Step-by-step guide to JOINTER TUNE-UP pg 28

Projects, Techniques, and Products

Build this elegant

SINGLE-DRAWER
SIDE TABLE

Projects:
■ Accent mirror
with bird carving
■ BasicBUILDS:
Napkin holder
Plus…
■ Learn
twin tenon
joinery
 Table of Contents
August/September 2020 | Issue 96
Projects
26 BasicBUILDS |
Napkin Holder 26
Add a dash of panache to your dining
table with this handy holder.

32 Single-Drawer Side Table

Build this elegant side table packed with
subtle detailing sure to delight the eye.

47 Accent Mirror
An easy-to-build, wall-hung accent mirror
Tools & sets the stage for an avian carving.
Techniques
28 Jointer Tune-Up
A few simple steps and an hour’s time will get
this shop mainstay in great working order.

42 The Twin Tenon Joint

Learn the why and how of this essential
but often misunderstood connection.

32 47

2
Departments 28 42
04 Contributors

06 Getting Sharp
• Lessons learned

08 Profile
• Beth Ireland

10 News & Views

• Psaltery precision
• Missing something?
• Featherboards:
essential and fun
• “Misc.”
• Extended Esherick
exhibition deadline

14 Readers Showcase 16
08
16 Hot New Tools
• Bora Portamate NGX
Clamp Edge, T-Square,
and Saw Plate

18 Tips & Tricks

• Live tail center for finials
• Skinning a crosscut sled
• Sanding nub
• Dying in small measures
• Table top spray booth

56 WoodSense
• Leopard Wood

58 Great Gear 56 58
• Telescoping magnet
• Yankee screwdriver

62 Buyer’s Guide/
Ad Index

64 Outfeed
• Stealing Inspiration

Cover photo: Paul Anthony Aug/Sept 2020 | woodcraftmagazine.com 3

 Contributors

Paul Anthony, who designed and built the side table on our Greg Maxson (p. 27) loved drawing as a kid. But his
cover, has been making woodworking blunders for over 45 doodles of dinosaurs eventually gave way to more intricate
years. However, he has managed to learn a thing or two in the drawings, and he went on to study technical illustration
process, including how to steal good ideas (p. 64) and execute at Purdue. Over his 30-year career, Greg’s handiwork
tricky joints (p. 42). A determined fellow, he continues to find has graced the pages of many magazines, such as Car &
ways to safely pursue his fondness for woodworking and good Driver, Popular Mechanics, and The Family Handyman.
Scotch despite the pandemic. As a senior editor at Woodcraft He even co-authored a college-level technical illustration
Magazine, Anthony works remotely from his home in eastern reference book. When not working, he splits his time
Pennsylvania, where he cannot be accused of disregarding between rehabbing his backyard patio and designing a
required social distancing from his West Virginia office colleagues. custom font based on his own architectural handwriting.
Greg lives with his family in central Illinois. ■

On the Web
hole
ver access
Screwdri

Rip fence Free project download and a whole lot more. Here at
END PAN
EL
Woodcraft Magazine, we strive to offer the best projects,
3" techniques, products, and inspiration in every issue.
FACE PAN
EL
3⁄4 × 8 × 16"

D STRIP Faces first

. Saw the
face pane
ls from
d plywood.
Sometimes, we have more than can fit on our pages and
SOLI3D WOO or hardwoo
1⁄4 × ⁄4 × 16" 3⁄4"-thick MDF to

SACRIFICI
AL FENCE
FENCE 1BLO
11⁄2 × 1 ⁄2
CK
× 51⁄2" (The MDF
have a map
to your rip
used here
happened
le veneer.)
fence, and
Clamp the
mark piec
a
to fit betw
faces

een
e have to stash some of it on our website. This time ‘round,
plywood
of 3⁄4"-thick

you’ll find on our onlineEXTRAS page a free shop project,

panels.

Jig
e the end
them to mak

Tenoning orse is ea
al workheffi
sy to build
cient to us
e
,
a bonus tool review, and a bevy of great design ideas.
This essenti
and very
accu rate,
By Paul Ant
hony
Unlike the
angle-adju els,
mod
stable In the photos for the Side Table (p. 32) and the Twin
iture commercial fixed at
O
maker’s
arsenal,
in a furn
f all the jigs tenoning
a
mos t useful. It
fence on
the fence
90° , but that’s
is
on this jig the vast
fine for
In any case, Tenon Joint stories (p. 42), you’ll see a shop-made
of the w of joints.
jig is one r tablesa majorit y osite face
to use you fit the opp
allows you cheeks, open- you can out h any additional

tenoning jig in use. This shop staple is designed to fit over

on
to cut ten you like.
ne slot s, wit
of the jig
end mor
tises, spli uire e con figuration wing
cut s tha t req fenc in the dra
and other s on end. As shown couldn’t
workpiece models jig design
standing mercial above, the pler. What’s s. Make one
Various com rance hole

a Biesemeyer-style fence. To see how to build it, hop online

which sim k
le, most of be much fence bloc Drill clea stment.
are availab is that the 1⁄32" over size
for fine adju
saw table
slot s. important fect ly square, and k clamped
ride in the the ones per fence bloc
fou nd is mil led dead- With the screws
ely, I’ve panels are l, tap the
Unfortunat d to be expensive, t the face per ly, and square to
the pane bore
pro centers, then
tha e
use to mad
flat . When the rip fence,
that I’ve

adjust. I
muc
somewh

sion, whi
at clunky
heavy, and h prefer this sho
ch is des
p-
igned
fitted wel
l to
duces terr
the jig pro ery. (Check out
ifically
to mark their
the pilot
hole s on the drill pres
s.
and download the free article PDF. There, you’ll also find a
made ver uitous accurate
join
e the ubiq nd it in action.)
to straddl fence fou e 28 to see

on mos t mod
r-st yle
Biesemeye ern tablesaws.
rip

Feb/Mar
e.com
pag

2016
complete cut list for the table, and full-size patterns for its
ftmagazin
34 woodcra

brackets and drawer pulls.

This issue’s Hot New Tools (p. 16) features a new
version of a previous line of tools that we’ve reviewed
before. Go online to read the newly relevant older review.
The Accent Mirror on page 47 reflects a
unique design. Find even more great ideas on
our web page to stoke your creative fire.
Finally, find free articles on photographing your work. ■

4
Getting Sharp Share your ideas.
We love hearing from readers! And there are all
kinds of reasons to get in touch with the crew at

Lessons Learned Woodcraft Magazine. Check out the details below.

General information:
4420 Emerson Ave., Suite A

A charming oak chifforobe has

graced my family for three genera-
tions, storing all sorts of household
things and even surviving a couple
of cross-country moves. It’s not the
most beautiful furniture piece, and it
has more sentimental than monetary
value, but it’s sturdy and handmade.
This tall 2-in-1 cabinet consists of a
short chest of drawers joined side-by-
side to a wardrobe that sits behind a
mirrored frame-and-panel door. In
recent years, it has served as a catch-
all in a corner of the dining room. A
few weeks ago, my wife and I decided
to revive the piece and relocate it to
the bedroom, where it would resume
the piece, I had just enough time to
wonder: Did we lock the door?. Just
then, the door flung open, smashing
my thumb, splitting the stile at the
hinge, and crashing the mirror to the
shop floor. Aside from our pride, there
were no serious injuries. But suddenly, I
had three repair jobs—the mirror, the
door, and my freshly flattened thumb.
As the well-worn “measure twice,
cut once” maxim implies, we should
have checked the lock again before
picking up the piece. Or better still,
we could have removed the door
and reinstalled it once the case was
in place. And rather than pressing
on while tired, we could have left it
P.O. Box 7020
Parkersburg, WV 26102
800-542-9125
Share a slick tip to win cash or a prize.
Here’s your chance to help someone become
a better woodworker and get rewarded for the
effort. Published tips become the
property of Woodcraft Magazine.
Email us at tips@woodcraftmagazine.com and
put “Tips & Tricks” in the subject line or visit
woodcraftmagazine.com, and click on Contact.
Important: Please include your phone number,
as an editor may need to call you if your
trick is considered for publication.
Have a tough woodworking question?
We’ll do our best to find the expert and provide the
answer. Email us at editor@woodcraftmagazine.com
and put “Expert Answers” in the subject line.

its intended purpose. But to restore in the garage overnight, giving our- News & Views:
it, we had to get it to the garage shop. selves a break. Instead, we learned This catch-all column is where we do our best
to correct mistakes, publish feedback from readers,
To prepare, we removed the draw- a couple of lessons the hard way:
and share other noteworthy news items. It’s easy to
ers, locked its door, and cleared a wide “Rushing a project rarely saves time” participate in this discussion. Just email us at
path from the dining room through the and “Don’t work when you’re tired.” editor@woodcraftmagazine.com and
kitchen, out the back door, across the While that job may not have been put “N&V” in the subject line.

driveway, and into the garage. There, particularly well planned, you’ll Submit an article idea:
we spent the day scrubbing every nook find plenty of attention paid to the Do you have a story idea? We’d love to hear about it.
To find out how to submit an article, email us at
and cranny and applying a few coats of details on the pages ahead. What-
editor@woodcraftmagazine.com and put
restorative finish. The chifforobe shined ever you take on, remember to plan “Submission” in the subject line.
like new, and we basked in the glow of wisely, build well, and learn from
Share photos of your projects:
a job well done. But before calling it a life’s little lessons. Now excuse me We’d like to see what you’re building. To show off your
day, we decided to deliver the rejuve- while I go replace my band-aid. ■ work send your photos to editor@woodcraftmagazine.com,
nated piece to its new spot in the house. or find us on social media.
We plotted the same cleared path
in reverse. As we tilted and lifted

Aug/Sept 2020 Vol. 16, Issue 96
Chief Editor: Chad McClung
Senior Editor: Paul Anthony, Ken Burton
Art Director: Brad Weekley
Publisher: Gary Lombard
Advertising Sales Manager: Vic Lombard
Circulation Support: Christie Wagner, Robin Cross
Office Manager: Connie Harmon
Circulation: NPS Media Group
Web Support: Jessica Loyer
Video Producers: Frank Byers, Kevin Reed
Subscriptions: (U.S. and Canada)
One year: $19.99
Single copy: $7.99
customer_service@woodcraftmagazine.com
(800) 542-9125
Woodcraft Magazine (ISSN: 1553.2461, USPS
024-953) is published bimonthly (Dec/Jan, Feb/Mar,
April/May, June/July, Aug/Sept, Oct/Nov) by Woodcraft
Supply, LLC, 4420 Emerson Ave., Suite A, Parkersburg, WV
26104. Tel: (304) 485-2647. Printed in the United States.
Periodicals postage paid at Parkersburg, WV,
and at additional mailing offices.
POSTMASTER: Send address changes to
Woodcraft Magazine, P.O. Box 7020,
Parkersburg, WV 26102-7020.
Canada Post: Publications Mail Agreement #40612608
Canada Returns to be sent to Pitney Bowes,
P.O. Box 25542, London, ON N6C 6B2
©2020 by Woodcraft Supply, LLC. All rights reserved.
Woodcraft Supply, LLC allows the purchaser of this magazine
to photocopy the included projects and techniques solely for
personal use. Any other reproduction of these projects and
techniques is strictly prohibited.
Safety First! Working wood can be dangerous. Always make
shop safety your first priority by reading and following the
recommendations of your machine owner’s manuals, using
appropriate guards and safety devices, and maintaining all
your tools properly. Use adequate sight and hearing protection.
Please note that for purposes of illustrative clarity, guards and
other safety devices may be removed from tools shown in
photographs and illustrations in this publication.

