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• Tablesawn Keys for Mitered Boxes

A selection of great Pieces of wood inserted diagonally into the outside corner of
information from our mitered joints add strength as well as beauty
Magazines, Books, and — with Gary Rogowski
Videos.
• Make the Tenon for Floating-Tenon Joinery
Skills & Techniques
Mill the tenon stock once you've established the size of the mortises
Joinery — with Lon Schleining
Tools • Tablesawn Dovetails

Accuracy and hand-cut look in half the time
Finishing — by Steve Latta
Workshop & Safety • Three Tongue-and-Groove Edge Treatments for Plywood

Projects & Design Besides giving your plywood edge added protection, these
treatments let you shape the edge into a bullnose, a bevel, or any
Materials number of configurations
— by Mario Rodriguez
Reader Showcase • Edge Joints

An introduction to the various types of edge joint, and what you
need to know to make them
— by Gary Rogowski
Get instant access to
over 600 of the best • A Simple Dado For Shelves
Fine Woodworking A router technique for an exact dado
articles. — with Pat Warner
Fine Woodworking • Tenoning Strategies

Online Archives Finding your way to a well-fitting mortise-and-tenon joint
• Making Round Tenons from Square Spindles

Browse our online A tip for making this difficult joint with a radial-arm saw
catalog of in-depth, — by Rex Alexander
how-to information.
• What Makes a Good Mortise?
Techniques A good fit and a strong glue bond are critical
— by Strother Purdy
Furniture
Power Tools • Picture-Frame Jig Helps You Master the Miter
Hand Tools Cut adjoining parts on opposite sides of the jig to guarantee a 90°
joint
Projects — with Gary Rogowski
Workshop • An Easily Aligned Jig for Routing Shelf Dadoes

Finishing Adjustable pivot ensures accuracy
— by Robert R. Knights
Turning
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Feature Library - Joinery
Carving • A Faster Way to Make Half-Blind Dovetails

It might not please purists, but it does speed up the process
Professional Topics — by Rob Cosman
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Tablesawn Dovetails
YOU ARE HERE: Fine Woodworking Home Joinery Tablesawn Dovetails
From the pages of Fine Woodworking Magazine
Four cuts are possible

Entire Site Tablesawn Dovetails with each setup
Accuracy and hand-cut look in half the time Custom-ground blade

A selection of great is the key
information from our by Steve Latta
Magazines, Books, and Sources for grinding
Dovetailing -- time-tested,
Videos.
reliable and strong -- is also
Through-dovetail pins
Skills & Techniques ornamental and should reflect the
personality of the builder. For this
Joinery Half-blind dovetails
to happen, the cabinetmaker must
Tools control the number of pins and
tails and their size and spacing.
Finishing Unfortunately, most router
Workshop & Safety dovetailing jigs don't allow for
that type of expression. The
Projects & Design appearance of the final joint, with
thick pins and uniform spacing, is
Materials
void of personality.
The Complete
Reader Showcase Hand-cutting represents the other Illustrated Guide to
end of the spectrum. The size and Joinery
spacing of the pins are determined A comprehensive, step-
by the cabinetmaker. Combine that with the natural irregularities of by-step pictorial
Get instant access to handwork, and this technique yields a look that is truly wonderful, reference on joinery
over 600 of the best tying the builder to traditions that are hundreds of years old.
Fine Woodworking However, it requires a great deal of time and skill. Joinery
articles. From Fine
I teach students a tablesaw method that bridges the gap between Woodworking's early
Fine Woodworking router-cut and totally hand-cut dovetails. The technique guarantees years, 36 articles on
Online Archives accuracy while allowing you to control spacing and size. The tails choosing, making and
can be as close together as the width of your sawblade. And it's easy using the mortise-and-
to make the spacing irregular, another sign of handwork. tenon, dovetail,
The main problem my students specialty joints, and
Browse our online have with hand-cutting dovetails more
catalog of in-depth, is crooked sawcuts, which come
how-to information. Dovetail a Drawer
back to haunt them when they use
the tails to lay out the pins. Any In this video,
Techniques
irregularities create gaps and cabinetmaker Frank
Furniture Klausz cuts quick,
splits when the boards are joined.
Power Tools Cutting the tails on a tablesaw, precise dovetails
using a miter-gauge setup or a without jigs or
Hand Tools templates
guide block riding the rip fence,
Projects ensures square cuts. This leads to
an accurate transfer and, The tablesaw setup involves a
Workshop tall support board attached
inevitably, a better joint. The between two miter gauges. A
Finishing guide-block setup also lets you simple stop and clamp allow for
run a stack of parts in one pass. accurate repeat cuts.
Turning
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Tablesawn Dovetails
Carving
Another big advantage is that you
Four cuts per set-up
Professional Topics spend less time on layout. For multiple
dovetails that are identical, the tails
need to be marked on only a single
piece of stock. The tablesaw setup
guarantees repeatability. This also
means that pieces are interchangeable,
so when running components such as
drawer sides, I send a few extra parts
along for the ride. If one gets damaged
later, a replacement is at hand. (opens in new
window)
The pins are pretty easy, as long as the

layout is transferred accurately with a marking knife. I use machines
to remove the waste between the pins and then pare them by hand,
working to the incised line.
Have a blade specially sharpened

Years back I read an article where a cabinetmaker ground all of the
teeth of a tablesaw blade 11-1/2° in one direction and used the blade
strictly for dovetailing. Fascinated by this idea, I spent $12 to have an
old narrow-kerf blade ground this way to work with my Unisaw. I
had another blade sharpened in the reverse direction to fit my left-
tilting Powermatic 66.
When tilted to the proper angle, the top

Custom-ground blade
edges of the teeth should be parallel to
the surface of the table. Although this
tablesaw technique will work with a
standard blade, the cut will not reach
all the way into the corner. The
specially ground blade cuts a perfect
corner, leaving only the small triangle
of waste between the cuts. (opens in new
window)
You can have your blade ground to
your favorite dovetail angle. I chose a
5:1 angle, which works out to 11-1/2°, but you might prefer 6:1 (9-
1/2°) or an 8:1 ratio (7°). The cost of having a blade custom ground
is usually under $20 (see Sources for grinding). The blade will
handle its light task for many years without resharpening. I'm still on
my first one.
I recommend using a carbide-tipped blade that has a flat-top grind.

Square-tipped teeth like this are common on older blades and blades
designed for ripping. The problem with alternate-top-bevel (ATB)
teeth is that too much of the carbide may have to be removed to get
each tooth down to a common angle, and then the blade may not cut
properly. Try telling your local sharpening service what you want;
they may be able to work with almost any blade.
Cut the tails first

When teaching students to cut dovetails, I lay down a simple rule:
pencil marks for the tails, knife marks for the pins. Because the tails
are cut first, it's no big deal if your cut misses the pencil mark by a
little. If it's a scribe line, however, you'll have to cut or pare all the
way to that line to remove it and get rid of the small blowouts from

Tablesawn Dovetails
severed fibers. Of course, I use a marking gauge to scribe the depths

on both the pins and tails boards.
Make a test cut to set your sliding bevel tool. Use that setting to
lay out your dovetails.
Size matters -- Basically, I cut the tails by setting the board on

end and pushing it through the angled blade. However, depending on
the size of the workpiece, I do this in two different ways. For large
case pieces, I use drywall screws to attach a support board of medium-
density fiberboard (MDF) to a pair of miter gauges, which makes a
very stable jig. Then I clamp a stop onto this board to allow repeat
cuts. With a very high support board and a waxed table, I've made
dovetail cuts on boards standing over 6 ft. tall.
Rather than using a miter-gauge
setup for narrow pieces such as
drawer sides or drawer stretchers,
pieces can be guided by a heavier
chunk of stock riding against the
rip fence (I save the cutoffs from
bedposts for this purpose). This
method has a couple of
advantages: It's quicker to set up,
and the stop, which is the rip
fence in this case, is easier to
adjust.
Typically, I'll run each set of

drawer sides as a pair, cutting The rip-fence-and-support-
through both simultaneously. For block method works well for
larger-scale jobs, with several smaller parts. In this case the
rip fence acts as the stop,
drawers equal in height, I often making it possible to run up to
run a stack of six parts in one six parts at a time and keep
them aligned.
shot. The rip fence keeps them
aligned. Once again, this support
block also works to prevent chipout, so make sure each cut goes into
fresh stock.
Setting the blade height -- For through-dovetails, when using

the marking gauge to scribe the baseline, go a hair deeper than the
thickness of the mating piece. This will cause you to leave the tails
slightly proud when the joint comes together; then they can be planed
flush to create a perfect appearance. The same should be done for the
pins. Half-blind dovetails, however, should be laid out for a flush fit.
Scribe a piece of scrap stock and use it to fine-tune the blade height.
Tilt the blade to the appropriate angle and raise it slowly, making
several test cuts until the blade is cutting right at the line. If you

Tablesawn Dovetails
accidentally go too high, reposition the support board or flip the

support block. That board or block backs up the cut to prevent
chipout.
When the blade is hitting the scribe line exactly, you can use the
sawkerf in the scrap piece to set the angle of your adjustable bevel.
Lay out the dovetails on your first workpiece. Move the stop block so
that the blade lines up with the pencil line, then guide the piece
through the cut.
[ next ]

Tablesawn Dovetails (page 2)
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Rabbet the tails before cleaning out the waste

Before I clean out the waste between the tail cuts, I rabbet the inside
edge of the joint. The rabbet is flush with the bottom of the tail Four cuts are possible
Entire Site sockets and serves a number of purposes. Most importantly, it makes with each setup
it much easier to locate the tails board on the pins board, resulting in
a precise layout transfer. Rabbeting the tails also leaves a clean Custom-ground blade
A selection of great corner on the inside of the finished joint, with the shoulder covering is the key
information from our blowout, milling errors and glue squeeze-out.
Magazines, Books, and Sources for grinding
Videos. Cut this rabbet after making the tail cuts. If the rabbet is there first,
you will get blowout when cutting the tails. When you put the Through-dovetail pins
Skills & Techniques
rabbeted side against the miter fence, there will be no support there
Joinery for the cut. However, rabbet the tails before cleaning out the waste Half-blind dovetails
between the angled tablesaw cuts. There will be less waste to clean
Tools
out and the rabbet will help guide your chisel if you're chopping by
Finishing hand.
Workshop & Safety For small to medium workpieces, make a shoulder that's less than 1/8
in. deep. You can make this cut in a single pass over the tablesaw
Projects & Design
blade. For carcase pieces or drawer stretchers 5/8 in. or thicker, when
Materials the rabbet is thicker than a sawblade, make a shoulder cut followed
by a cheek cut on the tablesaw. The Complete
Reader Showcase Illustrated Guide to
It is critical that this rabbet hit the scribe line exactly. Otherwise, the
joint won't fit or there will be an unsightly gap on the inside corner. Joinery
After rabbeting the inside of the tails, don't forget to reset your A comprehensive, step-
marking gauge for the pins, which now have less stock to pass by-step pictorial
Get instant access to through. reference on joinery
over 600 of the best
Fine Woodworking Joinery
articles. From Fine
Woodworking's early
Fine Woodworking years, 36 articles on
Online Archives choosing, making and
using the mortise-and-
tenon, dovetail,
specialty joints, and
Browse our online more
catalog of in-depth,
how-to information. Dovetail a Drawer
A small rabbet behind the tails Latta prefers the scroll saw for
creates a clean inside edge on removing waste stock between In this video,
Techniques the finished joint and makes it tail cuts. He cuts directly across cabinetmaker Frank
easier to locate the tails over the scribe line, leaving no
Furniture the pins board when waste, and the job is done in Klausz cuts quick,
transferring the layout. It also one step. This waste also can precise dovetails
Power Tools protects the corners of the tails be removed quickly with a
when the boards are stacked. chisel.
without jigs or
Hand Tools templates
Clean out the tails -- I prefer to use a scroll saw to cut away the
Projects
waste. The thin blade can slide sideways down to the base of the
Workshop tablesaw cut and then cut straight across the bottom in one shot. Cut
Finishing to the scribe line. It's a waste of time to stay shy of the line and leave
the rest for hand-paring.
Turning
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Carving If you don't have a scroll saw, waste some of the stock out with a
bandsaw and finish with a sharp chisel. Of course, chop only halfway
Professional Topics into the workpiece before flipping it over and working in from the
other side. Regardless of the method, this step goes quickly --
especially if the spacing between the tails (the size of the pins) is kept
to a minimum.
Now cut the pins

Use a marking knife or X-Acto when transferring the location of the
tails to the pins board; a pencil line is just not accurate enough. Also,
during the final paring, the tip of your chisel will fall right into the
knife mark, leading to a perfect fit.
How you waste out the stock between pins depends on the type of
dovetail being cut, the size of the workpieces and which machines
you own.
Three options for through-
dovetails -- For smaller workpieces, Through-dovetail pins
I use a scroll saw to clean out the waste
between the pins. Cut in along the
widest part of the pin and across the
depth line. With a little practice you
will be able to cut right to the scribe
line. Having removed the bulk of the
waste, use a chisel and marking knife (opens in new
to pare away the remaining triangles of window)
stock.
For larger case pieces with through-dovetails, or when you have a lot
of parts to do, use either a router setup or a dado head on the
tablesaw. By working with the board set on end, you can use the
height adjustment on these machines to establish a clean and square
surface at the bottom of these wide spaces.
A router with a straight bit leaves the cleanest cut at the bottom of the
pin spaces, and it lets you work closer to the angled cheeks of the
pins, but it involves one quick extra step. First clean out most of the
material with a scroll saw or bandsaw. The router will work more
smoothly with less material to hog through. Because the router will
be riding on the end of the board, clamp on a wide support block.
This piece will also back up the cut. Remove as much stock as
possible, then pare to your scribed layout lines with a sharp chisel or
knife.
On the tablesaw, use the double-miter-gauge setup. I usually stack

the dado head to a 1/2-in. thickness, which doesn't hog away too
much material in one pass but still makes the job go quickly. Just as
before, if you go too high with your test cuts on scrap, reset the
support board so that the cut plows through fresh stock. Place the
workpiece so that the widest part of the pin is facing the dado head;
that way any blowout will be mostly in a waste area. Again, finish
the joint by hand.
Router setup for half-blinds --
The router-and-support-block setup
works well for just about all half-blind
dovetails, whether fitting dovetailed
stretchers into the tops of table legs,

drawer sides into drawer fronts or case

Half-blind dovetails
tops and bottoms into sides. Once
again, set the router's cutting depth
exactly to the scribe line. Finish the
pins with a chisel and knife.
Method is a good
compromise
I'd love to teach my students to cut all (opens in new
of their dovetails by hand, cherishing window)
both the process and final product. But

their skill levels and the reality of the marketplace they're entering
simply won't allow for that. The structural integrity and final
appearance of the joint is what matters most. With this tablesaw
technique, you get most of the character of a hand-cut joint in much
less time. All in all, it's a compromise I can live with.
Steve Latta is a furniture-making instructor at the Thaddeus Stevens College
of Technology in Lancaster, Pennsylvania.
Photos: Asa Christiana; drawings: Kelly J. Dunton
From Fine Woodworking #152, pp. 56-

61
Purchase back issues

Three Tongue-and-Groove Edge Treatments for Plywood
YOU ARE HERE: Fine Woodworking Home Joinery Three Tongue-and-Groove Edge Treatments for Plywood
Concave batten aids

Entire Site Three Tongue-and-Groove Edge clamping
Treatments for Plywood

A selection of great
information from our Besides giving your plywood edge added
Magazines, Books, and protection, these treatments let you shape the
Videos. edge into a bullnose, a bevel, or any number
Skills & Techniques of configurations
The Complete
Joinery by Mario Rodriguez
Illustrated Guide to
Tools The three common versions of a tongue-and-groove lumber edge for Joinery
plywood offer the most protection for a plywood edge. A significant Gary Rogowski's
Finishing
advantage of adding a substantial piece of lumber to the edge of comprehensive, step-
Workshop & Safety plywood is that you can shape that edge in any number of decorative by-step pictorial
configurations, such as a bullnose, an ogee, or a bevel. reference on joinery
Projects & Design
Grooved Panel Grooved Lumber Plywood Spline
Materials
Reader Showcase

over 600 of the best (opens in new (opens in new (opens in new
Fine Woodworking window) window) window)
articles.
But these edge treatments have a couple of drawbacks. They are time-
Fine Woodworking consuming to carry out, and each of them produces a visibly
Online Archives discernible seam.
You can go about cutting these joints a couple of different ways. You
can buy a matched set of router bits to make the required cuts, or you
Browse our online can make all of the necessary cuts on a tablesaw using either a
catalog of in-depth, combination blade or a stacked dado set, or both. There's not a lot of
how-to information. room for mistakes when you're setting up these cuts -- you must be
precise.
Techniques
Furniture I usually begin by plowing the grooves first, using a stacked dado set.
Naturally, you must be prepared to make allowances for plywood that
Power Tools is not a full 3/4 in. thick, because it rarely is. Plowing the groove from
Hand Tools both sides guarantees that it will be perfectly centered, regardless of
the actual thickness. After plowing the grooves, clamp a plywood
Projects scrap to the fence and reposition it to cut the tongues to fit. I prefer to
Workshop make the shoulder cuts first, using a combination blade for a clean
cut. When gluing up any of the three versions shown here, a clamped,
Finishing slightly concave batten will give you tighter seams, distribute the
Turning pressure more evenly across the span of the edge and will require

Three Tongue-and-Groove Edge Treatments for Plywood
Carving fewer clamps.

Professional Topics Mario Rodriguez is a contributing editor to Fine Woodworking.
Detail photos: Kelly J. Dunton; other photos: William Duckworth

61

Edge Joints
YOU ARE HERE: Fine Woodworking Home Joinery Edge Joints
From the pages of The Complete Illustrated Guide to

Joinery
Spring Joints
Entire Site
Edge Joints Splined Edge Joint
A selection of great An introduction to the various types of edge Tongue-and-Groove

information from our joint, and what you need to know to make Joint Problems
Magazines, Books, and them
Videos. Edgebanding Options
by Gary Rogowski
Skills & Techniques
Joinery There's no more thorough and readable guide to joinery than this
new book from expert woodworker Gary Rogowski. The Complete
Tools Illustrated Guide to Joinery uses full-color, step-by-step photo essays
to show you how to make every practical woodworking joint. In this
Finishing
excerpt from Section 14, Rogowski provides an overview of edge-
Workshop & Safety joint construction.
Projects & Design The Complete

If mortises and tenons represent
most of the joinery available to a Illustrated Guide to
Materials Furniture and Cabinet
woodworker, edge joints make up
the rest. Edge joinery relies Construction
Reader Showcase mostly on adhesive strength, From Andy Rae, a
although there are exceptions. graphic, step-by-step
Unglued tongue-and-grooves or presentation of basic
shiplapped boards can make up If you have two good mating furniture construction
Get instant access to the back of a cabinet, and unglued edges, you can glue up the
boards by just aligning them
techniques
over 600 of the best coopered staves for a barrel can and rubbing their edges
be held in place by an iron hoop. together. The Complete
Fine Woodworking
articles. Some edge joints do have Illustrated Guide to
reinforcing, like biscuits, dowels, or even a tongue and groove. But Shaping Wood
Fine Woodworking these types of reinforcement are used as much for alignment as for Furniture maker
Online Archives strength. What edge joinery depends on is two good mating edges cut Lonnie Bird makes the
straight and true and bonded together with a good adhesive. complex subject of
Edge laminations put together shaping wood
with a good adhesive are so accessible to every
Browse our online woodworker
catalog of in-depth, strong they are often stronger than
how-to information. the surrounding wood. But this
Router Joinery
strength depends heavily on the
Techniques mating surfaces being true, clean, Gary Rogowski
and without twist, so as the wood examines a wide
Furniture variety of joints and
moves it does not put the edge
Power Tools joint under any additional strain. construction
You can pull together any joint Burned wood will not glue up techniques
Hand Tools well. Make sure your surfaces
with enough clamping pressure, are always clean, straight, and
Projects but the joints that will last are the without any twist.
Workshop ones require only moderate
pressure to close.
Finishing
Turning Edge-joint uses
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Edge Joints
Carving You can use edge joints to make simple laminations, construct Slipcase Set:
coopered door shapes, or create wide panels from narrow widths. Essentials of
Professional Topics You can also construct tabletops, carcase sides, and the panels that fit Woodworking
into frames. Edge lamination is used to band the edges of plywood or In six books, the best
other sheet-good materials with solid wood. techniques, advice and
shop solutions from
Spring joints
the pages of Fine
Edge joinery attempts to do a very
Woodworking
basic and yet sometimes difficult
task: mating two edges together Slipcase Set: Methods
completely along their entire
of Work
length. Most boards flex enough
even in their width to allow you Four volumes of
to clamp out any gaps at the ends proven shop tips from
of a board. But consider that the Methods of Work
twice as much moisture loss and To check for a spring joint, look column in Fine
for a little bit of light showing Woodworking:
gain occurs out at the end of a through the middle of the
board through the end grain. edges. The boards should also
Finishing, Router,
have some pressure at their Tablesaw, Workshop
ends when you try to spin one
If an edge lamination is going to board on the other.
fail, it will usually fail at the end The Glue Book
of a board first. This is where a spring joint really shines. By planing William Tandy Young
in a small hollow along the length of the boards, you will need to explains how to work
apply pressure to close up the joint. This creates more pressure and a successfully with a
little bit of springback at the ends where the boards start to lose wide variety of glues
moisture first. Cut this hollow into both mating edges and then check
for a sliver of light shining through the joint.
Edge gluing
Before doing any edge
lamination, get in the habit of
checking some details for the best
results. Arrange the boards for
grain direction before joining the
edges. Some woodworkers
alternate heart sides up or down to Before jointing the edges, mark
minimize cupping. Others run the out the face sides and align the
boards for looks or grain or
boards consistently heart side up both.
or down to yield a consistent cup.
Still others just choose the best-looking combination of boards.
If you're going to handplane the faces after gluing, line up the grain
for a consistent planing direction. Remember that there are eight
possible ways to arrange two boards together for a simple edge
lamination, so there are plenty of options.
Mark out the face sides and which edges will be glued together. Use
flat pipe or bar clamps that you can register the boards on accurately.
Have them resting on a good true surface. If the clamps and work
surface are flat and you keep the boards flat on the clamps, your
laminations have a much better chance of coming out flat as well.
Plane the edges and then dry-clamp the boards together. This will
make you get out all the clamps and tools you'll need for the glue-up
before the glue starts drying. Check to see that the joint closes up on
both faces. Make sure the pressure is consistent across the width and
length of the joint. Bang the boards flat onto the clamps at their ends
where they tend to lift up.

Edge Joints
Dry-clamp the boards arfter

planing them to make sure the
Check both faces for squeeze- joint closes up on both faces.
out and add a clamp, if needed.
Also check to see that the
boards are sitting flat on the
clamps.
Use enough glue that you get some squeeze-out when you apply
clamping pressure. Use a C-clamp to keep the ends lined up flat or a
dead-blow hammer to coax the boards into place. Check both faces
for consistent clamping pressure. Add more clamps if needed to get a
good consistent pressure. Alternate the clamp heads to even out the
pressure.
Reinforcing edge joints

An edge joint mates long grain to long grain, which allows ideal
gluing surface. For that reason, a glued edge joint has great strength,
even without the addition of reinforcements. Tests have shown that
an edge joint properly jointed and glued with modern adhesives has
greater strength than the original solid wood.
So why reinforce an edge joint? Reinforcements in the form of

biscuits, dowels, splines, or tongues and grooves make alignment
much easier. Beyond this, reinforcements provide a mechanical
connection, which strengthen the joint. Without them, you must
depend on the adhesive alone to hold the joint together.
Splines help align edge joints and can be used decoratively. Use
plywood splines or use solid-wood splines with their grain running
across the groove for the best strength. It's easier to cut a spline to
match the grain direction of the mating boards, but it's also easier to
break it along the long grain.
A tongue-and-groove joint is another effective way to join edges. The

key to making a strong joint is designing and cutting it to the right
proportions.
Edgebanding
Sheet goods are invaluable in
cabinet construction, but plywood
edges are ugly. Although
commercially available
edgebanding may be a quick
solution, custom edgebanding is
more durable and certainly more
elegant (see Edgebanding
options). Making your own
edgebanding allows you to match
stock color, especially for unusual
species. Custom edgebanding also
means more design options,
including profiles.

Edge Joints
Cover the edges of sheet-good

Gary Rogowski has been building material with a simple edge
furniture since 1974 in Portland, lamination.
Oregon. He has taught furniture
making classes and workshops around the country for 21 years. In 1997 he
opened The Northwest Woodworking Studio, a woodworking school in
Portland. He is contributing editor to Fine Woodworking magazine, the
author of Router Joinery (The Taunton Press, 1996), and has appeared in
Taunton videos.
Photos: David L. Minick; Drawings: Mario Ferro
From The Comoplete Illustrated Guide

to Joinery, pp. 269-272

Tenoning Strategies
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Cutting tenons by hand

Entire Site Tenoning Strategies
Cutting tenons on the
Finding your way to a well-fitting mortise-and- radial-arm-saw and
A selection of great tenon joint bandsaw
information from our
Magazines, Books, and by Gary Rogowski Cutting tenons on the
Videos. tablesaw
The mortise-and-tenon joint might be the most relied-upon joint in
Skills & Techniques furniture making. After all, a well-fitted tenon can mean the
Cutting tenons
difference between a sturdy table and an embarrassingly wobbly
Joinery vertically
project. Cutting tenons can be approached from a dozen different
Tools directions, and the approach you take depends on your tools and how
you like to use them. Some folks love the precision and power of Router-table tenons
Finishing their saw or router; others prefer the more contemplative whoosh of a
Plunge-routing wide
Workshop & Safety backsaw and handplane. The method you choose will determine your
speed and the risk factor. tenons
Projects & Design
A tenon should fit tightly in a mortise -- Plunge-routing loose
Materials Types of tenons tenons
snug, like a good shoe put on with a
shoehorn -- not like a ragged old
Reader Showcase sneaker that you can flip off and across
the room as you're sitting down.
Regardless of the cutting method you
choose, aim for a joint that is loose
Get instant access to enough to put together by hand but (opens in new
tight enough that it takes a few mallet window)
Fine Woodworking taps to get it apart. Leave room for a
articles. little bit of glue in the joint, and always cut tenons just shy of the 12 Ways to Make a
depth of the mortise so there's a gap at the bottom of the joint for Mortise & Tenon
Fine Woodworking excess glue. In this video, Gary
Online Archives Rogowski shows you a
Remember that accuracy comes from the patient hands of the builder dozen ways to cut this
essential joint
and that precise joinery depends upon accurate millwork. If your
millwork is sloppy -- if your stock cups, warps or doesn't have Making Mortise-and-
Browse our online parallel faces -- you'll have trouble cutting accurate tenons, no matter Tenon Joints
catalog of in-depth, what method you choose.
In this video, Frank
how-to information. Klausz shows you
Also, I never cut mortises or tenons without first planning ahead on
Techniques paper, even if it's just a quick sketch. It's better to risk a few simple how to make the joint
eraser smudges on paper than to waste precious wood. A sketch will cleanly and quickly,
Furniture using hand tools or
help you locate the joint for the most strength and best look. For
Power Tools strength, a tenon should be at least one-third the thickness of the basic woodshop
stock to ensure there is enough material to support the joint. machines
Hand Tools
Projects Cutting tenons by hand
Workshop In these days of machines, it may seem a waste of time to cut a tenon
by hand, but if you have only a few tenons to cut, you may be
Finishing surprised by how much set-up time you can waste with some
Turning machines. When I have to cut only a few simple joints, I'll often

Tenoning Strategies
Carving reach for a backsaw and a Router Joinery

shoulder plane. Furniture maker Gary
Professional Topics Rogowski shows you
Hand-cut tenons require careful simple methods for
setup and layout (see Cutting using the router to cut
tenons by hand). Your method joints and explains
may involve using a marking how you can use these
gauge and square, a mortising same techniques in
gauge or a pencil and square. But your shop
whatever your method, be
consistent with your approach and Router Joinery
always be dead-on accurate. Even In this video, Gary
if you are using machines to cut Rogowski
tenons, the same guidelines for marking out hold true. demonstrates router
joinery techniques that
Using the radial-arm can be mastered by
saw and bandsaw to cut any woodworker
tenons
The radial-arm saw probably
crosscuts more efficiently than
any other machine, and the
bandsaw rips better than any tool
in my shop. You can take
advantage of both features to save
time cutting tenons (see Cutting
tenons on the radial-arm-saw and
bandsaw). If you have a few
tenons to cut, use a pencil to mark
out one tenon shoulder and cheek. Set a stop for the shoulder cut on
the radial-arm saw table or fence. Adjust the depth of cut on the
radial-arm saw and cut all of the shoulders to the proper depth.
Move to the bandsaw for the cheek cuts, and be sure to use a blade
that suits your material. A 4-tpi (teeth per inch) blade works fine for
most tenon cuts. But if you're cutting tenons in something hard like
oak or mushy like green cedar, use a 3-tpi blade, which will push
chips away and allow you to get through the cut more easily. On
especially narrow tenons, a 6-tpi blade will work fine.
Cutting tenons using a

tablesaw
By using various blade setups and
jigs, there are several ways to cut
tenons on the tablesaw. When
choosing a method, consider
speed, safety and accuracy -- and
make sure that the blades and jigs
you use are running true.
A dado-blade setup for

quick work -- The fastest way
to cut tenons using a tablesaw is
with a dado blade (see Cutting
tenons on the tablesaw). Set to the proper height, a dado blade will
cut your cheeks and shoulders while you hold the stock flat on the
saw table. Be careful while using a wide dado setup on the tablesaw,
because these blades can take a big bite out of your board. Move

Tenoning Strategies
slowly through the cut, and keep the board flat on the saw table.
Tenons cut vertically -- Because switching to a dado-blade setup

takes some time, it doesn't always make sense for small jobs. The
method I've used most often calls for a combination blade on the
tablesaw (see Cutting tenons vertically). I cut the shoulders with a
crosscut jig, rough-cut the cheeks on the bandsaw, then trim the
tenons to fit perfectly by holding them vertically on the tablesaw and
passing them through the blade using a shopmade tenoning jig.
Cutting tenons using a router table

Given the proper amount of patience and set-up time, tenons can be
cut successfully using a router table, and this setup really comes in
handy if you have quite a few tenons to cut. This tenoning method is
similar to the dado-blade setup on the tablesaw in that you need to set
the bit height for a perfect cut. But with a good bit chucked in the
router, you get a much smoother cut than you get with a dado blade
on the tablesaw. You can work the stock slowly toward the fence, or
to save some wear and tear on your router bits, you can rough out the
cheeks first on the bandsaw. Then set a fence for the proper shoulder
distance, and set the bit height for the first cheek pass.
With a router table you can package two boards together for a more
stable pass by the bit (see Router-table tenons), or you can use a
backer board to support the cut and to prevent tearout on the back of
the cut where the bit emerges. Make the first cheek pass and then
check it against the mortise. Raise the bit for a deeper cut. Even with
a wide bit, it will take several passes to get back to the shoulder cut.
This is an end-grain cut, which tends to burn when you cut too
slowly, so move relatively quickly through the bit, making sure you
don't leave uncut any patches of wood on the cheeks of the tenons.
If you're cutting mortises using a router, you'll either have to square

up the mortises or round over the tenons. When I opt to round over
the tenons, I do it quickly with a chisel and file. A simple jig (nothing
more than a short cut made with the router bit used for mortising)
tells me when I've trimmed the tenon to the correct shape.
Plunge-routing tenons
on wide stock
To cut tenons on a wide board,
use a plunge router with a fence
mounted on it (see Plunge-routing
wide tenons). A breadboard end
with multiple tenons is the perfect
situation to use this method, but it
also works well for narrow
boards. You just have to package
a few of them together to get
better support for your router
base.
Plunge-routing loose tenons on long stock

When your stock gets too long to cut tenons, you can use loose
tenons (see Plunge-routing loose tenons), which are simply two
mortises joined together with a long spline (for lack of a better word).
The mortises are easy to cut using a mortising template and a plunge

Tenoning Strategies
router mounted on a template guide. Make up loose-tenon stock out

of the same material as your mortised pieces and trim it to fit in
thickness (at the planer) and width (on the tablesaw). Then take it to
the router table and, with a roundover bit, round the stock on all four
long edges. Next, cut a glue-escape slot on the tablesaw before
crosscutting it to length. When cut to length, the loose tenons should
fit smoothly into the mortises.
Using a horizontal routing machine to cut tenons

When a job calls for cutting a large number of tenons, it might be
time to call out the big guns. When set up properly, a horizontal
routing machine outfitted with a router can save you a lot of time and
work. The machine does an excellent job of cutting a large number of
tenons very quickly. You can use standard-sized tenon templates or
design the joint to whatever dimensions you want. Another
advantage is that the machine can cut angled tenons with ease simply
by angling the worktable. But with prices starting at around $1,500,
you have to be able to justify the cost of the machine.
The method of choice

There are countless ways to cut tenons. The methods you choose
should depend on the tools you have in your shop and on the number
of tenons you have to cut. For a single small tenon, you can probably
cut it quickly by hand. If you're cutting hundreds of tenons, a
horizontal routing machine could save you hours and hours. For
many of the jobs you encounter, you might find a happy medium
with routers and saws. Just remember that what matters isn't how you
cut tenons; it's how they fit.
Gary Rogowski is a contributing editor to Fine Woodworking.
Photos: Matthew Teague and Michael Pekovich; drawings: Bob La Pointe

67

Making Round Tenons from Square Spindles
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Square Spindles
A selection of great Joinery, Shaping &
information from our A tip for making this difficult joint with a Milling
Magazines, Books, and radial-arm saw Articles from Fine
Videos.
Woodworking
by Rex Alexander
Skills & Techniques describe techniques
Making round spindles in a PVC and strategies for
Joinery making furniture parts
pipe jig on the radial-arm saw is
Tools faster than using traditional
methods for machining square Radial-Arm Saw
Finishing tenons. Joinery
Workshop & Safety In this video, Curtis
To cut round tenons on square Erpelding shows you
Projects & Design stock, slip a piece of PVC pipe how to use an
over each end of the spindle, ordinary radial-arm
Materials
allowing it to roll (Step 1). saw to cut precise
Carefully rotate the spindle against the radial-arm saw's fence and a joints for making
Reader Showcase stop block while moving the cutterhead, fitted with a dado blade, to furniture
remove the waste (Step 2).

Fine Woodworking
articles.
Fine Woodworking
Online Archives
Browse our online Step 1 Step 2

how-to information. Rex Alexander makes furniture, cabinetry and millwork in Brethren, Mich.
Techniques Photos: Anatole Burkin; drawing Bob La Pointe
Furniture From Fine Woodworking #130, p. 81

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Making Round Tenons from Square Spindles
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What Makes a Good Mortise?
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A good fit and a strong glue bond are critical
A selection of great 12 Ways to Make a
information from our by Strother Purdy
Mortise & Tenon
Magazines, Books, and In this video, Gary
A good mortise needs two things: a clean surface
Videos. Rogowski shows you a
for a strong glue bond and a tight fit with the dozen ways to cut this
Skills & Techniques tenon. essential joint
Joinery The fit should be... Making Mortise-and-

Tools Tenon Joints
● not too tight: If you have to hammer In this video, Frank
Finishing the joint together, it's too tight. You'll Klausz shows you
likely split the mortise if you tap how to make the joint
Workshop & Safety aggressively.
cleanly and quickly,
● not too loose: You shouldn't be able to
Projects & Design move the tenon in the mortise at all or using hand tools or
feel any back-and-forth movement basic woodshop
Materials
when you try. machines
● just right: The tenon should fit into the dry mortise with
hand pressure only. It should not come apart easily, and Joinery, Shaping &
Reader Showcase it certainly should be able to withstand gravity. A good fit Milling
may even need light mallet taps to drive the joint apart.
Articles from Fine
For a strong glue bond, the mortise cheeks should be...
Woodworking on
Get instant access to milling lumber
over 600 of the best ● flat and smooth, so they meet the tenon evenly.
straight, flat, and
Fine Woodworking ● unfinished, so the glue can penetrate the mortise cheeks. square; creating
articles. ● free of loose fibers, which would soak up the glue and not curves through
allow it to penetrate solid wood. bending, laminating
Fine Woodworking and coopering; and
Online Archives developing techniques
for routing a wide
range of complex
shapes and joints
Browse our online
how-to information.
Techniques
Furniture
Power Tools Strother Purdy is a former associate editor of Fine Woodworking.
Hand Tools Photos: Strother Purdy
Projects From Fine Woodworking #130, p. 59

Workshop
Finishing
Turning

What Makes a Good Mortise?
Carving
Professional Topics

An Easily Aligned Jig for Routing Shelf Dadoes
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Shelf Dadoes
information from our Adjustable pivot ensures accuracy Milling
Magazines, Books, and
by Robert R. Knights
Articles from Fine
Videos.
Woodworking on
Skills & Techniques Recently, I had to rout lots of dadoes in cabinet sides for 3/4-in. milling lumber
plywood shelving. I came up with a method built around a 5/8-in. straight, flat, and
Joinery square; creating
patternmaking router bit (with the bearing located above the bit) and
Tools a simple jig made from two pieces of 1-in.-thick plywood about 6 in. curves through
wide. The two pieces of plywood are joined by a small piece of 1/4- bending, laminating
Finishing in. plywood at one end that pivots. and coopering; and
Workshop & Safety developing techniques
for routing a wide
Projects & Design range of complex
shapes and joints
Materials
Router: Methods of
Reader Showcase Work
The best router tips
from 25 years of Fine
Woodworking
over 600 of the best Router Joinery
Fine Woodworking Furniture maker Gary
articles. Rogowski shows you
simple methods for
Fine Woodworking using the router to cut
Online Archives To use the fixture, clamp one side to the cabinet side along the index joints and explains
line you have drawn for the shelf location. Position an offcut of the how you can use these
same material you will be using for the shelf between the two parts of same techniques in
the jig. Swing the second fence toward the first fence so that it your shop
Browse our online sandwiches the offcut, and clamp it in place. Now remove the offcut,
catalog of in-depth, and rout the dado, running the bit's bearing against the sides of the Router Joinery
how-to information. jig's arms. In this video, Gary
Rogowski
Techniques
This system is more accurate than any other method I've used. It even demonstrates router
Furniture adjusts for minor variations in sheet thickness. joinery techniques that
Power Tools can be mastered by
Robert R. Knights lives in Woombye, Australia.
any woodworker
Hand Tools Drawing: Jim Richey
Projects From Fine Woodworking #124, p. 26
Workshop
Finishing
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An Easily Aligned Jig for Routing Shelf Dadoes
Carving
Professional Topics

A Faster Way to Make Half-Blind Dovetails
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Dovetails
information from our It might not please purists, but it does speed Milling
Magazines, Books, and up the process Articles from Fine
Videos.
Woodworking on
by Rob Cosman
Skills & Techniques milling lumber
I was fortunate to learn how to cut dovetails from one of the best in straight, flat, and
the craft. In 1987, I spent two weeks as Alan Peter's assistant at the
Tools Anderson Ranch Arts Center. After all of that training, I can cut a set curves through
of through-dovetails as fast as I can set up a router jig. bending, laminating
Finishing and coopering; and
Workshop & Safety But cutting half-blind dovetails is another story. Although there are developing techniques
some tricks to speed up the process using a router, removing the bulk for routing a wide
Projects & Design of the waste from between the pins is mostly a slow and tedious range of complex
process using a chisel. My solution is to start with a thick drawer shapes and joints
Materials
front and rip a fat, 1/8-in.-thick slab off the front. I do this while the
drawer front is still oversize in width and length. Then I plane both
Reader Showcase pieces and set aside the 1/8-in. piece. After that, I cut regular through-
dovetails -- front and back -- and assemble the through-dovetailed
drawer. Once the drawer is together, I simply laminate the 1/8-in.-
thick piece back onto the drawer front. After trimming the front piece
Get instant access to flush on all four sides, I have (from all appearances) a set of perfect
over 600 of the best half-blind dovetails.
Fine Woodworking
articles.
Fine Woodworking
Online Archives
Browse our online

how-to information.
Techniques
Furniture
Power Tools
Hand Tools
Projects
Workshop
Finishing
Turning

A Faster Way to Make Half-Blind Dovetails
Carving
Professional Topics
Another advantage of this approach is that I can rip a set of drawer

fronts in sequential order from one thick board, resulting in a nicely
matched flitch pattern on the fronts of all of the drawers.
Rob Cosman lives in Grand Bay, N.B., Canada.
Drawing: Jim Richey
From Fine Woodworking #141, p. 20


Feature Library - Skills & Techniques
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•
Install Strap Hinges on a Blanket Chest
A selection of great Testing and adjustments yield a perfect fit
information from our — with Michael Dunbar
Videos. •
Chop a Hinge Mortise
Skills & Techniques Rough out the mortise, then chop and pare to the lines
— with Garrett Hack
Joinery
• Bench-Chisel Techniques
Tools
Used correctly, a simple set of chisels covers all of your chopping
Finishing and paring needs
— by Garrett Hack
Workshop & Safety
•
Projects & Design Using Your Souped-Up Spokeshave
Materials Even a well-tuned shave requires practice to master
— with Brian Boggs
•
Reader Showcase Two Simple Jigs to Aid Your Cuts on a Router Table
Safe operation and clean cuts result from proper control of the
workpiece
— with Pat Warner
over 600 of the best •
Using the FasTrack Honing Guide with Diamond
Fine Woodworking
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articles.
Learn how to maintain the same honing angle for each iron
Fine Woodworking — with Aimé Ontario Fraser
Online Archives
•
Cutting with a Dovetail Saw
Phil Lowe demonstrates the clamping and cutting techniques that
lead to tight-fitting joints
Browse our online — with Phil Lowe
how-to information. • Turning Bowls: Rough Turning the Profile
Step-by-step instruction from a master woodturner
Techniques — by Richard Raffan
Furniture
•
Power Tools Turning Beads and Coves
Mastering these two shapes will allow you to turn virtually any
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Projects — with Ernie Conover
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Feature Library - Skills & Techniques
Carving •
Use a Boring Bar for Hollow-Vessel Turning
Professional Topics Drill an entrance hole, then cut from the center out for a thin-walled
vessel
— with Howard Lewin
• Assembling Cases
Get it right the first time with the right tools and the proper clamps
and clamping technique
— by Andy Rae
• Getting an Edge with Waterstones, Oilstones and Sandpaper

Different woodworkers use different sharpening methods
— by Jeff Kolle
• Carving the Foot by Hand

How to make an 18th-century style pad foot without a lathe
— by Lonnie Bird
• Carving an Egg and Dart Molding

With two gouges and a mallet, you can make this classic design
— by Lee Grindinger
• Three Reliable Ways to Taper a Leg

Tapers can be cut quickly and accurately with a bandsaw, a
thickness planer or a tablesaw
• A Circular Saw in the Furniture Shop?

