bends all have a center block that allows
the piece to be secured at its midpoint
with a wedge.
Working alone, I bend each side
independently. If I have a helper, we
bend both ends at once. Bending is an
amazing process to watch. We think
of wood as hard and rigid, but right
before your eyes it magically changes Delamination & roll up. A delamination failure (left) – where the part separates along the grain –
shape. It is even more exciting to be is common. A roll up failure (above) refers to the piece not remaining flat in the proper plane as it
the person doing the bend. dries. Notice how it lifts off the surface at the top right.
popularwoodworking.com ■ 53
Tension shear & compression. In tension
shear (left), the fibers simply tear during
bending. A compression failure (right) –
where fibers wrinkle instead of bend – typi-
cally occurs on an inside curve.
Stacks of arms. A continuous-arm chair back (bent in two planes) needs to stay on the bending
form for three days, so the forms are stacked in a drying room equipped with a heater.
Tension shear is the third-most com-
mon. Here, the wood fibers tear like a
piece of cloth. drying our other bends. The space stays pieces? Wood is plasticized by making
Finally, instead of compressing, at 90° year-round, making it an effective it both hot and wet. In steam, it gets hot
wood will sometimes collapse in kiln. During the summer, we increase fast. And if it is already wet – that is, it
a compression failure. The result is the room’s “oomph” by adding a dehu- has a high moisture content as does our
reminiscent of ribbon candy. midifier and a heat lamp. Our bent parts riven bending stock – it is ready to come
I seldom have the luxury of choosing are ready to use in two to three days. out of the box in about 20 minutes and
the day I will bend. We do it Monday You can determine on sight when a put to use on a form or press.
of every class, because the wood has bent part is completely dry because it While you don’t need to worry about
to be dry so we can use it later in the takes a compression set. Rather than over-steaming, you can under-steam.
week. I am forced to ignore the reality springing back, the bend closes slightly. And with steam-bending in your
of good bending days vs. bad. There is A string that was taut when the part was woodworking arsenal, you’ll never
a marked difference, and when blessed removed from the form will droop. A again have to worry about getting past
with a favorable day, we have far fewer continuous-arm bend that was tightly flat. PWM
problems. secured to its form will loosen; the
On a bad day we can lose 15 percent, clamp will fall off a press.
Mike is the founder of The Windsor Institute, a school
while good days frequently achieve So, with all that in mind, how long in Hampton, N.H. He’s been teaching folks how to
100-percent success. The good-ver- does it take to go from dry stock to bent make Windsor chairs since 1980.
sus-bad-day phenomenon is counter-
intuitive. To bend, wood has to be wet, ONLINE EXTRAS
but days that are gray and drizzly are For links to all online extras, go to:
the bad ones. Crystal-clear, dry, low- ■ popularwoodworking.com/aug15
humidity days are best. WEB SITE: Read more about the author’s
school at thewindsorinstitute.com.
Drying Time VIDEO: Watch Mike Dunbar explain bowsaw
A successful bend has to dry before it ergonomics.
can be used. Once cool to the touch, ARTICLE: “The Best Oak Money Can’t Buy,“
a complete bend in a single plane can by Peter Follansbee.
be removed from the form and its ends IN OUR STORE: “Make a Windsor Chair with
tied with string. A double-plane bend (a Mike Dunbar.”
continuous arm) has to dry on its form, Strung up. Once a piece is cool to the touch,
TO BUY: “Restoring, Tuning & Using Classic
a single-plane bend can be tied in place with
and a partial bend remains in its press. Woodworking Tools,” by Mike Dunbar.
a string and removed from the form. Notice
I have a special kiln for continuous- that the string shown here is loose; the wood Our products are available online at:
arm forms because they are awkward continued to compress after it was removed ■ ShopWoodworking.com
to stack. We use our furnace room for from the form.
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popularwoodworking.com ■ 57
ARTS & MYSTERIES BY PETER FOLLANSBEE
I
once had a visitor to my shop remark
that he’d like to see a book about all
the types of joints that I use. I told
him it’d be a pretty short book: One page
for the rabbet joints I use in boxes and
drawers, and another for the mortise
and tenon.
I never really learned to cut dovetails
until I’d been a furniture maker for
more than 20 years. But I lean toward
fanaticism and, early on, 17th-century
joiners’ work captivated me completely.
And it was there that I learned just how
many places you could use the mortise-
and-tenon joint.