6
 Profiles
BETH
IRELAND
A turner turns to teaching
B
oston, 2007. Beth Ireland was at
the top of her game. As a successful
architectural woodworker special-
izing in woodturning, she was nearing
the age when many people consider
retirement. Instead, she went back to
school to study sculpture. “Why not?” she
says, “There were so many other things I
wanted to learn.” But the program took
her in a direction she didn’t anticipate.
“I went to gain skills: metalworking,
mold making. But it blew up into much
more—philosophy, anthropology, com-
munity art, and an idea called relational
aesthetics. It’s about taking your studio
out into the world.” After completing
the program, she did just that, outfit-
8
ting a van as a mobile woodshop/apart-
ment and teaching lathe work across
the country in an odyssey, she called
“Turning Around America.” These days,
she continues the quest at craft schools
and guilds across the country although
it is not about teaching woodworking
per se. It’s about empowering people to
shape their world. “I have always loved
making things for a living, and like to
teach people that their own hands can
support them both emotionally and fis-
cally.” While the current pandemic has
curtailed her workshop schedule, it hasn’t
stopped her from thinking up new ways
to reach people through art and craft.
—Ken Burton
WM: Where do the topics for
your workshops come from?
BI: They all stem from the same question: how
do you put yourself into your work? But then it
depends on the audience. When I was teaching
turning to young folks, I tried hard to come
up with projects they could relate to, things
they immediately knew how to use. Classic
simple turnings like honey dippers don’t cut
it. But pens and whistles? They’re like magic.
WM: Why do you think that is?
BI: I got into this in an anthropology class.
It has to do with the way we’re wired. Things
that deal with writing, music, and tools
make your brain go crazy with endorphins.
It gets into the way society perpetuates
itself. Your primitive brain says, “Yes, yes,
good, good, this will keep us going.”
WM: You must go through a lot of pen kits.
BI: That would get expensive in a hurry, so I
have to be creative about it. I use the guts out
of cheap Bic pens and can have a class writing
about their experience within the hour.
WM: Do you teach classes that
are more advanced?
BI: If I’m talking to furniture students—those
who want to make a living from the craft—I
get into product development. So many of
them want to make $12,000 desks, which just
isn’t realistic in today’s economy. Instead, I talk
about what can you do for under $100 that’s
still interesting to make and something nearly
anyone can buy. That’s where craftspeople
and artists are finding success these days.
WM: You mentioned tools earlier. Obviously
woodworking involves tool use, but you
take it further than that, don’t you?
BI: I do. I don’t just teach people how to use
tools, but how to make their own. Especially in
poorer places that don’t have a lot of their own
tools. I start with large hex wrenches. They’re
cheap and the steel is okay for making cutting
tools. I’ll have each kid grind had to look and sound
a spindle gouge and a carving good. After studying
tool, or maybe a different folk instruments, and
lathe chisel. Then we use experimenting with
those tools to make a product. recycled materials, I still
It’s very empowering. wasn’t happy. If I’m going
to make instruments,
WM: It seems like a stretch they have to be amazing.
to go from grinding hex So that’s when I decided I
wrenches to making guitars. had to become a luthier.
How did that happen?
BI: About that time, I
BI: I was doing a workshop joined up with Keun Something to fret about. Personal expression is great, but fret
centered on band saw boxes Ho Peter Park, a placement is critical to the way an instrument plays.
with a high school class. woodworker who is
About half the class was intoalso a great musician.
it, while the other half…not We put together a class to
that much. So, how to reach teach instrument making WM: What’s next? All shapes and
that group? Tools? Writing? (and woodworking) based sizes. Beth’s music-
Music? It occurred to me thaton bandsaw boxes. The BI: Until I can get back making workshops
maybe I could use a band saw instrument we make is a to teaching, I’m home in yield a wide variety of
box to make a version of a guitar-dulcimer hybrid. It is Florida spending time in the playable instruments
cigar box guitar. So I started
really accommodating and shop making crossbows. from the basic guitar/
to experiment. My third allows for a lot of personal dulcimer hybrid
prototype began to work. expression. The dulcimer is WM: Crossbows? above to these color
awesome because anyone box-based guitars.
WM: And the rest is history? can play one. And, as it turns BI: Yup. Probably not
out, band saw boxes transmit something I’ll be sharing
BI: There’s a little more sound really well through with my high school
to it than that. I wasn’t the end grain. They make it students. ■
really a musician, nor an possible for folks with limited
instrument maker. But I woodworking experience to
wanted an instrument that build an amazing instrument
kids could make, AND it in a five-day workshop.

On Teaching Design and Craft by Beth Ireland

Creativity comes naturally to most young children; the key is to foster
it so it survives the journey into adulthood. Here are some of the
key points I try to incorporate when I’m teaching children:
• Start with products your students can relate to. If they don’t
understand an object’s function, how can they make it better?
• Kitchen items are a good place to start because they are easily understood.
• Don’t be afraid of wacky combinations. Who says a spatula doesn’t
need a whistle on the end to call people when the pancakes are ready?
• Repetition isn’t a bad thing. It takes making something
several times to cement the processes in your head.
• Sneak in the basics of design—form, texture,
pattern—as you’re talking about function.
• Encourage students that college isn’t the “be-all and end-all.”
You can make a good living by working with your hands.

Photos: courtesy Beth Ireland Aug/Sept 2020 | woodcraftmagazine.com 9

Tips &&Tricks
News Views

Psaltery precision

I’ve had a bowed psaltery for 30 years, so I appreciated your

article (p.35) in the April/May issue. But the overly precise
dimensioning is nearly impossible without a CNC machine.
The wood grain would interfere with such precise placement
of the holes. Also, gradually increasing the distance of the
hitch pins is unnecessary for a psaltery because each string
plays only a single note. The string’s tension makes the note.
My psaltery has natural notes (white keys of a piano) on
the right, and sharps and flats (black keys) on the left. For
instance, the pin for C# is across the soundboard and between
the C and D pins. Don’t get me wrong—your instrument is
beautiful, just overly complex, especially for newbie luthiers.
—Greg Mead, Gainesville, FL

Senior editor Ken Burton replies:

Being more a woodworker than a musician, I’ve relied
on proven dimensions for the instruments that I’ve
built. But I’ll consider your approach when making
my next instrument. In your suggestion, you still
need to be accurate and the grain can play just as
big a role throwing things off. But as you point out,
tensioning the strings is what dials in the note.

Missing something?
Your cover model for the April/May issue should
have been wearing a face shield. Not the best safety
message to send new turners! Just saying.
—Lewis Kauffman, Chambersburg, PA

Your recent cover features a turner with absolutely no

safety gear. As a woodshop teacher in a small, rural
public school, I often remind my seventh through 12th-
grade students to put on their (school-provided) safety
glasses while turning. You too need to be reminded.
—Rob Harrison, via email

10
Tips News
& Tricks
& Views

Featherboards:
essential and fun

Thank you, thank you, thank you for the article on featherboards
(p. 28, June/July 2020). I know too many woodworkers who
go without because they take a few minutes to set up. But that
extra time means you’re really thinking about the cut. And that
is critical when working with power tools. Getting in the habit
of using featherboards forces you to slow down and think about
what you’re doing, which is just good practice in any venture.
Plus, they’re kind of fun to make.
—Kiah Harrington, Chicago, IL

How to reach us

“Misc.”
I can relate to the “There’s Always One More” article by Ken
Burton in the June/July 2020 issue (p. 64). The “Misc.” collec-
tion of hardware (often gleaned from discards) serves me well Email
at work and home. Also, I have several 5-in-1 drivers (p. 57).
editor@woodcraftmagazine.com
And the articles on dovetails (p. 58) and featherboards (p. 28)
were particularly helpful. Thanks for the great magazine.
—Ken Welch, via email

Extended Esherick Direct Mail

Woodcraft Magazine, 4420 Emerson Ave., Suite A,
exhibition deadline Box 7020, Parkersburg, WV, 26102-7020.
Please include your full name, address, and phone number.
The annual Wharton Esherick juried exhibition Published letters are edited for length and clarity.
deadline has been extended from July 1, 2020, to
January 4, 2021. This year’s theme is “Wood and…” Visit
www.whartonesherickmuseum.org for more information. ■
—staff

12
Reader Showcase
DENNY THOMSEN,
CUMMING, GA
Seven-card stud. Traditional
poker tables are octagonal,
but this Georgia woodworker
upped the ante on a custom
design. Thomsen hosts a
weekly poker night and built
this red oak seven- sided table
to allow more room for his
card shark comrades. “We
play with only seven,” says
Thomsen, “this way, everybody
gets a little more room.” He
even went all in on the trays:
each holds precisely 25 chips.

JOHN ENGER,
BEMIDJI, MN
Beauty in a scarf. Enger incorporated the strength and beauty
of a scarf joint as a centerpiece for this Japanese-inspired
coffee table. The two heavy elm timbers of the top are locked JIM TACKETT,
with a single red oak wedge. The legs are made from spalted LEXINGTON, KY
pine. All of the wood was locally harvested by John and his wife Doug fir dulcimer. This
Emily who run an artisan woodworking business in Bemidji. beautiful instrument is
made from bookmatched
JOHN PICKRELL, quartersawn Douglas fir
BOISE, IDAHO for the top, and walnut for
A different spin. This Boise builder the back and sides. Tackett
became interested in segmented turning uses Doug fir when spruce
in a roundabout way. After attending isn’t available, and it seems
a demo about segmented bowls at to work out great. While
his monthly woodturners meeting, he’s sold a few, he mostly
Pickrell applied what he’d learned to something donates his dulcimers to
a bit different. “I realized I wasn’t as interested schools and other equally
in bowls as much as tops.” Since then, Pickrell good causes, or gifts them
has turned a dizzying array of stylish spinners. to friends and family. ■

Show off your work!

onlineEXTRA
Visit our website for a bevy of tips to better show Email Direct Mail
off your work. Learn how to shoot great photos of editor@woodcraftmagazine.com Woodcraft Magazine,
4420 Emerson Ave., Suite A, Box 7020,
your projects—even with your smart phone. Parkersburg, WV, 26102-7020.

Go to woodcraft.com/gallery for submission instructions.

14
Hot New Tools

On the cutting edge Pointer aligns

with blade path.
Clamps
holds saw
in place.
Bora Portamate NGX Clamp Edge, T-Square, and Saw Plate

T-track
positions saw.