For cutting sheet goods in tight quarters, this carpenter's tool, used
with a sacrificial table and dedicated cutting guides, produces joint-
quality cuts with ease
— by Gary Williams
• 12 Quick Tips
Readers’ ideas make woodworking easier, safer and less expensive
— by Fine Woodworking Readers
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Bench-Chisel Techniques
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The versatile chisel

Entire Site Bench-Chisel Techniques
Used correctly, a simple set of chisels covers
A selection of great all of your chopping and paring needs
Magazines, Books, and by Garrett Hack
Videos.
A few thousand years ago
Skills & Techniques someone clever hammered out a Classic Hand Tools
hunk of bronze into a narrow A celebration in word
Joinery and picture, plus
blade, fitted a handle to one end,
Tools sharpened the other against a practical information
stone and produced a chisel. on using, choosing
Finishing Generations of craftsmen since and tunng these
Workshop & Safety have tweaked the design: Tough mainstays of the
steel replaced soft bronze, the woodworker's shop
Projects & Design shape and length of the blade
were modified to suit various The Complete Guide
Materials to Sharpening
tasks, but in essence, chisels have
not changed much. They are still Learn the most
Reader Showcase simple in form and, when used effective ways to
effectively, one of the most useful sharpen your tools,
tools in the shop (see The versatile chisel). from chisels to drill
bits
Every week catalogs arrive, full of a dizzying array of different
chisels: long, fine-bladed paring chisels; stout mortise chisels; heavy The Woodworker's
and wide framing chisels; stubby butt chisels; intriguing Japanese Guide to Hand Tools
chisels; and many sets of bench chisels. Few other classic hand tools An A to Z manual for
are still available in such variety. Unless you work entirely by hand, your hand tools
all you really need is a good set of what I call bench chisels or, as
some prefer, firmer chisels. These are chisels with blades about 4 in.
to 6 in. long, in a wide range of widths from about 1/8 in. to 2 in. and
with a wooden or plastic handle.
The only substantial differences between sets of bench chisels are the
quality of the steel and the shapes of the blades. The blades on my
everyday set of Swedish bench chisels are slightly tapered in length
and beveled along the long sides. Tapering the blade yields a tool
stout enough for the hard work of chopping a mortise yet light
enough to pare one-handed. A blade with flat sides is stronger than
one with beveled sides and is less expensive to manufacture. But a
beveled blade can reach into tighter places, such as for cutting small
dovetails.
Prepare the chisel

As with many other tools, the performance of a chisel is determined
by how well it is tuned. The back of the chisel -- the unbeveled side --
must be dead flat for at least 3/4 in., and preferably 1 in. to 2 in.,
behind the cutting edge. This flat plane guides and controls the cut: A

curved back will rock and provide little control.

Another common problem is a
slight rounding of the cutting
edge on the back side. The back
might still be flat except for this
tiny back-bevel. Sloppy
technique, not keeping the back
absolutely flat on a sharpening
stone while honing, creates this
sort of rounding. The result is a
chisel that will not cut while
resting on its back because the At least the first 3/4 in., and
preferably the first 1 in. to 2
rounded edge is in the air. A in., of the chisel's back should
chisel with a rounded edge must be perfectly flat. The back
be angled forward slightly, thus guides and controls the cut and
ensures a fine edge.
losing the back as a source of
control. Flattening the back of a bench chisel right to the cutting edge
is tedious but important. Work through the range of grits until you
get a bright polish on your finest stone.
Once you have flattened the back, choose a cutting bevel angle based
on the type of work you do. The finer the bevel, the more easily the
tool slices through wood fibers. A fine bevel, 15° to 20°, is a little
delicate, but it works for a chisel reserved for light paring cuts in
softwoods. To chop tough end grain, a stouter 30° to 35° bevel would
hold up better. For everyday bench work I aim for a 25° bevel whose
width is about twice the thickness of the chisel. This is a compromise
between ease of cutting and the durability of the edge.
Lightly hollow-grinding the bevel

every three to four sharpenings
speeds the honing process by
reducing the area of steel in
contact with the stone. I use a
grooved block of wood that holds
the chisel handle, set at a distance
from the wheel to achieve the
desired bevel angle. I then hone
the edge on a medium India stone
and a fine black Arkansas stone
using kerosene as a lubricant. I try After hollow-grinding a 25°
bevel on the grinder, the author
to hone at a consistent 25° bevel hones the bevel on a medium
with little or no microbevel along and then a fine oilstone. The
author guides the chisel
the cutting edge. The only freehand, but a honing guide
exception is when I need a can help until you master the
technique.
slightly tougher cutting edge for
an extremely hard wood, such as
rosewood, where I raise the tool handle to hone a microbevel of 30°.
For a final strop I use some 0- to 2-micron diamond paste smeared on
a piece of Baltic birch plywood. I prefer this to a leather strop, which
being softer and more uneven, increases the risk of rounding over the
bevel.
How to tell if your chisel is sharp

It's worth repeating that a chisel must be very sharp to work well. A
dull edge takes far more power to drive through the fibers and, more
importantly, is harder to control. Everyone has a special way to test

the sharpness of an edge:

dragging it against a fingernail,
shaving arm hair or plucking the
edge with a finger. The problem
is that these tests are all a bit
subjective.
I test the sharpness of a chisel by
paring a block of end-grain white
pine and then looking at both the
shaving and the cut surface. The tuned chisel should be flat
on the back and have a narrow
Because softwood fibers are weak band of honed steel along the
and easily torn from the surface, cutting edge, with a slightly
only a really sharp edge will cut a concave ground surface just
behind.
thin and whole shaving. Looking
at the end grain, ideally it should
be uniformly polished. But more
likely there will be light flecks in
the surface where fibers were torn
away, or it will exhibit fine tracks
where tiny nicks in the chisel's
cutting edge scraped across the
wood.
Next lay the chisel with the back

flat on one of the long-grain sides If you can leave a clean cut on
pine end grain, your chisel is
of your block. If you can pare a ready for action.
shaving without lifting the chisel,
the back and cutting edge are flat. If you have to lift the chisel to get
it to cut, the back or cutting edge is rounded.
Proper technique ensures good results

For most of us, the days of working with hand tools alone are long
gone. Whereas chisels would once have been our primary tools for
cutting all manner of joints, today we typically use them more often
to adjust joints cut on a machine.
Chiseling tasks can be simplified to chopping, paring or some

combination of the two. Cutting end grain, such as excavating a
mortise, is chopping. A mallet usually delivers the driving force, so
everything works best when you chop vertically, down against your
bench, preferably directly over a leg. Paring is often a hand-powered
operation, using the chisel horizontally or vertically to slice away a
thin shaving. This can be against the end grain or along the grain. I
also pare with the chisel in one hand and use my thumb as a lever,
much the same way you would use a knife.

With experience you will be able to hold the chisel at the correct
angle merely by sighting across and down it (left). A square set
on end acts as a guide when squaring up the end of a mortise
(right).
Chopping to a line vertically -- Cutting with a chisel held

plumb is an acquired skill. Finding the right angle is easiest when
you are only slightly above the work and looking across the chisel.
Sighting against a square set on end helps, as does good light shining
toward the work and you. Holding the chisel plumb greatly speeds
any chopping task. If this is hard for you, or if you have to cut an
angled mortise, saw a waste block to this angle and clamp it in place
to guide your chisel. For heavy chopping, driving a chisel with a
mallet allows you to concentrate all of your efforts on directing the
tool.
Light cuts yield more accurate results. Think about the cutting edge
sinking into the wood. The back is trying to guide the chisel plumb
while the beveled side of the cutting edge presses the chisel against
the back. With a light cut this pressure breaks out the chip and holds
the back right to the line. Try to chop too large a chip, especially in
softwood, and the pressure will push your chisel beyond your line.
Take little bites, waste up to your line, and then take a final light cut
right on the line. Because I have a good selection of chisel sizes, I
waste as much wood as I can with a chisel narrower than the mortise.
The final cut is with a chisel snug in the mortise and right on the line.
Paring to a line vertically -- Paring end grain gives you a whole

new appreciation for the toughness of wood. Good paring takes both
muscle and a feel for controlling the cut. A sharp chisel and a light
cut give you the best chance for doing accurate work.
After you have removed the bulk of the waste using a mallet, switch
to a light paring cut right on the line. This provides greater accuracy
and control and allows you to undercut slightly. Also, it's just plain
quicker than reaching for the mallet each time after moving the work.
Work around all four sides of a tenon to establish the shoulder line
and to give you something to sight against when paring. Position
your body above the work for paring the final shaving or two, using
the weight of your upper body to drive the chisel and both hands to
guide it.

Lightly chopping all the way around defines the shoulder of a

tenon (left) before a final paring with hand power (right).
Paring to a line horizontally -- Given a choice, I prefer the

control of a plane to shave a surface. But there are plenty of times
when I don't have the right plane close at hand or when it's simply
quicker to pare a few shavings with a chisel. Long and thin-bladed
(for flexibility) paring chisels are the tools of choice here, but a well-
tuned bench chisel will work almost as well.
For maximum control when paring, I find it's best to have one hand
on the chisel handle and the other as close to the work, or cutting
edge, as practical. This way you can raise or lower the handle slightly
to control the depth of cut, while the hand close to the cutting edge
holds the chisel steady and helps guide the cut. This hand also acts as
a brake, smoothing out the pressure delivered by the hand on the
handle. The smoothest and easiest cuts are made with a slight
shearing action, slicing both forward and sideways.
When cutting horizontally, the Using the chisel as you would a

smoothest cuts are made with penknife allows you to make
a slight shearing action, cutting delicate cuts such as slicing
both forward and sideways. end grain or beveling a tenon.
The need for a perfectly flat
chisel back is apparent when
fitting a tenon.
Paring while using the thumb as a lever -- Holding the chisel

like a penknife or a potato peeler, with the blade cutting toward you,
takes some getting used to. Once mastered, this technique allows for
fine controlled cuts, even in end grain. I use it to pare the end of a
table leg, to shorten a tenon and to chamfer its ends.

Cutting bevel-side down -- When paring the bottom of a groove,

the flat back of a chisel can no longer be used as a guide, and the
natural inclination of the chisel is to dig in. Turn the chisel upside
down and use the bevel to guide the cut, raising or lowering the
handle to adjust the depth of the cut. This method is useful to deepen
a mortise or dado (or shape a curved one) or to smooth the bottom of
a recess for an inlay.
As with all tools, there are many paths to accurate and satisfying
results. Sharpen a few chisels and practice these basic techniques.
Some of them might not feel comfortable at first, but everyday use at
your bench is the surest way to master them.
Garrett Hack is a furniture maker in Thetford Center, Vermont.
Photos: Mark Schofield and Michael Pekovich
From Fine Woodworking #150,

pp. 62-65

Assembling Cases
YOU ARE HERE: Fine Woodworking Home Skills & Techniques Assembling Cases
Excerpted from The Complete Illustrated Guide to

Furniture & Cabinet Construction
Pinch Rod
Entire Site
Assembling Cases Dead-blow mallet
A selection of great Get it right the first time with the right tools
information from our and the proper clamps and clamping
Magazines, Books, and technique
Videos.
by Andy Rae
Skills & Techniques
Joinery When you're ready to assemble your furniture, you usually have only
The Complete
one shot to get it right. Once the glue is spread, there's no turning
Tools back. Glue up a cabinet out of square, and you'll pay dearly later in Illustrated Guide to
the construction process because your error will accumulate so that Joinery
Finishing In full-color photo
fitting subsequent parts becomes a nightmare. To get it right the first
Workshop & Safety time, it's vital to have the right assembly tools on hand and to use the essays, expert
proper clamps and clamping technique. After all, who hasn't glued woodworker Gary
Projects & Design together what was a perfectly fitted miter, only to find the joint Rogowski show you
Materials slipping out of alignment as you placed pressure on the joint? how to make every
Learning and practicing the correct approach to assembly will save practical
you untold hours of frustration. woodworking joint
Reader Showcase
The dry run Essentials of
One of the best techniques I've come to learn about assembly (and Woodworking
learned it the hard way, meaning I had to make many mistakes first) Six books of recent
Get instant access to is to always -- and I mean always -- do a dry run of any assembly. articles from Fine
over 600 of the best This means assembling all the parts without glue. Make sure you use Woodworking in an
Fine Woodworking all the necessary clamps you'll need and check to see that you can attractive slipcase set
articles. confidently close all the joints. In effect, you're practicing the entire
assembly sequence. Boxes, Carcases and
Fine Woodworking
Drawers
Online Archives And 9 times out of 10, you'll discover during a dry run that 39 vintage articles
something is missing or you need more clamps in a specific area to from Fine
bring an assembly together. Or perhaps you'll need to rethink the glue- Woodworking on
up process and break the assembly sequence down into smaller, more choosing, making and
Browse our online manageable parts. It may take more time, but investing in a dry run is using every kind of
catalog of in-depth, well worth avoiding the horror of applying glue, only to find that you carcase joint
how-to information. can't quite put the parts together as planned.
Techniques Assembly tools and jigs
Furniture There are innumerable jigs and tricks used in assembly. All are
aimed at making the process of putting together multiple parts easier,
Power Tools more accurate, and ultimately less frustrating. There's nothing worse
Hand Tools than spreading glue only to find you don't have the right tools or
setup ready to go. Here are some essential assembly aids that make
Projects
glue-ups go a lot smoother.
Workshop
Reading square with a pinch rod
Finishing It's vital to square up a case or opening immediately after assembly--
Turning before the glue dries. One way to check for square is to read the

Assembling Cases
Carving diagonal measurements from

outside corner to outside corner
Professional Topics with a tape measure. When the
two measurements are equal, the
opening is square. But clamps
often get in the way, it's
practically impossible to get a
reading on the back of the case,
and reading the outside corners
An adjustable pinch rod allows
won't tell you whether the inside you to compare inside
of a deep case is square. A more diagonals quickly and to any
accurate method is to use a pinch depth. If they match, the case
must be square.
rod.
A traditional pinch rod is simply two

Pinch Rod
sticks, sharpened at one end, that you
pinch, or hold together, in the center.
The modified version shown at right
adds clamping heads that make things a
little easier and more precise. Set the
rod to the length of one of the (opens in new
window)
diagonals; then check the opposite
diagonal inside the case. Push the
sticks into the case to read the entire depth. Keep adjusting the rod
(and the case) until the rod fits equally between both diagonals.
Squaring a case with a

board
As an aid to assembling a case
square, cut a piece of plywood to
the exact width of the case
opening, making sure adjacent
edges are square. Before you
clamp the case joints, clamp the
board inside the case, lining up
one edge of the board with the
case sides. Voila! No more A squared-up board cut to the
twisted or out-of-square openings. width of the inside provides an
easy way to square up a case.
Shims and blocks align

parts
It's a good idea to keep on hand a
variety of shims and blocks in
varying thicknesses, from playing
cards, squares of plastic laminate,
and strips of leather to 1/4-in.-,
1/2-in.-, and 3/4-in.-thick blocks
of wood. These spacers help align
or position parts during glue-up,
and they're great for protecting A box full of shim materials
the surface of your work. In the comes in handy during glue-up.
photo at right, small squares of
MDF align the clamp heads over the center of the joint, while plastic
shims prevent the pipes from dinging the surface.
Riser blocks raise the work

Gluing up assemblies often means having to get underneath the work
to attach clamps or other parts. The simplest answer is to raise the

Assembling Cases
entire assembly on blocks of

wood. But finding stock thick
enough can be a pain. Just as
strong, and easier to make, are
sets of riser blocks made from 3/4-
in. plywood glued and nailed
together. Blocks about 5 in. high
by 2 ft. long are sufficient for
almost all your glue-ups.
Simple plywood risers elevate
the work for easy clamping.
A piece of tape comes in handy

as a third hand when
positioning clamping cauls.
Clamping cauls
Like blocks, cauls made from scrap material can prevent dings in
your work. More important, cauls distribute more clamping pressure
across a joint, allowing you to use far fewer clamps when gluing up.
For broad gluing surfaces, use bowed clamping cauls.
For narrow joints, scrap plywood or leftover sticks of wood work

fine. The trick to getting the cauls to stay where you want them until
you add the clamps is to tape them temporarily in place.
Dovetail tapping wedge

In many cases, you don't need to
bother clamping dovetail joints,
especially on small box
constructions, such as a drawer.
To assemble and fully seat the
joints without damaging the pins,
tap over the joint with a wedged-
shaped block of dense wood. The
shape of the block allows you to
A wedge-shaped block helps
position it over the joint seat dovetails in their sockets.
regardless of the size of the tail.
[ next ]
| 1 | 2 |

Assembling Cases

Getting an Edge with Waterstones, Oilstones, and Sandpaper
YOU ARE HERE: Fine Woodworking Home Skills & Techniques Getting an Edge...
Entire Site
Getting an Edge with
Waterstones, Oilstones, and The Complete Guide
information from our Sandpaper to Sharpening
Tool expert Leonard
Lee shows you the
Videos. Different woodworkers use different
most effective ways to
Skills & Techniques sharpening methods
sharpen your tools --
by Jefferson Kolle from chisels to drill
Joinery
bits -- so they cut
Tools Many years ago, as the new, inexperienced guy on the carpentry better and stay sharp
crew, I was in charge of lugging giant piles of plywood from one side longer
Finishing of the job site to the other. "I went to college for this?" I used to ask
Workshop & Safety myself. There was a guy on the crew, Mark Fortenberry, who had the Sandpaper Sharpening
sharpest tools. He made finish work look effortless -- smooth, fluid, In this video, Michael
Projects & Design precise. Every morning he'd pour coffee from his stainless-steel Dunbar demonstrates
thermos and sharpen the tools he needed for the day. Different- sandpaper sharpening.
Materials
colored stones were unwrapped from an oily towel; a little can of Sharpening a blade
three-in-one oil appeared; and Mark would sharpen. takes only minutes,
Reader Showcase and it all happens
Knowing I would need to acquire tools and skills if I ever wanted to without special gauges
do anything other than get intimate with sheet after sheet of rough or messy lubricants.
plywood, I bought a block plane and a roll of chisels, the same plane
Get instant access to and chisels that Mark had. But there was something wrong with my
over 600 of the best tools -- maybe they were defective. The problem was they were dull.
Fine Woodworking "Dull as a hoe," Mark said.
articles.
Eventually I got lots of tools: tools I used everyday, tools I didn't
Fine Woodworking really need, tools I never used. And I got my grandfather's two
Online Archives sharpening stones -- oily, black things, one with a big chip out of the
corner. Often when I tried to sharpen something, I think I made it
duller. (What's duller than a hoe? A hoe handle, maybe.) The whole
process mystified me. I decided that electricity would remove the
Browse our online mystery of sharpening, so I bought a powered waterstone made by
catalog of in-depth, Makita (www.makita.com).
how-to information.
It's a great tool: The platterlike, 7-in., 1,000-grit stone moves at fewer
Techniques than 600 rpm, and water drips onto its surface from a plastic
Furniture reservoir. The tool comes with a honing guide and an attachment for
holding planer or jointer blades. It couldn't be more jerk-proof. Fill
Power Tools the reservoir with water, turn on the tool and hold the blade against
Hand Tools the stone. The motor thrums along quietly, reassuringly, telling you
that now, finally, you are going to get truly sharp tools. And I did.
Projects
For the first time since Mark sharpened some of my stuff, my plane
Workshop irons and chisel blades would shave hair off my forearm.
Finishing Eventually I went into business for myself, restoring houses, building

Turning an occasional piece of furniture, and the Makita never failed me. I
got to the point where I stopped using the honing guide. Instead, I
Carving
held blades freehand against the turning stone, and after a while I
Professional Topics wore a trough in the stone, which made it harder and harder to get a
flat edge. If the machine has a fault, it is that it is messy. Water gets
flung around, especially when you're trying to true the back of a
blade. Every time I sharpened, my shirt would get soaked right at my
belt line, and I would have to mop water off the workbench when I
was through.
I got a catalog recently that devoted seven pages to sharpening stuff.

Waterstones, oilstones, synthetic stones, diamond stones, electric-
powered stones, jigs for this, jigs for that, rouges, powders, potions.
I'm sure they all work. There are a zillion ways to sharpen steel -- I
know a woman who sharpens her kitchen knives on the unglazed
bottom rim of a dinner plate -- but what works for one person might
not work for another. For two days, I drove around New England,
visiting three woodworkers, talking to them about their methods of
getting an edge.
Waterstones and
the art of
sharpening
Scott Schmidt has a shop
in The Button Factory, a
warehouse of artists and
craftsmen in Portsmouth,
N.H. Schmidt was
schooled at North Bennet
Street, and he uses
Japanese waterstones.
"The way I was taught," he
said.
At the end of his shop,

there is a bench dedicated
to sharpening. In more than 20 years of woodworking, Schmidt has
used up one waterstone, and he is halfway through another. All
sharpening stones are sacrificial -- they wear away as steel is rubbed
over them -- but waterstones are softer than most, and it is the gritty
slurry that's created as the stone erodes that works with the stone
itself to provide the sharpening medium.
Schmidt soaks his stones in a grungy, water-filled plastic basin -- the

type of container a deli might use to store coleslaw or potato salad.
The basin lives under his bench, and he pawed through it, pulled out
a dripping stone and set it on the benchtop, wiping off the water with
his hand. On top of his bench is a piece of rubber rug padding that
keeps the stone from moving. He set the stone on the pad, and before
touching steel to stone, he spritzed the stone with a water bottle. "I
think of sharpening as a process of constantly flattening the stone,
keeping it flat by using its whole surface," he said. "You can't make a
blade flat with an unflat stone."
The natural tendency, one that Schmidt takes pains to avoid, is to

work a blade onto one spot in the center of the waterstone, creating a
declivity -- in effect, unflattening the stone. When a stone's surface
needs redoing, he flattens it on a concrete block.

Schmidt sharpened one of his

favorite chisels while I was at
his shop. For a new tool or
one with a badly damaged
edge, he'll first work the blade
on an electric grinder before
going to his waterstones. For a
long time he used a
magnifying glass to inspect
the edges he'd honed, but
familiarity with his tools has
enabled him to forego this
practice. He told me that it's
easier to sharpen a tool he To flatten a waterstone, rub it on a
uses a lot. "If you know the concrete block. A little water and a
way a certain tool cuts, you little rubbing on a concrete block
will true an unflat waterstone. The
know the way that tool will concrete abrades the stone
take an edge. A large part of quickly; true a stone only when it
really needs it.
both processes, cutting and
cutting an edge, is done by
feel." He does not use a protractor or angle gauge; rather, it's a matter
of touch and sight.
Scott Schmidt works a blade across a waterstone in four

directions. He repeats the process with stones of 1,200, 2,400 and
6,000 grit.
He started on the back of the chisel using a 1,200-grit waterstone,

working the steel back and forth along the length of the stone and
mixing up a slurry of water and abraded stone particles. He often
stopped and checked the chisel's surface, tilting the tool to look at the
shiny areas and the dull spots. "I can feel that this stone has a little
high spot on this end," he said, concentrating his efforts in that area.
"When the stone is perfectly flat, you can feel sort of an even suction
between the wide surface of the chisel's back and the stone. If there's
a high spot on the stone, the steel grates a little bit, sounds rougher."
When the chisel's back had a uniform shininess -- no dull spots to be

seen in the steel -- Schmidt turned to the bevel. As he did on the back
of the chisel, he started the bevel by working it back and forth along
the length of the stone for several minutes. Then Schmidt changed
tack. Another spritz or two with the water bottle, and he was working
again, this time pushing the blade back and forth along the width of
the stone. And then he switched again, running the blade in a series

of diagonal strokes, crisscrossing the stone from one corner to the

other. The slurry built up in little waves. He spritzed again and
changed his stance so that he could work the steel from the opposite
corner, this time making Xs of slurry. By the time he was finished,
the bevel had been worked across the stone in four directions: back
and forth along the length; back and forth across the width; and
diagonally across the stone in two directions.
He felt the edge with his fingernail. A thin, wire edge had developed,
which he removed with several strokes on the chisel's back. When
Schmidt was finished, he repeated the process on both the back and
bevel, using a finer, 2,400-grit stone and then, finally, a 6,000-grit
stone. After five minutes on each stone, the chisel was razor sharp.
The back and bevel shone like mirrors.
Oilstones,
kerosene and a
little diamond
paste
After a hard right turn at
the end of a Vermont dirt
road, I arrived at the shop
of Garrett Hack. Hack is a
father, a farmer and a
woodworker, in no
particular order. He is
somewhat of a
traditionalist, and it shows
in the architecture of his
slate-roofed brick shop and
in the furniture he makes.
But there's also a contemporary side to Hack. A Federal-style chest
he made has an outrageous band of checkerboard inlay, and the
bright-green trim and certain interior details of his shop belie a man
who is not a slave to history. Hack's sharpening methods parallel his
architecture; he favors traditional oilstones, but he occasionally uses
a new product -- diamond paste -- to get a keen edge in hard steel.
Spread on his benchtop was an array of planes, ready to be

sharpened. Hack removed the iron from an old Stanley No. 3. "I just
got this," he said, giving the plane a critical eye. "The back of the
iron has probably never been flattened. It needs to be lapped." For the
quick removal of steel, Hack will use a diamond stone with an
aggressive grit. Because it is messy -- he uses a lot of water with the
diamond stone, constantly dousing the surface -- he usually works
outside on the shop's granite steps. The diamond stone is also good
for removing small nicks in a blade's bevel.
Hack dipped the diamond stone into a water bucket and worked the
back of the plane bade against the stone in slow figure eights. After a
while, he held the steel up to the light. The shine on the blade was
uneven, meaning the back of the blade still needed work. "Lapping
the back of a blade takes some time, but once it's lapped flat, you
should never have to do it again."
Hack stores his sharpening paraphernalia in a drawer built into the

underside of his workbench. The drawer is full of oilstones, each in
its own wood box. And there are tiny plastic jars of diamond paste in

different grits and an oil can

filled with kerosene. He
reached in the drawer and
removed a small, trapezoid-
shaped wooden frame. The
frame, spotted and stained
with oil, had a cleat on the
bottom. When Hack rested the
cleat against the edge of his
bench, it was apparent that it
was made to hold his
sharpening stones at about
30°. "It's a comfortable work
angle," he said.
Any oil will do, but Garrett Hack
likes kerosene for his oilstones. A
quick drizzle of kerosene keeps the
stones from clogging with abraded
metal. When sharpening, Hack's
stones are held stationary in a
cleated wooden frame.
Exerting firm, even pressure on the blade, Hack moves the steel in
a figure-eight pattern around the surface of the stone. A good grip
on the blade allows him to move the steel off the edge of the
stone without tipping, and thus he can use the whole stone.
After the blade had been lapped, Hack, like Schmidt, started his
sharpening on the back of the plane's iron. He squirted a few drops of
kerosene on the stone, telling me that there are all sorts of honing oils
available. "But anything will work," he said. "I heard of a guy who
uses olive oil." He hunched over the first stone -- a manmade India
oilstone -- again working the steel in slow, lazy figure eights, moving
around the whole surface of the stone. After some time, the back of
the blade had an even, slightly dull shine. Hack then turned his
attention to the bevel. He held the front of the blade flat on the stone
and rocked the blade up onto the bevel, starting again with the figure-
eight pattern. When the bevel had an even shine, just like the blade's
back, he switched to a finer-grit stone -- a hard, black Arkansas stone
-- and repeated the entire process.
Hack's secret weapon is 4-

micron diamond paste (which
is the abrasive equivalent of a
4,000-grit waterstone). He
picked up a sliver of wood
from the shop floor and
scooped out a half pea of
paste. "It doesn't take a lot,"
he said. "Even this is probably
too much." He wiped the paste
onto the fine stone, smearing
it around with the wood sliver,
mixing it in with the kerosene.

And again he started on the

back of the iron, working the
steel, checking it in the light,
until he was sure of the
evenness of the shine. Same
thing for the bevel.
When he was finished he

checked the sharpness of the
blade by using it to pare the
end grain of a scrap of soft
pine. "Why not hardwood?" I
asked.
"Almost anything will cut

hardwood," he said. "But only A dab of 4-micron diamond paste is
a truly sharp blade will Hack's secret weapon for getting a
good edge. He mixes the paste
cleanly cut the end grain of with a little kerosene and smears it
pine without tearing some of around on his hard, black Arkansas
the fibers and leaving a ragged stone.
edge. If it's really sharp, the
blade will sever all of the wood fibers evenly, leaving a cut on the
end grain that looks almost burnished."
Hack flattens his stones with

gritty silicon-carbide powder,
water and a scrap of plate
glass. "It's pretty messy," he
said. "Sometimes I do it
outside." It's also pretty
simple: Hack sprinkled some
powder on the glass, added a
little water and worked the
face of the stone in big circles.
When he thought the stone
was flat, he held it up to the
light and checked it with a
straightedge. "Needs a little To true his oilstones, Hack uses
more right here in the center." gritty silicon-carbide powder
mixed with a little water. Hack
mixes the paste on plate glass and
Again he worked the stone works a stone in a circle. Later, he
against the paste-smeared checks the flatness of the stone
glass. He checked it one more with a straightedge.
time and could see no light

coming through between the stone and the straightedge. Satisfied, he
wiped off the stones and the little can of kerosene, and everything
went back into the drawer, except for the oily rag, which he hung off
the corner of the bench to dry.
Plate glass and sandpaper

Even before Mike Dunbar opened The Windsor Institute where he
instructs 600 students a year in the craft of making Windsor chairs,
he was a teacher, albeit an itinerant one. He traveled all over the
country, going to woodworking shows and giving demonstrations at
woodworking stores. He packed a lot of stuff for his trips: chair parts
and tools. It was a hassle to find a way to sharpen tools on the road;
either he had to bring all of his oils and stones or rely on the store to

provide them. Most good

inventions are born of
necessity; Dunbar's so-
called scary-sharp method
of getting an edge with
plate glass and sandpaper
is no exception.
"Sharpening tools doesn't

earn any money for a
woodworker," Dunbar
said. "I like to get my tools
sharp and then get to work.
Using glass and sandpaper
is an extremely fast way to
get an excellent edge."
Along the back wall of
Dunbar's shop is a dark-green, built-in cabinet, and right on the edge
of the cabinet's countertop sat a dirty piece of 3/8-in.-thick plate glass
about 8 in. by 40 in. Next to the glass were three rolls of adhesive-
backed sandpaper.
Dunbar grabbed a razor-blade

window scraper and gouged off
the three strips of spent paper
from the plate glass (the glass is
held on the bench with a couple
of wood strips). "We sharpen a lot
of tools here, and we go through a
lot of sandpaper." He went over to
a wall-mounted rack of the
school's tools -- planes, chisels,
gouges and drawknives -- and
grabbed an almost-new, 1-1/2-in.
chisel. All of the school's shop
tools are spray-painted bright
green. "If they're painted, they
don't walk," he said. He looked at
the edge of the chisel and noticed
two big nicks in the blade. I asked
him if he would not ordinarily
grind out the nicks from the
student-abused blade. "I'm telling
Mike Dunbar sharpens his tools
you," he said, "this method is with sandpaper stuck to 3/8-in.-
really fast." thick plate glass. Working steel
across three grits of paper, 80,
120 and 320, cuts an edge in
He cut three strips of sandpaper no time. Another plus: plate
from the 4-in.-wide rolls, one glass never needs flattening.
each of 80 grit, 120 grit and 320 When the sandpaper gets dull,
scrape it off the glass with a
grit, and adhered them to the razor blade and stick on a new
glass. Holding the chisel handle in piece.
one hand and using the palm of
his other hand on the top side of the chisel, he started to rub the tool
back and forth along the length of paper, checking occasionally the
evenness of the shine on the back of the blade.

Felt-tipped marker shows a blade's low spots. When lapping,

Dunbar colors the back of a blade. After working the blade across
the sandpaper, the ink is removed from all but the low spots on
the blade.
When the back was even with scratches from the 80-grit paper, he
colored the back of the chisel with a red, felt-tipped marker. "The
marker works like machinist's chalk," he said. "If there are any low
spots on the blade, the marker won't get removed when I rub the
blade on the sandpaper." He worked the blade against the paper
again, and when he held it up to the light, only a faint trace of red
showed in the center. Dunbar decided the back was flat enough and
told me that future sharpening will make the blade truly flat. Then he
switched to the bevel, or bezel, as Dunbar calls it. "Check your
dictionary," he told me. I made a mental note.
Dunbar held the front of the chisel on the sheet of 80-grit paper and
rocked the blade forward until it rested on the bevel. "Simple," he
said. "You don't need a honing guide or anything like that. Just rock
the blade until you can feel the beveled surface resting on the paper."
With one hand on the handle and the other putting pressure on the
back of the chisel, he worked the blade side to side along the length
of the 80-grit sheet. A forward-and-back motion or a figure-eight
pattern would tear the sandpaper.
He worked the blade for a minute or two and then asked me if I

wanted to try it. I told him that I felt like Huck Finn being fooled by
Tom Sawyer when Tom convinced Huck that it was fun to paint a
fence. "No one believes how easy and fast this is," Dunbar said,
"until they try it." I looked at the blade and saw the nicks. I worked
the bevel against the sandpaper the way he showed me. After a
minute I looked at the blade again; the nicks were almost gone. He
looked at me looking at the blade. I smiled, and he raised an
eyebrow, knowing he'd won another convert.
After a little more work, Dunbar had removed the rest of the nicks.
Total time to remove the nicks in the blade was about five minutes.
Then he switched to the 120-grit paper but not before sweeping away
the filings with a mason's brush. "Keeps the paper from clogging, and
you don't want to get coarser grit on the finer-grit paper." When all of
the scratches from the 80-grit paper had been supplanted by the 120-
grit scratches, he swept the filings and moved onto the 320-grit sheet.
The sequence was the same: He worked the chisel on the 320-grit
paper until there was an evenness of scratches, brushed off the paper
and moved to the next-finer grit. After working the chisel, Dunbar
placed a piece of 600-grit wet-or-dry paper right on top of the 320-

grit sheet. The roughness of

one paper holds the finer-grit
paper in place. For most tools
he feels that 600 grit gives a
sharp enough edge; for the
keenest edges he will go from
600 grit to 1,000 grit and
sometimes all the way up to
2,000-grit paper. A blade
honed on 2,000 grit shines like
chromium.
Unlike using oilstones,

waterstones or powered
stones, with Dunbar's method
you don't have to worry about
flattening the stones. The plate
Rougher grit holds finer-grit paper
glass is always flat, and when in place. For the keenest edges,
the sandpaper gets dull, you Dunbar uses fine-grit sandpaper
scrape it off and stick on without adhesive backing. Tools
sharpened with 2,000-grit paper
another piece. are truly scary sharp.
As I drove home, I thought of my Makita electric sharpening stone

lost in the garage of my ex-wife's house. I thought of Schmidt and
Hack and how well their sharpening methods worked for them.
(Different strokes for different folks?) And then I thought of the glass
store near work, and I decided to stop in and get myself a piece of 3/8-
in.-thick plate glass. Tom Sawyer wins again.
Jefferson Kolle, former managing editor of Fine Woodworking, is now a

freelance writer.
Photos: Jefferson Kolle; drawings: Bob La Pointe

61

Carving the Foot by Hand
YOU ARE HERE: Fine Woodworking Home Skills & Techniques Carving the Foot by Hand
Entire Site Carving the Foot by Hand

How to make an 18th-century style pad foot
A selection of great without a lathe Carve a Ball-and-
information from our Claw Foot
Magazines, Books, and by Lonnie Bird
In this video, Phil
Videos.
All 18th-century pad feet that I've Lowe shows you how
Skills & Techniques examined are round, presumably to design and carve
because they were turned on a this hallmark of 18th-
Joinery century furniture
lathe. But even if you don't have a
Tools lathe, you can produce an
attractive pad foot; you'll just
Finishing need to be prepared to spend a
Workshop & Safety little extra time at it.
Projects & Design When you bandsaw the leg blank,

go ahead and bandsaw the foot
Materials
outline as well. This will create a
square pad foot that provides a guideline for shaping by hand. Next,
Reader Showcase locate the center of the foot by marking diagonal lines. Then draw the
circumference of the pad with a compass or template.
To shape the foot, remove the four corners with a chisel and rasp. A
carving gouge with a curvature to match the foot contour is also
helpful in achieving a pleasing appearance. Finally, smooth and
blend the surfaces with a file.
Fine Woodworking
articles.
Fine Woodworking
Online Archives
Browse our online

how-to information.
Techniques
Furniture
1. Use a circle template to 2. The circle at the top of the
Power Tools position the circle at the foot is penciled in by eye.
bottom of the pad.
Hand Tools
Projects
Workshop
Finishing
Turning

Carving the Foot by Hand
Carving
Professional Topics
3. Use a carving gouge to 4. Rasps and files help round

establish the curve on one the pad down to the bottom of
corner, then use a chisel to cut the leg. Once the bottom has
away the small shoulder at the been shaped, sight down the
bottom of the pad. leg and clean up the top profile.
Lonnie Bird teaches furniture making at the University of Rio Grande in Ohio.
He is the author of The Bandsaw Book, published by The Taunton Press.
Photos: Matthew Teague

49

Three Reliable Ways to Taper a Leg
YOU ARE HERE: Fine Woodworking Home Skills & Techniques Three Reliable Ways to Taper a Leg
Entire Site Three Reliable Ways to Taper a

Leg
A selection of great Joinery, Shaping and
information from our Tapers can be cut quickly and accurately with Milling
Magazines, Books, and a bandsaw, a thickness planer or a tablesaw Articles from Fine
Videos.
Woodworking on
by Gary Rogowski
Skills & Techniques milling lumber
Table or desk legs that have been tapered top to bottom have a grace straight, flat, and
and delicacy that square legs just don't seem to have. Shaker
Tools furnituremakers exploited this leg style, and so have many others. curves through
Although legs may be tapered all the way around, more often than bending, laminating
Finishing and coopering; and
not I cut tapers on two adjoining faces of a leg. The process can be
Workshop & Safety both quick and reliable. developing techniques
for routing a wide
Projects & Design Roughing out tapers is best done by machine; either a bandsaw or a range of complex
tablesaw is a good choice. Tapers also can be cut by mounting leg shapes and joints
Materials
blanks on a jig that's passed through a thickness planer, a process that
requires very little cleanup. Cleaning up the cuts also can be
Reader Showcase accomplished in a number of ways--on a jointer, with a router and a
flush-trimming bit, or with a handplane.
How much taper a leg gets and which faces are tapered are personal
Get instant access to choices best made with plenty of experimentation.
Tapering on the bandsaw
Fine Woodworking
By far, the simplest and safest
articles.
way to cut a taper is to draw lines
Fine Woodworking on two adjacent faces of each leg
Online Archives and cut just to the waste side of
the lines on a bandsaw, making
straight cuts.
Browse our online The cut is not that difficult to

catalog of in-depth, make if your bandsaw is properly
how-to information. tuned and the blade is sharp.
Mark out the taper on a milled leg
Techniques blank, striking a line from the
Furniture widest point, where the taper
starts, to its narrowest point at the
Power Tools foot. If there's a flat near the top
Bandsawn tapers are safe and
Hand Tools of the leg where an apron will simple. Feed the leg blank
intersect it, strike a line across the slowly with one hand, steering
Projects face of the leg where the taper as you go, and use the other
hand to help guide the cut. Cut
Workshop begins or just slightly below it. to the waste side of the line.
The idea is to leave enough
Finishing material on the leg so it can be cleaned up without making the leg too
Turning thin.