It’s a joint that can take you from
the cradle to the grave, almost. House
frames and the wainscoting around the Built to last. The section cut above of
walls. Cabinet doors in the kitchen. a drawbored mortise-and-tenon joint
Cradles, chairs, tables, chests and cup- shows how the peg snakes through an
boards. Stools. Benches. offset to pull together the mortise and
You can picture most any piece of the tenon. At right is a 17th-century peg,
from a Braintree, Mass., joined chest.
furniture in the stile-and-rail format.
Drawers are the exception; I’ve never
heard of, and wouldn’t want to see, a sometimes called “Bible boxes” – a term Windsors, too, use a round mor-
drawer made with mortises and tenons. I despise. There was a period term for tise and tenon. I’ve formed these with
Hence the rabbet. While some are these items that was quite straightfor- Forstner bits, spoon bits, auger bits and
dovetailed, most 17th-century drawers ward: a “box.” more. All of them worked. Turned ten-
in English work are just rabbeted and They are almost always rabbeted, ons, shaved tenons, even whittled. The
fixed with nails. It’s not the showiest usually secured with iron nails through heart of the ladderback’s mortise and
technique, but if a drawer lasts 350-plus each corner, and use no glue. A small tenon is the wet/dry joint – a super-dry
years, is it really poor construction? percentage used rabbets that were glued tenon in a mortise that still contains
and pinned; square pegs in round holes moisture. Shrinking mortise, swelling
Square Pegs, Round Holes make a tight fit. tenon – it works like a charm.
The oak boxes I make are based on Rarely, you find boxes like this with The tapered, round mortise and
studies of period examples. These are dovetailed corners. You’re more likely tenon used in a Windsor chair seat-
to find period boxes that feature nailed to-leg joint is another nifty item. Bore
butt joints than dovetailed examples. the mortise, ream it, then turn a tapered
They’re out there, but they’re quite tenon. Sit on it and presto! Tighter and
unusual. tighter it goes. Mostly these are still
split and wedged from above, sort of a
Wet/Dry Joint belt-and-suspenders approach.
As a chairmaker, the round mortise
A box. In the 17th-century-style work I do, and tenon was the first joint I learned Joint for a Lifetime
boxes aren’t typically dovetailed. They’re rab- in detail. How many ladderback chairs But bored mortises and shaved or
beted, then nailed. have been made on this earth? A lot. turned tenons won’t get you a chest
ONLINE EXTRAS
For links to all online extras, go to:
■ popularwoodworking.com/aug15
Mark. Use an awl to mark the hole location TO BUY: “17th Century New England Carving:
on the tenon. Then remove the tenon and Carving the S-Scroll” (Lie-Nielsen).
Fit. First, show the tenon to its mortise. offset the center point about 1⁄8" toward the
IN OUR STORE: “The Arts & Mysteries of Hand
shoulder, and drill.
Tools” on CD.
popularwoodworking.com ■ 59
I CAN DO THAT BY MEGAN FITZPATRICK
T
he first step in building this
contemporary side table is to
go shopping for the basket that
serves as a drawer – then adjust the
plans as necessary to fit your choice.
The one shown here is an 11"-deep,
7"-tall, 17"-long sea grass basket from
Organized Living – but a basket, tray
or cloth tote of many sizes and shapes
would work (and you can easily change
the style of the project with your “draw-
er” and finish choice).
The key thing is that your basket/
tray/tote not be deeper than 111 ⁄4",
which is the actual width of 1x12 – the
widest dimensional lumber available
at the home center.
So, with my basket selected, I headed
to the home center for No. 1 white pine.
This project is dirt-simple and, in-
cluding the $24 basket, cost less than
$100. It took just a couple of hours to
shop, build and apply the finish – yet
I’ve seen similar projects in various
catalogs and stores priced anywhere
from $200 to $600.
I know it’s easy to fall into the trap of saw, or if yours won’t make an 111 ⁄4"- books and the like. My basket is also 7"
“I could just build that,” then never get wide cut, you can easily use a circular – but I wanted a little room at the top to
around to it – but with this side table, saw, running it along a straightedge to be able to easily reach in to pull it out,
there’s simply no excuse. keep the cut square. so that took an 8" opening.
Hold off on cutting the top to length After I marked the shelf locations, I
Stock Layout until you’ve assembled the base. showed the basket to the side to make
The shelves, sides and top are all the full Now lay out the shelf locations. I sure it would fit. Trust, but verify.