A single handle clamps Lever locks

both ends of workpiece T-square in place.
in one action.

Non-chip strip

Clamp edge
Saw plate T-square

Bora Portamate 50" NGX Clamp Edge #172822, $64.99

Premium Saw Plate for NGX Clamp Edge #172825, $59.99
T-Square for NGX Clamp Edge #172826, $29.99
Bora Portamate has
introduced a new power tool
edge guide, along with a line
of accompanying accessories.
At the heart of the NGX
system is the Clamp Edge –
available in 24", 36", and 50"
lengths. This next-generation
straightedge is a thicker, more
rigid extruded aluminum
guide with less deflection than
the WTX model it replaces.
Another improvement is
that the moveable jaw is
also the locking jaw, making
for quicker, easier set-up.
Add-ons include a Saw
Plate for circular saws, a
T-square attachment designed
to square cuts automatically,
and an easy-to-attach 50"
extension for ripping full
sheets of plywood. The new
accessories aren’t compatible
with the old WTX Clamp
Edge, however most of the
WTX add-ons including the
Router and Jigsaw guides
and the Track Clamps will
work with the new system.
Using the Clamp Edge
couldn’t be easier, but some
setup is involved. First, fit
your circular saw to the Saw
Plate. The new, sturdier plastic
plate accommodates most
right- or left-handed circ
saws. Aluminum T-tracks
adjust to align your saw in
the proper position, and
cam locks slide as needed to
clamp your saw’s base plate in
place. It took some finagling
to position the cams to clear
my Hitachi’s motor, depth,
and bevel adjustments, but
once the saw was in, it stayed
there. The Saw Plate’s wide
bottom groove fits snugly
astride the Clamp Edge, and
the assembly glides smoothly.
It comes with a Non-chip
Strip that combats tearout.
This plastic strip adheres to
the underside of the Clamp
Edge, and is trimmed to size
with an initial cut made on
scrap. After that, you align
the strip with your workpiece
cut line to set up the cut. To
avoid compromising the strip
when making beveled cuts,
reverse the plate so that you’re
cutting along the opposite
side of the Clamp Edge.
The T-square attachment
is simply a separate length
of aluminum that securely
attaches to one end of the
Clamp Edge to convert it into
a T-square. However, to make
through cuts, it must be slid
entirely to one side, essentially
creating a big framing square.
Unfortunately, the weight of
that cantilevered “leg” tilts
the entire assembly, making
for an awkward setup. I found
Overview
• Heavy-gauge rigid aluminum
• Integral clamping
• Can guide from 24" to
100" with accessories
• Works with most
circular saws
• Plastic strip reduces tearout
• Locking T-square
that it was easy enough to set
up square cuts without using
the T-square attachment.
Despite that annoyance,
this tool does its core job
well. In addition, the ability
to guide multiple tools with
this robust system is a solid
plus in its favor. If you break
down a lot of sheet goods
and are interested in the
world of entry-level track saw
systems, look no further. ■
—Tester, Chad McClung

16 Photos: Chad McClung

 Tips & Tricks
Live tail center for finials
Press-fit bearing
into mandrel.
To drive center
Insert end of finial into bearing
hole for live turning support.
I enjoy turning finials, ornaments, and other pieces with
long, slender tips. However, supporting those delicate ends
can be tricky, and a standard live center with a pointed
end won’t do the job. Instead, I made up a live center with
a hole to accept the finial tip. It consists of a standard ball
or roller bearing inset into a wooden mandrel made from
a 11/2" square × 6" long blank. First turn one end of the
blank to match the Morse taper in your tail stock, making
it long enough to self-eject when the spindle is fully
18
Lathe tailstock spindle
Turn mandrel taper to
suit tailstock spindle.
retracted. Then pop the tapered end in the headstock, turn
the bulb shape, and drill a shallow hole that is a snug fit
for a machine bearing whose hole size suits the diameter
of the work you typically turn. I used a 1/2" O.D., 3/16" I.D.
bearing from a dead router, but you could use a router bit
bearing or order any size you like from an online bearing
dealer. Press the bearing into the hole and you’re done.
—Jeff Peters, Redgranite, Wisconsin
Illustrations: Christopher Mills
Tips Tips
& Tricks
& Tricks

Skinning a crosscut sled

I love my tablesaw crosscut sled because it allows
Width of skin need
me to crosscut large panels and other workpieces only match the width
that would be too unwieldy to feed with my saw’s of your workpiece. Locate panel 1⁄8"
miter gauge. Not only that, but the sled’s base serves from sled fence to
create dust chute.
as a zero-clearance backup to minimize exit tearout.
Unfortunately, I recently used the sled with a
cheap blade that had enough wobble
to widen the kerf in the base,
compromising its zero-clearance
support. The real fix would have
been to cut out and replace the
central section of the base, but I didn’t have
time for that yet. Instead, I discovered that you can
Use double-
use double-faced tape to attach a piece of 1/4"-thick hardboard faced tape to
or plywood to restore the zero-clearance support. For attach 1⁄4"-thick
plywood or
cutting accuracy, make sure to use enough tape to keep the hardboard to
thin panels from bowing. Keep in mind that the new “skin” sled base.
doesn’t necessarily have to completely cover the sled base; it
just has to provide sufficient support for your workpiece.
—Steve Wentworth, Salt Lake City, Utah

20
Tips Tips
& Tricks
& Tricks

Sanding nub Secure slitted sanding disk

to nub with rubber band.
In need of a cheap but effective way
for students to smooth the inside
faces of their carved spoons, I hit
upon this shop-made, lathe-mounted
“sanding nub.” It is simply a block of
hardwood turned to a small dome
shape and covered with a disk of
coarse sanding paper that’s held in
place with a rubber band. Strategically
placed radial slices allow the abrasive
to conform well enough to the curved
surface of the block. The sanding
nub does a great job of smoothing Shape nub to suit work
out carving tracks, and prepares the
surface for easier hand-sanding with
finer papers. Obviously, you can turn
a nub with a wider face for broader Slit disk to wrap
surfaces like bowls, using adhesive around nub.
to attach the paper if necessary.
—Ken Burton, senior editor

Share a Slick Tip. Win Cash or a Prize!

Dying in small
measures
When making custom dyes from
powders or liquids, I blend together
primary and secondary colors that
I’ve mixed up in 8-oz. containers that
I keep on hand. When trying to hit
a color target, I combine very small
amounts to test on my project wood.
For best results, I use a cough syrup
cup as a measure because it includes
increment markings on the side,
allowing me to keep accurate records
of mix ratios that I can record in a
notebook or on my stain samples.
—Jeff Peters, Redgranite, Wisconsin
Here’s your chance to
help someone become a
better woodworker and get
rewarded for the effort.
The winner of next issue’s
Top Tip award will receive
a Woodcraft Gift Card
worth $250. All others
will receive $125 for
$250
a published illustrated
tip, or $75 for a non-illustrated
tip. Published tips become the property of Woodcraft Magazine.
Send your ideas to:
Tips & Tricks, Woodcraft Magazine,
P.O. Box 7020, Parkersburg, WV 26102-7020
-or-
visit woodcraftmagazine.com, and click on “Contact”.

Important: Please include your phone number,

as an editor may need to call you if your trick is considered for publication.

22
Aug/Sept 2020 | woodcraftmagazine.com 23
Tips Tips
& Tricks
& Tricks

Tape together rigid insulation

panels to create box.

Table top spray booth

The availability of water-based finishes and
affordable small-scale spray units these days
makes finishing moderately-sized projects
easier than ever. If you’re spraying in your
shop, however, you do need a spray booth of
some sort to manage the overspray. I have a
simple, inexpensive set-up that does the job
nicely. I created a booth by slicing and
taping together pieces of inexpensive
1/2"-thick rigid foam insulation, available
at home centers. I cut out a ventilation Tape furnace filter over
window in the rear panel, to which I taped a ventilation cutout.
small furnace filter. Placed on a table near an
open window with a small box fan in between,
the set-up safely corrals and evacuates water-
based overspray. (I don’t recommend spraying
solvent-based finishes through an electric
fan.) When I’m done finishing, the booth is
quickly disassembled for compact storage. ■
—Sarah Frank, Lake Charles, Louisiana

24
 Basic
BUILDS
NAPKIN HOLDER
Dressing up one of life’s necessities
By Ken Burton
Construction Notes
• Mill the parts. The leaves can be
easily resawn at the bandsaw.
• Cut the dados. Set up a dado blade that matches the
thickness of the feet, and adjust it to make a 1⁄8" deep
cut. Hold each squared leaf blank vertically against a tall,
auxiliary miter gauge fence. Set up a stop to locate the
dado and make the cut. Rotate the leaf edge-for-edge to
cut the second dado. Adjust the width of the dado blade
to match the thickness of the leaves and reset the height
to 1⁄2". Reposition the stop and cut the dados in the feet.
• Shape the panels. Fasten the leaves together using
double-stick tape with the outside face of one adhered
26
T
his attractive napkin holder with its leaves at
opposing angles will add pizzazz to any table.
The chamfered leaves appear to float just above
the surface, adding a subtle shadow line to the gently
curved feet. The straightforward construction makes
this a fun project to work on with a youngster or to
batch-build for holiday gifts.
While the project is simple, be aware of a few techni-
cal details. Because the leaves are relatively thin, they
are prone to warping, so use strong, properly-dried
stock with straight grain. And run the grain in the
leaves vertically for strength. Finally, consider milling
your stock to 1/2" thick and letting it acclimate for a
few days before planing to final thickness, especially
if you’re resawing.
to the inside face of the other. Transfer the pattern to
one blank and bandsaw to rough shape. Refine the
curves with a stationary sander before unsticking the
pieces and adding the chamfer to the outside edges.
• Curve the feet. Nip the corners of the feet at
the bandsaw, and sand to refine the curves.
• Drill for dowels. Sand all the parts, glue, and assemble. Drill
11⁄4"-deep holes through the feet and into the leaves for the
3
⁄16
16"-diameter reinforcing dowels. Apply your favorite finish.
• Wipe your lips. Load the holder, remove one napkin,
and use it to politely dab the corners of your mouth.
Two leaves, two feet, four dowels
45° chamfer
Shaped leaves with shallow notches sit in deeper notches sawn into
two separate feet. Short lengths of dowel reinforce the joinery. ■

LEAF
5
⁄16 × 6 × 6"

11⁄4"-deep hole
drilled after
assembly

Dado
1
⁄2" W × 1⁄8"D
FOOT
1
⁄2 × 3⁄4 × 33⁄4"
Leaf and Foot Pattern
⁄2"
1

Dado
⁄16" W × 1⁄2"D
5

5
⁄8"
Dowel
⁄16 -dia. × 11⁄4"
3

53⁄4"

43⁄8"

1
⁄2"

1 square = 1"

Photos: Ken Burton; Illustrations: Greg Maxson Aug/Sept 2020 | woodcraftmagazine.com 27

JOINTER Tune-Up
Simple steps that yield smooth, square stock edges By Paul Anthony