Carving
If the leg shape is one you might reproduce often, consider making a
Professional Topics template of 1/4-in.-thick hardboard or medium-density fiberboard.
The next time you need to lay out this taper, it will take just a few
seconds.
It's easier to sight down the layout line if you lower your head a bit as
you make the cut. Use two hands to help guide the leg through the
blade, feed slowly and try to compensate for any drift before you
wander from the line. With practice, it becomes quite easy to cut a
straight line on the bandsaw. But be careful to keep your fingers out
of the way. It's easy to run your thumb into a bandsaw blade.
Tapering with a thickness planer

A thickness planer isn't the first
tool that comes to mind for
cutting tapers. But a planer will
do an absolutely consistent job of
tapering leg stock if you use the
proper jig--one with a simple
carriage that supports the legs at
an angle and has stops at either
end. The only real drawback is
that it's fairly slow. All four legs of a table can be
tapered at once. The author's
planer jig is made from a piece
I made my jig from a piece of of 3/4-in.-thick plywood and
scrap plywood several inches three angled strips of wood to
support the legs. Stops at
longer than the length of the legs. either end of the plywood keep
To get the taper I wanted, I drew the legs in place.
the taper on one of the legs,
placed the leg on the plywood base of the jig and raised one end until
the taper line was parallel with the plywood. I measured this height
near one end of the plywood, cut a support piece to fit there and
glued it on. I added a stop just behind it. The narrow end of the legs
butt against this stop.
The next step is to cut angled pieces

Tapered sled jig
that will support the legs and prevent
them from flexing under the pressure
of the feed rollers in the planer. With
these supports glued to the plywood
base, I added another stop at the front (opens in new
end of the jig to capture the legs window)
securely--I didn't want the stock
moving around beneath the cutterhead.
The best thing about this method of tapering legs is that all the legs
for a project can be done at the same time. Take light passes,
especially at first, to minimize deflection of the stock. Also, make
sure the legs don't rock on the support pieces. If they do, you'll see
some vicious sniping.
Tablesaw tapering
The most commonly used tool for cutting tapers is the tablesaw--and
why not? It's fast and, if the saw is well-tuned, very little cleanup is
needed. You can either make a dedicated jig every time you need a
different taper, or you can use a hinged, universal tapering jig to cut
many different tapers. I prefer using dedicated jigs because I often

reproduce designs. With a

dedicated jig, I'm assured of
getting the same results every
time.
The base of the jig is a straight,

flat piece of plywood just a few
inches longer than the leg stock. I
cut it so its sides are parallel and
its ends are square. Then I screw a
back stop to one end to catch the
wide part of the taper. A front
stop, near the other end of the jig,
captures the leg and cants it from
the plywood at the correct angle
Tablesawn tapers are fast and
for the desired taper. accurate. A dedicated jig like
this one produces consistent
To results but is limited to a single
Tablesaw jig angle and leg length.
set
up
for
the
cut,
(opens in new
window)
measure from the inside edge of the jig to the widest part of the taper-
-either the corner of the leg if it's a full-length taper or a few inches
shy of the corner if you want to leave a flat section on the leg for an
apron. Use this measurement to set the distance from blade to fence.
Keep the jig firmly against the fence, and feed steadily as you make
the cut, running the narrow end of the leg into the blade first. For the
second taper on a leg, rotate the leg blank 90° clockwise in the jig.
By rotating the leg this way, a square, untapered face will rest on the
tablesaw.
Three ways to clean up the cuts

Some cleanup is almost always required after you've cut the basic
tapers. Even a planer can leave mill marks. Here are three simple
methods for cleaning tapers.
Jointer: This tool does a great job of cleaning up sawmarks. I

generally go straight from the bandsaw to the jointer. I set the infeed
table for a light cut and use a push stick.
To avoid tearout, you should cut with the grain. That usually means
the narrow end of the leg is last to go over the cutterhead. Inspect the
taper first, though, checking for grain direction as well as for any
high spots that may need to be taken down by hand before you joint
the whole length of the taper.

Check, too, to see if one end or

another needs more wood
removed. You may be able to take
slightly more off one end than
another by varying the amount of
hand pressure you apply. Make
sure the tapers are well marked so
you can tell when you're finished.
Feed slowly to minimize
The jointer cleans up tapers
cutterhead marks. quickly. A few light passes over
the jointer should clean up any
mill marks or other surface
irregularities left after roughing
out a leg by machine.
Template routing ensures

consistent results. Both bottom-
bearing bits (shown) and top-
bearing bits work. Double-
faced tape secures the
template to the legs.
Router: A flush-trimming bit mounted in a router table is another

quick way of cleaning up tapers, especially if you don't have a
jointer. This technique also guarantees that all the tapers are precisely
the same. Both top-bearing and bottom-bearing bits will do the job,
and you can use the same templates here that you used to lay out
tapers for the bandsaw. Double-faced tape works well to attach the
template to each leg. For a production run, a jig with attached toggle
clamps is better and faster.
When a bottom-bearing bit is used in a router table, you will have to

make a tapered template for the second taper so the router bearing
(which is at a fixed height) has something to ride on. You'll need
thicker stock for this template.
Cut and clean up the first taper. Then mark the second taper on the
template stock by placing it on the tapered leg and setting them both
on a flat surface, like a bench or jointer bed. On the template stock,
mark a line that's parallel with the bench or bed. Then cut and clean
this second side. The template is ready for use.
Make sure the tapers have been cut close to the template shape; there
shouldn't be more than 1/16 in. of wood to clean up with the router.
Set the height of the bit so that the bearing rides firmly against the
template. Start the cut back just a little from the end of the leg. Work
from the widest part of the taper to the narrowest. Rout the full
length, and finish up with one smoothing pass.
Handplane: On wood that's not particularly gnarly, a well-tuned

handplane can be used to clean up tapers straight off the bandsaw,
planer or tablesaw. A plane also is a good choice for tapers that have
been cleaned up with a jointer or router but still need a little more

polishing.
Generally, you'll want to plane

downhill (from the wide part of
the taper down to the narrow), but
you should check the grain
direction of each face you're
planing to be sure. The grain may
surprise you. Make sure your stop
or bench dog won't interfere with A handplane cleans tapers
the plane at the end of its stroke. efficiently. A plane leaves a
surface that's ready for finish,
Mark a line across your stock at but take care to plane with the
the start of the taper, and take grain to avoid tearout.
lighter passes as you approach it.
Gary Rogowski designs and builds furniture in Portland, Ore., and is a

contributing editor to Fine Woodworking.
Photos: Vincent Laurence; drawings: Jim Richey

63

A Circular Saw in the Furniture Shop?
YOU ARE HERE: Fine Woodworking Home Skills & Techniques A Circular Saw in the Furniture Shop?
Tuning the saw

Entire Site A Circular Saw in the Furniture
Setting up the table
Shop?
A selection of great Using the guides
information from our For cutting sheet goods in tight quarters, this
Magazines, Books, and carpenter's tool, used with a sacrificial table
Videos. and dedicated cutting guides, produces joint-
Skills & Techniques quality cuts with ease
Joinery by Gary Williams
Tools Contractors couldn't live without

the portable circular saw, but we Mastering
Finishing
of the warm, dry furniture shop Woodworking
Workshop & Safety tend to leave it on the same shelf
Machines
as the chainsaw. Great for
Projects & Design building a deck but far too crude Mark Duginske shows
for quartersawn oak. Necessity you how to choose, set
Materials up, and tune your
has a way of teaching us humility,
however. machines for safety,
Reader Showcase precision, and
I've been a sometimes- efficiency
professional woodworker for nearly 30 years, but somehow I have
never managed to attain the supremely well-equipped shop. I work Woodworking
Get instant access to alone in a no-frills, two-car garage that I share with a washer, a dryer, Machines
over 600 of the best a water heater and a black Labrador. My machines are on the small 40 articles from Fine
Fine Woodworking side, and I lack the space for large permanent outfeed and side Woodworking's classic
articles. extension tables for my tablesaw. Perhaps you can relate. Under black-and-white days
these conditions, cutting a full sheet of plywood can be a very will help you assess
Fine Woodworking challenging operation. Even if you have your shop set up to handle and using a variety of
Online Archives sheet goods with ease, perhaps you've run into similar difficulties machines
cutting plywood and lumber accurately on job sites and installations.
The solution? Power Saws and
Planers
Browse our online May I suggest the humble circular saw? Cutting lumber and plywood 26 articles from Fine
catalog of in-depth, with a handheld circular saw is nothing new. You've probably done it Woodworking cover
how-to information. before, with varying degrees of success. You get that 4x8 sheet up on tuning up your table
the sawhorses, mark your cut line, rig up some kind of straightedge saws, adjusting your
Techniques
and cut. Trouble is, in the instant before the cut is complete, gravity bandsaw wheels,
Furniture happens, and you are presented with an entirely new challenge. Now small thickness
Power Tools you have two pieces that either want to collapse in the middle or fall planers, workshop
off the end. Meanwhile, the scrap you used as a straightedge bowed a noise, and more
Hand Tools little during the cut; and it wasn't quite long enough to begin with, so
Projects the last few inches of the cut were done freehand. And as to the cut
produced by that blade you last used to cut creosote-soaked fence
Workshop posts...
Finishing
I've developed methods of tuning the saw, supporting the workpiece
Turning and guiding the cut that combine to make slicing up sheet goods and

Carving unwieldy planks of solid wood with a circular saw so simple and the
results so clean that I don't even daydream about the big shop and the
Professional Topics behemoth tablesaw anymore.
You must tune the saw

If you're going to make joint-quality cuts with a circular saw, there
are rules:
Rule No. 1: Start with a good saw, one that can be properly adjusted
and that has good bearings to prevent the blade from wobbling.
Rule No. 2: Install the best 40-tooth carbide blade that you can find.
Rule No. 3: Always check the blade tilt with a machinist's square
before starting a job.
Rule No. 4: Make sure the blade is exactly parallel to the edge of the
saw's base. Use a dial indicator if you can (see Tuning the saw). If
you can't adjust the base, see Rule No. 1.
Use a cutting table to support the work
The backbone of my system is a sacrificial cutting table with folding

legs. Picture that unwieldy sheet of plywood lying serenely on a
dedicated cutting table, waiting to be operated on like a patient in
surgery. When each cut has been completed, both halves of the sheet
will still be lying there, awaiting further disposition. Nothing caves in
or falls off the end. Each cut makes a shallow kerf in the table, and
when you've chewed up one table, you simply make another (for me,
a matter of a couple of years). The table is cheap, easy to build and
lightweight, and you can store it in a narrow space when you're not
using it (see Setting up the table). The table's open-grid format serves
three purposes: It keeps the table light; it keeps it clean (sawdust falls
through, and you can't pile junk on it); and it allows a clamp to be
used anywhere on the table surface.
It doesn't take a 4-ft. by 8-ft. table to handle a full sheet of plywood. I

build mine a little under 3 ft. by 7 ft. This size is comfortable to work
on and easy to store. If you have to cut a foot or less off one end of
the sheet, you can slide it over so that the far end hangs over a foot or
two. Same thing with width. As long as there is enough table to
support more than half of the piece, it's not going to fall off.
There are various ways to assemble the grid. If you have a regular
workbench large enough to lay out all of the pieces on, you can use a
couple of bar clamps to snug the assembly together while you insert
screws. Alternately, you can lay the pieces out on the floor and use a
wall to give you something to push against while driving the screws.
I use fir 2x2s for the long rails and 2x4s for the crosspieces. I drive 3-
in. drywall screws to connect them, and I drill clearance holes only
for the screws at the ends of the long rails, where there is some
danger of splitting the wood. If you work on the floor, you can
assume the grid won't be perfectly flat, but that's okay. As long as it's
not far out of flat, it should perform well.
You can place your tabletop on sawhorses for use, or just put it on a
bench or table, but I'd recommend fitting it with folding legs. Folding
banquet table legs, available in many woodworking catalogs, are

fairly inexpensive and add a tremendous amount of convenience.
To get a heavy sheet of plywood or medium-density fiberboard

(MDF) up on the table, there's a simple way to save your back. Place
a couple of wood scraps on the floor and tilt the table down so that
the edge of the tabletop rests on them. This gives you room to get
your fingers underneath. Then set the plywood on edge on the blocks
as well. Lean the plywood against the tabletop, reach underneath and
tilt up the table and sheet together.
Make dedicated cutting guides

The difficulty in using a straightedge with a circular saw is that you
have to offset the straightedge from the cut line to account for the
width of the saw's base. My first approach to simplifying this process
was to rip a strip of Masonite the exact width of this offset. I would
lay this spacer down next to the cut line and then snug my
straightedge up to the spacer. It didn't take long to figure out that it
would be more convenient to attach a Masonite spacer to the bottom
of the straightedge.
Now I simply lay the Masonite base of a cutting guide right on the
line, clamp the guide to the workpiece and cut (see Using the guides).
One bonus is that the saw glides smoothly across the Masonite
instead of on my workpiece. And another is that the Masonite backs
up the cut, minimizing splintering of the veneer in cross-grain cuts.
I keep several of these guides in the shop, in different sizes and

configurations. Together with the circular saw and the cutting table,
they make dissecting large panels a breeze. I recommend at least
three different guides: an 8-ft. guide for cutting sheet goods in the
long dimension, an easier-to-wield 4-ft. version for shorter cuts and a
90° guide for perfectly square cuts.
To make a guide, begin by cutting an 8-in.-wide strip of 3/4-in.-thick

plywood for the fence portion. Next, measure the saw's footprint --
the distance from the blade to the edge of the base on the side under
the motor. Then make the Masonite base. Its width is 8 in. plus the
saw's footprint plus 1/2 in. or so extra, which will be trimmed off.
The plywood for the fence should be of good quality -- something
with good inner plies, such as hardwood or marine plywood. The
edge that the circular saw will be running against should be free of
voids, if possible. For the Masonite base, tempered is best, 1/8 in. or
1/4 in. thick.
To assemble a straight guide, lay the plywood fence, best-side down,

on the table, and lay down the Masonite strip with the best side down
on top of the plywood. Drill and countersink clearance holes in the
Masonite, about every 6 in. along the length of the assembly. Clamp
the two boards and screw them together, being careful to get the
screws fully countersunk.
Your next move will be to trim the Masonite base. If you haven't
bought a good sawblade yet, drop everything and do it now -- your
guide will be trimmed to match your exact saw and blade
combination; you don't want to make a guide with one blade and use
it with another. When you get back from the store and put your good
carbide blade in the saw, check the blade for square and parallel
according to those iron-clad rules listed above. Then clamp the guide

to your cutting table and trim off the excess Masonite by running the
saw down the length of the assembly. Now the guide is ready to go.
The key to making the right-angle cutting guide is getting an accurate

90°. I use a scrap piece of plywood as a form when I join the two legs
of the guide. I use a factory corner (checking with a square to see that
it is 90°) or cut one corner square.
Using a guide is a snap. The only thing to remember is that the guide
is always placed on the good side of the cut marks -- that is, on top of
the piece you're going to be using -- so that the saw kerf is in the
waste.
Nonstandard cutting with the guides

Once you've used this cutting system for a while, you will no doubt
see other applications for it. Here are several that have come up in
my work since I first made these guides.
Straight-lining crooked boards -- The 8-ft. guide offers an easy

way to straighten the edge of a long, waney-edged plank. Use scraps
the thickness of the workpiece to space the cutting guide off the
table. Clamp the guide to the table. Then tuck the crooked edge of the
board under the guide's Masonite base just far enough that the waney
edge disappears. Then clamp the plank to the table and rip.
Mitering -- What if you need to rip a wide mitered edge to make a

large box? All you need is another cutting guide. Make one with an
oversized base, just as you did with the others, and then trim it with
the sawblade set to 45°.
When you are ready to cut the miters on the workpiece, mark the cut
on the edge of the piece with a 45° marking square and line up the
beveled Masonite with the marks.
Ripping skinny pieces -- Narrow pieces are typically best cut on

a tablesaw. But on site or on an installation, there may be times when
you want to cut a piece narrower than the cutting guide. In these
cases it's difficult to clamp the two together without the clamps
interfering with the saw. The solution is to clamp the workpiece to
the table, with the clamps in the waste, and hold the guide down with
different clamps. As with the straight-lining, elevate the guide using
scraps the same thickness as the workpiece, positioning them under
the clamps. Slide the workpiece under the guide, line up the cut
marks with the Masonite edge, and clamp the workpiece to the table.
Then rip as usual. If you need to rip a number of skinny pieces to the
same width, position the spacer blocks to serve also as stops,
determining the width of the cut.
A cutting table and guides should make your life a little easier around
the shop, especially if it's a small one. You may even find them
helpful next time you go out in the cold to build a deck.
Gary Williams is a technical writer and woodworker in San Diego.
Photos: Jonathan Binzen

73


12 Quick Tips
YOU ARE HERE: Fine Woodworking Home Skills & Techniques 12 Quick Tips
Entire Site 12 Quick Tips

Readers' ideas make woodworking easier,
A selection of great safer and less expensive Methods of Work:
information from our Slipcase Set
Magazines, Books, and by Fine Woodworking readers
The best tips from 25
Videos.
Shellac prevents glue squeeze-out problems years of Fine
Skills & Techniques To prevent glue squeeze-out problems when assembling drawers, Woodworking in a
simply finish the insides of the drawers before assembly. Sand all of four-volume set
Joinery
the inside drawer parts, and apply two or three coats of shellac,
Tools carefully avoiding the surfaces that will be glued. Later, when you Woodworking
assemble the drawers, any bead of glue will pop right off after it has Techniques
Finishing The best methods for
dried.
Workshop & Safety building furniture
-- Joe Barry, Lumberton, N.C. from Fine
Projects & Design From Fine Woodworking #148, p. 14 Woodworking
Materials
Make shims from compact discs

Reader Showcase
Compact discs make excellent shims for setting up dado blades.
Simply enlarge the hole to your arbor size, and insert the discs
between the blades to the required thickness. If a disc breaks, take
heart: A replacement will arrive shortly in the mail from an Internet
Get instant access to service provider.
Fine Woodworking -- Tom Carpenter, Vernon, B.C., Canada
articles. From Fine Woodworking #149, p. 18
Fine Woodworking
Online Archives
Abrasive stick removes gum buildup from
bandsaw blade
The same rubber abrasive stick that you use to clean sanding discs
Browse our online and belts will also remove gum buildup from your bandsaw blade.
catalog of in-depth, Just push the stick against the sides of the blade while the saw is
how-to information. running.
Techniques -- Robert P. Cromwell, Royalston, Mass.
Furniture From Fine Woodworking #148, p. 16
Power Tools
Hand Tools
Masking tape helps eliminate tearout
Projects When working with sheet goods, I trim the pieces to an approximate
Workshop size with a handheld circular saw. Then, before I make any final cuts,
I put down a piece of 2-in. masking tape, affixed directly to the
Finishing wood. I can then mark my final cut line on the tape. The tape all but
Turning eliminates tearout.

12 Quick Tips
Carving -- Craig Duff, Del Rio, Texas
Professional Topics From Fine Woodworking #145, pp. 18, 20
Inexpensive inserts from plastic cutting board

When I wanted to build a router table, I checked out the phenolic and
acrylic inserts in the mail-order catalogs and decided they were too
expensive. Then I came up with the idea to use a plastic cutting
board, the kind found at any store that sells cooking utensils. The
board machined well and cost less than $5.
-- Rick Grinstead, Charlotte, N.C.
From Fine Woodworking #141, pp. 20, 22
Food vacuum pump for small veneering jobs

I use a food vacuum-storage setup for small veneering jobs. Because
the bags are sealed, the vacuum pump doesn’t have to run
continuously, and you can do as many projects as you want with only
one vacuum tool. With the proper attachment, the device will draw
air from Mason jars to enable long-term storage of finishes with no
skin forming on the top.
-- Tom Love, Delmont, N.J.
Plastic bags keep brushes from drying out

To keep brushes from drying out, place the brush inside a slide-lock
plastic bag, and snug up the slide on the brush handle. The bag will
keep the brush from drying out for several days.
-- John Martin, Racine, Wis.
Latex gloves protect hands from splinters

To protect my hands around the shop, I use inexpensive latex
examination gloves, available by the box from wholesale supply
stores (such as Sam’s Club). The tight-fitting gloves are sensitive
enough to operate machinery but strong enough to protect from
splinters when handling rough lumber. They are surprisingly durable.
As a bonus, the gloves leave my hands in dramatically improved
condition at the end of the day, reducing the need for moisturizers
and rehabilitation.
-- Lawrence A. Salibra II, Gates Mills, Ohio
Sweeper cloths remove wood and sanding dust

Procter & Gamble’s disposable refill cloths for the Swiffer dust
sweeper make excellent tack cloths. The cloths do a great job of
removing wood and sanding dust and do not interfere with

12 Quick Tips
subsequent finishes. They are relatively inexpensive and can be used

repeatedly.
-- Paul L. Stotler, Leonardtown, Md.
Color code to quickly locate correct wrench

To locate the correct Allen wrenches quickly and easily, wrap a
different color of electrical tape around the handle of each wrench.
Also, place a dab of paint on each tool with a color that matches the
tape on the Allen wrench used to adjust that tool.
-- Jim Wheeler, Plainfield, Ind.
Paraffin lubricates scraper’s cutting edge

When using a scraper, swipe the edge of it along a block of paraffin
after every few strokes. The paraffin lubricates the cutting edge,
reducing chatter and preserving the sharp edge.
-- Mike Zaslav, Cherry Hill, N.J.
Rubber thimbles for feeding work into bandsaw

I use rubber thimbles, the kind used by mail sorters, to make it easier
and safer to feed work into my scroll saw and bandsaw. Worn on the
thumb and middle finger of each hand, the extra traction they provide
is amazing. The thimbles are commonly available at reasonable
prices from office-supply stores.
-- Tom Johnson, Sandy Hook, Conn.

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Tools Modern tools cut through conventional wisdom, opening up the
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— by Howard Lewin
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Materials combination machines and why he's still happy with his seven years
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•
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Five-function machines are heavy-duty and save space; the
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Fine Woodworking
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Tool Review, 1-hp Mortising Machines
The $1000 machines are bigger, beefier, and mightier than benchtop
models, but there are a lot of differences in adjustment mechanisms,
Browse our online clamps and lever arms
— with Roland Johnson
how-to information. • Squaring Up a Square
Techniques An edged needle file is all you need for tuning up a combination
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Carving • Making Three-Phase Machines Work in a One-Phase Shop

Most heavy machinery is designed to be run on three-phase
Professional Topics electrical power, but a number of options are available to get the
tools running in your one-phase home shop
— by John White
• Folding a Bandsaw Blade

It's trickier to explain than it is to do, so watch!
— with John White
• A Classic Bowsaw
(online exclusive)
This low-tech tool still has appeal
— by Tom Begnal
• Open a Flush Door Without a Handle

The door fits perfectly, now how do I get it out?
— with Chris Becksvoort
• Turbine HVLP Sprayers Keep Getting Better

We take a look at several high-volume, low-pressure turbine
sprayers that sell for under $500
— by Chris A. Minick
• Craftsman Mini-T Compact Drill

(online exclusive)
In tight spots, it might just be the ticket
— by Tom Begnal
• Bandsaw-Tension Handle Extension

A quick fix for an awkward problem
— with John White
• Bandsaw Table-Tilt Fix

A technique for quickly adjusting the tabletop to frequently used
positions, both forward and back
— with John White
• King Heiple's Shop-Built Jig

Build your own sharpening jig with these plans by Fine
Woodworking author King Heiple
• A Tool for Perfect Mortises

This router template is quick to make and easy to use for accurate
mortises every time
• Clamp-It Assembly Square

(online exclusive)
Clamped to a case, it helps keep the "right" in right angles
— by Tom Begnal
• Radius Cutting with a Router Template

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Gadget helps round over square corners
— by Tom Begnal

• SawStop Finger-Saver Update

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Safer tablesaws and bandsaws might soon be an option
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• Cordless Brad-Nailer from Porter-Cable

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Mini-compressor maximizes convenience
— by Tom Begnal
• Jumbo Clamp Pad

(online exclusive)
Aftermarket add-on is simple and effective
— by Tom Begnal
• Bosch Improves Dust Collection on Random-Orbit Sanders

(online exclusive)
Unique microfilter keeps fine dust out of the air
— by Tom Begnal
• Miller's Reproduction Plane

(online exclusive)
There's nothing plain about this plane
— by Tom Begnal
• Low-Angle Block Planes

A veteran woodworker reviews two of the eight models currently
available
— by Chris Gochnour
• Parts for Chisel Plane

A complete parts list for the wooden chisel plane featured in Norm
Pollack's article in the March/April 2001 issue of Fine
Woodworking (#148)
• Special Tools for Crown Molding

A tool set designed to make crown molding from solid stock
— with Lonnie Bird
• Using Card Scrapers

The scraper can replace a stack of sandpaper
— by Phil Lowe
• The Peerless Tool Chest of H. O. Studley

This masterful tool chest stands as an extraordinary example of 19th-
century craftsmanship
— by Lon Schleining
• Cabinet-Saw Test
A review of 10 heavy-duty cabinet saws from Europe, North
America and Taiwan
— by Niall Barrett and Lon Schleining
Why Tablesaw Blades Get Dull

Identifying the common culprits can help you postpone your next
trip to the resharpening shop
— by Tom Begnal

• Dovetail Jig Review

Router jigs have their place, but don't expect them to duplicate hand-
cut joints
• Returning Your Crosscut Sled to Pristine Condition

Keep zero clearance around the tablesaw blade for accurate cutting
— with Lon Schleining
• Squaring A Crosscut Tablesaw Sled

An indispensable jig that makes accurate miters, crosscuts and
tenons a cinch
— with Lon Schleining
• What to Look for When You Buy a Bandsaw

A few conclusions drawn from Fine Woodworking's latest tool
review
— with John White
• Setting Bandsaw Blade Tension

Learn to set your bandsaw's tension to ensure cuts that are straight
and even
— by Lonnie Bird
• Replace Router Brushes to Prevent Motor Damage

A router with badly worn brushes won't run well
— with John White
• Midsized Plunge Routers

A hands-on review of eight routers in the 2-hp class
— by Tom Begnal
• Fixed-Base Routers
An introduction to a popular and useful tool
— by Pat Warner
• Router-Bit Matchup
We put 17 brands of straight bits to the test
— by Anatole Burkin
• Routers for Router Tables

Choose a fixed-base model over a plunge router
— by Patrick Warner
• Drilling Vacuum-Port Holes for "The Ultimate

Router Table"
An adjustable-wing circle cutter cuts accurate holes and the discs to
plug them up
— with John White
• Testing Biscuit Joiners for Parallel

A dial indicator tells if the slot is cut parallel to the face of the
workpiece
— with John White

• Jigsaws
In this excerpt from his new book, Power Tools, Sandor
Nagyszalanczy examines a variety of jigsaws and their accessories
— by Sandor Nagyszalanczy

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• Applying an Aerosol Finish

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Videos.
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Skills & Techniques — with Sean Clarke
Joinery
An Easy, Durable Finish
Tools All you need is spar varnish, sandpaper and lots of clean rags
Finishing
• Finishing a Raised Panel
Workshop & Safety
Avoid drips and pools of finish by brushing the components in a
Projects & Design specific order
— with David Sorg
Materials
• Respirators for Finishing
Reader Showcase Not all respirators provide the same protection against harmful
vapors. Jeff Jewitt helps you choose the correct one for the job.
— by Jeff Jewitt
• How to Fix Damaged Finishes

Get instant access to Scrapes, scratches, water marks, dents and dull finishes are not fatal
over 600 of the best — by Jeff Jewitt
Fine Woodworking
articles. • A Primer on Sealers
How and why you can benefit from these often misunderstood
Fine Woodworking
products used under clear finishes
Online Archives — by Jeff Jewitt
• A True Oil Finish

Nontoxic and easily repaired, this traditional finish is still worth
Browse our online considering
catalog of in-depth, — with Chris Becksvoort
how-to information.
• Selecting a Finish
Techniques
Before you start your next furniture project, consider a finish's
Furniture appearance, its method of application and its durability
— by Jeff Jewitt
Power Tools
• Varnish: An Almost Ideal Finish
Hand Tools
Understanding the chemistry behind many common oil varnishes
Projects helps you choose the right product
— by Chris Minick
Workshop
Finishing
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Feature Library - Finishing
Carving • Polyurethane: A Versatile Finish

This durable finish is much scorned, but much used
Professional Topics — by Michael Dresdner
• Three Reliable Finishes

Get good results with oil-varnish, shellac or water-based
polyurethane
— by Mark Schofield
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YOU ARE HERE: Fine Woodworking Home Finishing An Easy, Durable Finish
Entire Site An Easy, Durable Finish

All you need is spar varnish, sandpaper and
A selection of great lots of clean rags Finishing: Methods of
information from our Work
Magazines, Books, and Fine Woodworking asked its contributors:
The best finishing tips
Videos. What's your favorite finish and why?
Skills & Techniques by Lon Schleining Woodworking
Joinery I wasn't asking for much: I Great Wood Finishes
Tools wanted a finish with a rich, hand- Jeff Jewitt's proven
rubbed luster, neither too glossy methods teach you
Finishing nor too dull, that illuminates how to achieve
rather than hides the grain -- one professional results
Workshop & Safety
that would offer real protection and get the look you
Projects & Design from moisture and sunlight and want
yet still feel like wood, not
Materials Finishes & Finishing
plastic. I also wanted a finish I
could apply quickly and easily, Techniques
Reader Showcase and something I could use right Articles from Fine
out of the can. And it would be Woodworking cover
awfully nice if it smelled good. smoothing and
That isn't too much to ask of a preparing surfaces;
Get instant access to finish, is it? changing the color of
over 600 of the best wood with dyes,
The answer turned out to be rather simple: high-gloss spar varnish, pigments, and stains;
Fine Woodworking
turpentine, wet-or-dry sandpaper in various grits, a few rags and a bit polishing finishes to a
articles.
of elbow grease. Simply rubbing plain gloss varnish into the raw high gloss; spray
Fine Woodworking wood provided the protection, sheen, feel and ease of application I finishing; and
Online Archives was looking for. repairing damaged
finishes
Start with a well-prepared surface
The key is to scrape, plane or sand each of the pieces of your project
Browse our online before you assemble it. Even if you have to touch up the sanding
catalog of in-depth, after final assembly, this step will save lots of time.
how-to information.
During the building process I sand by machine (belt sander, 120 grit),
Techniques then sand by hand with a wood sanding block padded with felt. The
Furniture sanding sequence will depend, in part, on the type of wood. On hard
maple, for example, use 100 grit, then 120, 150 and finally 220 grit.
Power Tools With mahogany and its much more open grain, stop dry-sanding at
Hand Tools 150 grit. Be sure to change sandpaper frequently.
Projects Make sure the surface is clean by using a vacuum to pull out the
sanding grit from the pores of the wood. Don't worry if the surface is
Workshop
less smooth than what you normally shoot for. The sanding doesn't
Finishing stop when the finishing begins. I wet-sand with finer and finer grits
during the application of the finish itself.
Turning

Carving
Materials are easy to obtain
Professional Topics The heart of my finish is a high-gloss spar varnish, which has several
advantages: Unlike plain oils, it hardens overnight; it's readily
available; and it has much greater clarity than semigloss or satin
finishes, whose additives not only dull the finish but also cloud the
grain. Spar varnish also contains ultraviolet protection that will help
keep the wood from fading or yellowing. I've used this varnish for
years on boats, protecting the wood from salt water and abuse, so I
know it provides the tough tabletop film I'm looking for. As an added
bonus, this finish is quite easy to renew by scuff-sanding with 220-
grit paper and simply wiping on an additional coat of varnish if the
surface ever needs it. In addition, this finishing method will also
work with other types of varnish, urethanes and even some finishing
oils.
Lon Schleining's favorite finish: for the first coat, use three parts
varnish, one part thinner, and 220-grit wet-or-dry sandpaper.
Though it's counterintuitive, gloss varnish does not produce a glossy

surface when it's rubbed on. Because you're wiping off any excess
varnish, not letting it stand on the surface, it doesn't get a chance to
build up to its normal gloss.
To thin the varnish for the initial coat, I like to use natural turpentine
instead of paint thinner, simply because it smells good. As a general
rule, thin a finish with whatever the label suggests for cleanup.
You will need a few sheets of 220-, 320-, 400- and 600-grit wet-or-
dry sandpaper for sanding in the varnish. For dry-sanding between
coats, use open-coat, self-lubricating 320-grit paper. A box of soft
cotton rags from the paint store ensures that you won't run out of
clean rags just when you need one. Lastly, disposable gloves are
essential. Not only will they protect your skin from solvents, but they
also make the job a lot less messy.
Application is straightforward
Before starting, spread out a plastic sheet to contain drips and spills.
This is also a good time to change into an old shirt and pants. (I
might even follow my own advice about this one of these days.) Pour
a small amount of varnish into a container using a piece of nylon
panty hose as a strainer. Thin with one part turpentine to about three
parts varnish. The first coat saturates the wood more effectively if it
is thinned down a bit.
Wearing gloves, quickly flood the entire surface on all sides until it's
completely coated, adding more varnish as needed. It's important to
cover the piece completely, not in sections. Working on a small area
at a time may leave a line where different areas of finish overlap.

Apply the finish liberally; coat Sand the varnish with the grain
the whole surface quickly to using 220-grit wet-or-dry
avoid creating lines where the paper. Sanding with the grain
finish overlaps. Schleining uses creates a slurry that fills the
his gloved hands to spread the pores of open-grained wood.
thinned varnish over the The color match is perfect.
surface before sanding.
Sand the wet varnish into the wood using 220-grit wet-or-dry paper.
Sand with the grain until you produce a slurry. This helps fill the
pores of open-grained woods, such as mahogany or oak, and the
color match is perfect. While the varnish is still wet, wipe with a soft
cotton rag to remove any varnish that has not soaked into the wood.
When removing the excess

varnish, there's a point at which
the varnish gets quite sticky and
difficult to wipe. Working on
something like a large tabletop
might require a helper. Rub across
the grain to avoid pulling the
slurry out of the wood pores. Be
sure to spread out the oil-soaked
rags to dry before disposing of Before the varnish becomes
them, to avoid the danger of the tacky, wipe off the surplus
using clean cotton rags. Keep
rags spontaneously igniting. changing the rags until no more
finish can be removed and the
Buff with a fresh cloth until the surface can be buffed smooth.
surface is slick and smooth.

Polish the piece every half hour or so to make sure no wet spots
emerge on the surface. Joints, such as on the breadboard ends of a
tabletop, will absorb excess varnish, which will gradually seep out
after the rest of the surface has dried. To avoid this, I blast the joint
with compressed air, forcing the surplus varnish out of the gap.
No matter how much you wipe, varnish has a habit of oozing out
of joints after you have done your final buffing, creating sticky
and glossy areas. Remove surplus varnish using compressed air
(right), and wipe the area clean.

Additional coats require unthinned varnish and finer-grit paper.
Let the piece sit at room

temperature overnight. You can
carry on working in the shop
because it doesn't matter if dust
lands on the piece, but it is a good
idea to ensure adequate
ventilation to avoid a
concentration of fumes. The next
morning the surface should feel
smooth and dry. Lightly dry-sand Scuff-sand the surface the
it with 320-grit nonloading, or following day. Between coats,
lightly sand the surface using
stearated, paper. Use a felt- 320-grit nonloading, or
padded block, and sand with the stearated, paper under a
padded block. Always sand
grain. Clean the surface with a with the grain.
vacuum or compressed air. Apply
a flood coat of unthinned varnish and use 320-grit wet-or-dry paper
to sand the varnish into the surface. Wipe and buff the excess varnish
as before.
Repeat this process each day; wet-sanding with finer and finer grits
until you have at least three coats. Additional coats will produce
slightly more luster. Some folks like to wax the surface when it's dry,
but I prefer to leave it unwaxed, because it's easier to recoat should
the surface become damaged over time.
Apply subsequent coats the After the final coat has dried,
same way as the first coat. Rub the surface will be silky smooth
in each coat with a higher grit with the pores filled. Rub the
of wet-or-dry paper. The last surface briskly with a clean
coat is rubbed in with 600-grit cotton rag.
paper to create a very smooth
surface.
I haven't yet been tempted to throw away either my spray guns or my

badger-hair brushes, but after using this finishing process on several
projects, I can't remember the last time I used those tools. This
simple technique meets all of my criteria for an ideal finish and
produces very consistent results, all without a large investment in

equipment.
Lon Schleining is a contributing editor to Fine Woodworking.
Photos: Mark Schofield

49

How to Fix Damaged Finishes
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Scrapes, scratches, water marks, dents and
A selection of great dull finishes are not fatal Great Wood Finishes
information from our Jeff Jewitt's proven
Magazines, Books, and by Jeff Jewitt
methods teach you
Videos. how to achieve
Different wood finishes vary greatly in how well they protect
Skills & Techniques furniture and in how long they last, but they are all subject to the professional results
forces of light, moisture, air and general wear and tear. Sunlight, heat and get the look you
Joinery want
and water remain the biggest enemies of finishes, but moving
Tools companies, puppies and feisty 2-year-olds contribute their share of
damage as well. Finishing: Methods of
Finishing Work
To repair an injured finish, you first need to identify which type of The best finishing tips
Workshop & Safety
finish you're dealing with. Evaporative finishes, such as from 25 years of Fine
Projects & Design nitrocellulose lacquer and shellac, are the easiest to repair because Woodworking
any new finish will melt right into the old finish. Reactive finishes,
Materials such as varnish, are more difficult because new topcoats don't blend Finishes & Finishing
in with the existing ones. Techniques
Reader Showcase Professional secrets
You can identify an old finish with a two-step test using different for simple and
solvents. Find an inconspicuous spot and dab a little denatured beautiful finishes from
alcohol on the finish. After 30 seconds, press against the dampened Fine Woodworking
area with some tissue paper. If the tissue sticks to the finish, it is
shellac. If the alcohol doesn't affect the finish, try the same test with a
little lacquer thinner. If the tissue still doesn't stick, the finish is
Fine Woodworking
probably an oil-based varnish, a polyurethane or a newer catalyzed
articles.
finish. Once you know the type of finish and how it was damaged,
Fine Woodworking you can decide what to do to fix it.
Online Archives
A final note: If you think a piece of furniture is valuable, you may
want to consult a professional; or you can simply wax it to avoid the
possibility of permanent damage to an old patina that may add value
Browse our online to the furniture.
Scrapes and scratches
how-to information.
Scrapes, areas of finish and color
Techniques removed from edges, are
generally easier to repair than
Furniture
scratches, which occur in the
Power Tools center of a side or top and must be
stripped and refinished. The first
Hand Tools
step is to determine if it's only the
Projects finish that's damaged or if part of
the color is gone, too. Wet the
Workshop
damaged area with naphtha. If the
Finishing wet surface blends in with the rest
Turning of the finish, you only have to

repair the finish. Mixing dry pigments with

Carving shellac for minor color repairs
takes some practice and a fine
Professional Topics If both color and finish are artist's brush. Photo: Susan
missing, the naphtha will make Jewitt.
the scrape appear lighter than the
rest of the finish. In this case, you'll need to replace the original color
first, then apply finish. The easiest way to replace color is to use a
felt-tipped repair pen. The color selection is limited, but you can
apply several different colors to achieve a match. A more difficult
method is to mix some dry pigment with shellac and paint it in with a
fine artist's brush.
On a lightly scratched varnish or

polyurethane finish that is thick
enough, your best bet is to sand
out any scratches first. I usually
start with 600-grit paper, but I've
occasionally used 400 grit. While
the traditional method calls for
wet-sanding, I prefer to dry-sand.
Wet-sanding gives you a false
illusion of finish thickness, and
it's possible to go through the
finish before you know it. Minor scratches in the finish
Depending on how deep the will be easier to repair if you
scratches are, you may have to scuff the surface of the finish
first. Photo: Susan Jewitt.
sand the entire area to avoid
hollows created by working one area too aggressively. Smooth out
the sanded finish with fine steel wool to blend it in. You can match
any original sheen by rubbing it out with 0000 steel wool or by using
rubbing compounds. If the scratch is deep and white, and the finish is
varnish or water-based, you'll need to strip and refinish the entire
surface if you want a perfect repair.
If a finish is too thin to sand out

without going through, simply
add more finish. With an
evaporative finish, such as
lacquer or shellac, some scratches
will disappear and blend right in
with the new finish, as long as
they're not too deep. Fill the
scratch with finish by applying
some lacquer or shellac with a red
sable artist's brush. Several
applications with overnight
drying may be needed. When the Fix small scratches in lacquer
scratch has been filled, sand the and shellac by painting in the
proper finish with a small
built-up layers back to a level artist's brush. Then lay on a
surface, then apply more finish to coat over the entire surface.
the entire area. When the finish is Photo: Susan Jewitt.
dry, rub it out to the sheen that

you want.
Gouges and dents

Some damage is so deep that your only choice is to fill it as best you
can to match the surrounding wood. The most popular fillers are
colored wax and burn-in sticks made from shellac or a synthetic

resin. Of the two, colored wax is easier to use, but burn-in sticks dry
harder, so they're better for areas that will be subjected to more wear
and tear.
To fill large gouges with wax, rub the area with the wax, or cut off a
small piece and pack it into the depression. Then, using a chiseled
spatula made from a small piece of wood, pare away the excess wax
until it is fairly level with the surface. Rub the wax level with the
surface using the back of a piece of fine sandpaper.
Burn-in sticks are a bit more difficult to

Gouges and dents
use, and it's easy to damage the surface
around the gouge if you're not careful.
Melt part of a burn-in stick with a
soldering iron or burn-in knife, then
quickly press down with your finger to
push the resin into the depression.
If the resin is shellac and the finish

(opens in new
surface is varnish or oil, the repair is window)
best leveled by wrapping a piece of
muslin around a small piece of wood,
wetting it slightly with alcohol and rubbing the repair until it's
smooth.
If the finish surface is shellac or the burn-in stick is made of lacquer

resin, level the filler by sanding very carefully with fine sandpaper
lubricated with mineral spirits. You'll need to topcoat all burn-in stick
repairs with more finish to protect them. While you're at it, you may
want to lay on a new topcoat over the entire surface.
Water and heat marks

If the damage from moisture
appears black or gray, water has
permeated the finish and
discolored the wood below. To
repair such damage, you must
strip the finish, sand the wood and
bleach it with oxalic acid, which
is available in powdered form at
Not all types of damage are
most hardware and paint stores. equal. The white water ring in
the finish will be easy to repair.
If the damage appears as a white The black stain, also caused by
water, goes through the finish
ring or a whitish, foggy area, and into the wood and requires
water or heat caused the damage, more work to repair.
and it is confined to the finish.
The damage may be at the very top of the finish or closer to the
bottom (where the finish meets the wood). There is no easy way to
know exactly how far down the damage goes, and where it is will
affect how successful any repair will be.
Most damage near the top can be rubbed out with some steel wool
and mineral oil, rubbing compound or even fine sandpaper. The
whitish color disappears fairly quickly, and once removed, the finish
can be rubbed back out to the original sheen.
If the finish is lacquer or shellac, a light padding with a rag

moistened with denatured alcohol will remove the white spot.