111 ⁄4" width of the 1x12 stock, so all you decided on a 7" opening at the top for Before moving on, sand the sides and
need to do is cut the pieces to length. shelves to #150 grit or more to remove
I started with the shelves, so I mill marks. (You can probably get away
marked then cut one 18"-long piece at with stopping at #120 grit if you’re going
the miter saw, and used it to mark the to paint your side table.)
length of the other so they’d match.
Then I did the same with the 271 ⁄4"-long Grab Your Drill
sides. After making your cuts, confirm The joinery is simply two pocket screws
the parts match their partners; if they’re on the underside of each end of both
off even a little, stack them flush at one shelves. But because this was all mov-
end, then trim them simultaneously Matched sets. Measure, mark, then cut the ing along far too quickly, I decided to
at the miter saw. They need to match. first shelf and use it to lay out the length of the add a dash of fuss (two minutes’ worth)
Note that if you don’t have a miter second shelf. Do the same for the two sides. by measuring and marking locations
CONTINUED ON PAGE 63
60 ■ POPULAR WOODWORKING MAGAZINE August 2015 LEAD PHOTO BY AL PARRISH; STEP PHOTOS BY THE AUTHOR; ILLUSTRATION BY DAN PESSELL FROM THE AUTHOR’S MODEL
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I CAN DO THAT CONTINUED FROM PAGE 60
popularwoodworking.com ■ 63
END GRAIN BY SHAWN NICHOLS
Working Memory
Rebuilding a toy chest is a connection to the past and the future.
I
do not stem from woodworking
lineage, at least not the kind you
hear about. My dad wasn’t overly
handy. While growing up, I recall most
things either went unfixed or someone
else was called to remedy the situation.
My grandfather worked as a mainte-
nance man fixing this or that. Generally
speaking though, grandpa was more of
a frugal DIYer than a fine craftsman.
Nonetheless, their hearts were al-
ways in the right place and sometime
in the early 1970s, they both set forth
to cobble together a toy chest for my
siblings. Over the years, the chest held
action figures, dolls, baseball cards and
most likely someone’s illegal stash. It
moved from the bedroom to the base-
ment sometime in the late ’90s. There
it sat until recently. first time. New and old in-
While visiting my mom, she asked tertwined at each step in
me if I could reconfigure the toy chest the process. In my mind, I
with a new lid and safer hardware. could see their smiles and I
This way, my two little girls could use appreciated their guidance
it when they came to grandma’s house. on this build.
I made my way into the basement and, The chest is back in use at
with one look, became awash in child- the old homestead. Currently, it
hood memories. stores lots of pink and purple, but
As I took second and third glances, girls. Working with this piece conjured one day it might house an anarchist’s
I was able to see the piece with a wood- up unexpected memories, questions tools or grandma’s blankets – or maybe
worker’s eyes. I noticed the construc- and connections. it will just be a place to set down a well-
tion techniques: less-than-perfect case Not to get lost in metaphysics, but it’s deserved drink. I look at it fondly each
miters, screws, wood putty and heart. as though I could feel my dad’s hands time I visit: a vestige of a life cut short
How did they cut these long case through the boards. It created an unan- and a legacy I promise to pass on. PWM
miters? Did they fill these screw holes ticipated comfort, because I no longer
with plugs? They didn’t have a table can touch those hands. Shawn lives in Cleveland, Ohio, with his wife and two
saw or a plug cutter, did they? My dad was both a farmer at heart young daughters. When not using his spare time to
build furniture, he’s thinking about it.
Over the course of several months and by trade. As much as I rejected the
I rebuilt the chest. I disassembled the simplicity of his ways as a teen, I rejoice
structure, discarded the ugly plywood in them now. ONLINE EXTRAS
top, and planed down the boards to I scored some reclaimed wormy For links to all online extras, go to:
discover a beautiful pine bottom and chestnut for the new top. I broke down ■ popularwoodworking.com/aug15
maple sides. these old boards by hand using grand- TWITTER: Follow us on Twitter @pweditors.
More importantly, I was able to cre- pa’s recently restored (by me) Disston
Our products are available online at:
ate linkages between my aging grand- D-8. I experimented with breadboard ■ ShopWoodworking.com
father, my deceased father and my little ends, milk paint and cut nails for the
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