T
he jointer is one of those “heaven or headache”
tools. When it’s working properly, it makes
Jointer at Work
quick, sweet work of straightening and flat- In order to tune up a jointer, you need to understand the operat-
tening boards. However, a poorly-tuned jointer can ing principle. As shown in the drawing below, a workpiece is fed
cause no end of frustration, yielding crooked edges, across the jointer’s infeed table and over the knives, which are set
weirdly tapered pieces, and washboard surfaces. at top dead center to the height of the outfeed table. The outfeed
Though a relatively simple tool, the jointer table supports the cut surface as the remainder of the board is
requires an exacting setup. Fortunately, it’s not jointed. If the tables aren’t parallel to each other or if the knives are
that difficult to tweak the tool into proper working too high or low, you won’t get a straight cut.
order. All you need is a good straightedge, a simple
Knives at top dead Workpiece
shop-made jig, a few common workshop tools, an center are level
automotive feeler gauge, and a bit of patience. The with outfeed table Feed Depth of cut
set-up sequence involves checking the tables for
flatness and parallelism, correcting them if neces- on
ti

Infeed table
R ot a

Outfeed
sary, and then adjusting a set of sharp knives to table (adjust for
the proper height. The entire procedure should depth of cut)
only take an hour or so, paying big dividends in Max. 1⁄16"
accuracy and time saved down the line. Cutterhead

28
Check the tables
Make sure your outfeed table is set
to its proper height in relation to the
cutterhead and knives. As shown in
the drawing on the facing page, it
should be level with the knives when
they are at top dead center. Check
this with a straight piece of wood
(about 1/2 × 11/4 × 18"). With the
machine unplugged, rest the piece
on the outfeed table with about 2"
extending over the cutterhead. Rock
the cutterhead while adjusting the Feeling for flat. Check each table for flatness using a precision straightedge,
outfeed table until a knife just barely gauging any gaps underneath using an automotive feeler gauge. You may be able
grabs the piece. Lock the table. to file or sand out a high spot, but there isn't much you can do for a dip.
Check each table for flatness
as shown. Humps or dips can
compromise operational accuracy. Clean the Machine
If a tune-up doesn’t correct Before tuning a jointer, you want
problems, it may just be time to everything working in your favor. That
invest in a better machine. includes easy feeding of workpieces
Next, check to see if the tables are for testing purposes. So begin by
parallel, as shown. If the tables are wiping down your tables and fence
out of parallel, you’ll need to adjust with mineral spirits and scrubbing them
one of them, as discussed below. If with fine steel wool to remove any
they are parallel, skip to the next fine rust or gummy residue. Finish up
page, and focus on the knives. with a well-buffed coat of paste wax
The tables on most jointers ride to protect the metal and minimize feed
on dovetail ways. A flat metal bar Checking for parallelism. After adjusting the infeed friction. Also, clean up your work area
called a gib rides between the mating table to be level with the outfeed table, extend an accurate to prevent losing springs, shims, and
dovetails on one side of the machine. 24-36" straightedge across both to check for parallelism. small tools among jointer shavings.
The gib and its adjusting screws Press down firmly on one end of the straightedge while
remove the slop from between the extending the majority over the opposite table as shown.
table and the base while still allowing
the table to move for adjustment.
It’s best to shim the outfeed table
to correct non-parallelism, but if
your jointer doesn’t allow that, shim Dovetailed ways
the infeed table instead. Loosen the Gib screws
gib screws enough to allow a bit of
table lift, and insert matched metal
shims between the ways to elevate the
appropriate end. (Aluminum shims cut
from a soda can work fine.) If the table Gib
needs raising near the cutterhead, insert
the shims at the upper end of the ways.
If the table sags at its outer end, place
Shim
the shims at the lower end, as shown.
When the tables are parallel, snug up
the gib screws just enough to stabilize Adjusting for parallelism. To correct a misaligned table, insert shims in
the table while still allowing it to move. the ways, then snug up the gib screws and tighten their jam nuts.

Photos: Paul Anthony Aug/Sept 2020 | woodcraftmagazine.com 29

Replace and set the knives
Despite what you may think, changing Cutterhead types
straight jointer knives is surprisingly
simple (and changing the cutters Locking bar Adjustment Hole for Allen
in a spiral head is even easier, but Screw wrench access
Knife
not discussed here). It involves
determining top dead center (TDC) of
the knife rotation, setting the knives in
the neighborhood, and then tweaking Jack screw
Spring
them into a final, precise setting.
Many cutterheads employ either springs or jack screws to raise the knives in their slots, which
makes setting the knives easier. Others have neither, which makes the job a little trickier.

Determine top dead center

Lock your fence down and tape a
piece of stiff paper to it. Then locate
and mark TDC as shown. Carefully
align the tip of the knife with the
mark and wedge the cutterhead to
prevent rotation. Quiet the shop so
you can easily hear a knife grazing
the straightedge.
Remove the knife and locking bar.
Scrub the bar, the screw heads, and
the cutterhead slot with fine steel
wool and mineral spirits to minimize
any friction that might impede easy
knife adjustments.
Mark TDC. Hang a combination square on the fence. While rocking
the cutterhead, lower the square’s blade until the jointer knife barely
grazes it, indicating top dead center. Lock the square.

Get in the neighborhood

The simple knife-setting jig shown
here is a great helper. Make one
from an MDF panel about 4" long
by the width of your cutterhead.
Glue two 1⁄2 × 1⁄2 × 41⁄2" hardwood
sticks underneath the 4" piece at
the ends.
Center the knife and locking
bar side to side in the cutter-
head slot with the inner locking
screws free of the slot wall. While
holding the jig firmly against the
knife tip and outfeed table, snug
up only the outermost locking bar
screws as shown. With spring-
loaded knives, press the jig down
tightly until the sticks contact the
table,then lightly tighten only the
outermost screws. For joint-
ers with neither springs or jack
screws, tighten the outermost
screws slightly with the knife too
high, then push it down with the
jig until the jig sits flat on the table.

Jig up. Lay the jig on the outfeed table with its sticks extended over the knife.
For jack screw adjustment, press down on the jig while raising the knife until
the sticks slightly lift off the table, and then lower the screws until the sticks
just make contact with the table. Pressing down firmly on the jig, tighten only
the outermost locking bar screws just enough to hold the knife in place.

30
Tweak the final adjustment
Your knife may still be a tad too high.
Check by gauging for gaps under a
straightedge laid across the knife,
as shown.
With jack screws, make tiny
adjustments downward and
recheck with the straightedge and
feeler gauge until the gap just disap-
pears. Hold the knife down firmly as
you snug up the two outer screws
just enough to hold the knife in
place. Don’t overdo the torque or
you risk shifting the knife. Leave the
inner screws alone.
With spring-loaded knives, press
down on a straightedge lying across
one end of the knife, and loosen
the locking screw at that end.
Still pressing on the straightedge,
loosen the opposite screw just
enough to allow the knife to rotate
downward under pressure from the
straightedge as shown. Tighten the
locking screw at the straightedge
end just enough to prevent the knife
from lifting. (This maneuver requires
a bit of trial-and-error to inform you
how much torque to apply.) Now
repeat the same procedure at the
opposite end of the knife, as shown.
For jointers without spring-loaded
knives, simply tap the knife down
with a screwdriver handle.
The knife should now be dead
level with the outfeed table, but
check for gaps with the straightedge
and feeler gauge to make sure. If
necessary, repeat the procedure to
fuss the knife into place. Just do it.
It’s worth the extra few minutes.
Remove the cutterhead wedges
and rock the knife back and forth
under the straightedge. You should
hear the two kiss lightly without the
straightedge sliding. Now carefully
tighten all the inner locking screws
to the same light torque you applied
to the outer screws. Then tighten all
the screws down firmly and move
on to your remaining knives using
the same technique.
Gauge for gaps. Extend your straightedge
across the knives at each end, and
try to slip a .015 feeler gauge blade
underneath on the table. If there’s a
gap, you’ll want to do a final tweak.
One end… Press the straightedge down
on the freed end of the knife, and loosen
the opposite locking screw enough to allow
the knife to rotate without shifting upward.
…then the other. After tweaking
the first end of the knife in place and
lightly locking it down, repeat the
procedure at the opposite end.
Aug/Sept 2020 | woodcraftmagazine.com 31
Test the tune-up
Square the fence to the table, grab two
boards about 6 × 36" and joint one edge
of each. Place the edges together and
inspect for gaps. The joint should be
perfect or nearly so. It’s not uncommon
to find that the edges are very slightly
convex, yielding tiny gaps at the ends of
the joint. To fix this, lower the outfeed
table by a hair, take another pair of
cuts, and check them again. If the joint
still isn’t perfect, lower the table a tiny
bit further, repeating your test cuts if
necessary until the joint mates perfectly
along its length. If you go too far, a
sniped (overcut) area will appear at the
trailing end of the cut. In that case, raise
the table in tiny increments until the
snipe disappears. Your jointer should
now be cutting perfectly straight.
Sharp and Straight
Freshly sharpened knives must be
dead straight. Unfortunately not
all sharpening shops are up to the
job. Check your sharpener’s work
against a good straightedge before
installing the knives. If the job’s not
up to snuff, have them redo it, or try
another shop. I send my high speed
steel knives to Ridge Carbide Tool:
(800) 443-0992; ridgecarbidetool.com.
It’s best to replace knives one at a time
to prevent distorting the cutterhead.
A spare set of knives allows this and
prevents downtime while one set is
at the sharpener’s. ■
Single-Drawer
SIDE TABLE
Quiet sophistication loaded with details
By Paul Anthony
T
his maple side table has
three chief features: a
single, wide drawer, an
open base with a large three-
piece shelf, and subtle detail-
ing to tie everything together.
I stole the overall form and
proportions from a func-
tional but somewhat poorly
constructed table that sat in
my kitchen for some time.
(For more on stealing inspi-
ration, see page 64.) I like the
single drawer, which accom-
modates large items that don’t
fit in typical, smaller drawers,
and the open base serves as a
32
display for things too attrac-
tive to hide inside a cabinet.
Although my table is intended
for the kitchen, it would also
sit nicely in nearly any room
in the house.
As for aesthetics, I incor-
porated simple curves for a
bit of flair. I like the way the
gentle curves of the top and
splash play off the uplifting
arcs of the stretchers, and the
subtle rail-to-leg transition
that the simple brackets pro-
vide. The bullnosed splash cap
accentuates the upper profile
while echoing the other gently
radiused edges. To accentu-
ate the piece’s lines, I routed
a bead into the lower edges
of the aprons and rail, and
cut a small rabbet into the
exterior corners of the legs.
Dividing the shelf into three
pieces lightens it visually, and
setting the corners back from
the legs implies an airy feel-
ing while avoiding seasonal
wood movement problems.
And, after all that, I couldn’t
resist making custom walnut
pulls for the piece. It really was
a lot of fun to build!
 A solid stance with simple curves
The mortise-and-tenon joinery connecting the the legs, allows for seasonal wood expansion. The
aprons, bottom rail, and stretchers to the legs gives curves on the top, splash, and stretchers are sawn,
this table great strength, as does the dovetailed top then faired with a block plane or spokeshave.
rail. The 3-piece shelf, with its notches set back from
SPLASH CAP 1
⁄2" TOP
3
⁄16 × 7⁄8 × 317⁄8" 3
⁄4 × 191⁄2 × 36"
SPLASH
3
⁄4 × 11⁄4 × 313⁄4"