Dampen the rag just enough that

it feels like the tip of a dog's nose--
moist but not dripping wet--and
use a back-and-forth pendulum
motion to remove the white spot,
working with the direction of the
grain. If neither of these methods
works, the damage was probably
caused by heat to the bottom of
the finish. In that case, your only It takes a little elbow grease,
but not much. Steel wool and
choices are to strip off the finish mineral oil will usually remove
and start over or find a good- white water rings.
looking vase to hide it.
Dull and dirty finishes

If a finish appears dull and dry but is otherwise intact, you can revive
it with a simple cleaning and a coat of wax.
Start by wiping the finish

thoroughly with a clean rag
dampened with naphtha. This step
removes any oil-soluble grime.
Then switch to a detergent to
remove water-soluble dirt. The
best cleaner I've found is to mix
one capful of Dawn brand
dishwashing liquid in a pint of
warm water. Use a slightly
dampened cloth, not one that is A coat of wax will do wonders.
dripping wet. This drawer face clearly shows
the benefits of a simple
cleaning and a coat of wax.
Next, abrade the finish using a
dry, no-load, stearated 400-grit sandpaper (such as Fre-Cut or
Adalox), then follow up with 600 grit. The goal here is to remove
only the very top layer of finish but not to sand all the way through to
the wood.
After wiping off the sanding residue with a rag dampened with
naphtha, use a natural or dark-colored paste wax --depending on the
color of the wood -- to bring the luster back up.
Jeff Jewitt restores furniture and sells finishing supplies in Cleveland, Ohio.
He is a frequent contributor to Fine Woodworking.
Photos, except where noted: Erika Marks

pp. 60-63


A Primer on Sealers
YOU ARE HERE: Fine Woodworking Home Finishing A Primer on Sealers
Entire Site A Primer on Sealers

How and why you can benefit from these
often misunderstood products used under Hand-Applied
clear finishes Finishes
Professional finisher
Videos.
by Jeff Jewitt Jeff Jewitt takes you
Skills & Techniques through the steps
Finishers call on sealers to perform two basic functions in the necessary to apply
Joinery finishing materials by
finishing process: to solve problems, such as a contaminated surface,
Tools and to speed things up by providing a flat base for subsequent hand, detailing each
topcoats. Most woodworkers understand what sealers do in the process, the materials
Finishing simplest sense -- they seal the surface of the wood. Yet there remains used, and the right
Workshop & Safety a great deal of confusion about what that really means, when to use a technique
sealer and which one to use in a given circumstance.
Projects & Design Hand-Applied
The first coat of any finish seals the wood, because it dries to a film Finishes: Applying
Materials (however slight) that allows you to build subsequent coats of finish Top Coats
on top of that. So theoretically, any finish can serve as its own sealer. In this video
Reader Showcase And in many cases, a thinned version of the same finish you plan to companion to his
use as a topcoat is a perfectly adequate sealer. However, sealers also book, Jeff Jewitt
perform a number of other functions, and to address special needs shows you how to
manufacturers have developed some products that work better than apply shellac, oil,
Get instant access to thinned finishes. varnish, solvent
over 600 of the best lacquer, and water-
Fine Woodworking A close-up view shows what a based lacquer
sealer can do. At right is a cross
articles. section of an edge of poplar
lumber that has been coated
Hand-Applied
Fine Woodworking with a sealer, before the sealer Finishes: Coloring
Online Archives was sanded smooth.
Wood
Appearing as a darker band
across the top third of the
In this video
image, the sealer coat (A) companion to his
encapsulates loose fibers on the book, Jeff Jewitt takes
Browse our online surface of the wood(C). What
appears as a small hill or bump you step by step
catalog of in-depth, at the very top of the image through the
how-to information. (made with a scanning electron
microscope at 400x
application of pigment
Techniques magnification) is a protrusion in the surface of the sealer caused stains, dye stains, and
by the captured wood fiber (B) appearing slightly below and to the chemical stains
Furniture right.
Power Tools Once the sealer coat has been sanded, these small hills and valleys
disappear, providing a smooth base for topcoats to follow.
Hand Tools
Projects When faced with a contamination problem or to prepare for topcoats,
finishers turn to any one of several specialty sealers. Sanding sealer,
Workshop
vinyl sealer, shellac and glue-sizing are the four most common
Finishing choices. Of these four products, only shellac is adequate as a final
finish. None of the other three can exist as finishes in and of
Turning

A Primer on Sealers
Carving themselves. They are used only underneath other topcoats.
Professional Topics Sanding sealer tends to

be soft
Sanding sealers are available as
lacquer based, varnish based or
water based, and the first two of
these varieties are the most
commonly used. More often than
not, they are simply thinned
versions of lacquer or varnish to
which zinc stearate has been
added. Zinc stearate is a white
powder that is soft, fluffy and
soapy feeling, but in finishes it
appears translucent. In fact, it is
called a "soap" by finish
formulators. Zinc stearate makes
hard-to-sand finishes such as
solvent-based lacquer and most
varnishes easier to sand down to a
level surface so that subsequent
coats of finish lay on evenly.
The ability of sealers to make

topcoats lay on smoothly is
referred to by finish This lacquer sanding sealer
manufacturers as "good holdout." being brushed on (top)
contains zinc stearate, an
Holdout is an important feature to additive that facilitates sanding
look for when you're finishing by lubricating the surface of
the sealer coat.
thirsty woods such as pine and
poplar, figured woods such as
curly maple and other porous woods such as oak, ash, mahogany and
walnut.
The downsides? There certainly are a few. Sanding sealers are softer
and less durable, because of the addition of zinc stearate, particularly
in their resistance to moisture. So you should use these sealers with
discretion in places where moisture resistance is an issue, such as
cabinetry to be installed in a kitchen or bathroom. Also, you must
sand them after application, or they won't do the job they are
designed to do.
Some finishes such as polyurethane will not bond well to sanding

sealer, and the catalysts used in high-performance lacquers and
conversion varnishes will react adversely with the zinc stearate.
Vinyl sealer can be used between coats of

different finishing products
These specialty sealers are available only in commercial, fast-drying
versions meant to be sprayed on, but it is possible to apply them by
brush or rag if you work quickly. Don't confuse vinyl sealers with
vinyl/alkyd-based varnishes, sometimes sold as a one-step
sealer/finish to which the vinyl is added primarily to impart fast-dry
qualities.
The prime ingredient in most vinyl sealers is polyvinyl butyrate,

which endows the sealers with some rather unique qualities. Not only

A Primer on Sealers
do vinyl sealers have excellent

holdout--just as sanding sealers
do -- but they also are highly
resistant to moisture and possess
excellent adhesion properties.
These adhesion qualities make
vinyl sealers a good choice to use
when you need to "tie" or adhere
different finishing products
together. For example,
professionals routinely use vinyl
sealers between applications of oil-
based glazes or paste wood fillers
and solvent-based lacquers and
conversion varnishes. The vinyl
also will prevent natural oils and One common use for vinyl
other chemicals (knots bleeding sealer. Professional finishers
sap) in certain woods from often use vinyl sealer on
furniture that has been coated
causing finish problems. Teak, with an oil-based glaze,
rosewood and cocobolo are some because it adheres well to
different finishes.
of the woods that contain
chemicals that will prevent oil-
based products from curing. While some folks claim you can avoid
this problem in the finish by first wiping the oil from the surface with
a solvent such as acetone, my experience has been dicey with this
technique. I prefer to seal in the oils with vinyl sealer. Unfortunately,
vinyl by itself doesn't sand very well, so vinyl sealers usually contain
other resins to make them sand out more easily.
Shellac is easy to find

and apply
This natural resin has some of the
same attributes as vinyl sealer, but
it's more readily available and
easier to apply. Shellac will seal
off surface contamination and
naturally occurring chemicals in
the wood that prevent the curing
of oil-based products. Shellac also
provides good holdout for other
finishes applied over it, as long as
you use a dewaxed variety. When
used under a water-based finish,
Shellac is still the best
shellac will prevent some of the candidate for some jobs.
raised grain you'd normally Sealing off a contaminated
surface, such as that on this
expect. Whether you mix your chemically stripped chair, is
own (a 2-lb. cut works well as a one of several tasks that
sealer) or use the premixed, shellac performs well.
canned variety, most shellac
imparts a warm, amber color that will optically offset the sometimes-
cool tones of water-based finish resins.
Downsides of shellac are similar to those of sanding sealer. It's a less

durable finish than lacquers or varnishes, so it can become a weak
link in the total finish system.
Glue-sizing is typically used to seal end grain

A Primer on Sealers
Glue-sizings are available in

premixed water-based versions,
such as a recently introduced
product made by Franklin. These
are based on a water-soluble vinyl
resin called polyvinyl alcohol that
lacks the overall durability of the
resins in solvent-based sealers.
Glue-sizings are used primarily to
seal end grain and to promote
even staining on wood. They're Appropriate for painted
surfaces. End grain on lumber
also marketed as a preconditioner and the porous edges of
for medium-density fiberboard manufactured panels (such as
(MDF) that will be painted. this routed sample of MDF) are
good places to use glue-sizing.
Though they are not sold as such, The left half of the routed edge
I've had good success using them shown was coated first with
glue-sizing, then with an oil-
to lock in chemicals, such as based white primer. The sized
those in aromatic cedar and surface is much less porous.
cocobolo, that prevent oil-based
products from curing.
When, where and why to use a sealer

Opinions and die-hard habits among professional finishers may vary,
but most agree that there are a few very good reasons to use a sealer.
To provide a barrier coat -- Waxes, polishes and silicone

residues encountered when refinishing furniture can cause
contamination problems such as fisheyes, which are small craters in
the finish film. You can remove wax by wiping stripped surfaces
several times with naphtha or mineral spirits, but silicone is
impossible to remove completely. It has a tenacious ability to remain
in the pores of wood.
To remove fisheyes, immediately wipe

What to do when
off any wet finishing product (oil-based
you see fisheyes.
stains will develop fisheyes, too) and
wash down the piece with mineral
spirits or naphtha. Then scrub it well
with TSP (trisodium phosphate) or a
TSP-substitute and the green colored
Scotch-Brite nylon pad. After that,
apply a freshly made coat of dewaxed
shellac to seal in the contamination.
To make a flat base for topcoats - (opens new window)

- If your goal is a sophisticated built-up
finish, you'll need to sand at least the
first coat of finish. When the first coat has absorbed into the wood
and hardens, it is normal that a slightly rough or irregular surface will
result. At this point some sanding is in order so that subsequent coats
of finish will lay on smoothly and evenly. The problem is that some
finishes don't sand well -- most varnishes and lacquer gum up when
you sand them -- which is a good reason to use a sealer first. With the
addition of stearates, sanding sealers overcome this problem. Some
finishes sand perfectly fine, such as many water-based products and
oil-based polyurethane, so sanding sealers aren't needed for these
products.

A Primer on Sealers
To promote adhesion -- In some finishing scenarios, there may

be questionable adhesion between the wood and the finish or
between different finishing products. Sealers are routinely used in
such cases to promote adhesion. In the case of stripped furniture, a
sealer coat of a 2-lb. cut of dewaxed shellac will allow any finish to
flow out and grab properly. Although manufacturers of polyurethane
say not to use it over shellac, they are referring to the premixed,
canned variety of shellac that has wax in it. Polyurethane will adhere
just fine to dewaxed shellac.
In other cases, you might run into adhesion problems when oil-based
paste wood fillers and glazes are used between coats of finish.
Manufacturers of high-performance solvent-based lacquers and
varnishes almost always recommend vinyl sealers for this purpose,
while shellac works well for water-based finishes.
To control stain migration -- Sealers work wonders in situations

where stains may possibly migrate up into a finish coat. This happens
when the finish and stain share the same thinner. It isn't a problem
with oil- and water-based pigment stains, because the binders in these
are not dissolved by the next coat of finish. It happens typically when
water-based finishes are applied over water-soluble dye stains,
particularly when the dye is very dark. A barrier coat of dewaxed
shellac will prevent the solvents in the water-based finish from
pulling up the dye into the finish.
In conclusion, some recommendations

A sealer will never take the place of diligent finishing practices such
as proper brushing techniques or good surface preparation. It won't
get rid of brush marks or sanding scratches, and overuse of a
stearated sanding sealer can actually cause more problems than it
solves. I believe that a sealer is often used when it's not really
needed.
In marketing literature, you'll see the term "self-sealing" used to

promote a finishing product. This is mostly marketing mumbo-
jumbo, because any finish can be used as its own sealer, as long as it
has adequate holdout and sands easily enough. Almost all water-
based finishes, catalyzed varnishes and lacquers, oil-based
polyurethane and many of the fast-dry varnishes now being sold fit
into that category. A specialty sealer is required only in situations
I've described previously.
If you want the most durability from your finish, and you don't have
a problem with contamination, adhesion, moisture or migrating stain,
use a thinned version of your finish as its own sealer. You won't run
into any compatibility problems, and you don't have to buy a separate
product. To get a smooth base, you'll have to apply several coats of
thinned finish and then cut it back with sandpaper before you get a
good base for the final coats. At the worst, you'll spend a little more
time and use a bit more sandpaper, but the gain in overall durability
may be well worth it.
Jeff Jewitt is a professional finisher who writes frequently for Fine

Woodworking.
Microscope photo: Mark S. Floyd/Forensic Analytical; fisheye photo: William

Duckworth; other photos: Susan Jewitt

A Primer on Sealers

55

Selecting a Finish
YOU ARE HERE: Fine Woodworking Home Finishing Selecting a Finish
Checklist for selecting

Entire Site Selecting a Finish a furniture finish
Common finish
Before you start your next furniture project,
A selection of great consider a finish's appearance, its method of products compared
information from our application and its durability
Videos. by Jeff Jewitt
Skills & Techniques Finishing is one of the biggest

Joinery bugaboos for many woodworkers.
Though they remain undaunted by
Tools complex joinery or intricate and
Great Wood Finishes
precise machining, scores of
Finishing Jeff Jewitt’s proven
woodworkers still cringe at the
methods teach you
Workshop & Safety thought of applying a finish to
how to achieve
their work. "What's the best finish
Projects & Design professional results
for my project?" is a question I
and get the look you
Materials often hear. Being able to answer
want
that question confidently and
comfortably is an important Finishing: Methods of
Reader Showcase hurdle to overcome.
Work
Finishing products can be The best finishing tips
grouped into manageable categories, based on general working from 25 years of Fine
Get instant access to qualities and the degrees of protection they offer: waxes, oils, Woodworking
over 600 of the best varnishes, shellacs, lacquers and water-based finishes. Different
finishes offer varying degrees of protection, durability, ease of The New Wood
Fine Woodworking
application, repairability and aesthetics. Unfortunately, no single Finishing Book
articles.
finish excels in all of these categories -- a finish that excels in one Finishing expert
Fine Woodworking may fail in another -- so in choosing a finish you must accept trade- Michael Dresdner
Online Archives offs. focuses on finishes
that amateur
As a professional refinisher, I routinely ask my customers a series of woodworkers and
questions to determine the best finish for their furniture. I've finishers use,
Browse our online modified my standard questions for this article and added a few as a including spray
catalog of in-depth, Checklist for woodworkers trying to decide which finish to use on finishing and the new
how-to information. their own projects. Answers to these questions will point you toward generation of water-
the right finish to use on a given project, based on how well you need based finishes
Techniques
to protect the surface, how well the finish will hold up, how easy it is
Furniture to apply and how you want it to look. To get a better understanding
Power Tools of the choices, let's first take a look at the different categories of
wood finishes.
Hand Tools
An overview of what's out there
Projects
All wood finishes can be classified as one of two distinctly different
Workshop types, based on how they dry, or cure. Evaporative finishes--such as
lacquer, shellac and many water-based finishes--dry to a hard film as
Finishing
the solvents evaporate. (Water is not a solvent -- it's a carrier for the
Turning finish emulsion.) These types of finishes will always redissolve in the

Selecting a Finish
Carving solvent used to thin them, long after they've dried, so they tend to be
less durable than reactive finishes. Most reactive finishes -- such as
Professional Topics linseed or tung oil, catalyzed lacquers and varnishes -- also contain
solvents that evaporate, but they cure by reacting with either air
outside the can or a chemical placed in the can before application.
These finishes undergo a chemical change as they cure, and after that
they will not redissolve in the solvent originally used to thin them.
Except for the pure oils, reactive finishes tend to hold up better to
heat and chemicals. See Common finish products compared for a
summary of how the finishes stack up against each other.
Waxes -- I don't consider wax an appropriate finish in and of itself.

I use paste wax (carnauba mostly, sometimes beeswax) to polish
furniture but only over other finishes, such as lacquer or shellac.
The true oils -- Linseed oil and tung oil, the drying oils most often
used in finishing, are readily available and relatively inexpensive.
These finishes are called true oils to distinguish them from other
products hyped as oil finishes and to separate them from naturally
nondrying or semidrying oils used in finishes, such as soybean oil.
These true oils change from a liquid to a solid through
polymerization, a process that strengthens the cured finish.
Linseed oil is available in several forms. Unrefined, it's called raw

linseed oil, which is rarely used on wood because it dries so slowly.
Finishers long ago discovered that by boiling the oil, the resulting
product was thicker and dried more quickly. Even though linseed oil
that has actually been boiled is still available -- it's called heat-treated
or polymerized oil -- most of the boiled linseed oil sold these days is
raw oil that has been mixed with chemical additives to speed up the
drying time. For wood finishing, you should use only boiled linseed
oil.
Tung oil is derived from the nuts of trees that are native to Asia but
have been cultivated in other parts of the world. Tung oil is available
in a pure, unrefined form and in a heat-treated or polymerized form.
The heat-treating process makes the oil a bit more durable and speeds
up the drying time. It also minimizes a tendency of tung oil to "frost"
(dry to a whitish, matte appearance). Tung oil is paler in color and
has better moisture resistance than linseed oil.
Both linseed and tung oils are penetrating finishes, which means they
penetrate the fibers of the wood and harden. These are the easiest
finishes to apply: Wipe them on, allow them to penetrate the surface
of the wood and wipe off the excess with a rag. These oils are usually
not built up with enough coats to form a surface film, like that of
varnish or lacquer, because the film is too soft.
Varnishes -- Varnish is made of tough and durable synthetic resins

that have been modified with drying oils. Labels on cans of varnish
will list resins such as alkyd, phenolic and urethane, and the oils used
are tung and linseed, as well as other semidrying oils such as soybean
and safflower. Varnish cures by the same process as true oils --
polymerization -- but the resins make this finish more durable than
oil. In fact, oil-based varnish is the most durable finish that can be
easily applied by the average woodworker. Varnish surpasses most
other finishes in its resistance to water, heat, solvents and other
chemicals.

Selecting a Finish
Varnishes that contain a high percentage of oil are called long-oil

varnishes. These include marine, spar or exterior varnishes and some
interior varnishes for sale on the retail market. Long-oil varnishes are
more elastic and softer than medium- and short-oil varnishes that
contain a lower percentage of oil. Medium-oil varnishes comprise
most interior varnishes on the market. Short-oil varnishes (also
known as heat-set varnishes and baking enamels) require extremely
high temperatures to dry, so they're used only in industrial
applications.
The type of resin used in the varnish determines the characteristics of

the finish. Alkyd varnish is the standard all-purpose interior variety
with decent protective qualities. Phenolic varnish, usually made with
tung oil, is predominantly for exterior use. Urethane varnish, also
called polyurethane, offers a better resistance to heat, solvents and
abrasions than any other varnish.
Varnish is typically applied with a brush, although a highly thinned

and gelled version, called wiping varnish, can be applied with a rag.
Oil and varnish blends -- These mixtures, mostly oil with some
varnish added, offer some of the best attributes of both ingredients:
the easy application of true oils and the protective qualities of
varnish. (Watco-brand Danish oil, teak oil and a number of other
finishes fall into this category.) It's difficult to ascribe accurate
protective qualities to these products because manufacturers don't
usually disclose the ratio of oil to varnish. Oil and varnish blends will
dry a bit harder than true oils, and the finishes will build quicker with
fewer applications.
Shellacs -- While most people think of shellac as a liquid finish

found at a paint store, in its pure form it's a natural resin secreted
from a bug that feeds on trees, mostly in India and Thailand. The
secretions, in the form of cocoons, are gathered and eventually
refined into dry flakes, which are then dissolved in denatured (ethyl)
alcohol to make the shellac solution that winds up in cans at the
store.
Shellac is available in several varieties. You can buy it premixed, or

you can buy it in flake form and mix it yourself with denatured
alcohol. The premixed variety is available in orange (amber) and
clear, which is shellac that's been bleached. With the flakes, shellac is
available in a wider variety of colors and wax contents than with the
premixed version (which contains wax). The wax in shellac
decreases the finish's resistance to water and prevents some finishes
from bonding to it.
Lacquers -- Most professionals still regard lacquer as the best all-

around finish for wood because it dries fast, imparts an incredible
depth and richness to the wood, exhibits moderate to excellent
durability (depending on the type used) and rubs out well. There are
several different types of lacquer, and they exhibit different
performance characteristics.
Nitrocellulose lacquer is the most common. If the label on the can

says lacquer, it's most likely nitrocellulose, which is made from an
alkyd and nitrocellulose resin dissolved and then mixed with solvents

Selecting a Finish
that evaporate quickly. This type of lacquer has moderate water

resistance, but it's sensitive to heat and certain solvents. The biggest
drawback is the finish's tendency to yellow as it ages, which shows
clearly on light-colored woods.
Acrylic-modified lacquer is made from a mixture of a nonyellowing

cellulose resin (called cellulose acetate butyrate, or CAB) and
acrylic. This lacquer possesses the same general properties of
nitrocellulose lacquer, except it is absolutely water-white, meaning it
will not show as an amber color when applied over light-colored
woods. Also, the finish won't turn yellow over time.
Catalyzed lacquer bridges the gap between the application traits of

nitrocellulose lacquer and the durability of varnish. Catalyzed lacquer
is a complex finish composed of urea formaldehyde or urea
melamine and an alkyd that has some nitrocellulose resin added to
make it handle like normal lacquer. The addition of an acid catalyst
initiates a chemical reaction that forms a very tough, durable finish.
Catalyzed lacquer comes in two versions: precatalyzed and post-
catalyzed. Precatalyzed lacquer has the components premixed, either
by the manufacturer or at the store when you buy it; post-catalyzed
lacquer is a two-part system that you must mix in your shop,
following precise ratios. Once the catalyst has been added, these
lacquers have a fairly short pot life (the time in which they can be
used).
Water-based finishes -- Water-based finish contains some of the

same ingredients as varnish and lacquer -- notably urethane, alkyd
and acrylic -- but many flammable and polluting ingredients have
been replaced with water. The chemistry in this product is complex.
Because the resins don't have a natural affinity for water, they must
be chemically modified or forced to combine with water.
Water-based finish is usually made with either an acrylic resin (sold

as water-based lacquer) or an acrylic urethane mixture (sold as water-
based polyurethane). As with varnish, the addition of the urethane
makes the resin tougher and more scratch resistant, but water-based
urethane does not have the same solvent and heat resistance as its oil-
based counterpart.
What finishes are more durable?

The durability of a finish is measured by its resistance to water,
chemicals, solvents (such as those in alkaline cleaners and acidic
foods), heat and scratches. Wax, shellac, lacquer and some water-
based finishes will be damaged if exposed to water long enough.
Most of these products also scratch easily; however, they rub out
well. (That's the flip side of scratch resistance.) Wax is surprisingly
resistant to acids and alkalis. Aside from that, it is the least durable
finish. Shellac is neither resistant to alkalis such as ammonia nor to
alcohol. Of all the evaporative finishes, lacquer (nitrocellulose and
acrylic, water- and solvent-based) fare the best in terms of overall
durability. Oil-based polyurethane is the most durable finish you can
apply by hand, and catalyzed lacquer and varnish are the most
durable sprayed finishes.
Choose a finish to match your skill level

Your level of experience, the environment in which you work and
whether you're set up to spray all play a part in deciding which finish

Selecting a Finish
to use. The temperature and dampness of your shop, as well as the

amount of sanding dust in the air, will affect your choice. Dust
falling onto a finish does not pose as great a problem with lacquer or
shellac as it would with a slow-drying finish such as varnish. Shellac
and lacquer are also the least temperamental when it comes to cold
temperatures, and they can be modified with retarder additives for
hot and humid conditions. Oils and oil-based products dry slowly in
cold temperatures and humid conditions, and dust is always a
problem when it has time to become embedded in the dried film.
Spray equipment requires a larger budget and, in most cases,

expensive equipment to exhaust the overspray. There's also a
learning curve with spraying, so it will likely take some practice
before you get decent results.
The type of finish will notably affect the look of

the wood
Do you want a natural "in-the-wood" finish? Or does your work
demand an elegant, deep, glass-smooth finish? Is the color of the
finish a problem, or will yellowing of the finish be a problem down
the road?
Traditionally, woodworkers have turned to oil, wax or oil and varnish

blends (such as Watco) for a natural-looking finish. None of these
easy-to-apply finishes dries to form a hard surface film. However,
you can get a natural-looking effect with any finish -- including
varnish, shellac and lacquer -- as long as you don't build it up more
than a few coats and you rub out the dried film with steel wool. But if
your goal is a filled-pore, deep, lustrous finish, you must use a hard,
film-forming finish (varnish, shellac or lacquer). This type of finish
is also mandatory when you have to perform complex coloring
options like toning and glazing.
The color and the penetration of the finish itself may be an issue.
Orange shellac and phenolic-resin varnish both have colors that may
be too dark for woods that you may want to keep as light as possible.
In addition, many finishes deepen or darken the wood surface. In
most cases this is desirable, because it adds depth and increases
luster. However, you may want to downplay any deepening effect.
Some delicately figured woods (such as pearwood) will appear
muddy when an oil finish is applied.
Oil and oil-based varnish, solvent-based lacquer and shellac all

deepen the color of the wood and increase surface luster the most.
These finishes wet the cells of the wood, penetrating into the surface.
Other film finishes -- notably water-based finishes and some
catalyzed lacquers -- tend to lie on the surface. By not penetrating it
as much, they make the wood appear lighter in color.
The plastic look that's sometimes ascribed to polyurethane and

catalyzed lacquers has more to do with the incorrect application of
these finishes than it does with the finishes themselves. On open-
pored woods (plainsawn ash or oak, for example) the application of
thick varnish and lacquer can result in a soupy look on the surface.
This is a consequence of the finish film bridging across the open
pores rather than flowing into them. By thinning these finishes you
can achieve more attractive results. My favorite method to apply oil-
based polyurethane is to thin the finish 50% with mineral spirits and

Selecting a Finish
wipe it on.
A finish film that turns yellow with age will be noticeable with
unstained, light-colored woods, such as maple or birch. An acrylic
finish, water- or solvent-based, does not have this problem. Paste
wax and some catalyzed finishes also will not yellow.
Think about safety and the environment

A solvent-based finish, such as varnish and lacquer, contains a good
deal of organic solvents, which can affect the environment as well as
your health. It's also highly flammable. If these particulars pose a
problem for you, use a water-based finish to eliminate the fire hazard
and to mitigate the environmental and health impact. Pure oil is a
surprisingly good alternative to a solvent-based lacquer or varnish:
Pure oil contains no solvents and comes from renewable resources.
However, oil-soaked rags must be disposed of carefully. Shellac is
also a good alternative. The solvent for shellac, denatured alcohol, is
distilled from corn, and most people don't find the fleeting odor
objectionable.
All finishes are nontoxic when fully cured, despite what you may
have read or heard. Once the solvents have evaporated, any cured
film is safe for contact with food. This does not mean that the finish
itself is safe to gobble up. It means simply that additives such as
heavy-metal driers and plasticizers are encapsulated well enough that
they do not migrate into your food. Wax and shellac (apples and
candy are coated with these) are the only edible finishes that I'm
aware of, besides mineral oil, which is sold as a laxative.
Spraying wastes a great deal of the finish material, and the organic
solvents are dispersed into the air. Brushing or wiping on a finish is a
practical, though less speedy, alternative.
Jeff Jewitt writes frequently for Fine Woodworking. His latest book, Great
Wood Finishes, was recently published by The Taunton Press.
Photo: Michael Pekovich

63

Varnish: An Almost Ideal Finish
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Entire Site Varnish: An Almost Ideal Finish

Understanding the chemistry behind many
A selection of great common oil varnishes helps you choose the Finishing: Methods of
information from our right product Work
The best finishing tips
Videos. by Chris Minick
Skills & Techniques My ideal furniture finish would penetrate deep into the wood, dry Woodworking
Joinery quickly, provide good abrasion and stain resistance, rub out easily
and look great. Also, I want the option to apply this finish with a rag Great Wood Finishes
Tools or a brush or a spray gun. Unfortunately, no finish has all of these Jeff Jewitt's proven
properties, but oil-based varnish comes pretty close. methods teach you
Finishing how to achieve
Walk into any well-stocked professional results
Workshop & Safety
hardware store, and you'll find a and get the look you
Projects & Design bewildering array of cans of want
varnish. Alkyd, polyurethane,
Materials Finishes & Finishing
spar, wiping, bar-top, floor, fast-
drying, interior and exterior Techniques
Reader Showcase varnishes are the more common types available. With all of these Articles from Fine
choices, selecting one that's right for your project can be frustrating. Woodworking cover
Knowing a little about varnish chemistry may help you decide. smoothing and
preparing surfaces;
Get instant access to They're more alike than different changing the color of
over 600 of the best All varnishes have one thing in common: The backbone of the finish wood with dyes,
Fine Woodworking molecule is composed of vegetable oil. Varnishes are made by pigments, and stains;
articles. chemically combining a modifying resin with a vegetable oil to polishing finishes to a
produce a finish molecule that is liquid when applied to the wood high gloss; spray
Fine Woodworking surface but solid after it cures to an impervious film in a short period finishing; and
Online Archives of time. Linseed oil and soybean oil are the most common vegetable repairing damaged
oils used in the manufacture of furniture-grade varnish resins. Tung finishes
oil is also used, but because it is relatively expensive, you find it only
in wipe-on varnish mixes and traditional exterior varnishes. The type
Browse our online of oil used in a varnish resin has less effect on the finish properties
catalog of in-depth, than does the amount of oil used.
how-to information.
The long and short of it -- The ratio of oil to modifying resin--
Techniques known as oil length in the industry vernacular -- determines the
Furniture flexibility of the dried film, curing or drying time and application
method. Varnish resins containing 75% or more oil are called very
Power Tools long-oil varnishes, and they're typically used for wipe-on finishes, the
Hand Tools so-called Danish oil finishes. Very long-oil varnishes dry slowly,
have great wood penetration and are extremely flexible when cured;
Projects but the dried finish film is extremely soft, has poor abrasion
Workshop resistance and damages easily. These varnishes perform adequately,
provided that no detectable finish film is left on the surface of the
Finishing
wood.
Turning

Carving Long-oil varnishes are 60% to 75% oil and are primarily used in the
manufacture of oil-based paint but recently have been introduced to
Professional Topics the wood-finishing arena as fast-dry wipe-on finishes. Long-oil
varnishes do dry faster than traditional Danish oil finishes. However,
they share many of the same problems that plague their very long-oil
brethren.
Medium-oil varnishes contain 45% to 60% oil and form the basis of
all brush-on varnishes used in wood finishing. They have reasonably
short drying times, good abrasion and stain resistance, penetrate the
wood to accentuate its beauty and form a hard but flexible protective
surface film. Best of all, medium-oil varnishes can be applied by the
three most commonly used methods: wiping, spraying or brushing.
Short-oil varnishes are less than 45% oil and typically require heat to
cure, so they are not used for finishing wood. Short-oil varnish resins
are used to make the paint for refrigerators, stoves and metal office
furniture.
Alkyd varnish. Polyurethane varnish.

Once the mainstay of the Polyurethane dries fairly
furniture-finishing trades, this quickly and exhibits good
class of varnish is increasingly moisture resistance, but it does
hard to find. not hold up well to the
degradation brought on by
ultraviolet light.
Fast-dry varnish.
The vinyl toluene and naphtha
listed on the label identify this as a
fast-drying finish.
CAS No. Ingredient

64742-89-8 V.M. & P. Naphtha
Vinyl Toluene-
Unknown
Oil Polymer
64742-88-7 Mineral Spirits
1330-20-7 Xylene
100-41-4 Ethylbenzene

Spar varnish.
Tung-oil-based phenolic resins are
found in most brands of spar
varnish, and they are the
ingredients that help this product
stand up to the elements.
Ingredient
Tung Oil Phenolic
Resin
Alkyd Resin
Stoddard Solvent
Mineral Spirits
Dipentene
Modifying resins vary in strength -- The modifying resin used

in a varnish will determine how well the dried finish film holds up
when it is exposed to moisture, ultraviolet (UV) light and general
wear and tear. Alkyd varnishes, a term coined in the 1930s to
describe an important class of polyesters, traditionally use phthalic
anhydride as the modifying resin. Typical alkyd varnishes have good
flexibility, very good abrasion resistance, great adhesion, moderate
moisture resistance and take a relatively long time to dry and cure (8
to 10 hours to dry to the touch and 16 to 20 hours to re-coat). Alkyd
varnishes targeted for furniture making are difficult to find these
days, but they remain a mainstay of hardwood floor finishing.
Replacing some or all of the phthalic anhydride with toluene

diisocyanate yields the familiar polyurethane varnish, which is also
called uralkyd by finish chemists. This modification to make
polyurethane decreases the drying and curing times to more tolerable
levels and increases the moisture resistance of the finish film, but it
sacrifices the UV resistance in the process.
Fast-dry varnish, also called VT varnish, uses styrene or vinyl

toluene as the modifying resin to produce a product with remarkably
fast drying times. Properly formulated VT varnishes will dry and
cure almost as quickly as nitrocellulose lacquer--dry to the touch in
30 minutes and cure to re-coat in less than two hours. However, fast-
dry varnishes have slightly less protective properties than standard
alkyd varnishes. Still, they are suitable for most furniture
applications. But I would not recommend them for heavily used
kitchen or dining-room tabletops.
Phenolic resins combined with tung oil produce a varnish with

superior water resistance, good hardness, exceptional flexibility and
good alkali, grease and UV resistance. It's called spar varnish.
Unfortunately, the drying times are excruciatingly long, and spar
varnish has a deep yellow color that only gets worse as it ages. Still,
spar varnish is the best choice for projects, such as outdoor furniture,
that will be exposed to the elements.
Most people choose to brush it on

You can apply varnish with a brush, a rag or a spray gun. Wiping it
on is definitely the easiest method, and spraying is the fastest. But
brushing is the time-honored technique for applying varnish.
Your success with a brushed-on varnish will depend on practice and

attention to detail. I've found that most varnishes are too thick to use
right out of the can, so I thin them to about the consistency of whole
milk. Prior to dipping the brush into the varnish, you should prewet

the bristles with the same solvent used to thin the finish. Prewetting
conditions the bristles and prevents the buildup of dried finish at the
base of the brush, making it easier to clean later. Shake out the excess
thinner, then fill the brush by dipping it into the thinned varnish by
no more than half the bristle length. Capillary action will
automatically fill the brush reservoir with the proper amount of
finish. Tap the bristles on the inside of the can to remove the excess
varnish, and always finish the unseen areas of the project first, such
as the inside of cases or the underside of tables. You'll be able to
judge the flow and leveling properties of the varnish before tackling
the show side of the piece. If the viscosity doesn't seem right, add
varnish or solvent.
Most finishing projects require

more than one brush. I use a 1-in.
ox-bristle sash brush for coating
small or intricate areas such as
moldings and spindles. A good-
quality 2-in. china bristle brush is
ideal for large, flat areas. Larger
brushes are inappropriate for
furniture finishing because they're
just too hard to control.
You don't want a big brush for
Avoid the choppy, back-and-forth varnish. A 2-in. or 2-1/2-in.
stroke used to apply house paint -- china bristle brush works best
for laying a varnish onto flat
i t will result in an uneven surface surfaces. Photo: Michael
and lots of bubbles. Instead, Pekovich.
slowly pull the brush across the
panel in one continuous motion until the brush reservoir is empty.
Hold the brush at about a 45° angle when it first contacts the surface
and gradually increase the angle to almost 90° by the end of the
stroke. As this bristle angle increases, more varnish is released from
the reservoir and flows to the wood surface. I usually get a stroke
length of about 18 in. or 20 in. with a fully loaded 2-in. brush.
After the entire surface has been coated, "tip off" the varnish by
lightly dragging the bristle tips through the wet finish. Tipping off
with an unloaded brush levels out the uneven areas in the wet varnish
film and removes unwanted bubbles at the same time. You don't need
to sand between coats of varnish unless you have to remove some
defect. Simply sanding to increase adhesion is not necessary unless
the dried varnish coat is older than six months.
Avoid the pitfalls of using varnish -- Extended drying time

under certain conditions is the biggest problem I've experienced with
oil-based varnishes. High humidity drastically prolongs the drying
time of most varnishes. Anybody that has varnished during the dog
days of summer knows just what I'm talking about. I avoid
varnishing on those dripping-wet days, if possible; if not, I let a
dehumidifier run in my shop for a few days beforehand.
Also, old varnish dries more slowly than fresh varnish. This too has
to do with the metallic driers that gradually lose their catalytic
powers as the varnish ages. The best way to avoid the problem is to
make sure you always use only fresh varnish. Typically, I don't use
varnish that is more than one year old. I may waste a few dollars, but
I save a mint in frustration.