DRAWER KICK
⁄4 × 1 × 15"
3
183⁄4"
⁄4"
3
SIDE RUNNER REAR APRON TOP RAIL
3
⁄4 × CTF* × 15" 3
⁄4 × 5 × 303⁄4" ⁄16"
5
3
⁄4 × 11⁄4 × 31"
1"
BOTTOM RUNNER Centered Tenon
3
⁄4 × 1 × 15" 1
⁄4 × 4 × 7⁄8" ⁄8"
3
1
⁄2" 1"
See p. 34
for LEG
joinery details.
Drawer stop
Mortise ⁄8 × 5⁄8 × 11⁄2"
3

1
⁄4 × 4 × 7⁄8"
1
⁄32" chamfer
⁄4"
1
BOTTOM RAIL
⁄4"
1 3
⁄4 × 11⁄4 × 301⁄4" INNER SHELF
3
⁄4 × 37⁄8 × 313⁄4"
Tenon
1
⁄4 × 5⁄8 × 5⁄8"
SIDE APRON
LEG ⁄4 × 4 × 163⁄4"
3 1
⁄4" bead
11⁄2 × 11⁄2 × 331⁄4"
Notch
BRACKET 3
⁄8"R 13⁄4 × 13⁄4"
(See pg. 40) OUTER SHELF
⁄4 × 63⁄4 × 313⁄4"
3

Mortise
1
⁄4 × 21⁄2 × 7⁄8" ⁄8"
5

SHELF CLEAT #6 × 11⁄4" FH screw

3
⁄4 × 1 × 14"

13⁄4" FRONT STRETCHER

3
⁄4 × 3 × 303⁄4"

1"
Order of Work
SIDE STRETCHER • Make and mortise legs
3
⁄4 × 3 × 163⁄4" Centered tenon • Cut tenons on aprons,
1
⁄4 × 21⁄2 × 7⁄8"
stretchers, and rails
Rabbet • Fit top rail
1
⁄8 × 1⁄8"
• Cut curves and rout profiles
See p. 39 for drawer details. • Assemble frame
onlineEXTRA Provided part lengths include tenons. • Make top and shelf
• Side table cut list *CTF=Cut to fit • Build drawer
• Full-size pull and bracket patterns (Side runners project 1⁄32" into drawer opening.) • Make pulls and brackets
• Tenoning jig article • Apply finish and do final assembly

Photos: Paul Anthony; Illustrations: Christopher Mills Aug/Sept 2020 | woodcraftmagazine.com 33

 Legs first for
a good foundation
Mill the legs to their final size. Use riftsawn
stock (with diagonally oriented annular rings)
to ensure relatively straight grain on all leg faces.
Then lay out and cut all the mortises as shown.

Upper front leg detail

1
⁄2"

Cut the apron and stretcher

5
⁄8"
mortises. A hollow-chisel
mortiser is a great machine
Lay out dovetail socket
using upper rail dovetail. for cutting these mortises. For
accuracy and efficiency, first
plunge each end of a mortise.
Then cut a series of closely
spaced holes before removing
the waste between them
with subsequent plunges.
4 5⁄16"
Mortise
1
⁄4 × 4 × 7⁄8"
Rear legs have an
apron mortise on
each inward face.

Mortise
1
⁄4 × 5⁄8 × 5⁄8"

⁄4"
1

1
⁄4"

Cut the bottom rail mortises. Making a twin mortise-and-tenon

joint can be tricky. To ensure success, I employ spacers when
cutting the twin mortises (shown here) and their mating tenons.
See page 42 for a complete demonstration of the process.

34
 Apron, stretcher, and
rail tenons complete
the M&T joinery
Complete the mortise-and-tenon joinery. Start by
milling the aprons, stretchers, and rails to the sizes
shown in the drawing on page 33, and mark them
for attractive orientation. Then cut the tenons
on the aprons and stretchers as shown. Miter the
ends of all of the single tenons except for those
on the front ends of the side aprons. Next, saw
the twin tenons on the ends of the bottom rail.

A lifetime tenon jig

The tenoning jig at lower right is a great shop-made
table saw accessory. It securely supports a standing
workpiece for sawing tenons and other joints. Because
the jig straddles the fence, it stands squarely, won’t
wander into the blade when you retract it, and the
opposite face can be outfitted with custom fences
for other purposes. To build it, see onlineEXTRAS.
Saw fat. I cut my single tenons
a bit fat using a dado head,
feeding the stock with a miter
gauge, and using the fence as a
length stop. Saw the first cheek
in two passes, then flip the stock over and saw the opposite cheek as
shown here. After sawing all the tenon cheeks, raise the dado head as
necessary, and stand the stock on edge to saw the tenons to width (inset).

Tenon trim. Use a shoulder plane and/or fine sandpaper
wrapped around a straight, square hardwood block to trim the
tenon cheeks for a snug, but easy-sliding fit in their mortises.
Also pare the narrow edges of the tenons if necessary to
align the aprons with the tops of the legs, and to create a 11⁄2"
offset between the stretchers and the bottoms of the legs.
Twin tenon trick. To saw the twin tenons for the bottom
rail connection, I use a tenon jig at the table saw. As when
cutting their mating twin mortises, I use spacers to ensure
a perfect fit, as described in the article on page 42.

Aug/Sept 2020 | woodcraftmagazine.com 35

A dovetailed top rail
locks the legs
Finish off the base joinery by connecting the tops of the legs with a
dovetailed rail. Lay out the tails as shown in the drawing on page 33. After
sawing them, position the rail on top of the dry-clamped assembly, and
trace around the tails to lay out the sockets. Then cut out the sockets.
Dovetail the rail. After
using the table saw to
rabbet the underside of
both ends of the top rail, lay
out the tails and saw them
to shape with a dovetail
saw. Don’t worry if the
slope isn’t pitch-perfect,
as you’ll be matching the
sockets to the profile.
Prettify with profiles
Prior to assembly, you’ll need to do a bit of
detailing. First, rout the decorative rabbet on
the three outermost edges of each leg. Instead
of the router table, I use a hand-held router
to ensure consistent depth-of-cut even if a
leg is slightly bowed. Next, rout the bead on
the bottom rail and side aprons as shown.
Then lay out and bandsaw the curves on the
side and front stretchers, smoothing them
with a spokeshave and/or spindle sander.

Saw the dovetail socket.

Lay out the sockets by
tracing around the tails,
extending the lines 3⁄8"
down the edge of the
leg to mark out the floor Bead it, pal. Use a beading bit in a table
of the socket. Then saw router to shape the profile on the lower edges
along the angled layout of the side aprons and bottom rail.
lines as shown, leaving
your pencil lines intact.

Veneer
scrap
Waste with a router. Outfit your router
with a 1⁄4" straight bit, and rout out the
majority of the socket waste in two shallow
passes, taking care not to cut too close to
the perimeter. The veneer scrap here helps
create a level bearing surface for the router.
Finessing the socket. Use chisels to
clean up the dovetail sockets. If you
don’t have skew chisels for getting
into the corners, try paring with a
narrow straight chisel as shown.
Spring a curve. I lay
out the stretcher curves
using a metal yardstick
sprung to a bow and clipped
to a couple of #6 finish nails driven into a scrap
board at the corners of the stretcher. Double-
faced tape holds the stretcher to the scrap.

36
Two-stage frame assembly
Dry-assemble the frame to ensure that
the joints pull home and the upper
edges of the top rail and aprons sit
flush with the tops of the legs. Then
place a couple of 233/4"-long spacer
sticks between the side aprons and Spacer stick
stretchers to check their parallelism.
Disassemble everything, and smooth
all the parts through 220 grit. Then
glue up each end assembly in turn
before adding the rear apron, bottom
rail, and long stretchers in between.
Afterward, glue the top rail into
its sockets. Finish up by gluing the
drawer kicks and bottom runners
to the side aprons. Use a 31/2"-wide
spacer between them to ensure they End assemblies first... For each end assembly, start by gluing the apron to one
are dead parallel. Then add the side leg, aligning their top surfaces. Then add the stretcher, using a 233⁄4"-long spacer
runners, making sure they extend stick to register the distance from the apron. Attach the remaining leg, and clamp
1/32" past the inside faces of the legs. the legs to the apron. Use another spacer to locate the remaining stretcher end,
Cut a slight chamfer on their leading and tap it into place as shown here before clamping the legs to the stretcher. Use
ends to ease drawer insertion. a damp glue brush to clean away excess glue inside the open adjacent mortises.

…then everything
in between. With a
side assembly lying on
the bench, attach one
end of the stretchers,
rear apron, and bottom
rail. Make sure that
the apron aligns with
the tops of the rear
legs, and that the
rail sits exactly 41⁄4"
down from the top
of each leg. Then
attach the opposite
end assembly in the
same manner. Invert
the unit, and clamp
Spacer stick across the apron
and rail. Finally, use
your spacer sticks to
establish the stretcher
offset, and clamp
across the stretchers.

Aug/Sept 2020 | woodcraftmagazine.com 37

Make the top and shelf
Grain-match and glue-up
boards to make the top. Also
make the splash and the shelf
pieces. Lay out, saw, and then
smooth the curves on the
splash and top with a block
plane and sandpaper. Make
the cap, bullnose one edge,
and glue it to the splash. Saw
the notches in the shelf pieces,
and then radius their corners
as shown. Use a 1/8" roundover
bit to profile both faces of
the shelf pieces and the top,
except for the rear edge of
the top. Sand everything
through 220 grit before gluing
the splash to the top. Make Two-step quick-notch. Set up
the shelf cleats and lay out a stop block on a crosscut sled
their clearance holes. Drill to saw a 13⁄4 × 13⁄4" corner notch
and counterbore the holes, in scrap. Then notch your shelf
and then glue the cleats to corners. Make your first cut with
the side stretchers. Finally, the board on edge (above), and
rout the slots for the table top then stand it up and flip it around
clips with a slot-cutting bit. to make the adjacent cut (right).

Back-up block

Round the notch shoulders. Clamp the notched

shelves together, carefully aligning the notches with
a thick back-up block that prevents exit tearout
and provides solid router support. Then use a 3⁄8"
roundover bit to shape the outer corners. Sand the
rounded over corners while still clamped up.

38
Build the drawer
I joined my drawer box with hand-cut dovetails for their
strength and character, but feel free to use any solid joinery
you like. Just make sure it’s sound to help prevent racking in
use. I used poplar for the drawer sides, and plywood for the
bottom. Measure the assembled drawer to fit the bottom, and
rabbet its edges to fit the grooves. Initially build the drawer
to fit its opening very snugly, then hand-plane it as shown
to finesse the fit. When it operates well, inset the front 1/8"
from the rails, size the drawer stops, and then glue them to
the rear apron. Don’t screw the drawer bottom in place yet.

Drawer exploded view

FRONT BACK
1 × 31⁄2" × CTF* 5
⁄8 × 27⁄8" × CTF

BOTTOM
1
⁄2 × 153⁄8" × CTF
⁄8"
5

Groove SIDE
1
⁄4 × 1⁄4" ⁄8 × 31⁄2 × 153⁄4"
5

Rabbet
1
⁄4 × 5⁄16"
5
⁄8"

PULL
(See page 40.)

*CTF=Cut to Fit

Notched
drawer-planing
platform

Begin with the bottom. With the drawer right-side up, check
for any rocking on a dead-flat reference surface. Then upend the
drawer as shown, and plane the high corners equally, rechecking
against the reference surface. Repeat until the drawer sits flat.
Sides and top in tandem. Check the fit of the drawer in
its opening, and plane small amounts from the top edges
and sides until it just fits. Then plane each side as shown
to achieve a snug, but easy sliding fit. Next, plane enough
from the top edges to allow seasonal movement.

Aug/Sept 2020 | woodcraftmagazine.com 39

Brackets and pulls
Use the patterns to lay out the brackets and pulls, and
Bracket
saw the parts to shape, saving the offcuts to use as
cauls. After sanding the parts, glue on the brackets. 21⁄4"
To install the pulls, first drill the locator holes and the ⁄16"
3

pilot holes as shown. Unclamp the pulls and enlarge the

locator holes to serve as screw clearance holes. Then 1"
counterbore the clearance holes to a depth that yields Brackets are 5⁄8" thick.
the perfect screw tip projection. Finally, attach the pulls
with screws, being careful not to overdrive them. After ⁄4"
1

the pulls snug up nicely, remove them for finishing. 1 square = 1⁄2"

Drawer pull
5"

Pulls are 1⁄2" thick.

1 square = 1⁄2"

Locator holes first. At the drill press, make a drill guide block using
a 7⁄64" bit to bore two holes spaced as marked. Clamp the block in
place, aligning it with the drawer front as shown. Hand drill both
holes through the drawer front, then flip the block end-for-end,
and repeat at the opposite end of the drawer for the second pull.
Set up for the pull pilots. After striking light pencil lines
from the center of the locator holes to the bottom of the
drawer front, clamp a 11⁄2"-wide spacer to the drawer
front, aligned with its top edge. Straddle the lines evenly
with the pull, and clamp it firmly to the drawer front.

40

Bracket glue-up.
Spread glue sparingly
on the long-grain surface
of a bracket, and put it in
place with its curved offcut
atop it. Then apply clamp pressure
in tandem against the apron and leg.
Drill the pull pilots. Carefully gauge the depth of the pilot
hole to extend through the drawer front and as deeply into
the pull as safely possible. Flag your bit at this length, and
then drill the pilot holes into the pull from inside the drawer.
Remove the drawer bottom for better drill access.
Finishing up
After giving everything a touch-up sanding, I applied two
coats of water-based dye stain, having mixed vintage maple
and honey amber in equal proportions. After letting the dye
dry for a day, I topped it off with four coats of wiping varnish,
very lightly sanding with 320-grit between coats, and rubbing
out with 0000 steel wool before applying and buffing the last
coat. I applied thinned shellac to the drawer walls and bottom
before screwing the installed bottom to the drawer back.
After your finish work, screw the shelf pieces to their cleats,
attach the top with table-top clips, install the pulls, and wax
the runners, kicks, and their contact surfaces on the drawer.
Spacer and
veneer shim ⁄4" Spacer
1
Shelf alignment. Place 1⁄4"-thick spacers between the shelf pieces and
against the legs. Add veneer shims at the notches if necessary to pack
them out. Balance the overhang lengthwise and lightly apply clamps.
Tap the ends into alignment as shown, and then snug up the clamps.
Shelf attachment. After removing the spacers, invert the
table and drill pilot holes through the cleat’s previously
bored countersunk clearance holes into the shelf pieces.
Flag the bit with masking tape as a depth reference.
Aug/Sept 2020 | woodcraftmagazine.com 41
The
TWIN
TENON
Joint
By Paul Anthony
Demystifying a
classic connection ⁄4"
1

⁄4"
1

Mortise
1
⁄4 × 5⁄8 × 5⁄8"

⁄4"
1

Tenon
1
⁄4 × 5⁄8 × 5⁄8"

RAIL LEG
3
⁄4 × 11⁄4"

T
he poor misunderstood
twin tenon joint. The
Internet seems fraught
with dubious ways of cut-
ting it and impractical uses
for it. So what is it good for,
and how do you cut the tricky
thing? Well, traditionally, the
most common use of a twin
tenon joint is to connect
drawer rails “on the flat” to
table legs or cabinet stiles—
the form I’ll focus on here,
and the one I used in the side
table on page 32.
Typically, the glue-strength
of any joint depends upon
sufficient intimate contact
between its adjoining long-
grain surfaces. In the case of a
connection like this, a single
tenon would provide minimal
contact. So the main purpose
of a twin-tenon joint is to
double the long-grain glue sur-
face. But the joint can be tricky
to cut well. Unlike a single
tenon, which can be sawn a
bit fat, and then trimmed to
a perfect fit with a shoulder
plane, the inner cheeks here
can’t be planed, and are hard
to chisel perfectly.
After trying many methods,
I’ve found that using spacers
consistently yields a perfect or
near-perfect joint every time.
I’ll show you how to make the
most common form of a twin
tenon joint to demonstrate the
system. You can then apply it
to other configurations using
the appropriate spacers. In
addition to a hollow chisel
mortiser, all you need is a
tenon jig and a good quality
dado head for your table saw.

42
Spacers and
mortises first Spacer stock

For our example joint here,

mill a piece of 11/2 × 11/2" A perfect start. The trick to a
leg stock, and two or three perfect joint begins by planing spacer
pieces of 3/4 × 11/4" rail stock. material to perfectly fit a groove
Set your dado head for a cut by the dado head that will be 1
⁄4"-wide groove cut in
1/4"-wide cut, and saw a used to make the tenon cuts. dressed scrap stock
groove about 1/2" deep in a
short piece of dressed scrap.
Check to make sure this
groove matches the cut from
your 1/4" hollow chisel. Leave
the dado head installed on
your saw until you finish
the process. Carefully
prepare a 48"-long strip of
approximately 11/2"-wide
spacer material for a tight fit
Spacers
in the 1/4"-wide groove. Saw
off any planer snipe at the
ends, then crosscut the strip
into four approximately
equal lengths. Finally, lay
out your mortises, and
cut them with a hollow-
chisel mortiser as shown.

Spaced-out mortising. After laying

No spacers
out your mortises on the sample leg,
cut them with a hollow-chisel mortiser,
sandwiching two spacers between
the work and fence for the innermost
mortise (above), Then remove the
spacers to cut the second mortise.

Photos: Paul Anthony; Illustration: Christopher Mills Aug/Sept 2020 | woodcraftmagazine.com 43

A jig, spacers, and dado head
does the tenon trick
Set a marking gauge to the length of your tenon, and
scribe the tenon shoulders. Then mark out the first
cheek cutline as shown. Using a tenon jig and your
previous dado head configuration, set up for the first
cheek cut. Make this first cut and check it as shown.
Define the shoulders. Using a cutting-style marking
gauge set to your tenon length, scribe completely
around both ends of your rail stock and a test piece.
Four spacers
44
After cutting all of the rails at this setting, remove two
spacers and saw all the center notches. Then make the
third cut with no spacers. Finish up at the saw by cutting
the narrow tenon cheeks as shown. Now fit the joint,
which may or may not require just a bit of finessing.
Scribed shoulder line
Innermost
face
First cutline. Align the innermost faces of the test
piece and leg. Mark for the innermost cheek cut,
and extend the line to the scribed shoulder.
First cut. After raising your dado
head to tenon-length height, mount
your test piece on your tenon jig
against all four spacers. Locate the
set-up as shown to saw the innermost
tenon cheek, then make the cut.
 Two spacers

Flush
Second cut. Remove two of the four spacers,
and make the next cut on all your rail ends,
pressing firmly against the work.

Innermost face

No spacers

First cut check. Presss the test piece against the leg’s innermost face to check the Third cut. Remove all spacers
cut’s position. If necessary, readjust the rip fence and recut until the inside rail edge to make the third cut.
is flush with the innermost mortise wall. Then cut all your rail ends at this setting.

Final cut. Reposition the jig to saw the

narrow tenon cheeks, flipping the piece
between cuts to create a 1⁄16
16"-wide shoulder

across both wide faces of the rail.

A Routed Approach
Spacers can also be used with a router
to cut the mortises for a loose-tenon
version of this joint. For a detailed look
at this method, see our Counter-Height
Stool story in issue 95, June/July 2020.
Thin flat
backer
Finesse the fit. Test the fit in the mortises. It should be perfect or
nearly so, requiring perhaps just a few quick swipes with a shoulder
plane or fine sandpaper wrapped around a thin, flat backer. ■

Aug/Sept 2020 | woodcraftmagazine.com 45

46
ACCENT
MIRROR
Set the stage to show off your carving
By Ken Burton

I
’ve been making mirrors with attached shelves for years. Recently,
I started adding small objects to those shelves, including stone
cairns, turned vases, and carved birds such as the one you see
here. Adding these little “extras” has made the mirrors sell better,
and they’re more fun to build.
The frame and shelf are quite simple to construct. A couple of
dado cuts, a few dowels, and some screws hold things in place. The
real effort comes in carving/whittling the bird. The bird isn’t meant
to be a specific species, but more of an archetype. I drew my inspi-
ration from the work of Emil Milan, whose stylized bird carvings
I greatly admire. If you haven’t tried carving before, this project is
a great way to get started. It doesn’t require many tools—a knife or
two and a couple of chisels—and the overall design is fairly simple
and forgiving. If you’re a more experienced carver, you might want
to modify the basic design to suit your own aesthetic.

Order of Work
• Make the shelf and upright
• Rough-cut the bird
• Carve the tail
• Carve the head
• Carve the body

Aug/Sept 2020 | woodcraftmagazine.com 47

 Bird pattern
Set the stage
This mirror consists of a few simple pieces.
The backing is a 1/2" Baltic birch plywood
panel with its edges sanded. The upright is made
from sycamore, and the shelf is cut from white
oak. Both of these pieces are notched to help hold the mirror,
along with the aid of three small dowels. Get the mirror first so
you can cut the pieces to match the glass. When you purchase
the 1/8"-thick mirror, have the edges polished, as they will be
exposed. The bird itself is carved from a scrap of black walnut.