Chris Minick is a contributing editor to Fine Woodworking magazine.
Photos except where noted: William Duckworth

122

Feature Library - Projects & Design
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• In the Modern Style: A Stylish Credenza

A selection of great Symmetry and subtle shadow lines give Patrick Warner's maple and
information from our yellow satinwood office credenza a dynamic visual rhythm
• Building Fireplace Mantels: Simple Federal Mantel
Videos.
Plans for a project that shows elegant proportion, restraint, and
Skills & Techniques balance...and it can be built in a weekend
— by Mario Rodriguez
Joinery
• Children's Furniture Projects: Child's Rocker
Tools
Plans for a sturdy plywood chair that can be disassembled and
Finishing stored flat
— by Jeff Miller
Workshop & Safety
• Building a Shaker Wall Clock
Projects & Design
Choose your movement first, then build the clock around it
Materials — by Chris Becksvoort
• Chests of Drawers: Drawer-Building Basics

Reader Showcase Details on drawer construction, wood choices, joinery tips, support
ideas and more
— by Bill Hylton
• Designing a Rocking Chair

Seat placement and back angle are two of the many things to
consider
Fine Woodworking — by Mario Rodriguez
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Fine Woodworking • Home Storage Projects: Kitchen Work Station
Online Archives Plans, a cut list and complete instructions for building a kitchen
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— by Paul Anthony
• Making an End Table

Browse our online The beauty of this Arts-and-Crafts design is in the details
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how-to information.
• Vineyard Table
Techniques Complete plans for a trestle table with a twist
Furniture — by Kim Carleton Graves
Power Tools • Building a Sleigh Bed

Hand Tools Sensuous curves and well-chosen details enhance a simple design
— by Chris Becksvoort
Projects
• Create an Elegant Latch from a Simple Spinner
Workshop Place the spinner within the door stile for a clean, almost hidden,
Finishing latch
— by Chris Becksvoort
Turning
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Feature Library - Projects & Design
Carving • 18th-Century Pennsylvania Secretary

Professional Topics A quick tour of an exquisite, yet functional, desk
• Secrets of the Desk Gallery

This replica of an 18th-century Pennsylvania secretary features
hidden compartments for storing valuables
• The Wood's Fake, but the Bike is Real

The frame on Cannondale's new Full Wood mountain bike features
computer-generated, seamless wood grain that, at first glance, has
you wondering
— by Anatole Burkin
• Build a Shaker-Style Bed

Using contemporary construction techniques, this bed still captures
the essential Shaker style
— by Jeff Miller
• Workbench Hardware
A complete parts list for Dick McDonough's workbench, featured in
the May/June 2001 issue of Fine Woodworking (#149)
• Build a Trapezoidal Bookcase

This Arts and Crafts-styled piece combines through-tenon joinery
and biscuit-anchored shelves
— by Niall Barrett
• Building a Humidor
Maintaining tropical humidity in a box takes precise joinery and
Spanish cedar
— by Rick Allyn
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In the Modern Style: A Stylish Credenza
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Excerpted from In the Modern Style
Entire Site In the Modern Style: A Stylish

Credenza
A selection of great In the 18th Century
information from our Symmetry and subtle shadow lines give Style
Magazines, Books, and Patrick Warner's maple and yellow satinwood Instructions for 10
Videos. office credenza a dynamic visual rhythm projects inspired by
Skills & Techniques the 18th-century
Veteran woodworker Patrick Open or download the 6-page tradition
Joinery Warner built this credenza to PDF file below for a Stylish
work as a buffet or as a case Credenza. (Requires the free
Tools Adobe Acrobat Reader to view
Tables
for audio and video Plans and complete
and print PDF files.)
Finishing equipment. In this excerpt instructions for
from In The Modern Style, a StylishCredenza.pdf
building 10 classic
Workshop & Safety collection of articles from Fine tables
Projects & Design Woodworking magazine, he
walks you through all the The Router Book
Materials decisions regarding A complete guide to
configuration, dimensions, the router and its
materials and joinery -- and accessories
Reader Showcase
most important -- the detailing.
Patrick Warner has over 30 (Download should take

approximately 1 minute on a
years of experience making 56K modem)
Get instant access to jigs, fixtures, and furniture and
over 600 of the best is the manufacturer of the
Fine Woodworking Warner router base. He has written numerous books and articles on
articles. routing, including The Router Book.
Fine Woodworking Photos: Kevin Halle; drawings: David Dann
Online Archives
From In the Modern Style, pp. 10-15
Browse our online

how-to information.
Techniques
Furniture
Power Tools
Hand Tools
Projects
Workshop
Finishing
Turning

In the Modern Style: A Stylish Credenza
Carving
Professional Topics

PART ONE
Style & Design
PAT R I C K W A R N E R
A Stylish
Credenza
SYMMETRY AND SUBTLE SHADOW LINES give Patrick Warner’s maple and yellow satinwood office
credenza a dynamic visual rhythm. The same piece could serve as a buffet or as a case for audio and
video equipment.
10 ■ STYLE & DESIGN

redenza, the Italian word for sideboard, because of the tight quarters and because I
C has come to mean a low, lateral piece

of office furniture for storage. I
designed the credenza shown in the photo
like to roam around on my castered chair
and don’t need more obstacles. But part of
the piece’s beauty is that all these elements
on the facing page for my office at home, are adaptable to your own situation and so
and its dimensions and organization reflect is the overall function of the piece.
that. It’s fairly shallow because I couldn’t
afford to lose much floor space in my
small office and because I don’t like deep
O PTIONS AND A DAPTATIONS
shelves—you can never get to the stuff at Though I built my piece as a credenza, you
the back. Its top is counter height: I wanted could just as easily call it a buffet and use it
to be able to work at it standing up some- in the dining room to store china and silver-
times. I chose sliding doors for the piece ware. In that case, you might add a bank or
two of drawers. And the doors, two or
■ A CASE AGAINST THE FINISH
I t always bothers me when I begin

applying the finish on a piece of
furniture and suddenly realize I’m
than work that’s French polished or
sprayed with automotive acrylic urethane.
If it does suffer an occasional insulting
how it wears and ages. If you like it, think
of how much more quality time you can
invest in the next piece—time that would
only halfway to completing the job. I hand smear or wet glass mark, a simple have been spent sanding, priming, seal-
work like crazy to apply good design, sanding or steel wool buff-up will quickly ing, and rubbing out that finish.
milling, and joinery to the furniture restore the original look. Try that with a
I make. That should be enough. Now catalyzed lacquer or an acrylic.
just flood with Danish oil and deliver. When you finish wood, you empha-
Right? Well, perhaps. Danish oil is an size the grain, color, and figure, and this
easy, cheap, and often acceptable will limit its use in some applications.
finish, but for furniture that will take The soft, nonreflecting surfaces of unfin-
a beating or for high-end work, a hard ished wood, no matter the tree, play
finish and some filling and coloring down the characteristics of the wood and
is often required. To obtain such a put the material more in the service of
finish takes special skills, techniques the design.
and equipment, and often large A “no finish” finish is a natural
amounts of time and money. This is with light woods like birch, beech, or
not woodworking. It’s chemistry, abra- maple that will yellow badly under finish.
sives, coloring, compressors, spray These are beautiful woods that shouldn’t
guns, resins, solvents, clean rooms, be discarded for this idiosyncrasy. Left
and rubber gloves. And I’d rather not unfinished, these woods yellow a little,
get tangled up in all of that if I can but with the advance of the patina, the
avoid it. color mellows, bringing up light tans and
Finishes have their advantages, I other tonal subtleties, as you can see
admit. But when neither the environ- in the photo of the sliding door of my
ment nor the users are particularly credenza at right.
COMPLETE BUT UNFINISHED. Fed up
threatening, a bare wood cabinet can If you’re hesitant about making an with finishing, the author never flowed
be a refreshing change. Unfinished unfinished piece for the house or a finish onto his credenza. Two years later,
furniture is warmer both to the touch client, make something for the shop: the maple and yellow satinwood have
and the eye. It develops a nice patina perhaps a jig, fixture, or bench. Get first- taken on the subtler tones time gives to
and won’t wear out a minute sooner hand experience with bare stock, and see bare wood.
A STYLISH CREDENZA ■ 11
three as you wish, could be mounted on I decided early on that the whole thing
hinges or pocket-door hardware. would be solid maple with a top and accents
You could also easily move the piece into of yellow satinwood. I planned a fairly sim-
a living room, and use it to house audio and ple box carcase lifted off the ground by a
video equipment. The center section could separate and removable base. I hoped the
have a swiveling television slide installed, base would lend the piece an airy feeling
and a drawer or two could be added at the and avoid the impression of immovable
bottom of the side sections for tapes. In weight that such office furniture often gives.
this arrangement, tambour doors would be I knew that the case inevitably would be
an apt solution. They could be made as a dragged across a few floors, so I designed
pair that wrap laterally and meet in the the base to be strong, though light, joining
middle or as three separate doors that track its legs and rails with dovetail tenons rein-
vertically. forced with machine-threaded knockdown
If you wanted to use the cabinet as a fittings and hardwood corner braces, as
display case, you could fit it with glazed shown in the drawing on the facing page.
doors, glass shelves, and, possibly, a glass For aesthetic reasons, I wanted the slid-
top. In this arrangement, you might want ing doors in the same plane. So I left the
to make shallow, traylike drawers, or simply center section of the case open to give the
install bottom-mount drawer slides on the doors a space to slide into. I also decided to
shelving. And interior lighting also might run the doors on a removable track. They
be in order. would be installed with the track, avoiding
the usual loose fit of sliding doors and the
wide clearance required at the top to lift
J OINERY D ECISIONS them out. The doors could be removed by
Once I’d resolved the configuration and unscrewing the track and sliding it out.
dimensions of my credenza, I set to work I chose a two-stage joinery method for
on the anatomy—what the parts would be the corners of the carcase. In the first stage,
and how they would be joined. Whenever I I joined the sides and subtop and bottom
build a piece for myself, I view it as an with tongue-and-groove joints across their
opportunity to experiment, so I tested a full width. After the carcase was together,
number of ideas in this credenza that had I routed out wedge-shaped recesses with a
been brewing as I made furniture for less dovetail bit and filled them with yellow
indulgent clients. satinwood, as shown in the drawing. I make
the recesses and the loose wedges with mat-
ing router templates. These floating wedges
AROUND BACK. A half-lapped
open frame is all the back
have the appearance of dovetails, and the
the cabinet needs. It is joint is nearly as strong. I used the tech-
tongued around its perimeter nique in a spirit of adventure to explore the
and glued into a groove in decorative advantages it offered, and I cer-
the carcase. The back affords tainly didn’t exhaust them. You could also
excellent clamp access during use any carcase joinery you like on this
glue-up. piece, from true dovetails or finger joints in
solid wood to the range of possible joints
in plywood or medium-density fiberboard.
I wanted to leave the back of the case
largely open but give the piece resistance
to racking stress. So I made a frame at the
back of 212⁄ -in.-wide members joined to
each other with half-lap joints and to the
case with a tongue and groove (see the
photo at left).

■ Credenza
Ends of yellow satinwood top, Back frame pieces are half-lapped
Top measures
arced at 8 ft. radius together, then tongued
⁄ x 161⁄2 x 601⁄2.
22
32
into carcase.
Carcase measures 24 x 16 x 593⁄4.

Twin thread screws
driven through subtop
fix vertical dividers.
Shot runners eliminate binding;

they run in groove in underside
of subtop.
False muntin of yellow

satinwood
Door runners slide
in removable track.
Dovetails and recesses are
routed after tongue-and-groove
carcase assembly.
Top is secured with screws

through subtop.
DOOR DETAIL
For visual interest, thickness

of door members increases by
small increments from panel to
muntin to rails to stiles. Pins keep unglued panel
centered as it floats in frame.
Pull recess, Holes are drilled after assembly.
Overall base dimensions:
⁄ in. deep
1
2
12 x 15 x 5813⁄16
Muntin is tongued top and
bottom along with panel.
Grooves create shadow line.
Carcase is screwed to base

through ledger strip.
11⁄16
8 Cap screws engage threaded cross dowels.
For the vertical dividers, I chose tongue- recedes. I wasn’t out to do anything star-
and-groove joints for the subtop and bot- tling, just to use what small devices I could
tom with the tongues stopped so they to tie the piece together visually as well as
wouldn’t show at the front. There’s no real structurally.
glue surface on this joint, so I screwed the
dividers in place with #10 twin-thread How thick is that?
screws driven through the subtop and You could make this credenza using 34⁄ -in.
bottom. These wonderful screws contradict material for nearly all the parts. In a dim
the old saw about not screwing into end room, it would be hard to tell yours from
grain: They get great purchase in a hard- mine. But when light hit the two credenzas,
wood like maple. they’d look quite different. I constantly play
When it came to the subtop and the with thicknesses of material. Variations of
bottom of the carcase, I looked for a way to as little as 13⁄ 2 in. between adjacent boards
make them that would simplify the glue-up. can be perceived. I made the top and subtop
Instead of edge-joining them into panels each a shade under 34⁄ in. and did the same
and proceeding in the usual way with an for the bottom and the door track. I made
increasingly frantic case assembly, I chose to the sides 131⁄ 6 in., so they didn’t seem too
install them as slats. I machined tongues skinny by comparison with the doubled
and grooves along their edges and tongues elements at the top and bottom. I used
on their ends and dadoed them to accept 5/8 stock for the dividers to show that
the tongues of the vertical dividers. When their structural role is subordinate to the
it came time to assemble, I first joined the sides. There are no strict rules governing the
sides, the back frame, and the rearmost slats thicknesses of different elements, but if you
of the subtop and bottom. Having only an play around with the size of parts, you’ll
open frame for a back greatly simplified the find the overall appearance of the work can
clamping. And once that initial assembly be subtly controlled.
was clamped and squared up, I could then
insert the rest of the slats at my leisure. A Proud of it
rare, tension-free glue-up. Varying thickness is also useful in parts that
The top went on when the case was fin- are viewed face-on rather than from the
ished. I made it of yellow satinwood and edge. On the sliding doors, I made the stiles
1
attached it with screws through the subtop. 1⁄ 6 in. thicker than the rails, leaving them
proud in the front. This slight variation

in the plane of the door frames acknowl-
D ETAILS, D ETAILS edges the joint line and distinguishes the
With all the decisions made regarding con- separate parts of the frame. I inset the pan-
figuration, dimensions, materials, and join- els 11⁄ 6 in. from the rails to create a third plane.
ery, it might seem that the design process And at the center of the panels, I used a
was at an end. But to me, one of the critical false muntin of yellow satinwood as an
aspects of any piece of furniture is the accent, which stands proud of the panel by
detailing. Those subtle details are telling, a bit less than 11⁄ 6 in. If these offsets were
particularly in a piece like this one that I greater, the door might begin to seem frac-
had decided to leave unfinished (see the tured, but because they are only slight, they
sidebar on p. 11). In a piece that’s been add visual nuance without attracting too
filled or stained and lacquered, the grain much attention.
and color of the wood can leap out at you
and carry a plain design. But when the
wood is left unfinished, it mellows and

Shadow lines and shallow grooves
Shadows can be used like a pencil to vary
the weight of the lines in a piece of furni-
ture, to interrupt a featureless surface, or
to outline and highlight a part or detail.
As with the varying of thicknesses, the use
of shadows can be overdone and requires
careful control.
I created a reveal around the floating
panels in the sliding doors to underscore
the distinctness of the panel and the frame.
The reveal is 14⁄ in. deep, and the shadows
are dark. Shallower grooves cut to either
side of the false muntins create a softer
shadow and, therefore, mark the tapered
shape with lighter emphasis. In the center
section of the case, I created a shadow line
with a chamfer at the back of the vertical
divider where it meets the back frame. This
balances the gap shadow between door and
divider and picks out the divider as a dis-
crete part (see the photo on p. 10).
The boldest shadow line in the credenza
is the one between the bottom of the case
and the front rail of the base. I dropped the ANGLED FORMS PLAY OFF
rail to create this line, intending it to signify STRAIGHT LINES. Floating
the functional separation between the car- legs’ blockiness) with grooves parallel to the dovetail wedges, tapered
case and the base. I’ve always liked the idea tapered edges. muntins, and recessed triangu-
of making the base of a case piece look like lar handholds form a subtheme
a pedestal and tried to carry it out in this A curve or two for contrast in Warner’s rectilinear composi-
design. But I didn’t want the two parts to As I was finishing up, I saw that virtually all tion in lines and planes.
be unrelated, and that led me to introduce the lines in the credenza were rectilinear.
several other details. Because the top was of contrasting material
I had routed 18⁄ -in. grooves across the anyway, yellow satinwood to the maple of
rails of the doors, and I echoed these on the base and carcase, I decided to express
the base with the pair of grooves in the the distinction between them a little further
front rail. I hoped these grooves, with their by arcing the ends of the top and rounding
lateral sweep across the length of the piece, over the edges. I cut the arc on an 8-ft.
would tie the three sections of the carcase radius with a router and template and the
together. roundover with a router and a 38⁄ -in. round-
The leg design also was intended to over bit. I used the same bit to round over
relate the base to the carcase. I borrowed the front edges of the shelves to give them
the tapered form from the false muntins a visual link to the top.
and emphasized it (while breaking up the
Building Fireplace Mantels: Simple Federal Mantel
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Simple Federal Mantel
A selection of great Dining Tables
information from our Plans for a project that shows elegant Plans and complete
Magazines, Books, and proportion, restraint, and balance...and it can instructions for
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Skills & Techniques
by Mario Rodriguez Chests of Drawers
Joinery Plans and instructions
The building of fireplace Open or download the 15-page
Tools mantels is fast becoming one for seven classic
PDF file below for a Simple
of the most popular home Federal Mantel. (Requires the chests of drawers
Finishing free Adobe Acrobat Reader to
renovation projects in the view and print PDF files.) Built-In Furniture
Workshop & Safety country. The attractive and
distinctive fireplace mantels in SimpleFederalMantel.pdf Design solutions and
Projects & Design this book will inspire you to strategies for creating
build your own. Ten projects functional, delightful
Materials built-ins
reflect all the popular home
styles from Colonial to Arts
Traditional
Reader Showcase and Crafts and Contemporary.
Woodwork
In this excerpt, Mario 10 projects that can
Rodriguez provides complete enhance any period-
(Download should take
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Fine Woodworking 19th-century farmhouses.
articles. Rodriguez takes you through the steps of choosing the materials,
priming the parts, installation, and painting. The mantel is
Fine Woodworking structurally straightforward and can easily be built in a weekend.
Online Archives
Mario Rodriguez, a professional woodworker for 20 years, teaches
woodworking at Fashion Institute of Technology. A contributing editor of Fine
Woodworking magazine, he is the author of Traditional Woodwork.
Photos: Bruce Buck and Mario Rodriguez; drawings: Ron Carboni

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From Building Fireplace Mantels,
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This is an excerpt from the book
Fireplace Mantels
by Mario Rodriguez
Copyright 2002 by The Taunton Press

www.taunton.com
Simple Federal
Mantel
his mantel is typical of those family possessions and a backdrop for
T found in many rural farm-

houses in the early 19th century.
social gatherings and important events.
The mantel’s design shows elegant pro-
Almost always made of wood and portion, restraint, and balance. And the
painted, the style was taken directly simple moldings cast bold shadows that
from classical architecture and imitated highlight its timeless appeal.
the design of basic shelter: columns The federal mantel is structurally
supporting a beam and roof. The simple straightforward and can easily be built
moldings and joinery indicate that it in a weekend. Three boards joined
could have been built by a local carpen- together with biscuits form the founda-
ter instead of by a furniture joiner. But tion, which is fastened to the wall.
its simplicity doesn’t diminish its appeal Plinth blocks (doubled-up 1-by stock)
in any way. The mantel’s flat relief and support the plain vertical pilasters,
plain treatment perfectly frame the which support the horizontal archi-
Federal-period hearth opening and pro- trave. Add a few moldings and the
vide a focal point for the display of mantel shelf, and you’re ready to paint.
51
Simple Federal Mantel
PROVING THAT SIMPLICITY DOESN’T PRECLUDE ELEGANCE, this mantel design is anchored by ideal propor-
tions and perfect symmetry with the brick firebox opening it adorns. Built with readily available materials and
moldings, it’s easy to build as well.
FRONT VIEW
79"
⁄4" x 51⁄4" mantel shelf
3
⁄4“ x 3⁄4" cove molding
3
1"
111⁄2"
111⁄2" Architrave
71"
52" 42"
Foundation boards 311⁄2"
71⁄4"
pilaster
31"
Firebox opening
8"
12" 9" plinth ⁄4" x 11⁄4"

3
⁄4"
3
side cap
52 SIMPLE FEDERAL MANTEL

Building the Mantel Step-by-Step
egin by preassembling the foundation with the lintel section fitting between the
B board and laminating the plinth blocks,
you can move directly to installation. I chose
columns. That way the mantel parts would
overlap the foundation joints, making the
to preassemble some of the molding ele- whole construction stronger.
ments as well. 1. Cut the two columns and lintel that will
form the foundation. The firebox opening in
The Foundation this project is 32 in. high by 42 in. across, and
Board an even course of bricks is left exposed around
the sides and top. Using a 14-in.-wide lintel
The foundation board is the backdrop of the (horizontal section) and 101⁄2-in.-wide columns
mantel. It provides a flat surface for the mantel (vertical sections) produced the balanced pro-
proper, and bridges any gaps or irregularities portions that form the basis for the mantel’s
between the masonry and the adjacent wall design. You should adjust these dimensions
surface, while exposing only the neatest brick- based on the size of your firebox opening.
work. The mantel foundation was designed
Choosing Materials
During the 19th century, pine was abundant havoc with human comfort but spared furnish-
and readily available, and carpenters used it ings and interior woodwork from drastic
for most interior trim, including fireplace man- changes in temperature and humidity. In a
tels. So a meticulous reproduction would modern ultra-insulated home, wood is sub-
require large, wide boards of clear pine. jected to extremes of temperature and relative
However, the use of solid pine for this project humidity created by efficient central heating
would present problems (besides price) for the and air-conditioning. The use of wide, solid
modern woodworker that 19th-century car- boards and true period construction methods
penters weren’t concerned with. in a modern home would probably cause
At that time houses weren’t insulated, so unsightly checking and splitting. Miters would
warm and cold air passed through the struc- likely open up, and flat sections would cup.
ture freely. In a particular room, it wasn’t A better approach for today’s woodworker
unusual to experience surprising differences would be to construct this mantel using
in temperature. With a fire blazing in the lumbercore plywood instead of solid wood.
hearth, the warmest spot in the room would I used 3⁄4-in. lumbercore plywood for every-
have been a seat in front of it, while other thing except the plinth blocks and the mold-
areas of the same room might be as much as ings. (See chapter 1, pp. 9–12, for a detailed
15º colder. These conditions surely played discussion of materials.)
SIMPLE FEDERAL MANTEL 53

Join the foundation
boards with a couple
of biscuit slots.
2. Lay out and cut biscuit joints to connect more stable block, plus it made good use
Tip: You’d think
the lintel to the columns—three or four #2 bis- of scrap material I had on hand.
pieces of molding cuits should do the job. 1. Cut the plinth block pieces slightly
stock at a lumber 3. Glue up the foundation assembly, making oversize.
store are all identi- sure the columns are square to the lintel. 2. Saw or rout two grooves into the back face
cal. But if there are When the assembly is dry, remove the clamps; of each piece, about 11⁄2 in. from the edges.
pieces from different but before moving it, attach two support 3. Fit a spline into each groove, and glue the
batches, there could battens across the front. The battens reinforce mating surfaces together.
be slight differences, the joints, maintain the dimensions of the
which will result in foundation opening, and keep it flat during Cutting the parts to size
installation. 1. Arrange the main mantel parts (pilasters,
miters that don’t
architrave, and plinths) on the foundation.
line up perfectly. To 2. Center the parts and cut them to length.
avoid this, I try to
The Plinth,
Pilasters, and 3. Cut biscuit joints to align the top of the
cut all my mitered pilasters to the architrave.
pieces from the Architrave 4. Cut the plinth blocks to size. (Depending
same length of stock on the condition of the hearth, you may want
so there’s no doubt Laminating the plinth blocks to leave the plinth blocks a little long so they
that the profile is The plinth blocks at the base of the pilasters can be scribed to the hearth at installation.)
the same on all are made with two pieces of 3⁄4-in.-thick solid
pine laminated face-to-face. The net 11⁄2-in. Selecting the moldings
the pieces.
thickness is needed to support the pilaster and I purchased stock moldings from the local
the plinth molding. You could use a chunk of building supplier. The simple profiles I needed
2-by stock, but the approach here resulted in a were readily available, in quantity. By choosing

Laminating two
pieces yields a more
stable plinth block. A
pair of splines keeps
the pieces from slid-
ing around when
clamping up.
available profiles instead of choosing special-

order profiles, I could pick through the inven-
tory and select the straightest and cleanest
material.
There were three distinct profiles I needed:
a large and simple cove for the cornice mold-
ing, an ogee with fillet for the torus molding
(at the base of the pilaster), and a large ogee
with quirk (space or reveal) for the capital
molding. These last two moldings are both
sold typically as “base cap” profiles.
Priming the parts

To achieve an attractive painted surface, the
wood components must be carefully prepared.
This involves filling any holes and dents and
repairing cracks. I do some of this after instal-
lation, but it’s easier to do a first go-over now.
Also, on this mantel I primed the moldings
before cutting and fitting them to the mantel. The flexible blade on a good-quality putty knife will fill any voids in the
1. Fill any holes, dents, split seams, tearout, material and not further mar the surface.
or cracks in your material with a water-based
wood filler. On lumbercore plywood, I usually
apply filler on the exposed edges, paying par-

The finger joints, visible on the edges of the lumbercore, should be Use a large half-sheet sander or a sanding
filled and sanded before you attach the parts to the mantel. block to level any primed surfaces. Break
square edges slightly but don’t round them
over too much.
It can be applied with either a brush or a

roller. The primer fills and levels the wood and
raises the grain slightly.
4. When the primer dries, look for any flaws
that might have been missed the first time
around, and fill them. Apply a second thinned
coat of primer, and when dry sand again with
150-grit to 180-grit paper. Now the surface is
ready for paint.
Installing
the Mantel
All moldings should be filled, primed, and sanded for the best Anchoring the foundation
appearance. Unless your walls are flat and plumb and you
can determine the location of the studs
behind, attach furring strips to the wall first,
ticular attention to the finger joints where the then attach the foundation to the strips. That
Tip: If a water-based solid material was spliced. way the principal method of attachment, no
filler dries up, you 2. When the filler is dry, I use a medium-grit matter what you choose, will eventually be
can easily rehydrate (120 to 150) sandpaper to remove any excess hidden by the mantel parts. In this case the
it with a little tap and then level the surface. brick masonry surrounding the opening was
water. You can even 3. Clean off the filled and sanded boards with 1
⁄2 in. higher than the surrounding plaster wall.
change the consis- a tack rag, then apply a water-based paint In order to make up this difference and give
tency if you prefer primer. For a fluid coating that lays down myself a tiny margin, I cut my furring strips to
a thinner filler. nicely, I thinned the primer about 20 percent. 5
⁄8-in. thickness.

1. Attach furring strips to the wall. The fur-
ring strips can be secured with lead anchors,
masonry screws, or cut nails.
2. Position the foundation against the wall,
and center it on the opening.
3. Check the foundation for plumb and level,
then screw it to the furring strips with #8
wood screws. Locate the fasteners so they’ll be
covered over by the other mantel parts later.
Building up the mantel

With the foundation securely in place, you can
apply the next layer of mantel parts. Working
from the bottom up may seem more logical,
but I worked from the top down and scribed
the plinth blocks to the floor last. Furring strips, shimmed plumb as needed and attached to the
1. Attach the architrave to the foundation with wall surface, provide good solid support for the foundation. Use
11⁄4-in. screws. Make sure the top edge is even the appropriate fastener based on the wall material.
Position the braced foundation against the

furring strips. Make sure it’s plumb and lev-
eled, then screw it to the strips with #8 by
11⁄2-in. wood screws. This detail shows the capital molding that caps the pilasters.

ARCHITRAVE-PILASTER JOINT
Architrave/pilaster
Foundation seam is concealed
With the architrave in place, set the pilasters,

using biscuits for alignment and added strength.
Capital with the foundation board and that the spaces

molding at the ends are equal.
2. Position the pilasters under the architrave,
Trim screws and add the biscuits and glue to reinforce the
placed behind joint. Secure the pilasters to the foundation
capital molding band
with 11⁄4-in. screws. Locate the screws at the
bottom and top of the pilasters, where they’ll
be covered over with the capital and torus
Pilaster
moldings.
3. Fit the plinth blocks. Once the pilasters are
in place, measure the remaining space for the
plinth blocks. On both sides of this mantel
there was a small discrepancy between the
wood floor and the slightly raised brick of the
hearth. So I scribed the ends of the plinths to
The capital band (molding set at the top of the pilasters) is placed fit, made the cut with a jigsaw, and attached
over the trim screws attaching the pilaster to the foundation.
them to the foundation with countersunk
trim screws.

PLINTH
Mantel
foundation
Pilaster
Torus
molding Furring
strips
Laminated
plinth block
The torus band (molding set at the bottom of the pilasters) creates a pleasing transition
from the plinth block to the pilaster and helps to visually anchor the mantel.

After the plinth
Blocking for the
blocks are scribed to cove molding
the hearth, screw
In order to provide a stable bed for the cornice
them to the founda-
molding, I made up some blocks to be placed
tion with trim screws. along the top edge of the frieze and under the
mantel shelf. The 45-degree face of these blocks
supported the cornice molding at a consistent
angle and ensured that the miters would line
up properly. To support the small return sec-
tions of the cornice, I added a small piece of
wood to the back of the angled blocking.
1. Saw the cove blocking from a piece of 2-by
stock. Make sure the angle of the blocking
DETAIL OF CORNICE/ARCHITRAVE
3
⁄4" x 51⁄4" mantel shelf 3
⁄4" lumbercore plywood
Furring
strip
Cove blocking
21⁄4" cove molding
Wall
Foundation
Architrave
The cornice blocks, set under the mantel shelf and screwed to the architrave,
provide support for the cornice molding. Together the blocking and cornice
support the mantel shelf.

A small block is glued to the angled cove blocking. This supports the Screw angled cornice blocks along the top
cornice molding return piece. edge of the architrave.
Preassembled Molding Bands

On any project, moldings attract my attention. I always look to see
whether the profile matches up and wraps around the corner
cleanly. And of course, I like to see tight miters. If you’re laying
down the molding as you go, this is sometimes difficult to
achieve. To make the job easier, I often build my bands first and
then attach them to the mantel.
By mitering, gluing, and nailing the bands together first, you
can coax tight joints at the corners, allow them to dry, and then
fill and sand them. All of this critical work is a lot easier if you
can freely adjust the molding band. In addition, once the band
is dry, it will flex slightly and conform to its position on the
mantel—while the miter remains tight. And the constructed band
will stay in place with fewer nails than if it were laid up one piece
at a time. A preassembled band of molding can be gently
I cut the sections on a miter saw to within ⁄32 in., then I plane
1 coaxed into place—while the miter remains tight.
them to fit with a low-angle block plane. When I’m satisfied with
the fit, I glue the miters and nail them together with a pin nailer. I
use a fixed block as a guide to assemble the pieces.

face matches the angle of the cove molding
you’re using.
2. Attach the cove blocking through predrilled
holes with trim-head screws.
The Moldings and

Mantel Shelf
The conventional approach to installing mold-
ings is to work your way around the mantel
from one side to the other, fitting one piece to
the next. (For an alternate approach, see “Pre-
assembled Molding Bands” on p. 61.)
The mantel shelf

In the 18th and 19th centuries, woodwork was
attached to the studs, then the walls were plas-
tered, with the woodwork acting as a gauge or
stop. The finish coat of plaster was then
brought up to the woodwork. This method
produced an interesting junction where the
woodwork and plaster met that was soft and
This detail shows the plinth with the torus molding. easy on the eye. But today’s woodworkers and
finish carpenters scribe their work to conform
to the walls.
1. Set a compass to the width of the widest
gap between the straight edge of the shelf and
the wall.
2. With the pin leg of the compass resting
against the wall and the pencil leg on the man-
tel shelf, pull the compass along the wall and
shelf. This will result in a pencil line on the
shelf that will mimic the wall surface.
3. Cut along the pencil line, then use a plane
or rasp for final fitting.
The cove molding

I cut the cove molding on a miter saw outfit-
ted with a special support carriage to hold the
molding at the correct angle.
1. Cut the cove molding to fit.
2. Nail the cove to the cove blocks and mantel
shelf with finish nails. Add some glue to the
After setting the legs of the compass to the widest gap miters to help hold the joints closed.
between the mantel shelf and the wall, drag the compass 3. When cutting the short return miter, make
along the length of the shelf. Here the mantel shelf is still the 45-degree cut on a longer piece, then make
oversize, so the scribed amount is a full inch larger than the square cut to release the return from the
the widest gap. longer stock.

The capital and
torus moldings
1. Cut and fit these moldings around the
pilasters.
2. Use a finish nailer for the long pieces and a
pin nailer (or just glue) for the short returns.
3. Cut the side cap molding, and nail it to the
edge of the foundation board. If necessary,
scribe it to fit cleanly against the wall.
Painting the Mantel

Final preparations
With the mantel primed, sanded, and installed,
there might be small gaps where the various
sections of the mantel meet. Although they don’t
appear unsightly now, these gaps will stand
out later and will work against a clean and
unified appearance when the mantel is painted.
1. Fill any exposed screw or nail holes with putty.
2. Use a high-quality water-based caulk
(Phenoseal® brand takes paint beautifully) in
an applicator gun to apply a small continuous Nail on the capital molding with a pin nailer. Don’t try to nail the miter
bead anywhere there is a gap. Within minutes or the wood may split.
of applying the caulk, wipe away any excess
with a damp rag.
The finish coat of paint
Applying finish coats should be applied in
several thin layers. A
I used a water-based latex paint for the final
thin coat of paint will
coating of the mantel. For a project like this, I
don’t think oil-based paint offers any great level out nicely and dry
advantages. I wanted a smooth surface with quickly.
just a hint of brush marks that would imitate
the finish on period woodwork.
The secret to a good job is to take your
time, so I decided to apply the paint in several
light coats. A thin coat levels nicely and dries
more quickly and completely than a single
heavy coat. I thinned out the paint about
20 percent and used a good-quality 2-in. syn-
thetic brush. I started on the edges, then did
the inside corners, and finished up with the
large flat areas. Wait until each coat is thor-
oughly dry before proceeding with the next
coat. The whole mantel required three coats
of paint and a couple of 15-minute touchup
sessions.

Children's Furniture Projects: Child's Rocker
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Child's Rocker
A selection of great Making Heirloom
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Skills & Techniques sophisticated projects
Kids are always in motion. It's Open or download the 17-page
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as soothing for children as it Trucks
Projects & Design tends to be for adults. Kids Plans and instructions
love it. for building a dump
Materials
truck, a tow truck, a
Children's Furniture Projects flatbed, a semi, a
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over 600 of the best fanciful rocking dinosaur to
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Photos: Tanya Tucker; drawings: Melanie Powell
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Children’s Furniture Projects

by Jeff Miller

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CHILD’S ROCKER
K IDS ARE ALWAYS IN MOTION. It’s not

easy to get them even to sit down in a
chair. But this rocker lets them work off energy while
staying in one place. And rocking can be just as
and cap nuts. This makes it sturdy enough to with-
stand the typical amount of abuse that kids will
dish out but also easy to knock down and store (or
ship) flat.
soothing for children as it tends to be for adults. There are lots of ways to finish this rocker to get
Kids love it. different results. I’ve gone with interesting colors as
The construction is a combination of the typical well as a basic oil-and-wax finish. But that doesn’t
and the unusual; although there are simple dadoes mean you can’t come up with your own design
routed in the plywood panels to align the parts, scheme, or just let the child decorate it the way he
everything is held together with 1⁄4-in. threaded rods or she wishes.
✦ 91
CHILD’S ROCKER
THE ROCKER IS MADE OF FIVE SHAPED pieces of plywood. Shallow dadoes in the plywood sides and
back locate the parts in the proper positions, and the whole thing is held together with two threaded rods
tensioned with cap nuts.
Decorative
cutout
Back
panel
Cap nuts
Side
panel
1/4-20
threaded rod
Dado for
seat panel
Strut
Seat
panel
Side
panel
92 ✦ CHILD’S ROCKER
BACK PANEL All parts 3/4" plywood.
Top and bottom 17/16"

edges rounded over
Oval cutout, ALTERNATE BACK PANEL
51/4" x 31/4",
edges rounded
over 35/8"
Slot cutout, 3/4" x

12", edges
rounded over
23"
Dado for back of

seat panel, 3/4" x
1/8" deep
Sides
1" bevelled
153/8" Back edge SEAT PANEL

bevelled
Top 153/8"
STRUT
Approx. 17" Fit to rocker

to determine
21/4" exact length
(approx.121/2").
Fit to rocker to determine
exact length.
Four edges
rounded
181/2"
Ends Front
beveled edge
rounded
CHILD’S ROCKER ✦ 93
T
CUT LIST FOR CHILD’S HE FIRST STEP in making the rocker
CUT LIST FOR PANELROCKER
BED
is to make up a jig for locating the
2 Side panels 3
⁄4" x 16" x 26"* dadoes for the seat, the back, and the
1 Seat panel 3
⁄4" x 12 ⁄2" x 18 ⁄2"
1 1 strut on the side panels. Because the rela-
tionship of the seat parts to the curve of the
1 Back panel 3
⁄4" x 153⁄8" x 241⁄8"
rocker is so important, you’ll also use the
1 Strut 3
⁄4" x 21⁄4" x 17" side panel jig to define the shape and loca-
Hardware tion of the rocker relative to the dadoes and
thus to the seat and back of the rocker.
1 Threaded rod 1
⁄4-20 x 36" long**
4 Cap nuts 1
⁄4-20***
Miscellaneous
Making the
Scrap wood for interim jig 1
⁄2"–3⁄4" x 8" x 18"
Side-Panel Jig
Make the jig for the side panels out of a
Plywood for side panel jig 3
⁄4" x 25" x 32" piece of 3⁄4-in. by 25-in. by 32-in. plywood
*All parts are Baltic birch plywood or equivalent. (see “Side-Panel Dado Jig”).
**Cut into two pieces based on measurements from completed chair. 1. Draw a reference line 15 in. from (and
***Also called connector nuts; typically used with connector bolts.
parallel to) one of the long edges of the ply-
wood. I measured from the left edge, and
that’s what is shown here. You will reference
off of this edge when routing the actual side
panels. Mark it now as your reference edge.
The Side-Panel Pattern
1 square = 1"
Side-Panel Dado Jig
3/4" plywood
25"
15" 10"
Reference
line
32" 30"
radius
51/8"
43/16" 90°
8"
37/16" 23/8" 89/16"

3/8"
131/4"
2"
811/16"
5"
33/4"
Straight for 31/2"
MAKING THE INTERIM SLOT JIG
The interim jig is built up to have
a 7⁄8-in.-wide by 121⁄2-in.-long slot
down the middle of it. The jig is
18"
then used with a flush-trimming
bit to cut the slots in the side
panel jig.
1. Cut apart a board roughly

37/16"
18 in. long by 8 in. wide by 1⁄2 in. 7/16"
7/8"
3
to 3⁄4 in. thick into two 37⁄16-in.-
wide strips and one strip exactly
25/8"
7
⁄8 in. wide.
2. Crosscut the 7⁄8-in.- wide strip

Save for
into three parts; one 121⁄2 in. long,
121/2" filler strip.
and two about 25⁄8 in. long. Set
aside the 121⁄2-in.-long strip; it will
be used later when routing the
short slot for the strut.
25/8"
3. Glue the two 25⁄8-in. pieces in
between the two 37⁄16-in.- wide
strips, with the ends of both short
and long pieces flush. This should
leave a 7⁄8-in. by 121⁄2-in. slot in
the middle.
4. Plane the faces of the jig

smooth once the glue has dried.
Making a jig to make

another jig may seem
like a lot of trouble, but
the interim jig helps
get the slots in the side
panel jig located and
sized correctly.
2. Next, mark out the curve of the rocker.
The rocker is mostly an arc of a circle with a
30-in. radius. Mark the center point of the
Using the Filler Strip
arc on the reference line, about 1 in. down Fit in a filler strip to
from the top of the plywood. Using a scrap leave a smaller opening
of 1⁄4-in. plywood or a long thin scrap of (for the strut dado).
wood, make up a “compass” by drilling one
Interim
hole for a nail and another hole, 30 in. away,
slot jig
for a pencil point. Scribe the arc across the
bottom of the plywood.
3. The back of the rocker will end about
1
⁄8 in. away from the left edge of the plywood
after it gets rounded over. The front of the
rocker extends all the way to the other side 23/8"
of the plywood.
4. Flatten out the back 31⁄2 in. of the rocker
to make it harder to tip the chair over. Mea-
sure down 3⁄8 in. from the arc along the back
edge of the jig, then draw a 31⁄2-in.-long
straight line from this point to the arc of
the rocker.
5. Now you’re ready to locate the dadoes for
the seat, back, and strut. Measure over from
the reference line and up from the arc of the
rocker to locate the various points shown in
“Side-Panel Dado Jig” on p. 95 that will
define the locations the dadoes. Make sure
all of the lines are perpendicular or parallel
to the reference line.
6. The dadoes themselves will be 3⁄4 in. wide,
but because you are making a jig that will
be used with a 5⁄8-in. guide bushing and a
1
⁄2-in. router bit, the slots in the jig must be
1
⁄8 in. bigger. Mark out parallel lines for the
slots, 7⁄8 in. apart, based on the reference
points you just created. Mark the ends of
the slots as well.
7. The best way to proceed now is to make a
very simple jig to help you rout the slots.
You’ll use this interim jig to cut the 7⁄8-in.- PHOTO A: A filler strip can be inserted in the interim dado
wide slots (see “Making the Interim Slot Jig”). jig to rout the short slot for the strut.
8. Lay the interim jig over one of the
marked slot locations on the side-panel jig
and clamp it into place. Use a flush-trimming 9. Don’t worry about the length of the slot
bit in a router to cut the slot all the way for the back of the rocker; it can extend up
through the side-panel jig. Make sure to above where the side panel will end. But you
do this with the jig either propped up off can cut down the 121⁄2-in.-long piece you set
the bench or hanging over the edge so you aside when making the interim jig to use as
don’t rout into the benchtop. a filler when routing the dado for the strut
Cap-Nut Locations
Cap-nut
holes
1"
1"
1" 21/4"
PHOTO B: The dadoes in the side panels
are easy to rout, and they come out in
exactly the right place if you use the
dado jig.
underneath the seat. This dado should be

Transferring the Shape exactly 21⁄4 in. long; cut the filler strip so it
will make a slot that is 23⁄8 in. long in the
side-panel jig—1⁄8 in. will be lost when you
Shaped side rout the dadoes (see Photo A on p. 97 and
“Using the Filler Strip” on p. 97).
10. Locate and drill two holes which you
will use to transfer the positions of the cap-
nut holes (see “Cap-Nut Locations”).
11. Now cut and smooth the shape of the
rocker that you marked originally. I sawed
the shape on the bandsaw and sanded the
curve smooth and fair. The jig is now fin-
ished. Time to move on to making the rocker.
Unshaped
blank
Making the Side Panels
1. Cut the side panel blanks to rough size as
given in the cut list.
2. Clamp a panel blank underneath the
side-panel jig so that it is flush with the ref-
erence edge of the jig. The bottom of the
blank should be sticking out beyond the jig
about 1 in.
3. Rout the dadoes using a router with a
3/8"x 3/4" strips 5
⁄8-in. guide bushing and a 1⁄2-in. straight bit.
of plywood to The dadoes should all be the same: 3⁄16 in. to
align the pieces 1
⁄4 in. deep. While the boards are still clamped
together, mark the curve of the rocker and
the cap-nut hole locations onto the blank
(see Photo B).
4. Now flip the side-panel jig over and
clamp it with the same reference edge flush
with the edge of the other side-panel blank.
Rout the dadoes on this blank. You do not
need to mark the rocker curve on this blank,
since you will later transfer over the shape
of the first panel.
5. Draw a grid of 1-in. squares on the routed
side of the first side panel blank.
6. Create the shape of the upper part of the
side panel by working square by square from
“The Side-Panel Pattern” on p. 94 until you
are satisfied with the overall look.
7. Cut the side panel to shape and smooth
carefully to the lines. The rocker should be PHOTO C: The seat can be used to set the angle of the table
smooth and even, with no bumps or flats. saw blade for all of the bevel cuts on the rocker.
8. Now transfer the shape over to the other
side-panel blank. Use a couple of narrow has a dado for the back edge of the seat to
rippings of 3⁄4-in. plywood fit into the corre- slip into as well as some decorative shaping.
sponding dadoes to align the two halves 1. Set the bevel angle for the back on the
before drawing the lines (see “Transferring table saw using the seat itself as a guide (see
the Shape”). This will ensure symmetry Photo C).
to the sides. Cut and smooth the second 2. Bevel only one edge of the back for now.
side panel. 3. You need to determine the location of
9. Round over the edges of both panels the dado that will accept the back edge of
with a 1⁄4-in. roundover bit. the seat. The first step is to round over the
10. Drill the two 11⁄32-in. holes for the cap bottom edges of the back with a 1⁄4-in.
nuts in each side panel at the locations roundover bit.
marked from the side-panel jig. 4. Hold up the back with the beveled edge
in the back dado of the appropriate side
Making the Seat panel (the back should lean toward the back
of the chair). Slide the back to the bottom of
1. Cut the seat blank to dimensions given
in the cut list. Measure 19⁄16 in. in from both the dado. Now mark where the seat dado
sides of the blank to get the dimensions of intersects the back (see Photo D on p. 100).
the back of the seat. Then draw lines from This marks the location of the seat dado in
these marks to the front corners. the back panel.
2. Bandsaw the sides of the seat to the lines. 5. Cut the dado in the back for the seat.
3. Rout the front edge, both top and bot- Although this dado should be angled, the
tom, with a 1⁄4-in. roundover bit. saw blade on my table saw tilts the wrong
4. The back edge of the seat needs a bevel, way, and it seemed rather cumbersome to
but this must wait until you are working set up the cut. So I cut the dado with the
on the back. blade at 90 degrees and checked the fit of
the seat in the dado. No problem. It hardly
matters at all that the angle isn’t there. And it
Making the Back is easier.
Both sides of the back are beveled at the 6. Hold the back up in the same side panel
same angle as the seat taper. The back also as before. Take the seat and hold it up in
PHOTO D: Locate place as well. Take note of how much wood
the dado in the must be removed from the back edge of the
back panel with seat so it will fit into place, then mark the
the panel held back edge.
in position on 7. Cut the back edge of the seat with the
the side panel. blade reset to the angle of the seat taper (use
The dado goes the seat as your angle reference once again).
where the seat Set up for the cut carefully so that the top of
dado intersects the seat ends up longer than the bottom.
the back. 8. Now you need the exact width of the
back. Hold the seat up in the dado in the
back. Align the beveled edge of the back
with the edge of the seat. Mark the opposite
side. Cut the bevel on this side of the back.
Be sure that the bevel angles the correct way.
The back panel tapers toward the rear; the
edges are not parallel.
Determining Strut Length
Side
panel
Back panel
Seat panel
Ruler
Measure from bottom of

slot in side panel to edge
of dummy strut.
Dummy strut, 12"- to 14"-long piece

of plywood cut to fit in slot and
beveled at the seat angle on one side

9. Mark and cut the curves on the top and
bottom of the back. Both of these curves are
the same: a 30-in. radius. You can use the
bottom of one of the side panels as a pattern
to mark them out.
10. Rout an oval or a slot in the back panel
for decoration. Note that the oval makes a
very convenient handle for dragging the
chair around. I made up a jig for the oval
cutout from a scrap of plywood with a
53⁄8-in. by 33⁄8-in. oval cut in it. The slot can
be cut with the interim jig you made earlier.
Cut either decoration with a router with a
5
⁄8-in. guide bushing and a 1⁄2-in. straight bit.
PHOTO E: This combination of hardware used to hold the

Making the Strut rocker together is unconventional, but I found it all at my
The strut makes it possible to assemble the local hardware store.
rocker with a threaded rod and cap nuts. It
is simple to make.
Tension from the rods and cap nuts holds
1. Cut a strip of plywood to the dimensions
the seat and back panels securely in the side
given in the cut list.
panels (see “The Threaded Rods” on p. 103).
2. You’ll have to clamp all of the other parts
The only complication to this otherwise
of the rocker together to determine the exact
simple solution is that the rocker side panels
length of the strut. Clamp across the back of
are not parallel. The holes (with shallow
the chair above the seat. Then measure the
counterbores) for the connector nuts need
distance from the front of the slot on one
to be drilled at an angle so that they can be
side to the front of the slot on the other. A
tightened onto the threaded rods. The
12-in. ruler and a 6-in. ruler used together
process starts with drilling these holes.
can get the length. You can also make up a
dummy strut from a 13⁄4-in. by 12-in.- to
Drilling the angled holes
14-in.-long scrap of plywood with the seat
The first step in drilling the angled holes is
angle cut on one end. Fit it into one of the
to make a simple angled drilling platform
strut slots and measure from the end of this
(see “Making the Angled Drilling Platform”
piece to the bottom of the dado opposite.
on p. 102).
Add the two lengths to get the measurement
1. The seat angle provides the angle needed
(see “Determining Strut Length”).
for the drilling platform. Make two identical
3. With the saw still tilted (or reset to the seat
wedges for the platform out of a piece of
angle), cut the ends of the strut at the same
wood, roughly 1 in. thick by 3 in. wide by
angle used for cutting the sides of the back.
11 in. long. Align the front edge of the seat
4. Round over the long edges of the strut
panel with the end of this wedge blank and
with a 1⁄4-in. roundover bit.
trace the angle of the side of the seat panel
onto the blank.
Putting It All Together 2. Cut a wedge out of the blank, smooth the
There is no glue used on this chair. Instead, sawn edge, and use this wedge to mark out a
the chair is held together with two lengths second wedge. Cut and smooth this wedge
of threaded rod and four cap nuts (see to match the first.
Photo E). The cap nuts are usually used in 3. Screw a 12-in.-square piece of 3⁄4-in.-thick
conjunction with connector bolts, but they plywood to the two wedges.
work perfectly well with 1⁄4-20 threaded rod.

Making the Angled Drilling Platform
Wedge
blank
Mark this angle
onto wedge blank.
Cut apart.
Align
these
edges.
Seat panel
Match second wedge to first.
12"
SIDE VIEW 12"
Plywood top,
12" x 12"
2"
Plywood base, 11"

Wedge
11" x 11"
To use, position front edge of side panel

uphill and drill into outside face.
11"

The Threaded Rods
Side
panel
Cap
Threaded rods nuts
Use an angled platform to drill angled

holes in the side panels to accommodate
the cap nuts.
4. Attaching a piece of plywood to the under- PHOTO F: With

side of the wedges will make it easier to clamp the angled plat-
the angled platform to the drill-press table. form clamped in
5. Clamp the angled platform to the drill- place on the drill
press table with the angle running sideways. press, it’s easy to
6. On the outside of each of the side panels drill the holes for
draw a line through the two marks for the the cap nuts at
cap-nut holes. This line should remain par- the proper angle.
allel to the edge of the angled platform when Note that the line
drilling the holes in a side. through the cap-
7. Drill a shallow 3⁄4-in. counterbore for the nut holes is paral-
flange of each of the cap nuts first. Drill only lel to the edge of
until you have a complete hole; it will still be
the angled plat-
very shallow on one side. Then drill a 9mm
form and that the
or a 3⁄8-in. hole through the center of the
front of the side
counterbore for the body of each of the nuts
panel is uphill.
(see Photo F).

PHOTO I: Slip the threaded rod with
one of the cap nuts all the way through
the holes in one side and mark where the
rod comes out the counterbore on the
other side panel of the rocker.
Cutting the threaded

rod to length
1. Put the rocker together. You may want an
assistant or a clamp or two to help hold
things together while you measure for the
threaded rod (see Photos G and H).
2. Thread one of the cap nuts all the way
onto the end of the rod, and insert it into a
hole on one side and then through the hole
in the other side. Mark where the rod comes
out of the hole, flush with the bottom of the
counterbore (see Photo I).
3. Cut the rod 1⁄4 in. shorter than the length
you marked. File the rough edges and check
to be sure you can thread the nut onto the
cut end.
PHOTOS G AND H: Assembling the rocker can be frustrating 4. Repeat the same process for the other set
without help. It makes sense to do it on a blanket or a piece of holes, using the remaining section of rod.
of cardboard in case something slips apart. 5. Now assemble the chair with the threaded
rod in place.

TIP
It’s easy to cut
threaded rod with
a hacksaw. It’s also
very easy to man-
gle the threads so
they are unusable.
Remember that
PHOTO J: Tighten up the cap nuts with a pair of Allen wrenches. you need good
threads on only the
last 1⁄2 in. of either
6. Tighten the cap nuts (see Photo J). The end of the rod.
rocker should hold together tightly (if not, Clamp somewhere
check to see if you need to cut a little more else when you’re
off of the threaded rods). You can test the cutting.
chair now if you want.
Finishing
I chose an oil-and-wax finish for a natural
look on one of the rockers and brightly
colored paint for the other. Lacquer or shel-
lac is also a good option, although paint,
lacquer, or shellac on the bottoms of the
rockers will probably rub off as the chair is
dragged around. Sand all parts thoroughly,
especially the edges, before applying any
finish. Wait for the finish to dry completely
before reassembling the rocker. Then put
it into use.

Chests of Drawers: Drawer-Building Basics
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Finishing DrawerBuildingBasics.pdf have held people's
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Workshop & Safety and bottom. But these parts valuables over the
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Chests of Drawers
by Bill Hylton

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Drawer-Building Basics
D RAWERS ARE OBVIOUSLY central to
a chest of drawers. Each is essentially
an open-topped storage container. Just a box.
Parts of a Drawer
Every drawer has the same basic parts: front,
Function doesn’t require a drawer to be fancy back, sides, and bottom. But these parts can be
or complicated. Typically, we make them of a assembled in a variety ways to produce differ-
secondary wood, with just the front made to ent types of drawers. Curiously, it’s not so
match (or complement) the chest itself. But much the way the drawer is constructed as
we want them to be sturdy and tight, probably how the front of it relates to the case that gives
not too heavy, and easy to open and close. the drawer type its name.
If you are a furniture maker, you want a
drawer to be something you can construct The front
quickly without sacrificing strength and dura- The flush drawer is easily the most common
bility or appearance. This is a bigger challenge type. The front of the drawer is recessed
than it might appear. within the case so its face is flush with the
A drawer arguably receives more punish- case facade. To look right, with an even gap
ment than any other furniture component. You all around, the drawer has to be right. More-
jerk it open. You slam it shut. Open. Bang! over, in a chest of drawers, each drawer has
Shut. Open. Bang! Shut. to match its neighbors. All need to be flush,
A strong, long-lasting drawer needs not all need the same visual clearance around the
only good joinery but also good support in the edges. This makes it the least forgiving type
chest and a way to guide its movement. If it of drawer to the craftsman. The flush drawer
sticks in the case and you need to yank on it is used in the Contemporary Chest (p. 62),
to get it to move, you put extra stress on the the Bow-Front Chest (p. 88), and the Triple
drawer’s joints between the front and the sides. Dresser (p. 138).
(And you stress the chest itself, too.) Then The lipped drawer has a rabbet cut on three
if you have to throw a hip against it to close edges and sometimes on all four. More often
it, you are once again stressing the drawer than not, the lip is profiled with a bead. The
and chest. front nestles partway into the case, and the lip
Traditionally, drawers are constructed and covers the gap between the drawer front and
fitted with a lot of handwork. But time is dear, the case. This has the practical benefit of cov-
and many a contemporary woodworker favors ering up a loose fit. Both the Queen Anne
machine-cut joinery and easy fits. There is, it Chest on Frame (p. 166) and the Tall Chest
turns out, no one way to build a drawer. (p. 188) have lipped drawers.
24
The flush drawer has
a front that nestles
into the chest, with
its face flush with the
edges of the chest
sides and the drawer
dividers.
D R AW E R - B U I L D I N G B A S I C S 25
The lipped drawer
has rabbets around
the inside face of the
front, so it can fit
partway into the
chest. The lip over-
laps the sides and
dividers, giving the
chest facade depth.
The third type is the overlay drawer, in

which the front overlays the edges of the case,
concealing it. Often—but not always—the
front is an element distinct from the drawer
box, one attached after the box is assembled.
It may be attached with adjusters, which are
eccentrics that allow the front to be shifted
up and down, side to side, or even cocked
slightly. With this style, the drawer builder
can deal with alignment by adjusting just the
front and not the entire box and its support
system. The Double Dresser (p. 116) has this
style of drawer.
Regardless of type, the drawer front is
invariably made of the primary wood used
in the chest. In any of the constructions, it
can be an integral part of the drawer box or
added on as a false front.
The sides and back

The drawer sides do a lot of work. Together
The overlay drawer is a modern contrivance, calculated to expedite with the front and back, the sides form the
production and facilitate the use of manufactured runners. A “show” walls of the drawer box. Usually, the sides
front attached to the drawer box overhangs the box to conceal the provide the main support for the bottom,
runners and to overlay the edges of the case. either directly or through slips, which are
glued to them.
26 D R AW E R - B U I L D I N G B A S I C S
In traditional drawer systems, the sides sup- drawer box is glued to it. This unfamiliar
port the whole drawer as well, since its weight bottom construction is used on the Bow-Front
is transferred through the bottom edges to the Chest (p. 88).
runners that are built into the chest. And
there’s more. The drawer’s movement depends The pull
on the sides. Those bottom edges are the bear- Don’t overlook the part that’s used to open the
ing surfaces on which the drawer moves. The drawer. It is a handle or a knob or a finger
outer faces of the sides are the guides that rub grip of some sort. It can be wood, metal, or
against the chest walls, keeping the drawer on plastic, purchased or shopmade. Collectively,
a straight course—you hope. these parts are called pulls. Seldom can you get
The back, in contrast, does little beyond away without at least one pull on each drawer;
linking the sides and enclosing the drawer wide drawers usually have two.
box. In the typical traditional drawer, the bot-
tom is secured to the back to keep it in place Wood Choices
and to keep it from sagging in the middle.
But when the drawer moves, the back is Woodworkers are pretty acclimated to the idea
just a passenger. Not only is it set on top of of making drawers from an assortment of
the drawer bottom so it doesn’t drag on the materials.
runners but, in some designs, it is deliberately The front is the primary wood, of course.
held below the top edges of the sides so it But rarely are the sides and back made from
doesn’t drag on the runners overhead either. the primary wood. We know we can save a
little money by using a less-spectacular, less-
The bottom costly wood for the drawer sides and backs.
As with drawer fronts, there are several types We use this secondary wood for all the non-
of drawer-bottom construction, which you public parts in a chest. In some contemporary
use depends on the material, the style of the chests, the drawer sides and backs (and
drawer and chest, and the size of the drawer structural fronts) are cut from plywood.
and the strength needed. Then there’s the bottom. It’s traditional to
Most common is the open-back construction, make drawer bottoms from thin pieces of the
in which the bottom is fitted beneath the secondary stock. But these days, plywood is
drawer back into grooves in the drawer sides used for the drawer bottoms more often than
and front. This construction is almost essential not. It is inexpensive, strong, and lightweight.
if you plan to use a solid-wood bottom. Plus you can transform a sheet of plywood
The advent of effectively stable materials— into a stack of drawer bottoms in a matter of
plywood and hardboard, specifically—made minutes.
the fully enclosed construction reasonable. Here, What are the criteria for selecting materials
the bottom is housed in grooves in the back as for non-show parts of the drawers?
well as in the sides and front.
A primitive, seldom seen type is the overlay Strength and weight
construction. Here, the bottom is a panel that’s The trick is finding the balance between
laid over the edges of the sides, front, and weight and strength. Maple drawer sides are
back and nailed into place. The durability and very strong, of course, but they will add con-
wearability of this construction are question- siderably to the weight of the dresser. Pine
able (although some very old pieces—now in drawer sides will make for a lighter case, but
museums—have drawers built this way). they will need to be somewhat thick. The
An interesting, yet uncommon hybrid is the thick sides may be an advantage, depending
NK construction. This bottom is composed of on the method of support. Side mounts, a
two shoe plates and a bottom panel. It is then system that requires grooves to be cut in the
assembled and fitted to the chest; finally, the drawer sides for runners that are attached to
Without a knob or
handle, a drawer can
be near impossible to
open. These pulls—
some handcrafted,
most manufactured—
barely suggest the
range of options
available.
the case, demand that the drawer sides be sion from season to season. And if too little
on the thick side. This also means the drawer overhead clearance is allowed, the drawer will
will be fairly heavy. A drawer that rests on stick in humid summers.
top of the runner, on the other hand, can be The upshot: Select your secondary wood
slimmed down. based on its stability and the way it is sawed.
Aesthetics enters this picture too. You may Certain woods move more and are more prone
not be fully conscious of it, but you do have to various types of distortion with seasonal
notions about appropriate proportions for humidity changes than others. These you want
drawers. One that’s too bulky or too slender to avoid, so you eschew the woods that move
for its dimensions does get your attention. A the most. In addition, quartersawn lumber is
smaller drawer—one that’s one-half or one- much more dimensionally stable than flatsawn
third the width of the case—is proportioned lumber. If possible, take your drawer sides and
accordingly. The sides and back are thinner backs from quartersawn stock.
and so, sometimes, is the bottom. The thick- Plywood, of course, isn’t prone to any of
ness of these parts are bulked up proportion- these woes. It is stable, strong, and light-
ally in a deep, full-width drawer housed in weight. But it conflicts with most people’s aes-
the same case. thetic sense. The show of plies at the edges
doesn’t suit. If the aesthetics isn’t a problem
Stability and wearability and if speedy production is a goal, plywood is
The traditional drawer opening—the one great. The time spent making the sides and
bounded by the case sides and the drawer back is reduced—no jointing, no resawing, no
dividers above and below—is, in effect, a planing. You won’t want to dovetail the parts
frame that doesn’t vary appreciably in dimen- together; but speedy production and hand-cut
sion from season to season. A drawer made of dovetails are on different pages anyway. You’ll
solid wood does change appreciably in dimen- use a machine-cut joint.
Wearability is a different measure. In a drawer in and out a couple of times to gauge
chest of traditional construction, the drawer its fit in the case and the smoothness of its
rests on a frame composed of the drawer action. And then they’ll look at the contents.
divider, runners, and perhaps a back rail. Such assessments reveal the aspects you need
The bottom edges of the sides are the bearing to keep in mind as you select the joints and
surfaces. If you use a soft wood for the sides constructions you’ll use in building drawers
and/or the runners mounted in the chest, the for a particular chest. Looks are important.
drawer will wear quickly. The edges of the All sorts of joints are used in drawers, from
sides deteriorate, and grooves may be worn the traditional dovetail to the nailed butt. In
in the runners (and even into the drawer my mind, the strongest joint needs to be
divider). between the front and sides. This is where the
The goals here are to use a reasonably stress hits, every time a drawer is opened or
durable wood as your secondary and to use closed. This is also the joint that needs to look
the same species for both the drawer sides and good, because it is the one that’s seen each
the runners. Good choices include poplar, soft time the drawer is opened.
maple, and alder. The joint between the sides and back needs
It’s worth mentioning too that in addition to be strong too, of course. But most of the
to wearing faster, soft woods slide more slug- stresses on it are secondhand, more inertial
gishly. However, traditional cabinetmakers in than direct. It’s seldom seen since you have to
the United States frequently used softwood completely remove the drawer from the case
drawer sides because of the ready availability. to look at it. Function is more important than
looks here.
Cost and labor
Cost is the main rationale behind the use of a Front-to-side joinery
secondary wood. The poplar used in the chests The front-to-side joints take the bulk of the
I built for the photos cost only 20 percent or strain on a drawer. If you try to open a badly
25 percent of what I spent for the cherry, wal- built drawer, you may come away with just
nut, and hard maple. the drawer front in your hand (see the draw-
But the material expense is only part of ing on p. 30).
your cost calculation. Here I’m thinking pri- Dovetails generally indicate a well-made
marily about drawer bottoms. I pointed out drawer. The half-blind dovetail is the traditional
that in just minutes, you can produce a stack joint for this application. It’s has been the joint
of drawer bottoms from a sheet of plywood. of choice for literally centuries. Two hundred
How long will it take to make a matching years ago the hand-cut dovetail was just about
stack of solid-wood drawer bottoms? the only joinery option for drawers. It was
That job usually entails resawing as well as used on low-end furniture as well as high. Now
the usual labor for prepping the materials. that there are many other machine-cut joint
Glue-ups typically are necessary to get panels options, half-blind dovetails are the seen pri-
15 in. to 18 in. wide, which drawers in a marily on high-end and custom-made drawers.
large chest require. And joinery cuts will be The half-blind dovetail doesn’t show to the
required in the bottom itself, either a rabbet front, but when the drawer is opened, it makes
or some sort of panel-raising operation. a great impression. It can be used for any of
the three types of drawers (lipped, flush, and
Drawer overlay—remember?), though a false front is
Construction necessary for an overlay drawer.
If the half-blind dovetail has drawbacks,
Everybody likes to open drawers and see they stem from the effort it takes to make
what’s inside. But woodworkers usually look them. They are time-consuming to cut by
at the joints first and will probably slide the hand and finicky to fit. You can use a router
FRONT-TO-SIDE JOINERY
Dado-and-
Dado Rabbet rabbet
Lock joint Sliding dovetail Through dovetails
Routed
Half-blind dovetails drawer-lock joint Box joint
and one of several jigs to machine them, but tion, especially the routed drawer lock. These
dialing in the proper settings for jig and router joints are strong and simple. The routed joint
can take time. And even with the most is cut with a special bit, which produces both
adjustable of the jigs, the results are pretty parts of the joint. The lock joints work equally
clearly machine cut. well on overlay and flush drawers and can be
The other dovetail variants are not univer- used to produce lipped drawers as well.
sally acceptable for front-to-side joinery.
Through dovetails are strong, but they show to Side-to-back joinery
the front as well as the side. If exposed joinery As noted previously, function is more signifi-
is part of the design, then that’s okay. Other– cant in the side-to-back joinery than appear-
wise, a false front is needed to conceal them. ance. It is quite common to find one joint
The sliding dovetail is strong and easy to used at the front, and a very different one at
make (once you have the setup), but you can’t the back (see the drawing on p. 32).
cut the dovetail slot close by an edge. Thus it Historically, through dovetails were used at
will work only on an overlay drawer (or a the back of a drawer. In custom work, they are
flush drawer riding on commercial side- still the joint of choice. But it’s common these
mounted slides). You can produce through days to join the backs and sides with less
and stopped joints; in the former, the dovetail fuss—a dado, dado-and-rabbet, even a nailed
slot is visible in the top edge of the drawer butt joint may be suitable.
front, in the latter it is not. If you’re making the front joints with a
A joint that looks akin to a dovetail is the particular machine setup—a routed lock joint,
box joint. It’s strictly a machine-made joint for example—it’s practical to make the back
(cut using a router or table saw), and it doesn’t joints the same way.
have as sophisticated an interlock as the dove-
tail. The many gluing surfaces make up for Bottom construction
that and yield a joint that’s plenty strong for The bottom keeps the drawer’s contents from
drawers. You can even make a half-blind box falling on through. So the bottom itself has to
joint, though it isn’t used on any of the chests be strong enough to support whatever you put
in this book. You can use the box joint in the in the drawer. The joinery between the bottom
same functional (but not aesthetic) applica- and the walls of the drawer also must be
tions you would the dovetail. strong (see the drawing on p. 33).
At the opposite end of the drawer joinery The first issue to settle when building the
spectrum you’ll find the rabbet and the dado bottom is the joinery. Almost without excep-
joints. The advantage of a plain rabbet or dado tion, drawer bottoms are housed in grooves cut
for joining a drawer front to the sides is ease in the drawer’s front and sides—and sometimes
of construction. Neither joint has any inter- in the back as well. Just bear in mind that the
lock that’s integral to the joint, and there’s no groove compromises the strength of the side
good gluing surfaces, so you shouldn’t expect at the most critical location. A groove that’s
the drawer to survive for generations. too wide or too deep carries—along with the
A hybrid, the dado-and-rabbet joint, does bottom—the potential for failing. And a thin
lock the parts together and is easy to make. side simply sharpens the dilemma.
But it exposes the end-grain of the drawer A traditional solution to the problem is the
side to the front of the drawer, so it needs drawer slip. Drawer slips are basically square
a false front for all but the most utilitarian strips of wood glued to the sides at their bot-
applications. tom edges. The grooves for the bottom are cut
Where construction efficiency is paramount, in the slips. A reasonably sized groove isn’t
the lock joints are worth serious considera- going to compromise the material.
SIDE-TO-BACK JOINERY
Side
Back
Dado Dado-and-rabbet
Butt
Routed drawer-
Sliding dovetail lock joint
Box joint
Through dovetails
Slips have an additional benefit. Thin sides of drawers. At any given thickness, it is
that slide on runners gradually wear down stronger than solid wood. It is stable, so
over the years, detracting from a good fit. movement isn’t a problem. In fact, it can be
Drawer slips increase the bearing surface and glued in place, which helps stiffen the box.
thereby extend the useful life of the drawer. And the economics of plywood are excellent.
Once you’ve settled on a joinery technique, The primary drawback of plywood is the
you’ll need to decide between plywood and actual thickness. A 1⁄4-in. sheet is really about
solid wood for the bottom. Plywood tends to 7
⁄32 in., and even that is an average across the
be the choice for all but the traditional chest board. If you cut a 1⁄4-in. groove for the stuff,
DRAWER BOTTOM CONSTRUCTION
CONSTRUCTION TYPES BOTTOM JOINERY
Rabbeted
solid-wood bottom
Slip construction
Square-edge slip
Beveled
solid-wood bottom
Rounded-over slip
Plywood bottom
Chamfered-edge slip
Open-backed
construction BOTTOM MATERIALS
Solid-wood bottom
Solid-wood bottom
Fully enclosed
construction
Plywood
Plywood bottom
bottom
it’ll rattle. The solution usually is to use a
cutter that’s less than 1⁄4 in. and to make two
passes to match the groove width to the sheet
thickness.
The alternative is the traditional solid-wood
bottom. Unless the bottom is very small, it
needs to be thicker than 1⁄4 in. (thin wood is
prone to crack). A typical solid-wood bottom
thickness is 1⁄2 in., though smaller drawers
might have 3⁄8-in. bottoms. Some furniture
makers favor 5⁄8-in. bottoms.
To reduce the width of the groove required,
the solid-wood bottom needs a tongue or a
rabbet. Use a panel-raising bit in a table-
mounted router to mill the bottoms, and you’ll
get a nicely formed tongue to fit the grooves.
A solid bottom should be used only on
open-back construction, so the bottom can
expand and contract. Orient the bottom so its
grain runs side to side, parallel to the back. To
ensure that the bottom can expand and con-
tract, use a screw (or a nail) in a slotted hole
when securing the back edge of the bottom.
On a very wide drawer a large, one-piece
bottom is likely to sag, and it may eventually
break. You can deal with this before it becomes
a problem by adding a center muntin. This
frame piece, which extends from front to back,
divides the bottom opening of the drawer box
so two smaller panels can be used to form
the bottom. The muntin must be grooved like
the sides, and it must be securely anchored to
the front and back. You can use a tongue or
dovetail at the front. At the back, cut a rabbet
across the muntin to form a simple lap joint
between it and the drawer back.
Finishing the
Drawers
Two small drawer-bottom panels are stronger than one large one. A
muntin divides the drawer box’s bottom (just the way it divides a win- Finishing is a topic largely left unexplored
dow) so two panels can be used instead of one. in this book. But a few words on finishing
drawers are essential.
Drawers often are left unfinished. Oil-based
finishes, which are favorites of furniture
makers, give the insides of drawers a vaguely
rancid smell. That’s because the drawer boxes
are usually closed, inside the chest, where air the front divider and back rail, both of which
circulation is negligible. This odor can persist are glued in place.
for years and years. It can permeate clothes A frame-and-panel chest or a case with a
kept in the drawers. Some people don’t notice face frame requires an additional element—the
it, others are extremely conscious of it. drawer guide—to limit side-to-side movement
Being wary of this problem, some furniture of the drawer.
makers avoid using any varnish (not only oil- Side-by-side drawers, often included in
based ones) on the body of a drawer and even dressers and other chests, need support in the
on the inside of a chest of drawers. middle of the case, away from the sides. The
If you want to finish the drawers in your usual approach here is to suspend a wide run-
chest, try shellac. A couple of diluted coats ner between the drawer divider in front and a
will dry quickly and seal the wood. Then sand rail in back. A vertical divider with a guide
lightly with 220-grit paper to eliminate the behind it separates the neighboring drawers.
nibs; finally, apply paste wax. An important element in most drawer-
mounting systems is the kicker. A kicker pre-
Supporting vents the drawer from tipping down as it is
the Drawers opened. It is just like a runner but, generally,
is mounted above the drawer side. A single
A drawer alone—just an open box—is an odd- center kicker may be used for a top drawer.
ity. For it to work as intended, it has to be
installed in a case in a way that allows it to Side mounts
be opened and closed. The movement must be Some furniture designs make it difficult to use
smooth; and once open, the drawer has to be runners. A case that has no dividers separating
able to stay open without your help. the drawers is an example. In this situation,
Drawer movement can be controlled in you can use side-mounted slides. The slide
several ways. Some mounting systems are is a strip of wood attached to the case side.
integral to the case, and others are add-ons. Grooves for the slides must be cut in the
Regardless, the mounting system should be drawer sides.
carefully planned along with the case and All the caveats about mounting a runner
drawer design. to a solid-wood case side apply here. This can
be a drawback to the system. Another signifi-
Runners, guides, and kickers cant drawback is that the drawer sides need
The most common approach to supporting a to be quite thick to be able to accommodate
drawer is an arrangement of a drawer divider the slide.
and runners (see the drawing on p. 36). The
divider is a rail extending from side to side. Center runners
It separates the drawers visually and physi- Wide drawers supported by side runners have
cally. And it also supports the front end of a tendency to cock slightly as they are moved
the runners. and to bind. The wider the drawer, the more
Attaching the runners directly to the case likely it is that this will happen.
sides seems simple. But, of course, runners A single center-mounted runner and guide
can’t be glued to solid-wood sides, because is the solution. The runner, which is attached
they’ll restrict the sides from expanding and to the underside of the drawer, has a channel
contracting. Instead, the runners are set into in it that rides over a guide that’s attached
dadoes and glued at one end only. Or they to the apron or web frame (see the drawing
are attached with screws in slots. Or they’re on p. 36).
housed (unglued) in dovetail or dado slots.
A long-standing practice is to capture the
(slightly short) runners (unglued) between
Runners and Guides
SOLID WOOD/PLYWOOD POST-AND-PANEL CONSTRUCTION
CASE CONSTRUCTION
Side acts Side

as guide. rail
Back rail
Runner housed
in dado, not glued. ued.
Panel Runner
Tenoned Back end Guide (glued to

into nailed to side. runner and
divider. nothing else)
Shallow
stopped dado
Drawer divider
The runner is housed, unglued, in a dado cut into the The runner tenons fit into mortises in the drawer
chest side. The chest side serves as the drawer guide. divider and back rail. The drawer guide is glued
to only the runner.
CENTER RUNNER AND GUIDE
Front rail
Vertical
drawer
Drawer divider
guide
Center
runner
Back rail
The runner tenons fit into mortises in the front and

back rails. The drawer guide is glued to the runner.
Manufactured drawer
Manufactured runners runners range from
A turn button is the simplest opening stop.
Metal slides with ball-bearing wheels are It can be mounted on the inside of the drawer sturdy side mounts
another drawer-mounting technique. The slides back or on the back edge of the front rail. to discrete concealed
are mounted in pairs to the case and drawer or Pivoting it out of the way allows the drawer runners that hide
singly under the center of the drawer. They offer to be inserted or removed. beneath the drawer
a smooth opening-and-closing action that’s A small block of wood tacked or glued to box. Low-cost run-
not affected by wood movement. They can be the back of the runner is the easiest way to ners mount to the
used in chests of drawers, just as they can in make a closing stop. With the back removed bottom edges of the
most furniture applications. Full-extension and each drawer inserted so it’s perfectly flush drawer sides.
slides allow the full depth of the drawer to be with the cabinet face, apply the closing stops
exposed, something you can’t get with the with a dab of glue. Then add a couple brads or
other drawer-mounting techniques. a small screw. You can also mount the closing
stops onto the front rail, so they will catch
Drawer stops against the back of the drawer front. They’re
Drawer stops keep all styles of drawers from definitely harder to locate and attach here,
falling out of their cases (opening stops) and but such a stop can work for both opening
flush drawers from sliding too far into their and closing.
cases (closing stops).
Designing a Rocking Chair
YOU ARE HERE: Fine Woodworking Home Projects & Design Designing a Rocking Chair
What makes a rocker

Entire Site Designing a Rocking Chair work
Seat placement and back angle are two of the

many things to consider
information from our by Mario Rodriguez
Videos. I am interested in designing a rocking chair. I have found plenty of
information on chairs but nothing basic about the geometry of a
Skills & Techniques rocker. Can you explain seat placement and back angle relative to Chairmaking &
Joinery the rockers; provide a geometry for the rocker linkage with respect to Design
the ground; and a seat geometry for an average person? Through seven elegant
Tools -- John W. Williams, Bellevue, Washington chair projects, Jeff
Finishing Miller explores and
Mario Rodriguez replies: You raised a number of legitimate and demystifies the art of
Workshop & Safety important questions regarding the design of a rocker. However, I've making chairs
found that there are no clear and singular answers. There are so many
Projects & Design things to consider when designing a rocker. I really couldn't dictate Tables and Chairs
curves, angles and lengths as a formula because they might change From Fine
Materials
depending on a particular design. Woodworking, articles
on a range of projects
Reader Showcase Because of the special demands put plus practical
What makes a rocker
upon a rocking chair (as compared to a techniques
regular chair), every aspect of its work
design and construction should be FWW on Chairs and
Get instant access to carefully considered. For instance, a Beds
over 600 of the best rocking chair's legs must be shorter
From the early issues
Fine Woodworking than those of a chair to compensate for
of Fine Woodworking,
articles. the addition of rockers. And a rocker's
33 articles on making
back should be only slightly angled;
Fine Woodworking beds, chairs,and
otherwise, a sitter might feel like the
related furniture
Online Archives chair will tip over when in use.
In my experience, it takes three or four

tries to come up with a successful
Browse our online original design, but there are a few
ways to speed the process along. The (opens in new
catalog of in-depth, window)
how-to information. simplest approach is to use an existing
rocker as a model. After measuring,
Techniques inspecting and trying the chair, you can make adjustments and
Furniture changes for your version.
Power Tools Another method that helps me in the shop is to experiment with the
Hand Tools position of the legs on the rockers. On a Windsor rocker, for instance,
the legs are slotted to receive the rockers (see What makes a rocker
Projects work). This construction allows you to temporarily clamp the legs to
Workshop the curved rockers as well as experiment with the position of the
chair on the rockers. A small 1/2-in. shift in the chair's position along
Finishing
the rockers can shift the sitter's weight and dramatically change how

Designing a Rocking Chair
Turning the chair rocks.