FH screws SPACER BACKER

#6 × 11⁄4" 3
⁄16 × 5⁄8 × 23⁄4" 1
⁄2 × 8 × 251⁄4"

19⁄16" 20°

2"

Picture frame wire

Dowel
3
⁄16 × 1⁄2"

Shelf detail
D-ring hanger
13⁄8"
5
⁄8"

11⁄16"
3
⁄16"

7"

MIRROR
1
⁄8 × 7 × 241⁄4"

FH screws BIRD
#6 × 11⁄2" 11⁄8 × 23⁄4 × 41⁄8"

SHELF
7
⁄8 × 25⁄8 × 91⁄2"
311⁄16" 11⁄4"

SPACER VERTICAL FH screw

3
⁄16 × 5⁄8 × 13⁄4" 5
⁄8 × 7⁄8 × 283⁄4" #6 x 11⁄2"

48
 Make the supporting cast
Refer to the
drawing on the
facing page as you
mill the stock for the
vertical and the shelf. Also cut the
plywood backer to size. Glue spacers
to the ends of the vertical. Then use
a dado blade as shown to notch the
shelf to straddle the mirror. Also cut
the notch in the shelf for the vertical.
Attach the vertical and the shelf to the
backer with screws and add the locator
dowels. Disassemble the pieces for
finishing. Dye or stain the plywood if
desired. I used a red alcohol-based dye
followed by several coats of a wiping onlineEXTRA
varnish. Reassemble and add D-ring Design inspiration. Visit our website for
hangers and picture frame wire to the a gallery of similar mirrors with different
back about 4" down from the top. color combinations and added elements.

Space out. Cut

the spacers slightly
oversized in width
and length, and glue
them to the ends of
the vertical, allowing
enough space for the
mirror in between.
After the glue dries,
trim the overhang
and cut the ends
of the vertical at
20° as indicated
on the drawing.

End for end. Set up a 1⁄2" dado and then notch the back of the Rise and conquer. Increase the height of the blade,
shelf to fit around the mirror. Set the depth of cut to 3⁄16
16" to avoid and cut the notch for the vertical in two passes.
pinching the mirror, which can cause it to crack. Cut in from each
end in turn to ensure good bearing on the miter gauge fence.

Photos: Ken Burton; Illustrations: John Hartman Aug/Sept 2020 | woodcraftmagazine.com 49

 Tooling Up
Is the bird carved or whittled? Traditionally, “carving” is The biggest factor in either carving or whittling is to make
primarily done with chisels and gouges, whereas “whittling” is sure your tools are very sharp, and to keep them that way.
accomplished mainly with a knife. So this little bird is a bit of As for the specific tools you’ll need, you’ll want at least one
a hybrid, as it was made with an array of all three tool types. carving knife, one gouge, and one straight carving chisel.

Knives out. These three are my go-to

knives for most situations. I made the
wide, straight blade on the knife at
the bottom from a file. It works well
for convex curves. The upswept blade
in the middle is good for gentle inside
curves, while the thin detail blade
at the top is nice for tight spots.

Gouges by the numbers. Gouges are

designated by two numbers: sweep
(amount of curvature) and width. The
higher the sweep number, the tighter the
curve. I used the bottom-most gouge
(#9/13) for the inside of the bird’s tail.

Chiseled good looks. As I carve,

I often switch between knives and
straight chisels to keep my hands from
getting tired. Both straight (top) and
skew (middle) chisels will work nearly
interchangeably with the knives for
the bird. In a pinch, you can even use
a regular bench chisel (bottom).

Look sharp. Touch up the edges of your

carving chisels frequently. I keep mine
sharp with a tool called a power strop. It
is a disk of hard leather that I charge with
a touch of polishing compound. I use the
rounded one for the insides of gouges.

50
 Start the star
Transfer the bird profile on
page 48 to your carving blank
and rough-cut it on the band saw.
Start your carving with the tail. Think
of the tail’s shape as sort of a gently bent gouge.
Draw some guide lines, then cut the taper and
round the forward corners as shown. Pay close
attention to the grain direction as you cut away
the excess material. Carving will quickly teach
Kevlar glove
you when you’re trying to cut against the grain.
The wood will tear instead of cutting cleanly and Round the outside corners. As you shape the front of the tail,
your tools will tend to dig in. Once you have most of your cuts will run from the tip towards the body.
the shape roughed out, hollow the back side. Note the Kevlar glove I’m wearing to protect my left hand.

Wide to narrow. As the tail transitions into the Hollow, there. Switch to a gouge as you hollow the back of
body, you’ll need to change the direction of your the tail. The grain here runs from body to tip, but I find it easier
cuts in order to continue following the grain. to cut diagonally across the tail as I eliminate the waste.

What wood to carve?

Although you can carve any wood,
some species are much friendlier to
shape. Basswood is the traditional
choice for much carving, as it is soft
enough to cut easily, but tight-grained
enough to hold detail well. However,
basswood is a pale tan. For my birds,
I prefer more colorful woods such as
walnut and cherry, even though they are
harder and somewhat more difficult to
cut. Coarser-grained species such as
oak and ash can be more challenging
to carve, as can be denser species
such as maple. But if you pay close
attention to the grain direction and keep
your tools sharp, even these can yield
excellent results. Regardless of the type
of wood, use straight-grained pieces,
as knots and swirly grain can cause
trouble even in the softest of woods.

Aug/Sept 2020 | woodcraftmagazine.com 51

 Getting a-head
With the tail roughed out,
turn your attention to the head.
This is where you can impart
some personality to your work. By
having the head slightly twisted to the side, it
will appear as if the bird has just turned to look
at something. Lay out the shape on the blank as
shown. Then remove the excess from around the
outline, tapering the neck towards the body. As the
head takes form, carve back the sides of the face to A little off the neck. Round off the back of the head and neck by
create a straight line running from crest to beak. cutting upward from the body toward the crest. Here, I found it easier to
clamp the bird down as I made these cuts with a straight chisel.

Body building
The bird’s body is a
rounded, semi-spherical
shape that serves to connect
the tail, head, and feet. Having
carved the tail and the head, you’re likely
to have already carved most of the bird’s
back. Finish rounding that, then taper the
lower section downward toward the feet.

Back up. As you finish rounding the bird’s back, cut towards the head as shown,
then turn around and cut from the middle of the back towards the tail.
You’ll also find it works better to cut from the sides in towards the center.

Feet Accomplai
Rather than getting bogged
down in the details of what
real bird feet look like, or
adding metal replicas like some
carvers do, I prefer a stylized foot/base for
my avian creations. The front is a rounded
trapezoid shape, while the rear flows into
the curve of the tail. Once you have the feet
carved, go over the whole bird with a freshly- Birdy pedicure. Outline the final foot shape on the very bottom of your piece.
sharpened blade to blend the facets before Then shape the feet with cuts that run from this outline inward toward the body.
sanding. Finally, mount the bird to the shelf with
a screw driven up through the feet (ouch!).

52
Easy on the throat. On the front of the neck, make the cuts Face the facts. The bird’s face is formed by two gently curved
from beak to body. As you work, you’ll probably find one side or surfaces that intersect to form a line down the center. Carve these
the other is easier to cut, depending on your dominant hand. surfaces by cutting from beak to crest with a straight chisel.

Touch your toes. Taper and round the bird’s belly and rump
with cuts toward the feet. As you make these cuts, you
can start trimming the feet to their final size and shape.

Contour de elegance. While some carvers leave tools facets Stay in line. Use a flat sanding block on the two surfaces of the
on their work, I prefer to sand. Contour sanding pads help face. Keep an eye on the ridge. You want it to be a nice, straight
with the final shaping. Try to finish all the carving first, as line that runs right from the tip of the beak to the tip of the crest. ■
abrasive grit embedded in the wood will dull your tools.

Aug/Sept 2020 | woodcraftmagazine.com 53

54
WoodSense
LEOPARD WOOD
Pretty, but tough to tame
By Ken Burton
L eopard wood is another treasure from
the rainforest. It’s a heavy, dark red-
dish-brown wood marked with speckled
or lacy figure. This figure comes from the
trees’ wide medullary rays. All trees have
these rays that radiate from the central
pith; they have to do with the way trees
store nutrients. In leopard wood, these
rays happen to be particularly distinct.
You can see them most clearly in the
end grain where they appear
as light brown or gray
lines. Several
other
TEXTURE TOXICITY
MEDIUM-COURSE LOW-MODERATE
56
wood species display similar figure
including lacewood, and the Austra-
lian native silky oak (which is also sold
woodworking ancestors seem to have
overlooked it, contemporary makers have
incorporated the bespeckled boards into
as leopard wood on occasion). Of the everything from boxes and desktops to
three, leopard wood (Roupala mon- electric guitar bodies. It is also available
tana or R. brasiliense) is the darkest as a veneer on plywood. These sheets
and heaviest. have the type of uniform yet exotic pat-
terns that architects often specify for
Where the wood boardroom paneling and cabinetry.
comes from
The trees grow throughout Central and Selecting the best stock
northern South America. At full matu- As with most figured woods, leopard
rity, they can reach 100 feet in heightwood’s grain varies from board to board.
and close to 3 feet in diameter. Leop- So if you intend to edge-glue pieces,
ardwood is widely available through request photographs or view the pieces
exotic wood dealers. As of this writing,
in person for grain matching before pur-
it is not on either the CITES list or the
chasing. The wood is available in both
IUCN Red List as being endangered. 4/4 and 8/4 thicknesses. Many sources
sell smaller pieces—under 5" wide and 5'
History in woodworking long—as well as turning blanks. Never-
Leopard wood is a relative newcomer theless, wider, longer boards are readily
to the woodworking scene. While our available. It’s frequently sold S2S (sur-
faced two sides), so you can clearly see
the figure. Expect to pay $20-$25 per
Rays or Rings? Leopard wood’s board foot with a premium charge for
conspicuous spots come from its wider and longer pieces.
wide medullary rays. These rays are
so prominent in the end grain that Working and finishing
you might mistake them for the much By the numbers, leopard wood is not
less distinct annular growth rings. a stable species. Its radial shrinkage is
3.5%, while its tangential is 8.8%. But
ROT/INSECT RESISTANCE STABILITY HARDNESS DENSITY
MODERATE-HIGH MEDIUM HIGH 55 LBS./CU. FT.
By its spots, ye shall know it. Like those on its feline
namesake, leopard wood’s spots vary from board to board. The
widest ray flecks appear when the piece is perfectly quartersawn
with the growth rings dead perpendicular to the surface.
to take advantage of the flecked pat-
tern, most of the wood is quartersawn,
which tends to offset the disparity in
the shrinkage rates. It is not a very
friendly wood to work with hand tools.
It’s quite hard and all those beautiful
flecks tend to flake or lift when hand
planing. The wood does glue well, how-
ever, and readily accepts both oil and
water-based finishes. It holds nails and
screws well, though I recommend pre-
drilling, even for self-tapping screws.
Leopard Wood Uses
• Veneer
• Furniture
• Cabinetry
• Turnings
• Musical instruments
OpeningKen
Photos: photo:
Burton
TK; Project photos: TK; Illustrations: TK
Worth the trouble?
Leopard wood is visually very striking, but
taming it requires careful work. As I started
prepping the stock for this desk caddy, a
couple of swipes with my smoothing plane
told me that hand planing was a no-go.
The flecks made reading the grain direction
nearly impossible. Then once I had that
figured out, those flecks didn’t cut the
same way as the surrounding wood. Tear,
tear, and more tear. The edges cut a little
more cleanly, although the grain direction
often changed midway along the board.
On the plus side, the wood did scrape and
sand well, so I stuck with that to clean up
the surfaces. While the wood has a slightly
waxy feel, sandpaper didn’t load up the
way it does with some other exotic species
such as cocobolo. The wood also cut well
Aug/Sept 2020 | woodcraftmagazine.com 57
on the jointer, but I could tell how hard it
was both from the sound and the vibration
generated. There wasn’t anything I could do
about the noise, but firm downward pressure
mitigated the chatter from the vibration.
The wood is quite coarse and splintery (and
those splinters are sharp and stiff—ouch).
Aside from the splintering on the backside of
crosscuts, it machined nicely both on the table
saw and the router table, and behaved well on
the drill press. It seemed to glue well, though
the glue lines showed white against the dark
tones of the wood so consider a dark—rather
than yellow—glue. Fortunately, the glue lines
became less noticeable after applying a finish.
What little turning I did went well, though
some of the same tearout problems I had with
the hand plane showed up as I cut with both a
gouge and a skew. A little extra sanding was
all that was required to smooth things out.
Back at the bench, I had to pare the round
tenon on the penholder to fit its hole in the
base, a job that was easier than expected.
Finishing was fun. The wiping varnish
I used made the figure really “pop.” I’ll
be adding leopard wood to the palette of
species I use. Its distinctive pattern makes
a bold statement when used in smaller
pieces such as this desk caddy. ■
Bold and beautiful. The rich color and
striking figure of leopard wood go hand-in-
hand with the strong shapes and playful inlaid
elements of this Art Deco desk caddy.
Great Gear