Carving Mario Rodriguez lives in Haddonfield, N.J., and teaches woodworking at the
Fashion Institute of Technology in New York City. He is a contributing editor
Professional Topics to Fine Woodworking, and author of two books: Traditional Woodwork and
Building Fireplace Mantels.
Drawing: Vince Babak.

pp. 100-102

Home Storage Projects: Kitchen Work Station
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Excerpted from Home Storage Projects
Entire Site Home Storage Projects: Kitchen

Work Station
information from our Plans, a cut list and complete instructions for Dining Tables
Magazines, Books, and building a kitchen work station on wheels Plans and complete
Videos. instructions for
by Paul Anthony building nine tables
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Joinery There are plenty of good Open or download the 14-page Classic Kitchen
solutions for organizing and PDF file below for the Kitchen
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Tools controlling the clutter in your
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Finishing your kitchen
Projects, Paul Anthony brings
KitchenWorkStation.pdf
Workshop & Safety you plans and instructions for Building the Custom
13 practical for woodworkers Home Office
Projects & Design
of all skill levels. The projects 10 office projects
Materials include a modular CD storage accessible to anyone
cabinet, an efficient desktop with basic
organizer, a handy mobile woodworking skills
Reader Showcase closet, a convertible wine
cabinet, and a snoop-proof Making Country
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Get instant access to This excerpt features a 56K modem)
15 step-by-step
over 600 of the best portable kitchen work station furniture projects that
Fine Woodworking provides both additional counter space and extra storage. capture the essence of
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Paul Anthony has been a professional woodworker since 1974 and has built
hundreds of projects, ranging from furniture to musical instruments. He lives
Fine Woodworking in Reigelsville, Pennsylvania.
Online Archives
Photos: Rich Bienkowski and Paul Anthony; drawings: Ron Carboni
From Home Storage Projects, pp. 94-

107
Browse our online
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Turning

Home Storage Projects: Kitchen Work Station
Carving
Professional Topics

Home Storage Projects

by Paul Anthony

www.taunton.com
KITCHEN WORK STATION
I N MANY KITCHENS, counter space is at a

premium. There just never seems to be enough,
especially when you’re cooking up a large or com-
plicated dinner. That’s when a portable kitchen
I designed this oak mobile kitchen work station
to satisfy the need for both extra counter space and
extra storage. In smaller kitchens, you can roll it
against a wall when you’re not using it, and it’s acts
work station can really come in handy. You can as a wall cabinet. In a larger kitchen, it can be left
move it next to the stove or sink for an extra work stationed in the center of the room where it will
area or for a staging platform for pots and dishes. serve as an island. In fact, you can omit the casters if
The problem with many portable work stations you don’t intend to move the piece around much.
is that they typically don’t include much storage, The cabinets underneath can be configured to
so when they’re not being used, they’re basically suit your own needs. You can make all drawers,
wasting space. build a combination of drawers and closed cabinets,
or incorporate open cabinets.
✦ 95
KITCHEN WORK STATION
Top
Top rail
Drawer divider
Drawer shim
Rear apron
Bottom rail
Rail divider
Grain
Front stretcher
Platform
Side
apron
The work station consists of two basic components: the carriage
and the cabinets. The carriage is the solid-wood framework of rails,
aprons, stretchers, and platform that carries the cabinets. The ply-
wood cabinets are built separately and then screwed to each other Bar
and to the carriage platform.
Bracket
DESIGN OPTIONS
Leg
✦ The top can be made from commercial butcher-block Rabbet,
stock if desired. 1/8''
x 1/8''
✦ The under-counter cabinets can be configured to suit your Side
needs. (For example, the drawer cabinet can be replaced stretcher
with open shelving or the cabinets can be faced with doors.)
✦ For a permanent island, omit the casters and extend
the leg length by 21⁄2 in. Locking
caster
Side and Front Views
SIDE VIEW FRONT VIEW
24'' 48''
21'' 45''
15/8''
31/2''
203/8''
221/4''
321/2''
36'' 151/8''
2''
83/4''
81/4''
1/4''
2'' 3'' 141/2'' 11/2''

171/2'' 411/2''
21/2''
T
HE CARRIAGE is the framework of
the work station and carries the top Carriage Joinery
and cabinets. It consists of the legs,
aprons, rails, and stretchers. I build it first
and then construct the cabinets indepen- 1/4'' Tenon
1/4''
dently and install them underneath. x 1'' x 3/8''
Top rail
Apron
1/4'' 41/2''
Constructing the 1/2''
1/2''
Rail
Base Carriage and Tops 3/4''
divider
The kitchen work station uses a leg-and- Rear
apron framework that serves as a base for leg Tenon Bottom rail
the three storage units that fit inside. There 1/4''x 3/4''
5/8''
are also three tops: one on top of the unit x 41/2'' Tenon
1/4'' x 3/4'' x 1''
and two smaller tops that fit over the lower
storage compartments. 13/4'' Front leg
Stretcher
Make the tops
1. Using roughsawn 5/4 stock, lay out the Tenon
1/4'' x 3/4'' x 21/2''
boards for the 1-in.-thick top. Because the
top will be prominent, take care to lay out
the boards attractively (see “Composing
K I T C H E N W O R K S TAT I O N ✦ 97
CUT LIST FOR
CUT LIST FOR KITCHEN WORKKITCHEN WORK STATION
Carriage Cabinets
1 Top 1" x 24" x 48" solid wood 4 Rear ⁄2" x 1⁄2" x 14 3⁄8"
1
solid wood
4 Legs 1 ⁄ " x 1 ⁄ " x 32 ⁄ "
3
4
3
4
1
2 solid wood edgings
2 Side aprons ⁄ " x 5" x 19"

3
4 solid wood 2 Front ⁄4" x 3⁄4" x 22 1⁄4"
1
solid wood
edgings
1 Rear apron ⁄ " x 5" x 43"
3
4 solid wood
4 Front ⁄4" x 1⁄2" x 14 3⁄8"
1
solid wood
2 Side ⁄ " x 3" x 19"
3
4 solid wood
edgings
stretchers
5 Front ⁄4" x 1⁄2" x 9 1⁄2"
1
solid wood
2 Front/ ⁄ " x 3" x 43"
3
4 solid wood
edgings
rear stretchers
3 Divider ⁄2" x 11⁄2" x 13 3⁄8"
1
solid wood
2 Rails ⁄ " x 11⁄2" x 43"
3
4 solid wood
edgings
1 Rail divider ⁄ " x 11⁄2" x 41⁄4"
3
4 solid wood
1 Drawer ⁄ " x 4 ⁄ " x 18 ⁄ "
3
4
1
4
1
4 hardwood Drawers
divider plywood 4 Drawer sides ⁄2" x 2 5⁄8" x 18"
1
solid wood
1 Platform ⁄ " x 20" x 44"
3
4 hardwood 4 Drawer box ⁄2" x 3" x 19 ⁄8"
1 3
solid wood
plywood front/backs
2 Platform ⁄ " x 3⁄4" x 171⁄2"
1
4 2 Drawer ⁄4" x 181⁄4" x 183⁄4"
1
hardwood
edgings solid wood bottoms plywood
2 Platform ⁄ " x 3⁄4" x 411⁄2"
1
4 solid wood 4 Drawer sides ⁄2" x 51⁄4" x 18"
1
solid wood
edgings 2 Drawer sides ⁄2" x 7 1⁄4" x 18"
1
solid wood
4 Brackets 1 ⁄ " x 2 ⁄ " x 5"
1
4
3
4 solid wood 4 Drawer box ⁄2" x 5 1⁄4" x 13 1⁄2"
1
solid wood
2 Bars 1 ⁄ " diameter x 19"
1
4 solid wood front/backs
Cabinets 2 Drawer box ⁄2" x 7 1⁄4" x 13 1⁄2"

1
solid wood
front/backs
2 Cabinet ⁄4" x 171⁄4" x 12"
3
solid wood
3 Drawer ⁄4" x 18 1⁄4" x 12 7⁄8"
1
hardwood
tops
bottoms plywood
2 Drawer ⁄4" x 18 7⁄8" x 221⁄4"
3
hardwood
2 Drawer ⁄4" x 2" x 17 1⁄2"
3
hardwood
case sides plywood
shims plywood
1 Drawer ⁄4" x 14 1⁄2" x 22 1⁄4"
3
hardwood
2 Drawer ⁄4" x 3 7⁄16" x 20 5⁄16"
3
solid wood
case back plywood
fronts
2 Drawer ⁄4" x 2 1⁄2" x 14 1⁄2"
3
solid wood
2 Drawer ⁄4" x 6 11⁄16" x 14 3⁄8"
3
solid wood
case braces
fronts
4 Small ⁄2" x 151⁄2" x 14 3⁄8"
1
hardwood
1 Drawer ⁄4" x 8 11⁄16" x 14 3⁄8"
3
solid wood
case sides plywood
fronts
2 Small ⁄2" x 91⁄2" x 14 3⁄8"
1
hardwood
case back plywood Other materials
4 Small case ⁄2" x 15 ⁄2" x 9 ⁄2"
1 1 1
hardwood 5 pair Drawer slides 18" from Woodworker’s Hardware;
top/bottoms plywood item #RH501 18 ALM
3 Small ⁄2" x 12 3⁄4" x 13 3⁄8"
1
hardwood 5 Pulls 3" from Woodworker’s Hardware;
case dividers plywood item #A02378 PWT
1 Small ⁄2" x 151⁄4" x 93⁄8"
1
hardwood 4 Stem-type 2" from Woodworker’s Hardware;
cabinet shelf plywood casters item #JH50 SBB
2 Rear ⁄4" x 3⁄4" x 22 1⁄4"
3
solid wood 12 Metal tabletop fasteners
edgings
Dimensions for all pieces with tenons include tenon length.
98 ✦ K I T C H E N W O R K S TAT I O N
Installing a Screw
C O M P O S I N G G R A I N F O R PA N E L S
GOOD COMPOSITION
GOOD COMPOSITION POOR COMPOSITION
POOR COMPOSITION
GOOD COMPOSITION
Straight grain to Matching grain Wild grain Wild grain to
straight grain joint slope at joint on edge Straight grain
straight to joint
grain M
Straight
grain edges straight grain joint s
Straight
Bull's-eye grain edges
entirely on
board
Bull's-eye Crosscut
entirely on bull's-eye
board
Board widths symmetrical Asymmetrical, unbalanced
from center outward board widths
Thoughtful board layout can make all the difference in the look of a solid-wood panel.
When laying out, use long boards, sliding them against each other to create a good match
at the joints. The tips shown above are just guidelines, of course. Rip, flip, and arrange the
boards in whatever way is necessary to create the most continuous grain pattern and con-
sistent color.
Grain for Panels”). While you’re at it, join up PHOTO A: A wide

the cabinet tops. drum sander is
2. Joint and thickness plane the boards; the perfect tool
then edge-join them together. for sanding tops.
3. Plane or belt sand the tops. If you have It quickly creates
access to a wide belt or drum sander, this is a smooth, flat
the perfect application for it (see photo A). surface.
4. Round over the edges with a 1⁄8-in.-radius
roundover bit or a handplane and sand-
paper. Don’t round over the edges of the
cabinet tops that abut the center cabinet.
Prepare the parts

1. Lay out the stock for the parts. I used
straight-grained material for the legs, rip-
ping the pieces from the outer edges of wide
8/4 plainsawn boards.
2. Joint, plane, and rip the pieces straight
and square; then crosscut them to length.
PHOTO B: When
routing the leg
mortises, plunge
to full depth at
the mortise ends;
then remove the
remaining waste,
taking shallow
passes.
Cut the joints

1. Mark the legs for orientation; then lay
out the leg mortises for the aprons and
stretchers. Notice that the stretcher mortises
are set in 1⁄8 in. more than are the apron
mortises.
2. Rout the mortises using an edge guide
on your router (see photo B).
3. Lay out and rout the mortises for the
bottom rail and the rail divider. I use a shop-
made T-square to guide the router (see
photo A on p. 38).
4. Rout the 1⁄8-in. by 1⁄8-in. rabbets in the
three outer edges of each leg.
5. Saw the apron and stretcher tenons. I cut
them on the table saw using a dado head.
Aim for a snug fit in the mortises and
against the leg. If necessary, trim the tenons
with a rabbet or with a shoulder plane (see
photo C).
6. Saw the rail and rail divider tenons for a
snug fit in their mortises.
PHOTO C: A shoulder plane makes neat work of trimming
7. Lay out the stretcher curves. You can
tenon shoulders.
either use a long trammel bar as a compass
or you can trace along a thin strip of wood
pulled to the proper curvature (see “Spring-
ing a Curve”).
8. Cut the stretcher curves with a bandsaw
or jigsaw; then clean up the saw marks with
a spokeshave, files, and sandpaper.
Springing a Curve
9. Dry-assemble the bottom rail and front
stretcher to the front legs. Then lay out the Scrap
dovetails on the top rail. I use a 7-degree Thin, straight-
Nail block
angle on the dovetails and mark the shoul- grained strip
ders directly from the legs.
10. Saw the dovetails; then trace their
shapes onto the tops of the front legs using a
sharp pencil. Align the rear of the rail with
the inner faces of the legs. I rout out the
dovetail sockets just shy of my cut lines and Workpiece
then pare to them with a sharp chisel.
11. Make the plywood drawer divider, glue
it to the rail divider, and cut the biscuit slots
for joining its rear edge to the rear apron, as
shown in the drawing on p. 96.
12. Sand all carriage parts through 220 grit. 2. Glue up the side assemblies, making sure
Round over the edges of the leg rabbets that the legs, aprons, and stretchers lie TIP
slightly, but don’t sand the innermost edges flat and square to each other under clamp When wiping away
of the legs until after fitting the platform. pressure. excess glue, use a
3. Make the platform edging pieces, cutting clean rag and replen-
Make the platform ish your water often
them slightly oversize. Then glue them to
to avoid spreading
and assemble the carriage the platform, centering each one on the
diluted glue into the
1. Dry-clamp the carriage to make sure the edge. Then plane, scrape, or sand the edging
wood grain. Alterna-
joints all pull up tight and align properly. flush to the plywood. tively, you can wait
until the excess glue
turns rubbery and
then trim it off with
a sharp chisel.
PHOTO D: After
jigsawing the plat-
form notches just
a hair small, pare
them to final size,
guiding a chisel
against a square
wooden block.
4. Dry-clamp the bottom rail, rear apron,
and stretchers to the side assemblies.
Measure the distances between the legs; then
mark out the platform notches, carefully
measuring outward from the center of the
platform. Aim for a very snug fit between
the legs.
5. Cut the notches. For the best fit, saw
them slightly undersize and then pare them
to your cut line (see photo D on p. 101).
When you’ve got a good fit, sand the plat-
form through 220 grit.
6. Glue the bottom rail, rear apron, and
stretchers to the side assemblies (see photo E).
Make sure the apron is lined up with the
tops of the legs and that the stretchers are
spaced 11⁄2 in. up from the bottoms of the
legs. Raise the platform off the stretchers to
prevent glue squeeze-out from touching it.
7. After removing the clamps, run a thin
bead of glue along the top edges of the
stretchers; then clamp the platform down.
PHOTO E: After gluing up the two side assemblies and notch-
8. Glue and clamp the rail divider and top
ing the platform, glue and insert the rear apron, lower rail, and
rail into place.
stretchers to one side assembly. Then slip one end of the plat- 9. Sand the innermost corner of each leg,
form unglued between the legs, and glue on the opposite side rounding it slightly with 150 grit and then
assembly. 220 grit.
10. Drill the holes for the caster posts. To
guide your bit, use a block that you’ve pre-
bored on the drill press and then clamped to
Towel Bar Bracket the leg. The casters I used required a 29⁄64-in.-
23/4'' diameter hole, but first drill a test hole in
scrap to be sure.
11/4''
1'' Make the bar assembly
13/4'' If you’re not equipped to turn your own
bars, you can order commercial dowel stock.
I got mine from Woodworker’s Supply (see
15/8''
“Sources” on p. 172).
5'' 1. Make the blanks for the bar brackets.
TIP
To prevent marring your workpieces,
glue thick leather scraps to the faces of
pipe clamps using contact cement.
1/2''
Cabinets
The cabinets are built of hardwood plywood panels edged with solid wood, which is applied
to all front edges and to the rear edges of the sides. Then the pieces are joined with biscuits
to ease alignment. Drawers are installed with commercial drawer slides.
Top #20 biscuit
Grain
Rear #10
edging biscuit
3/4''
Brace
Front Groove,
1/4''
edging x 1/4''
Divider
Divider
edging
Side
Front edging
2. Make a stiff paper pattern of the bracket Building the Cabinets TIP
(see “Towel Bar Bracket”). Then trace the
Manila folders make
shape onto the blanks. Size the parts and cut the joints great material for
3. Using a Forstner or other flat-bottom bit 1. Lay out the case pieces and cut them small patterns. The
in a drill press, bore the 1⁄2-in.-deep blind to size. Make sure the drawer case sides paper is thin enough
holes to accept the bar. If your dowel stock is and back will slip between the platform to cut easily but thick
1
⁄16 in. or more undersize (mine was), use a and the rail and apron with just a bit of and stiff enough to
smaller diameter bit. Clamp the bracket room to spare. trace around.
blanks to a fence to secure them while 2. Mill the solid-wood edging, ripping it
drilling. from stock that you’ve planed about 1⁄32 in.
4. Bandsaw the brackets to shape, sawing thicker than the plywood. The edging at the
just outside of the cut line. Save the offcuts. rear of each cabinet is square in cross sec-
5. Sand to the cut line to smooth the curve. tion, whereas the edging at the front is 1⁄4 in.
I used an oscillating spindle sander, but thick (see “Cabinets”).
a regular drum sander in a drill press 3. Make the edging pieces. Cut each one
would work. slightly longer than the edge to be covered.
6. Cut the bars to length and insert them 4. Glue the edging to the case sides, tops,
into their holes. If a dowel is slightly over- bottoms, and dividers. Make sure that
size, trim down the diameter with a block it overlaps the plywood on the ends and
plane. Then sand the bars and brackets both faces.
through 220 grit and set them aside for now. 5. Plane, scrape, or sand the edging flush to
the plywood faces. Then trim it flush at the
PHOTO F: Trim
the edging flush
to the case pieces
by aligning a
shim block flush
with the outside
face of the saw-
blade teeth.
ends. I do this on the table saw using a shim

Divider Profile block clamped to the fence (see photo F).
6. Make a thick paper pattern of the ogee
profile for the divider fronts (see “Divider
Profile”). Then trace the profile onto the
divider edging.
7. Saw the profile. I cut the curved sections
with a scrollsaw and the straight sections
with a bandsaw. Clean up the straight
sections with a block plane, chisel, and
sandpaper.
8. Make the braces for the center cabinet
and drill the shelf support holes in the sides
of the right-hand cabinet.
9. Lay out the biscuit joints for joining the
case pieces, including the dividers. The small
cabinets take #10 biscuits and the center
cabinet takes #20 biscuits.
10. Cut the biscuit joints. When cutting
slots into the face of a panel at the edge,
clamp scrap to the panel for joiner fence
Full size
support (see photo G). When cutting
the divider slots, prop the divider up on
1
⁄8-in.-thick shims to center the slots
(see photo H).
PHOTO G: Square scrap
clamped to the case pieces
provides bearing for the
biscuit joiner fence, pre-
venting angled slots.
PHOTO H: When cutting

biscuit joints for 1⁄2-in.-thick
dividers, lay the divider on
1
⁄8-in.-thick shims to center
the slot in the end of the
divider. To use the divider as
a fence for cutting the case
bottom slots, as shown here,
use a 1⁄8-in.-thick spacer to
offset the divider from the
joint intersection line.
the back, then the sides. Make sure all the
cabinets are square under clamp pressure.
4. Finish-sand all surfaces that will be
exposed.
5. Because of oak’s open grain, I next treated
the carriage and cabinets with pore filler to
ensure a smoother finish. I also installed the
case-half of each slide. It’s easiest to do all
this before installing the cabinets.
6. Fit the drawer shims to the carriage and
screw them in place, as shown in the draw-
ing on p. 96. Then install the drawer slides
into the carriage.
Install the bars and cabinets

1. Spot-glue the bars into their brackets,
orienting the annular rings on the ends of
the bars parallel to the grain of the brackets
to ensure equal wood movement. Then
glue the brackets to the carriage legs
(see photo I).
2. Install the center cabinet, insetting it
1
⁄2 in. from the rear edge of the platform.
I screwed through the bottom braces into
the platform and then into the cabinet
sides from underneath. Next, square up
the face of the cabinet and shim any space
between the sides and the bottom rail, mak-
ing sure that the rails are square to the legs.
Then screw through the rail into the sides
PHOTO I: To (see photo J).
attach the bar Assemble the cabinets 3. Install the small cabinets, insetting them
brackets, set 1. Sand the dividers and the inside faces of
1
⁄2 in. from the rear edge of the platform.
them on a length the small cabinets, being careful not to Screw through the center cabinet sides into
round over the edges. the top edges of the small cabinets, and
of thick scrap
2. The divider cabinet would be difficult to through the platform into the cabinet sides.
clamped to the
legs. Clamp the finish after assembly, so mask off the joints
and finish the dividers and inside faces of
lower section of
the case pieces now. While you’re at it, finish
Making the Drawers
each bracket
the bars and exposed faces of the brackets
using the curved Build the boxes
too, as it’ll be difficult to brush a finish onto
offcuts. Thick I made the drawer boxes from solid poplar,
them once they’re attached. Leave about
leather scraps dovetailing the corners. Alternatively, you
3
⁄8 in. of raw wood at the ends of the bars for
protect the finish. could use 1⁄2-in.-thick plywood, joining the
gluing later.
corners with rabbet-and-dado joints (see
3. Glue up all three cabinets. When assem-
“Quick ’n’ Easy Drawers” on p. 77). If doing
bling the divider cabinet, I first glue the
the latter, simply subtract 1⁄2 in. from the
dividers to the top and bottom, using deep-
given lengths of the drawer box fronts
throat clamps at the center. Next, I attach
and backs.
1. Plane, rip, and crosscut the drawer box
pieces to size.
2. Saw the bottom grooves in the sides and
box fronts, as shown in “Cabinets” on p. 103.
3. Cut the drawer box corner joints (see
“Dovetailed Drawer Construction” on p. 113).
4. Assemble the drawers on a flat surface
and compare the diagonals to ensure that
the boxes are square under clamp pressure.
5. Sand the drawer boxes and ease the edges
and corners with 150-grit sandpaper.
6. Attach the drawer slides to the drawer
boxes; then fit them into the case, making
sure that the drawer box fronts are parallel
to the front of the case and carriage.
Fit the drawer fronts

1. Make the drawer fronts, initially sizing
them to the drawer openings; then set
them in place.
2. Using a pencil and ruler, draw a cut line
around the edge of each drawer front to cre-
ate a gap of about 3⁄32 in. all around. Then
saw and plane to the cut line. Check the fit
of the fronts and then remove all of the
drawers except the bottom one.
3. Loosely clamp the drawer front to the
bottom drawer box. Shift the front to
achieve an even gap all around; then clamp
the front tightly, remove the drawer, and
screw the front on from inside the drawer.
Repeat the procedure for the next drawer up.
4. Because there’s no clamp access for the PHOTO J: After
top drawer in the cabinet, use double-sided 2. Screw on the cabinet tops, aligning the shimming any
tape to hold the drawer front in place before rear edge of each with the rear edge of the space between
screwing it on. center cabinet. Because a drill won’t fit into the lower rail and
5. Use deep throat clamps to hold the the rear of the divider cabinet, I glued the the cabinet sides,
drawer fronts to the two carriage drawers; rear portion of the top to the cabinet top. drill a screw clear-
then screw the fronts on with the drawers Elongate the front screw holes to allow ance hole through
in place. about 3⁄8 in. wood movement. the rail and shims.
3. Using a biscuit joiner or slot-cutting Countersink the
router bit, cut the slots in the aprons and
Finishing Up rails to accept tabletop clips.
holes; then screw
1. Apply finish to all exposed surfaces. I the rails to the
4. Attach the work station top. I used com-
brushed on two coats of semigloss poly- cabinet sides.
mercial S-shaped metal fasteners, setting
urethane, wet-sanding with 400-grit sand- them at least 1⁄8 in. away from the rail and
paper between coats. I sanded the final coat rear apron to allow for wood movement.
with 600-grit sandpaper to remove any nibs 5. Attach the pulls.
and then scrubbed it with 0000 steel wool
to reduce the gloss somewhat.
Making an End Table
YOU ARE HERE: Fine Woodworking Home Projects Making an End Table
Joinery Details
Entire Site Making an End Table
Carving a Lamb's
The beauty of this Arts-and-Crafts design is in Tongue
A selection of great the details
Magazines, Books, and by Stephen Lamont
Videos.
About 10 years ago, I began to tire of my job as a corporate pilot.
Skills & Techniques The work was challenging and enjoyable, but the time away from
Joinery home put a strain on my family. The job was becoming more
technical, too. Temperamentally, I've always been more of a
Tools craftsman than a technician. Tables
Anthony Guidice
Finishing After considerable soul-searching, presents plans and
Workshop & Safety I decided to become a instructions for
furnituremaker. I wanted a solid building ten classic
Projects & Design foundation of basic skills, so I tables
went to England where I trained
Materials Dining Tables
with Chris Faulkner. He
emphasized developing hand-tool From Kim Carleton
Reader Showcase skills and building simple, Graves, plans and
comfortable furniture that asked instructions for
to be used--a basic tenet of the building nine tables
British Arts-and-Crafts
movement. My preferences to this Traditional Furniture
Get instant access to This end table is solidly
over 600 of the best day are for this kind of furniture constructed and meticulously Projects
and for the use of hand tools detailed. It should last 25 articles from Fine
Fine Woodworking generations.
articles. whenever their use will make a Woodworking
difference. magazine on the
Fine Woodworking construction of fine
Online Archives About two years ago, I designed and built this end table. Although
period pieces
it's an original design, many details come from other pieces of
furniture in the British Arts-and-Crafts tradition. The joinery is
mortise-and-tenon and dovetail throughout.
Browse our online
The construction of the table can be divided into five main steps:
stock preparation and panel glue-up; making the front and rear leg
how-to information.
assemblies; connecting these two assemblies (including making the
Techniques shelf and its frame); making and fitting the drawer; and making and
attaching the top.
Furniture
Power Tools Stock selection, preparation and layout
I milled all the stock for this table to within 1/16 in. of final thickness
Hand Tools
and width. I also glued up the tabletop, the shelf and the drawer
Projects bottom right away to give them time to move a bit before planing
them to final thickness. This helps ensure they'll stay flat in the
Workshop
finished piece. With these three panels in clamps, I dimensioned the
Finishing rest of the parts to a hair over final thickness. I finish-planed them by
hand just before marking out any joinery.
Turning

Making an End Table
Carving
Making the front and
Professional Topics rear assemblies
Layout began with the legs. I
numbered them clockwise around
the perimeter, beginning with the
left front as I faced the piece,
writing the numbers on the tops of
the legs. This system tells me
where each leg goes, which end
of a leg is up and which face is
which.
Dovetailing the top rail into

the front legs -- The dovetails Keeping track of the legs is
that connect the top rail to the easier when they're numbered
on top, clockwise from the
front legs taper slightly top to front left. This system helps
bottom. I used the narrower prevent layout errors.
bottom of the dovetail to lay out
the sockets in the legs. The slight taper ensures a snug fit. Don't make
the dovetails too large, or you'll weaken the legs.
Scribing the socket from the bottom of the slightly tapered

dovetail ensures a good fit in the leg.
After I marked, cut and chopped

out the sockets, I tested the fit of
these dovetails. By using
clamping pads and hand screws
across the joint, I eliminated the
possibility of splitting the leg. The
dovetail should fit snugly but not
tightly. Pare the socket, if
necessary, until you have a good
fit.
A hand screw prevents a leg
Tapering and mortising the from splitting if the top-rail
dovetail is too big. The fit
legs -- I tapered the two inside
should be snug but not tight.
faces of each leg, beginning 4-1/2
in. down from the top. I removed most of the waste on the jointer and
finished the job with a handplane. The tapers must be flat. To avoid
planing over a penciled reference line at the top of the taper, I drew
hash marks across it. With each stroke of the plane, the lines got

Making an End Table
shorter. That let me know how close I was getting.
I cut the mortises for this table on a hollow-chisel mortiser. It's quick,
and it keeps all the mortises consistent. I made sure all mortises that
could be cut with one setting were done at the same time, even if I
didn't need the components right away.
Tenoning the aprons and drawer
rail -- I tenoned the sides, back and Joinery details
lower drawer rail on the tablesaw,
using a double-blade tenoning setup. It
takes a little time to get the cut right,
but once a test piece fits, tenoning
takes just a few minutes. After I cut the
tenon cheeks on the tablesaw, I
bandsawed just shy of the tenon
shoulders and then pared to the line.
One wide apron tenon would have

meant a very long mortise, weakening
the leg. Instead, I divided the wide (opens in new
window)
tenon into two small tenons separated
by a stub tenon. That left plenty of glue-
surface area without a big hole in the leg.
Mortising for runners, kickers and buttons -- The drawer

rides on runners that are mortised into the lower front rail and the
back apron. Similarly, the kickers at the tops of the side aprons,
which prevent the drawer from drooping when open, are mortised
into the top front rail and the back apron. I cut the 1/4-in.-wide
mortises for the runner and kicker tenons on the back edge of both
drawer rails and on the back apron. There are eight mortises for the
drawer runners and kickers. Another seven mortises of the same size
are for the buttons that attach the top to the table's base--three on the
back apron and two on each kicker.
I also cut grooves for the dust panel at this time. The 1/4-in.-thick
panel is set into the frame of the table just below the drawer. It's a
nice touch, even if it's not needed structurally. I cut the grooves for
the panel into the bottom of the back apron and into the back of the
drawer rail. (I cut the dust-panel grooves in the drawer runners later.)
Then I made a test-fit with a scrap of the same 1/4-in. cherry
plywood used for the panel.
[ next ]

Making an End Table: Page 2
YOU ARE HERE: Fine Woodworking Home Projects Making an End Table Page 2
Chamfering and gluing up --

Stopped chamfers are routed on
the legs and aprons of this table, Joinery Details
Entire Site each terminating in a carved
lamb's tongue. I stopped routing Carving a Lamb's
just shy of the area to be carved Tongue
A selection of great and then carved the tongue and
information from our the little shoulder in three steps
Magazines, Books, and (see Carving a lamb's tongue).
Videos.
Gluing up the table base is a two-
Skills & Techniques
step process. First I connected the
Joinery front legs with the top and bottom
drawer rails and the back legs Check diagonals to make sure
Tools Tables
with the back apron. To prevent assemblies are glued up
the legs from toeing in or out square. Clamps and a spacer at Anthony Guidice
Finishing the bottom of the legs prevent presents plans and
because of clamping pressure, I the clamping pressure at the
Workshop & Safety inserted spacers between the legs top from causing the legs to toe instructions for
in or out. building ten classic
at their feet and clamped both the
Projects & Design tables
top and bottom. Then I check for square, measuring diagonally from
Materials corner to corner. It ensures that the assembly is square and that the
Dining Tables
legs are properly spaced.
From Kim Carleton
Reader Showcase Connecting the front and rear assemblies Graves, plans and
To hold the legs in position while I measured for the drawer runners instructions for
and kickers and, later, to get the spacing on shelf-support rails building nine tables
correct, I made a simple frame of hardboard and wooden corner
Traditional Furniture
blocks. The frame ensures the assembly is square and the legs are
properly spaced. After I marked the shoulder-to-shoulder lengths for Projects
the runners and kickers, I cut and fit the stub tenons that join these 25 articles from Fine
pieces to the front and rear assemblies. The back ends of the runners Woodworking
and kickers must be notched to fit around the inside corners of the magazine on the
legs. construction of fine
period pieces

A simple frame keeps the legs spaced accurately and the base of
the table square. A 1/4-in.-thick piece of hardboard and some
scrap blocks make up this handy frame. With the legs properly
spaced, the author can mark the shoulders of the shelf-frame rail
against the tapered legs as well as take precise measurements for
runner and kicker lengths.
Runners, kickers and dust panel -- I cut the 1/4-in. grooves for
the dust panel in the drawer runners next. I also cut grooves for the
splines with which I connected the drawer runners and kickers to the
sides of the table. There are 10 grooves in all--one each on the inside
and outside edges of the drawer runners, one on the outside edge of
each of the kickers and two in each side for the splines.
Then I dry-clamped the table and made sure the tops of the kickers
were flush with the top edges of the sides, the tops of the runners
flush with the top of the drawer rail and the bottoms of the runners
flush with the bottom edges of the sides. Then I cut the dust panel to
size, test-fit it and set it aside until glue-up.
Building the shelf frame and shelf -- The shelf on this table is
a floating panel captured by a frame made of four rails. The two rails
that run front to back are tenoned into the legs; the other two are
joined to the first pair with through-wedged tenons.
I put the dry-assembled table into the hardboard frame and clamped
the legs to the blocks. Then I clamped the pair of rails that will be
tenoned into the legs against the inside surfaces of the legs and
marked the shoulder of each tenon. I also marked the rails for
orientation so that the shoulders can be mated correctly with the legs.
Tenons were cut and fit next. With the rails dry-clamped into the
legs, I measured for the two remaining rails to be joined to the first
pair. I laid out and cut the through-mortises in the first set of rails,
chopping halfway in from each side to prevent tearout. I cut the
tenons on the second set of rails, assembled the frame and marked the
through-tenons with a pencil line for wedge orientation. So they don't
split the rails, the wedges must be perpendicular to the grain of the
mortised rail.
I flared the sides of the through-mortises (not the tops and bottoms)

so the outside of the mortise is about 1/16 in. wider than the inside.
This taper, which goes about three-quarters of the way into the
mortise, lets the wedges splay the tenon, locking the rail into the
mortise like a dovetail.
Next I marked the location of the wedge kerfs in each tenon, scribing
a line from both sides of the tenon with a marking gauge for
uniformity. I cut the kerfs at a slight angle. Wedges must fill both the
kerf and the gap in the widened mortise, so they need to be just over
1/16 in. thick at their widest.
An interlocking tongue and groove connects the shelf to the rails that
support it. Using a 1/4-in. slot cutter in my table-mounted router, I
cut the groove in the rails, working out the fit on test pieces first. The
slots are 1/4 in. deep. I stopped the grooves in the rails 1/8 in. or so
short of the mortises on the side rails and short of the tenon shoulders
on the front and back rails. I notched the shelf to fit at the corners.
I measured the space between the rails of the shelf frame and added
1/2 in. in each direction to get the shelf dimensions. I cut the tongue
on all four edges on the router table.
Gluing up the shelf-frame assembly -- Before gluing up the

shelf frame, I routed hollows in clamp pads to fit over the through-
tenons on two of the shelf rails. Then I began gluing up the shelf
assembly. I applied glue sparingly in the mortises and on the tenons
so I wouldn't accidentally glue the shelf in place. I pulled the joints
tight with clamps and then removed the clamps temporarily so I
could insert the wedges.
After tapping the lightly glue-coated wedges into the kerfs in the
tenons, I reclamped the frame. I checked diagonals and adjusted the
clamps until the assembly was square. Once the glue was dry, I
sawed off the protruding tenons and wedges and planed them flush.
Overall glue-up -- With the shelf frame glued up, the entire table
was ready to be assembled. I began the large front-to-back glue-up
by dry-clamping the front and back leg assemblies, sides, runners,
kickers (with splines), dust panel and shelf assembly. I made
adjustments and then glued up.
I made and fit the drawer guides next. I glued the guides to both the
sides and the runners and screwed them to the sides with deeply
countersunk brass screws.
I did a thorough cleanup of the table in preparation for drawer fitting.

I removed remaining glue, ironed out dents and sanded the entire
piece with 120-grit sandpaper on a block. I gently pared sharp
corners, taking care not to lose overall crispness.
The drawer
I particularly enjoy making and fitting drawers. A well-made drawer
that whispers in and out gives me great satisfaction. I use the
traditional British system of drawermaking, which produces what my
teachers called a piston fit. The process is painstaking (see FWW #73,
pp. 48-51 for a description of this method), but the results are well-
worth the effort. That, however, is a story for another day.
Making and attaching the top

After I thicknessed and cut the top to size, I placed it face down on
my bench. I set the glued-up base upside down on the top and
oriented it so it would have a 1-in. overhang all around. I marked the
positions of the outside corners and connected them with a pencil line
around the perimeter. This line is one edge of the bevel on the
underside of the top. Then I used a marking gauge to strike a line
7/16 in. from the top surface on all four edges. Connecting the two
lines at the edges created the bevel angle. I roughed out the bevel on
the tablesaw and cleaned it up with a plane. The bevels should appear
to grow out of the tops of the legs.
Making and attaching the
coved lip -- The cove at the
back of the top is a strip set into a
rabbet at the back. I cut the cove
from the same board I used for
the top so that grain and color
would match closely. I ripped the
cove strip on the tablesaw and
handplaned it to fit the rabbet. I
shaped the strip on the router
table, leaving the point at which it
intersects the top slightly proud.
To provide even clamping
pressure, I used a rabbeted caul,
clamping both down and in. Rabbeted clamping block helps
provide pressure in two planes.
The author clamps down the
When the glue was dry, I planed cove strip with six C-clamps
the back and the ends of the cove and into the rabbet with six bar
flush with the top. To form a clamps. A spring clamp on each
end closes any visible gaps at
smooth transition between top and the ends.
cove in front, I used a curved
scraper, followed by sandpaper on a block shaped to fit the cove. I
frequently checked the transition with my hand and sanded a wider
swath toward the end. It's easy to go too far and have a nasty dip in
front of the cove.
I drew the ends of the cove with a French curve and then shaped the
ends with a coping saw, chisel and sandpaper. The curve should
blend into the tabletop seamlessly.
Finishing up with oil -- After finish-sanding, I applied several

coats of raw linseed oil diluted with mineral spirits in a 50/50 mix, a
few more coats of straight linseed oil and, finally, two to three coats
of tung oil to harden the surface. I let the oil dry thoroughly between
coats. After the last coat of oil was dry, I rubbed the surface down
with a Scotch-Brite pad and gave the table a few coats of paste wax.
The drawer was the exception: Aside from the face of the drawer
front, all other surfaces were finished with wax alone.
Attaching the top -- I screwed the top to the top-drawer rail from
beneath to fix its position at the front. That way, the mating of the
bevel with the front rail will be correct and any seasonal movement
of the top will be at the back. I attached the top to the base with
buttons on the sides and in the rear.
[ previous ]
Stephen Lamont is a professional furnituremaker.

Photos: Vincent Laurence; drawings: Bob La Pointe

53

Vineyard Table
YOU ARE HERE: Fine Woodworking Home Projects & Design Vineyard Table
Excerpted from Dining Tables
Entire Site Vineyard Table

Complete plans for a trestle table with a twist
A selection of great Chests of Drawers
information from our by Kim Carleton Graves
Plans and instructions
Magazines, Books, and for building seven
Videos. The vineyard table is almost as Open or download the 16-page
old a design as the trestle PDF file below for the complete
classic chests of
Skills & Techniques table, dating back 300 years or chapter on making this drawers
Vineyard Table. (Requires the
more. Some sources claim free Adobe Acrobat Reader to
Joinery Beds
these tables were used by view and print PDF files.)
Tools grape pickers in French Plans and instructions
VineyardTable.pdf for building nine
vineyards for working lunches,
Finishing while others say they were classic beds
Workshop & Safety used in wineries for wine
Bookcases
tastings. Both stories may be
Projects & Design true, since the tables fold Eleven classic
easily for storage and bookcase projects
Materials
transportation. The central
Desks
"harp" spins around on one set
of dowels and the tabletop Seven desk projects
Reader Showcase
flips on a second set of dowels from laptop to
to create a remarkably Chippendale
compact package.
Tables
Neal White of San Jose, Plans and instructions
California, designed and built for ten classic tables,
Fine Woodworking
this table as a second table for from historic pieces to
articles.
family gatherings at his house. contemporary styles
Fine Woodworking He found it too useful to stow
Online Archives away between occasions, and
it's taken up permanent
residence in his living room.
Browse our online On the vineyard table, hinges (Download should take
replace joints between the legs approximately 2 minutes on a
catalog of in-depth, 56K modem)
how-to information. and cleats, and the tabletop is
held level by a beautiful harp-
Techniques shaped support.
Furniture
I love the look of the figured white oak in this table, but the original
Power Tools tables were made by carpenters from whatever woods were available
Hand Tools locally.
Projects Like all trestle tables, this one is easily modified to suit the builder's
Workshop taste and talents. Vineyard tabletops are typically round or elliptical,
but you can make the top for this table in almost any size or shape as
Finishing long as the width clears the feet when the table is flipped.
Turning Furniture maker Kim Carleton Graves has been designing and building high-

Vineyard Table
end custom furniture for ten years. His article on duplicating spindles
Carving appeared in the May/June 2000 issue of Fine Woodworking (#142). He lives
in Brooklyn, New York.
Professional Topics
Photos: Richard Bienkowski; drawings: © The Taunton Press
From Dining Tables, pp. 56-64


Dining Tables
by Kim Carleton Graves

www.taunton.com
Vineyard Table
he vineyard table is almost as taken up permanent residence in his
T old a design as the trestle table,

dating back 300 years or more. Some
living room.
The vineyard table is similar to
sources claim these tables were used the trestle table on p. 40 except that
by grape pickers in French vineyards hinges have replaced the joints between
for working lunches, while others say the legs and cleats, and the tabletop is
they were used in wineries for wine held level by a beautiful harp-shaped
tastings. Both stories may be true, since support.
the tables fold easily for storage and I love the look of the figured white
transportation. The central “harp” oak in this table, but the original tables
spins around on one set of dowels and were made by carpenters from whatever
the tabletop flips on a second set of woods were available locally.
dowels to create a remarkably compact Like all trestle tables, this one is
package. easily modified to suit the builder’s
Neal White of San Jose, California, taste and talents. Vineyard tabletops are
designed and built this table as a typically round or elliptical, but you can
second table for family gatherings at make the top for this table in almost
his house. He found it too useful to any size or shape as long as the width
stow away between occasions, and it’s clears the feet when the table is flipped.
57
Vineyard Table
THE VINEYARD TABLE is similar to a trestle table in construction, except that the cleats are hinged instead of joined to
the legs, allowing the tabletop to flip down or be removed for storage and transportation. The harp-shaped structure
pivots outward to support the tabletop when the tabletop is set up for use.
Top
Cleat
Harp
Dowel
Leg
Foot
Stretcher
Footpad
58 V I N E YA R D T A B L E
END VIEW SIDE VIEW
32" 1"
16"
17/8"
11/2"
33/16"
21/2 " 2"
3/4" dia. R 13/8"
31/2" 3/4" dia. 11/4 "
33/16"
2" 221/2 "

27"
27"
1/2"
21/2 "
2"
23/4 "
23/4" 33/4"
1"
7/16"
4 23/4" 1/2 "
1"
11/2 "
25"
HARP
191/2"
2"
2215/16"
41/2" V I N E YA R D T A B L E 59
Building the Table Step-by-Step
The most challenging task is to fit the
CUT LIST FOR pieces together so that the tabletop opens and
VINEYARD TABLE closes easily and remains level when open.
Ta b l e t o p a n d L e g A s s e m b l y Since every table is slightly different, adjust-
ments to the dowels and leveling blocks
1 Tabletop 60 in. x 46 in. x 1 in.
should be made dynamically.
2 Legs 27 in. x 31⁄2 in. x 1 in.
2 Feet 25 in. x 23⁄4 in. x 11⁄2 in. Making the Parts

4 Footpads1 5 in. x 1 in. x 11⁄2 in.
2 Stretchers 221⁄2 in. x 21⁄2 in. x 1 in. Preparing the stock

The critical dimensions in this table are the
2 Cleats 32 in. x 33⁄16 in. x 1 in. lengths of the legs, the widths of the feet, and
2 Harp legs 2215⁄16 in. x 41⁄2 in. x 1 in. the lengths of the stretchers. If these aren’t
equal, the trestle won’t be square. In addition,
1 Harp cross bar 191⁄2 in. x 2 in. x 1 in.
the width of the tabletop must clear the feet
2 Leveling blocks1 5 in. x 13⁄8 in. x 2 in. when the table is flipped up for storage. The
shape of the tabletop determines how much
Hardware
clearance you have. Rectangular tables have
2 Hardwood wooden dowels2 ⁄4 in. diameter x 3 in.
3
about 45 in. of clearance, while round tables
2 Hardwood wooden dowels2 ⁄2 in. diameter x 3 in.
1 have nearly 49 in. because the curved shape
clears the feet.
4 Steel wood screws 11⁄2 in. by #10
1
The leveling blocks and footpads can be cut from the foot cutoffs.
2
1. Begin with 8/4 rough stock for the feet and
See Sources of Supply on p. 183.
footpads and 6/4 rough stock for all other
parts. Although 5/4 might work, you would
risk not being able to get all the parts out.
2. Crosscut the trestle parts 2 in. oversize in
he elaborate pattern-cutting techniques length. Face-joint and edge-joint the boards
T described for other projects in this
book can be used for this table. However,
and plane them to finished 1-in. thickness,
then rip the parts to finished width.
since vineyard tables are traditionally simple, 3. Cut all tabletop boards to the same length.
carpenter-made furniture, I’ve chosen to stick When cutting to rough length, leave them sev-
to basic tools and techniques. A jigsaw, coping eral inches oversize. Face-joint and edge the
saw, or bandsaw is all you need to cut out the boards, then rip them to width and plane to
parts; scrapers, planes, and sandpaper can be finished thickness.
used to sculpt them to final shape.
Mortise-and-tenon joints hold the legs and Making the tabletop
stretchers together, but the lap joint, a very 1. Glue up boards for the tabletop in a rectan-
basic joint, is used for the harp pieces, and gular shape, arranging and aligning the boards
doweled hinges are used for the moving parts. to get the best match for color and grain.
Another new but simple technique introduced Clamp the tabletop, using plenty of clamps
here is drawing the ellipse for the tabletop. (see the sidebar on the facing page), and allow
the glue to cure overnight.
How Many Clamps?
The object of clamping is to put pressure on all of the woodworkers recommend springing the boards so they
surfaces being glued. Imagine clamp pressure as radiating meet at the ends but gap slightly in the center. The board
45 degrees on either side from the point of application. acts as a combination spring and caul, closing the gaps.
If the clamps are spaced too far apart, as shown in illustra- I prefer using enough clamps to provide pressure at all
tion “a” below, there may be little or no pressure at some points on the gluelines, as shown in “c.” In this example,
points on the glueline. Moving the outer clamps toward the I needed five clamps to get enough pressure. With a panel
center, as shown in “b,” solves the problem in the middle the same size and narrower boards, I would have needed
but creates new low-pressure areas near the edges. Some even more clamps.
Good
overlap
No Low Overlap pressure
pressure pressure pressure in all areas
area area
Not
Good enough
pressure pressure
45° 45°
a b c
2. After the glue cures, remove the clamps Making the feet
and place the tabletop upside down on your 1. Cut the feet to final length.
workbench. 2. Mark out the 1⁄2-in. mortises with a mortis-
3. Draw an ellipse on the underside of the ing gauge, making sure the mortise is centered
tabletop as described in the sidebar on p. 62, on the foot, and cut them out with a mortising
and cut out the ellipse using a jigsaw or cop- machine or chisel.
ing saw. 3. Glue the footpads to the feet and allow the
4. Finish shaping the ellipse with a belt sander glue to cure overnight (see photo A).
held against the edge or a sanding block with
80-grit sandpaper.
V I N E YA R D T A B L E 61
Drawing an Ellipse
Every ellipse has two foci, or focus points. Place a small finishing nail at each end of
The sum of the distances to the two foci the line to mark the foci. Next, draw a line
is equal from any point on the ellipse. crossing the center of the first line at right
Following this definition, you can lay out angles. Mark a point 23 in. along this line—
an ellipse with two nails, a pencil, and a this will be the end of the table’s short axis.
piece of string. By varying the position Take a piece of string about 100 in. long,
of the nails and the length of the string, tie it in a loop, and put the loop around the
you can generate an infinite number nails. Adjust the position of the knot so that
of ellipses. a pencil held against the taut string will hit
To generate the ellipse for this table, the point you’ve marked. (The loop of string,
draw a 38 ⁄2-in. line on the underside of
1
once adjusted, should measure 981⁄2 in.)
the tabletop, centered along the long axis. Finally, draw the ellipse.
Hold the pencil here.