Hardware finder, back saver

This handy telescoping tool grabs bits, bolts,
washers, nuts, or any of the many things that slip
from the grip of my buttery fingers. I don’t recall
buying it; I think I simply found it my toolbox years
ago, and have been thrilled to have it ever since. I
don’t need it every day, but when some hardware
needs rescuing, nothing else does the trick. Without
crawling around my shop floor or even bending
over, I can retrieve that #4 3/8" screw from behind a
cabinet, under a table, or even from a pile of sawdust.
Inexpensive and handy, the tool starts about the
size of a pen (5") but can extend to grab things
24" out of reach. I clip it to my shop apron on
the days when I’m installing hardware and work-
ing with screws and whatnot that are wont to fall
from my bench. Do your back a favor and buy Telescoping magnet
one for only a few bucks at any hardware store. hardware stores, under $10
—Chad McClung

58 Prices subject to change without notice. Photos: Chad McClung

 Great Gear

Yankee ingenuity
My grandfather used this tool regularly before passing it
to my father. Now I’m the one putting the paint-spattered
and well-worn Yankee Screwdriver (Model 30A) to work
in my shop. With only an occasional cleaning and a drop
of oil, it works like new and has never needed a battery.
Only a few pumps drive screws home as each down-
ward thrust of the handle spins the bit several revolu-
tions. A flick of the side-mounted control reverses the
rotation. Yankees are also ratcheting and can lock to
function as traditional screwdrivers. To increase the
tool’s functionality, I purchased an adapter to fit modern
1/4" hex bits. Now I can use my Yankee to drive screws
with Phillips, Allen, square, and even Torx recesses.
Garrett Wade sells new Yankees that work with hex Yankee screwdriver
bits for $100. But if you already have a Yankee deep Garrett Wade, $98.80
in your toolbox or can find one on the used market, Hex bit adaptor
pick up the adaptor at Lee Valley for about $9. ■ Lee Valley, $8.90
—Bill Schnieder

60 Prices subject to change without notice. Photos: Bill Schnieder

Subscribe to get
FULL ACCESS
to our complete
ISSUE ARCHIVE
Videos onlineEXTRAS Patterns Blogs

Aug/Sept 2020 | woodcraftmagazine.com 61

Buyer’s Guide
Hot New Tools (p. 16) Accent Mirror (p. 47)

1. TransTint Dye, Bright Red, 2 oz ....................................................... #128488, $21.99

1. Bora Portamate 50" NGX Clamp Edge ................................................ #172822, $64.99

2. Whizard Safety Glove .........................................................................#06I63, $22.99

2. Bora Portamate Premium Saw Plate for NGX Clamp Edge ................... #172825, $59.99
3. Flexcut Upsweep Knife.................................................................... #158156, $25.99

3. Bora Portamate T-Square for NGX Clamp Edge ................................... #172826, $29.99
4. Flexcut Detail Knife ......................................................................... #814267, $22.99

5. pfeil Swiss made #9 Sweep Gouge, 13 mm........................................#05T31, $41.25

Single-Drawer Side Table (p. 32)
6. pfeil Swiss made #1 Sweep Double Bevel Straight Chisel, 16 mm......#05A05, $42.50

1. Whiteside Roundover Bit, 1/8" R, 3/4" D, 1/2" CL, 1/4" SH ..............#24B92, $22.99
7. pfeil Swiss made #1 Sweep Double Bevel Skew Chisel 16 mm ..........#05B02, $40.50

2. Freud Slotting Cutter Bit Set, 1/8" CL, 1/2" SH ...............................#844563, $27.47 8. Flexcut Power Strop......................................woodworkingshop.com, #pws20, $44.95

9. WoodRiver Large Contour Sanding Pads, 6 pc................................... #145959, $9.99

3. TransTint Dye, Dark Vintage Maple, 2 oz ......................................... #821825, $21.99

10. WoodRiver Complete Sanding Pad Set, 8 pc.....................................#145957, $10.99

4. TransTint Dye, Honey Amber, 2 oz ....................................................#128481, $21.99

Great Gear (p. 58)

5. General Finishes Seal A Cell Finish, Clear, qt ..................................... #85S09, $19.99
1. Telescoping magnet.........................................................hardware stores, $10 or less

6. General Finishes Arm R Seal Top Coat, Satin, qt ................................ #85F08, $19.99
2. Yankee-Style Screwdriver .................................... GarrettWade.com, 08C03.0, $98.80

7. Highpoint Table Top Fasteners, 8 pc (12 needed) ...............................#159301, $1.95 3. Hex Adaptor for Yankee Screwdrivers ..........................LeeValley.com, 24K0555,$8.90

Items above available at Woodcraft stores, at woodcraft.com, or by calling (800) 225-1153, unless otherwise noted. Prices subject to change without notice.

Ad Index
ADVERTISER WEB ADDRESS PAGE ADVERTISER WEB ADDRESS PAGE
The American Woodshop .......................wbgu.org/americanwoodshop ............................23 Lignomat ..............................................lignomat.com ...................................................60

Berea ...................................................woodcraft.com..................................................58 Oneida .................................................oneida-air.com...................................... 10, 54, 61

Bosch...................................................boschtools.com ................................................15 PS Wood ..............................................pswood.com .....................................................61

Carter...................................................carterproducts.com .............................................7
Rikon ...................................................rikontools.com ............................................... OBC
Connecticut Valley School of WW ...........schoolofwoodworking.com ................................60
Robert Sorby.........................................robert-sorby.co.uk.............................................54
Freud ...................................................woodcraft.com/Freud ....................................... IFC
Rustoleum ............................................rustoleum.com .................................................20
Flexcut .................................................flexcut.com ................................................ 18, 46
Satellite City .........................................caglue.com ......................................................23
Harbor Freight.......................................harborfreight.com .............................................25
System Three........................................systemthree.com ..............................................19
Howard ................................................howardproducts.com ........................................17
Thomas Flinn & Co................................flinn-garlick-saws.co.uk ....................................12
JessEm ................................................jessem.com ......................................................13
Whiteside Machine................................whitesiderouterbits.com ...................................IBC
JPW .....................................................jpwindustries.com ...............................................5

King Arthur’s Tools ................................katools.com......................................................24 Woodcraft Franchise .............................woodcraftfranchise.com ....................................21

Laguna.................................................lagunalathe.com .................................................1 Woodcraft Magazine .............................woodcraftmagazine.com ................. 23, 46, 55, 61

Lee Valley .............................................leevalley .com...................................................11 Woodcraft Supply ..................................woodcraft.com............................................ 59, 63

62
Outfeed

Stealing
It’s all around you, and it’s up for grabs
By Paul Anthony

D esigning a piece of furniture can be a complex equa-

tion. There are a million variables to consider: size,
proportions, styling, arrangement of doors and draw-
ers, type of hardware, joinery, etc. etc. But occasionally,
you find yourself sitting on a lucky design launchpad.
Such was the case when I recently replaced a side table that had
lived in my kitchen for years. Although not really to my taste, the
piece was not without charm. Cobbled together with disparate
woods stained into agreement, it was graced with modest flair in the
form of a shaped splash, corbel-style leg brackets, a curved drawer-
rail molding, and legs scalloped to imply feet. Sadly, time had not The scene of the crime. Although this
been kind to it; the frame was wobbly, the nailed-together drawer “country-style” side table was a bit coarse
jammed relentlessly, and the finish had long ago lost its luster. and rickety, it had a number of attractive
But I appreciated certain aspects of it, including the size, propor- visual elements worth a design-thief’s notice.
tions, capacious drawer, and the open base that avoided crowding
the small room. The shelf served as a display platform for large
items or as temporary staging for everything from magazines to
kitchen appliances. I incorporated what I liked about the design
into a more contemporary version made from maple (p. 32).
Keeping the basic size and proportions, I reduced the splash, used
curved stretchers all around, and routed edging details in the legs,
aprons, and rails as subtle surprises for investigating eyes. Small
brackets serve as horizontal-to-vertical transitions, a trisected shelf
accommodates wood movement, and custom pulls accent the front.
However, for all the finessing I did, I basically stole the funda-
mental design and made it my own. What’s beautiful is that—
because I had been eyeing the piece for some time—I knew exactly
what I wanted to lift from it. It reminded me that, as furniture
makers, we should constantly practice our design-burglary skills.
Perhaps a lovely dining table catches your eye when having
dinner at someone’s home. Take note of what you like about it.
And don’t be shy about asking the owner what they do and don’t
enjoy about it; people love it when a woodworker takes an inter-
est in their furnishings. Snap phone shots if they don’t mind,
and take some rough measurements. Don’t always carry a tape
rule? Shame on you. Use your body parts as a general reference. The purloined goods reconstituted. Sticking with the
Take notes on a phone memo app. Just don’t spend the whole size and proportions of the pilfered design and finessing its
evening casing the joint, or you might give furniture makers a favorite elements resulted in this contemporary version.
rude reputation. And keep in mind that crawling around under
someone’s carefully set dinner table might not be appropriate at the moment.
The point is, keep an eye out everywhere you go for good ideas. And if there’s
something to steal, go for it! But if you get caught, I don’t know you. ■

64 Photos: Paul Anthony