As the pencil moves,
the ellipse is formed.
String
Put small
finishing
nails at the
two foci.
46"
90°
191/4" 191/4"
23"
60"
Photo A: Clamp
4. Enlarge the illustration below to full size or
across the joints to
create a pattern of your own, then trace it onto
register the sides of
the feet.
the footpads with
5. Using a bandsaw or coping saw, cut out the
feet, then plane, scrape, or sand the edges the sides of the feet.
smooth.
Making the legs

1. Cut both legs to final length.
2. Mark out the mortises for the top and bot-
tom stretchers, then cut these with a mortising
machine or mortising chisel.
3. At the top of each leg, lay out a 31⁄2-in.
square. Draw diagonals between the corners
to find the center of the square. Use a compass
to draw a half-circle at the top of each leg
(see photo B).
4. Mark the shoulders of the bottom
tenons and use a table saw to establish the
shoulder line.
5. Using a tenon jig and the table saw, remove
the tenon cheeks. Sneak up on the final width
so the tenons will fit snugly into the mortises
of the feet without binding.
PATTERNS FOR CURVED PARTS
Foot
Cleat
Harp leg
1 in. = 1 square
Photo B: Mark
the outside circle
before drilling the
pivot hole.
Photo C: Forstner
6. Use a bandsaw or coping saw to cut out the
bits leave clean entry
half-circle.
holes even in difficult
7. Sand the half-circle to shape using a sand-
wood. Back up the
ing block with 80-grit paper.
exit hole with a piece 8. Drill out a 3⁄4-in. dowel hole at the marked
of scrap so the exit center, using a Forstner bit as shown in
is clean. photo C (see Sources of Supply on p. 183).
Don’t use a paddle or high-speed bit for this
hole—you won’t get clean or accurate results.
Making the stretchers

1. Cut the two stretchers to length.
2. Find the center of the top edge for both
stretchers, then drill 1⁄2-in. holes 1 in. deep
at both spots to accept the pivot dowels on
the harp.
3. Mark the shoulders on one end of a
stretcher. Set a stop on your miter gauge,
and cut the shoulders for all four tenons on
your table saw.
4. Using a tenon jig, cut the tenons. The
tenons should fit snugly into the leg mortises.
You don’t want a loose fit here, so sneak up
on the fit until it’s just right.
Using a Mortising Chisel
A mortising chisel is thicker than an ordinary chisel;
the extra thickness allows the chisel to self-jig once the
mortise is started. It also absorbs the stresses of mortising.
You can order the chisels, and the wooden mallet used
with them, by mail from specialty tool catalogs (see
Sources of Supply on p. 183).
Body positioning is the trick to successful use of a
mortising chisel. Just as you tune woodworking machinery,
you must also train your body to use hand tools.
Start by laying out the mortise with a marking gauge,
combination square, and marking knife. The knife lines
are important because they delineate the top and bottom
of the mortise. Clamp the workpiece to your bench so that
it’s on your right side if you’re right-handed or on your left
side if you’re left-handed. Position the chisel at the far end
of the mortise with the bevel facing you, and hold it
with your nondominant hand. Align your body with the
workpiece (see the top photo). If you do this correctly, the
chisel will be vertical.
Holding the wooden mallet in your dominant hand,
hit the chisel hard with a single whack. Don’t be shy and
tap-tap-tap on the chisel. The chisel should cut 1⁄8 in.
or more into the wood with each blow. Next, reposition
the chisel 1⁄8 in. closer to you and whack it again.
Pry the chisel toward you, and the chip between
the first and second cut will come out (see the bottom
photo). Keep working down the mortise until you get to
the near end.
Reverse the chisel so the bevel faces away from you,
then cut the other shoulder of the mortise square. Now
reverse the chisel to its original position and go back
to the far end of the mortise. Continue the mortising
operation until the mortise is deep enough. The width
of the chisel acts to jig the tool in the mortise that’s
already cut. If you position your body correctly, and you
aren’t shy about whacking the chisel, hand-mortising
can be very fast and accurate.
SCREW HOLES FOR ATTACHING
CLEATS TO TABLETOP
1/8" through hole (”wobbled out“

for wood movement)
3/8"hole by 1/4" deep

Photo D: If you cut your own plugs, you can match the
(plugged after installing screw) grain direction and make the plugs almost invisible.
Clamp the stock to the drill-press table so the workpiece
doesn’t spin.
Tip: For the harp Making the cleats Making the harp
legs, the two lap 1. Mark the positions for the pivot holes. The harp is assembled with lap joints that are
2. Mark the positions for the 13⁄8-in. radius glued but not screwed or pinned together.
joints are on the
circles. Cutting them can be complicated because they
same side. The two 3. Either enlarge the illustration on p. 63 to are angled, but if you follow the sequence you
halves of the harp full size or make up your own shape, then won’t have any trouble. As always, cut the
are identical. mark the pattern onto the cleats. joinery while the workpieces are still square,
4. With a 3⁄4-in. Forstner bit, drill out the then cut out the shapes.
pivot holes.
5. Saw out the pattern using a bandsaw or 1. Practice this joint on scrap wood first. Put a
coping saw, getting as close as you dare to dado set on your table saw, and using two
the line. Mill up to your lines using planes, pieces of scrap the same thickness as the harp
scrapers, and sanding blocks with 80-grit pieces, mark half the width on each of them.
sandpaper. Raise the dado set so it just meets the half-
6. Mark for and drill the four tabletop attach- width line, and make two cuts in the scrap
ment screw holes on the cleat bottoms. First using a miter gauge (see photo E). Test the
drill the plug recesses 3⁄8 in. in diameter by joint, adjusting the height of the dado set until
1
⁄4 in. deep and 3 in. from each cleat end. you achieve a perfect fit. Adjusting height
Through the center of each recess, drill a hole dynamically is much more accurate than try-
1
⁄8 in. in diameter all the way through the cleat, ing to measure. Now that the scrap joint fits,
“wobbling out” the bottom slightly to allow you’re ready to cut your money joints.
for seasonal wood movement (see the illustra- 2. Cut the two harp legs to length.
tion above). 3. Rotate your miter gauge counterclockwise,
7. Using a 3⁄8-in. plug cutter as shown in setting it to a heavy 61 degrees. Set a stop
photo D, make four plugs from scrap. block on the miter gauge, and cut the shoul-
der of the lap joint for the top joint on one
leg. Repeat the process for the second leg, then
Photo E: Cut
the joint slightly
thick, then turn
the practice piece
over to see the dif-
ference between
the blade and the
remaining work.
remove the stop block and cut out the waste

on both top joints. HARP LAYOUT
4. Rotate your miter gauge clockwise, setting
it to a heavy 57 degrees. Set a stop block on
the miter gauge, and cut the shoulder of the
lap joint for the bottom joint. Repeat for the
second harp leg, then remove the stop block
and cut out the waste on both joints.
5. Glue the two harp legs together while
they’re still square.
6. Now that the bottom joint is finished, mark
out and cut the harp shape. Enlarge the illus-
tration on p. 63 to full size or make your own
design and trace it onto the workpiece. Cut
out the design using a bandsaw or coping saw.
7. Make sure the shoulders of the two top laps
are perpendicular. Set the fence on your table
saw so you just slightly trim the front shoul-
der, then flip the harp and trim the other leg
(see photo F).
8. Measure across the top of the legs of the
harp and cut the cross bar to final length.
9. The measurement for the two laps on the
cross bar probably won’t be identical, since
bandsawing out the harp is not an accurate Glue up the workpieces while they're still square. That way you can glue
up across the joint, using the nibs to hold the clamps. The lines of the harp
method of making symmetrical parts, so take a are purely decorative, so don't worry about making them exact. Your only
measurement for one of the shoulders from concern is to fit the top bar accurately between the legs. Do this by trial.
one leg of the harp using a combination
square. Transfer it to one end of the cross bar,
then repeat the procedure and transfer the
measurement to the other end of the cross bar.
10. Set a stop on your miter gauge so that
one shoulder on the cross bar is correctly
positioned. Cut the shoulder using the dado
set (see photo G). Reset the stop for the sec-
ond shoulder, then turn the workpiece around
Tip: Be sure to cut and upside down so that the cut you just
the two lap joints made faces up, and cut the second shoulder.
on opposite sides of Remove the stop and cut out the waste on
the two joints.
the harp cross bar.
11. Mark the center of the bottom edge of the
cross bar and drill a 1⁄2-in. hole there. Fit that
hole with a 3-in. by 1⁄2-in. hardwood dowel and
glue it in place. Fit the cross bar to the harp
leg assembly with the dowel facing down and
glue and clamp it.
12. When the glue is dry, cut off the two top
nibs using a handsaw. Sand the top flush with
an 80-grit sanding block.
Photo F: Run the harp against the fence and
cut the top shoulders square.
Photo G: Fitting the

bar into the opening
between the legs is
tricky. It’s easiest to
cut both shoulders
until the bar just fits.
Use paper shims to
microadjust the stop.
Tip: Once you’ve

drilled the hole for
the dowel, the cross
bar is no longer
symmetrical.
Photo H: After
you’ve glued the
cross bar to the harp
and cut off the nibs,
run the cross bar
against the fence to
cut the harp bottom.
This ensures that the
bottom is parallel
to the cross bar.
Tip: Make sure

the pivot holes
on the stretchers
are facing up.
13. To cut the bottom of the harp, run the top Assembling the trestle
rail of the harp against the table-saw fence, The top stretcher must be inserted through the
cutting off the bottom. This ensures that the harp before the trestle assembly is glued up. If
bottom is parallel with the top (see photo H). you forget, you won’t be able to get the harp
14. Turn the harp upside down and find the on. As usual, doing a dry glue-up will prevent
center of the harp bottom. Drill a 1⁄2-in. hole problems from arising when you’re gluing
into the bottom and fit that hole with another for real.
3-in. by 1⁄2-in. hardwood dowel. Glue the
dowel into place. 1. Assemble both leg structures dry to make
sure everything fits together properly. Use
Assembling waxed paper between the leg and glue blocks
and Finishing Up so the blocks don’t stick to the leg, and dry-
clamp the assembly to make sure you have
everything in order.
Sanding 2. Spread PVA glue into the foot mortises on
Sand the legs, feet, stretchers, cleats, tabletop, one leg structure and then onto the tenons
and harp to 220 grit, using a random-orbit on the leg. Insert the tenons, then clamp the
sander on the flat surfaces and sanding blocks structure, making sure all the joints are tight.
on the curves. Start with a belt sander on the Repeat for the other leg structure.
tabletop, using a 150-grit belt, then finish up 3. Measure for square across the diagonals and
with the random-orbit sander. Break all of the correct any deviation.
edges using a sanding block so the edges are 4. Spread glue into the four leg mortises and
comfortable to touch. onto the stretcher tenons. Insert the stretcher
LEVELING BLOCKS
5’’
2’’
The thickness will

vary depending
upon the
individual table.
13/8"
11/8" 1" 3/4"
Countersunk
screw holes
tenons into one of the leg structures and ham- Attaching the cleats
mer them home using a dead-blow hammer. to the tabletop
5. Place the harp, which is already assembled, With the trestle complete, you can fit the
through the top stretcher. cleats to the underside of the tabletop. It is
6. Insert the tenons into the second leg and easier and faster to do this dynamically than
clamp the structure, using clamp blocks on to try to measure them.
both sides of the exposed mortise to get good
clamp pressure. Make sure the trestle sits 1. Set the trestle on the floor, and insert a
square on a flat surface. If it doesn’t, adjust 3-in. by 3⁄4-in. hardwood dowel through the
the clamp pressure. hole in one of the cleats and into one of the
7. Remove excess glue and allow the glue to legs. The dowel should stand slightly proud of
cure overnight. the surfaces. Cut it to correct length using a
8. Remove the clamps and, using a sharp handsaw, and chamfer the edges of the dowels
chisel, chamfer the edges of the exposed slightly using sandpaper or a chisel to make
tenons, which should show about 1⁄4 in. on them easy to insert. The dowels should be
each side of the legs. sized to go in and out of the holes with finger
pressure. Sand them to size if needed.
2. Attach the other cleat to the other leg. 1. Remount the trestle on the tabletop, which
3. Turn the tabletop upside down onto your should still be upside down.
workbench, then put the trestle, with cleats 2. Pivot the harp so it is perpendicular to the
attached, upside down on the overturned legs, and use shims to level the trestle until
tabletop. Prop up the trestle so it doesn’t fall the two legs of the harp are equidistant from
over. Center the trestle on the top. the bottom of the table. Measure that “leveling
4. Predrill for screws and screw the cleats distance,” which corresponds to the 1-in.
into the top, using 11⁄2-in. by #10 steel measurement shown in the illustration on the
wood screws. facing page. If your measured leveling distance
5. Pull out the pivot dowels and remove the is greater than 1 in., add the difference to the
trestle. Glue 3⁄8-in. wooden plugs into the screw thickness of the leveling block. If it is less than
holes. When the glue is dry, cut off the plugs, 1 in., subtract that difference.
then level using a sharp chisel followed by 3. Make two leveling blocks at the calculated
sanding. thickness. Bandsaw out the slopes and sand
them smooth with 80-grit paper and a sand-
Adjusting the harp ing block.
The harp should pivot on the dowels in their 4. To test the fit, flip the tabletop level, pivot
holes, rather than resting on the stretchers. the harp open, and put the blocks into place.
You can accomplish this by adjusting the The blocks will be held in place for the
length of the dowels so that when they are moment by the pressure between the tabletop
seated in their holes they raise the harp and harp. If the block is too thin, add a piece
slightly above the stretchers. of veneer or cardboard between it and the
table; if it’s too thick, plane off the bottom.
1. Mount the harp into the holes in the 5. Position the blocks and predrill for the
stretchers. two screws, making sure to countersink the
2. Measure the distance between the harp heads. Then glue and screw the blocks to the
and the stretchers and subtract 1⁄8 in. The bottom of the table with 11⁄2-in. by #10 steel
correct dowel length between harp and wood screws.
stretchers is 1⁄8 in., so you’re cutting off the
extra dowel length, leaving only the 1⁄8 in. Finishing
3. After taking the harp out of the holes, Traditionally, vineyard tables were often
cut off the amount you calculated from unfinished, though some had oilcloth covers
both dowels. held on with a strip of wood tacked to the
4. Remount the harp. The harp should now edge. (If you see nail holes around the edge
be riding 1⁄8 in. above the stretchers. of an antique vineyard table, you’ll know
5. If the harp doesn’t swing freely, sand the what they were for.) A tung oil finish gives
dowels with 80-grit sandpaper on a sanding this table a natural look while still protecting
block until it does. it from the elements. If you’ve made the table
from scrap or multiple species of wood,
Leveling the table you might want to paint it. Milk paint (see
The final step is to install the leveling blocks Sources of Supply on p. 183) followed by oil
and level the tabletop in relation to the trestle. will create a period look. See appendix 1 on
Rough dimensions for the leveling blocks are pp. 178–179 for details.
given in the illustration on the facing page,
but the final dimensions should be calculated
dynamically from the finished table.
Create an Elegant Latch from a Simple Spinner
YOU ARE HERE: Fine Woodworking Home Projects & Design Create an Elegant Latch from a Simple Spinner
From the pages of Fine Woodworking magazine
Entire Site Create an Elegant Latch from a

Simple Spinner
A selection of great The Shaker Legacy
information from our Place the spinner within the door stile for a An extensive visual
Magazines, Books, and clean, almost hidden, latch tour of more than 140
Videos. classic Shaker pieces,
by Chris Becksvoort
Skills & Techniques with Chris Becksvoort
Spinners have been used for years as your guide
Joinery
to keep barn doors shut. I've
In the Shaker Style
Tools redesigned the spinner for my
cabinets from the simple but From Fine
Finishing effective exterior latch to a Woodworking, ideas
refined and almost completely and techniques of
Workshop & Safety
hidden mechanism within the contemporary artisans
Projects & Design door stile. and instructions for
more than 10 projects,
Materials from Shaker chairs to
The earliest spinners consisted of
a small piece of wood with a pin through the center mounted on the bookcases
Reader Showcase frame next to the door. When the spinner is in the vertical position,
the door can be opened. With the spinner turned horizontally, the
door is locked.
A few years back I decided to

incorporate the spinner inside
the lock stile of the door
Fine Woodworking
frame. I make the spinner into
articles.
an oval. The result is
Fine Woodworking substantially more work in
Online Archives layout, mortising and fitting,
but it's much cleaner looking
and almost entirely out of the
way.
Browse our online
The door knob must be placed
on the centerline of the door
how-to information.
stile, and the spinner must
Techniques extend out of the stile by at
least 1/4 in. when closed yet fit completely within the door stile when
Furniture
in the fully opened position. Begin by drilling the knob hole through
Power Tools the stile. Then make a cardboard cutout of the spinner, sized so that it
won't reach into the door-panel groove. Locate the mortise by
Hand Tools
swinging the cutout in a 90° arc around the door-knob hole. The
Projects width of the mortise should be about a third the thickness of the door
Workshop frame -- usually 1/4 in. for a 3/4-in.-thick frame.
Finishing
Turning

Carving
Professional Topics
With the knob hole drilled in Becksvoort chisels out the

the center of the stile, use a mortise by hand.
cardboard cutout to determine
the spinner's placement. Then
mark the mortise 1/16 in.
larger than the spinner itself.
Once the mortise is complete, shape and drill the spinner and check
the fit with the knob attached. If all works well, pin it in place with a
small brad or brass escutcheon pin. The spinner should not be glued,
because there's a great risk of glue getting onto the knob shaft, which
will muck up the works.
I aim for close tolerances between

the knob shaft and matching hole.
For most cabinet doors I use
knobs with 1/2-in.-dia. shafts (3/8
in. dia. for very small doors). To
make life easier, I shape all knob
tenons with a plug cutter, chuck
them into the lathe and turn the
knob proper. If you think about it,
the knob shaft is the only critical
part of the process. The 1/2-in.-
dia. shaft must fit precisely in the To avoid splitting the spinner,
matching hole bored into the drill a hole for the escutcheon
door. The plug cutter eliminates pin.
the most difficult portion of the

task.
For a 1/2-in.-dia. knob shaft, drill a 33/64-in.-dia. hole through the

door stile and a 1/2-in.-dia. hole through the spinner. Now the knob
will spin freely in the door frame yet hold the spinner securely. Next,
with the spinner in the closed position, align the grain of the knob
with the grain of the door frame. Then turn the spinner into the open
position and pin it. This detail makes it easy to tell whether the
spinner is in the open or closed position.

The knob should slide in with a Secure the spinner and knob
little pressure. The spinner with a pin. Instead of glue, use
must swing freely and should a small brad or escutcheon pin
be hidden when the latch is and drive it in using a nailset.
open.
After 30 years as a woodworker, I was proud of myself for coming

up with this idea of installing the spinner in the door frame. Then in
1996, while shooting photos for The Shaker Legacy (The Taunton
Press, 1998), I came across a small chest with drawers and doors at
the Art Complex Museum in Duxbury, Mass., in which the door
knob passed through a mortise in the edge of the door. Although the
spinner itself was missing, it was clear that the Shakers had the same
bright idea 160 years ago.
Chris Becksvoort is a contributing editor to Fine Woodworking. This story is
excerpted from "Shopmade Latches and Catches" in the March/April 2002
issue.
Photos: Timothy Sams; drawing: Michael Gellatly

47

Building a Sleigh Bed
YOU ARE HERE: Fine Woodworking Home Projects & Design Building a Sleigh Bed
Turning rosettes
Entire Site Building a Sleigh Bed
Sensuous curves and well-chosen details
A selection of great enhance a simple design
Magazines, Books, and by Chris Becksvoort
Videos.
I've been building furniture full-
Skills & Techniques time for 21 years and have made Beds
more than 1,000 pieces, including Nine attractive bed
Joinery projects accessible to
dozens of beds. But until recently
Tools I had never built a sleigh bed. So woodworkers of any
when a friend and long-time skill level
Finishing customer asked me to build one
for her, I had some research to do. Beds and Bedroom
Workshop & Safety
The nicest one I found was Furniture
Projects & Design designed and built by William Photo: Dennis Griggs From Fine
Turner and featured in FWW #91 Woodworking
Materials
(pp. 46-51). To my eye, it was all a sleigh bed should be. It had magazine, 23 articles
classic lines, style, grace. The only problem was that it took 1,200 on bedroom furniture
Reader Showcase hours to build. My client's budget dictated that the bed be built in less in a variety of styles
than 100 hours. So I had to capture the essence of a sleigh bed, but
build it efficiently. Fine Woodworking on
Chairs and Beds
Get instant access to The design work was left to me, with From Fine
Plan for the sleigh bed
over 600 of the best just a few stipulations: The bed was to Woodworking's classic
Fine Woodworking be queen size, and both headboard and black-and-white era,
articles. footboard were to be 54 in. high. I 33 articles on chairs,
worked out several sketches for the stools, rockers, sofas,
Fine Woodworking post profiles, finally settling on this cribs and beds
Online Archives one. Along with twin bands of cove-
(opens in new
and-bead molding that ring the bed and window)
rosettes at the top of each post, this
profile gave the bed the classic look I
Browse our online wanted.
how-to information. I saved time on this bed by using flat panels for the headboard and
Techniques footboard, rather than coopering a curved panel or using a tambour.
Also, instead of carving the rosettes, I turned them (see Turning
Furniture rosettes). It took less than an hour and a half.
Power Tools
The bed is a very simple construction. The headboard and footboard
Hand Tools assemblies are joined to a pair of thick rails with knockdown
Projects fasteners. These assemblies are each made up of two posts into which
are tenoned a turned crest rail and a flat lower rail. A single large
Workshop panel floats in grooves in both posts and in the crest and lower rails.
Finishing
A template speeds fabrication of posts
Turning The crest rails had to be 61-1/2 in. long, but my lathe's capacity is

Carving only 39 in. So I farmed them out

to a local millwork shop where I
Professional Topics used to work. While I was at the
shop, I ordered eight 8-ft.-long
pieces of cove-and-bead molding.
I glued up the posts and rails from

8/4 stock (about 120 bd. ft.,
including waste) and then planed
the eight planks to a bit more than
1-1/2 in. thick. I bandsawed a
pattern from 3/8-in. plywood and
carefully sanded the edges so that
all the curves were smooth and
Bandsaw the post profile. Stay
fair. I transferred the post profile outside of the line; what
to the blanks and then bandsawed remains can be routed or
the posts, staying about 1/16 in. sanded. An outfeed table
attached to the author's
back from the line. I bored 3/32- bandsaw makes maneuvering
in. holes through the centers of all the large blank much easier.
four crest circles and all four foot
circles on the drill press. These holes were essential in indexing both
the pattern and the rosette and in drilling the crest-rail mortise hole.
On the finished bed, the top holes were covered by the crest rail and
rosettes; the holes in the feet were plugged.
With the shape of the posts

roughly bandsawn, it was time to
template rout the posts to final
shape -- that is, attach the pattern
to the posts and follow the
template with a router and a flush-
cutting, bearing-guided bit.
Sounds good in theory, but there
were a few problems. First, as
with planing, you shouldn't rout
into the grain. That meant having
to make all downhill cuts on one
side, switch the pattern to the
other side of each post, and make Use a flush-cutting, bearing-
guided bit and a template to
the downhill cuts from that side. I rout the profile. Rout with the
penciled arrows onto the wood to grain to avoid tearout. For
indicate stop and start points for sections where you can't rout
with the grain, flip the post
the bit. over, and reattach the template
to the other side. Rounded
I also discovered that a 1-1/2-in. areas at top and bottom are
smoothed on a sander.
flush-cutting bit starts to burn
after only a few minutes of chewing its way through 1-1/2-in.-thick
cherry. After seeing this on the first leg, I changed tactics. I sanded
all the convex curves I could reach, including the crest and foot
circles, using a stationary disc sander and a belt sander with an 80-
grit belt. For the straight portion of each post, where the side rail
meets the post, I ran the post over the jointer. As a result, the router
had only half as much work, and the bit burned a lot less. On tight,
inside corners, where the circles meet the curves, I used chisels,
gouges and files to get a neat transition. Then the real fun started. All
the edges of all four posts had to be sanded to 320-grit. I used a belt
sander and a block plane here and there, but for the most part, it was

burned fingertips. Incidentally, the 80-grit disc sander marks were

easier to sand out than the router burns.
Laying out and cutting mortises

The next step was to decide which side of each post was going to be
the face. I marked the faces with a pencil and then drilled a 1/2-in.-
deep, 2-in.-wide hole on the inside center of each of the crest-rail
circles. These holes matched the tenons turned on the ends of the two
crest rails.
I then laid out the mortises for the

Joinery details
lower head and foot rails. I offset the
mortises to give more strength to the
outside wall of the mortise. This gave
me 1/2 in. of wood from the outside of
the post to the mortise, a 3/4-in.-wide
mortise, and still allowed the rail to
have a 1/4-in.-wide shoulder on the
inside.
I routed the mortises using a fixture

that has two parallel fences with pieces
connecting them. The distance between
the fences is the diameter of the router
base. For ease of operation, I used two
routers. The first, with a 5/8-in.-dia. bit,
made three passes to achieve the
mortise's full 1-1/4 in. depth. With the
(opens in new
second router, I used a 3/4-in.-dia. bit window)
to take the mortise to its full width.
When all four mortises were routed, it was time to cut the end rails to
length. Because this is a queen-size bed, I allowed 60-1/2 in. between
the posts. With the addition of a 1-1/4-in. tenon on either end, that
brought the total rail length to 63 in.
I cut the rails to length and then cut the tenons (remember, they're
offset -- a 1/2-in. shoulder on the outside and a 1/4-in. shoulder on
the inside), leaving 1-1/2-in. shoulders at the top and bottom for an
overall tenon width of 9 in. I rounded the ends of the tenons with a
knife, so they would conform to the routed mortises in the posts.
Then I dry-fitted the rails in the mortises. Be sure that the rails are
flush with or slightly in from the posts. It's much easier to take a little
off the back of the post than it is to sand down the whole rail.
Build a box to groove the crest rail -- I needed to cut 3/4-in.-

wide by 1-1/2-in.-deep grooves at 10° along the entire length of both
round crest rails to accept the headboard and footboard panels. This
required some creative thinking. My solution was to drill centered
1/2-in.-deep by 2-in.-dia. mortises in two 4-in.-sq. end caps and slip
the caps over the tenons on the crest rail. I set the whole thing flat on
the tablesaw and outfeed table and connected the end caps with two
pieces of scrap -- one on the side to run against the fence and another
on the top to keep the jig from racking. Screws through the end caps
keep the crest rail from rotating while being cut. Remember to keep
screws away from the area being grooved.
I laid out the location of the groove on the end cap, put the 3/4-in.

dado set on the saw and adjusted its height and angle. I set the fence
to align with the marking on the end cap and ran the entire unit
through the blade. Only one end cap had to be removed to repeat the
operation with the second crest rail.
With the dado in place and already tilted, I cut the identical groove in
the tops of the head and foot rails. Remember that head and foot
panels tilt out from the bottom rails and, unlike the crest rails, cannot
be reversed. Think before you cut.
A two-sided box with end caps Tenons on the ends of the crest
holds the crest rail at a fixed rail fit snugly in mortises in the
angle to the blade and provides end caps, which are screwed to
a flat surface to run against the the crest rail and to the two
fence. sides of the box.
Sized stick provides layout lines for head- and footboard

panels -- The next trick is to lay out the grooves for the headboard
and footboard panels on the inside faces of the posts. To do this, I
used a stick to align the grooves that were already in the crest and
lower rails. I set one of the posts face down on a pair of low
sawhorses and placed both the lower rail and crest rail in position.
The top outside edge of the lower rail should meet the junction of the
curved and the flat back sections of the post. This is essential if the
molding is to align all the way around the bed.
I placed a straight stick, precisely 3/4 in. wide and about 29 in. long,
into the crest rail groove and turned the crest rail until I could drop
the stick into the groove in the bottom rail. Perfect alignment. I
marked the post on both sides of the stick, then removed it. Without
shifting the crest rail, I marked inside the grooves so I'd know where
to stop the groove.
I routed all four posts, using the

same router fixture as before. To
position the fixture, I cut a scrap
so it fit perfectly between the two
fences, marked a 3/4-in.-wide
section at its center and moved
the fixture around until the
marking on the scrap matched the
marking on the post at both ends
of the groove. As before, I took
two passes with a 5/8-in.-dia. bit

and a final cleanup pass with a A piece of scrap as long as the

space between the fences
3/4-in.-dia. bit for each 1/2-in.- aligns the routing fixture.
deep groove. I squared the ends of Marks indicating the width of
the bit are lined up with the
the grooves with a chisel. groove lines near both ends of
the fixture. Then the fixture is
Now the headboard and footboard clamped to the post.
assemblies can be dry-fitted. I cut
the headboard and footboard panels to size (28-1/2 in. by 61-1/2 in.)
and sanded both sides of both panels to 320-grit. Because the whole
unit is so large and unwieldy, I first dry-fitted each edge of the panels
in its respective groove and then dry-assembled the entire unit. I
disassembled it, finished sanding the posts and eased all the sharp
edges with a block plane.
Sizing side rails and adding hardware

To determine the length of the side rails, I laid one foot post and one
head post down so the inside faces of the end rails would be 80-1/2
in. apart (enough space around a standard queen-size mattress or box
spring for sheets and covers). The distance from the inside face of the
end rail to the inner edge of the post was 5-1/4 in., so I subtracted
twice that from 80-1/2 in. and cut the side rails 70 in. long.
Hardware for a bed this large proved to be difficult to find. I finally

located some heavy-duty, zinc-plated knockdown bed fasteners in the
Whitechapel catalog (800-468-5534). I ordered eight pairs, two for
each rail end, because this is such a heavy bed.
To mark out the bed fastener

locations, I clamped all four posts
together with feet flush at the
bottom. This ensured that all eight
mortises would line up precisely.
For accuracy, I used a knife to
make the scribe lines. Then I
transferred those lines to the ends
of the side rails and marked the
top edge so that the rails couldn't
be flipped upside down. The rails
took the pin part of the fasteners;
the slotted plates were fitted to the
posts.
I did all the mortising on a

horizontal mortiser, transferring
To lay out mortises for bed
the scribe lines from a bedpost to fastener hardware, clamp all
the fence of the mortising table. four legs together with their
feet flush, and use a marking
Then I set my stops and knife to get a crisp line.
proceeded to cut. Because the bed
hardware was about 7/8 in. wide, I used a 1/2-in. bit. I flipped the
posts and rails over to make two overlapping cuts, which ensured a
centered cut. Next I squared the ends of all 16 shallow mortises with
a chisel and marked and mortised the deeper slots to accept the rail
pins. The routing and inlaying could be done with a router and jig.
Before attaching the hardware, I checked mating pieces for a fit. I

noticed about 1/32 in. of side-to-side play -- very little really, but for
this situation, still too much. The hardware had to align the rails
perfectly flush with the posts so the moldings would line up. To

remedy this situation, I took a metal punch and pounded a dimple on

either side of the slots. It worked perfectly. Absolutely no play. With
the hardware in shape, I drilled pilot holes in all the posts and rails
and screwed all the bed fasteners into place.
Before gluing anything, I dry-fitted the entire bed to be sure that

everything was in order and that the rails were interchangeable. Then
I disassembled the bed and sanded all the parts to 320-grit.
Gluing up the head- and footboard assemblies

I set one post flat on a piece of carpet on the floor and another on a
sawhorse within reach. I spread glue into the two round mortises for
the crest rail and the two long mortises for the lower rail. Then I set
the headboard panel into position, leaving a 1/2-in. gap at both the
top and bottom of the groove. The headboard and footboard panels
are not glued in; they must be free to expand and contract with
seasonal changes in humidity. Holding the panel with one hand, I
first slid the crest rail and then the lower rail into their mortises. Then
I lowered the opposite post onto the lower rail and manipulated the
crest rail into position. Before pounding the post home, I made sure
that the headboard was centered in its groove. I pounded the post
home, laid the unit gently down on its back and clamped it.
To make sure the panel's edges wouldn't be exposed when it

contracted in the winter, I drilled counterbored holes into the posts at
midpoint along the groove. I screwed the panels in place and plugged
the holes. This ensured that the headboard panel would remain
centered between the rails and that they would expand evenly top to
bottom. Once both head- and footboard units were assembled, I
pinned the tenons of the lower rails and screwed the crest rails
through the posts with 2-in. drywall screws, just off center, to
reinforce the mortise-and-tenon joint. Finally, I sanded the posts
flush with the lower rails where they meet.
Molding and rosettes finish the bed

Before attaching the two bands of molding, I made sure that the rails
were firmly seated all the way down in the hangers. It would be
embarrassing to have the molding glued on only to have one section
of the rail drop 1/4 in. when the box spring was set in place.
Attaching the molding is pretty straightforward, but a few hints are in

order. I did the top of the end rails first because it's the most difficult
to attach. I fit, mitered, drilled brad holes about 8 in. apart along the
center and glued and attached the molding with brads. The molding
here is virtually impossible to clamp.
The short pieces of molding across the grain of the posts needed
special attention because the post will change slightly in width. My
posts were at about 11% moisture content. To allow for some
shrinkage, I left about a 3/32-in. gap between this short piece and the
side-rail molding. I tacked down this short strip with a brad at either
end and one in the middle, and glued about two-thirds of the way
from the miter to the end. The side rail moldings were cut to
precisely the same length as the rails and glued using spring clamps
and bits of molding cutoffs turned upside down to spread the
clamping pressure. The procedure was the same for the lower band of
molding.

To support the box spring, I marked and routed mortises for short (1-
1/4 in. wide) sections of 1/4-in.-thick, 4-in. steel angle iron I had cut
for that purpose. I screwed those brackets directly to the side rails.
The crowning touch was attaching the turned rosettes. I drilled a 3/32-
in. hole into the center of the back of the rosette, tacked in a snipped
off piece of 6d finishing nail to center the rosette with the post hole,
and glued and clamped the rosette.
The bed was finished with three coats of Tried and True varnish oil
(available from Garrett Wade; 800-221-2942;
www.garrettwade.com). This is the only pure linseed oil on the
market, with no additives or driers. It requires a good deal of elbow
grease to wipe off, but the build and depth of shine is worth it.
For the record, the bed was completed in 96 hours.

Chris Becksvoort is a professional furniture maker in New Gloucester, Maine,
a contributing editor to Fine Woodworking and the author of The Shaker
Legacy.
Photos except where noted: Vincent Laurence; drawings: Heather Lambert

61

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• Choosing a Butt Hinge

A selection of great Hinges can affect the look, durability, and performance of your fine
information from our furniture. Here's how to choose the right one for the job.
— by Garrett Hack
Videos. • Selecting Sheet Goods
Skills & Techniques A furniture maker offers tips for sorting through the stacks of
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Joinery — by Mark Edmundson
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Finishing Lots of tape, lots of cauls and lots of clamps make glue-ups easy
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Choosing a Butt Hinge
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Entire Site Choosing a Butt Hinge

Hinges can affect the look, durability, and
A selection of great performance of your fine furniture. Here's The Complete
information from our how to choose the right one for the job. Illustrated Guide to
by Garrett Hack
Furniture & Cabinet
Videos.
Construction
Skills & Techniques Don't compromise. Choose a high- A graphic, step-by-
quality extruded brass hinge for step presentation of
Joinery your furniture. Cheaper stamped basic furniture
Tools hinges are made by pressing thin construction
sheet metal around the pin to form techniques
Finishing the knuckle. Extruded hinges are
tighter than these pressed hinges Building Kitchen
Workshop & Safety
because the knuckle is fitted Cabinets
Projects & Design together and then drilled in one
Expert advice on
shot for a precisely fitted hinge
Materials Stamped hinge (top); brass every phase of the
pin. Stamped hinges will not be hinge (bottom). project.
flat, square or drilled accurately,
Reader Showcase and there will be slop around the hinge pin.
The right size for the job

Fine Woodworking
articles.
Fine Woodworking
Online Archives
Browse our online

how-to information.
The top hinge is the wrong size Choose a hinge size that leaves
Techniques for this door. It would leave a at least 1/8 in. of wood at the
fragile sliver of wood at the back of the mortise, or this
Furniture edge of the mortise. The area will be too fragile. Another
bottom hinge is a more option is to choose a hinge that
appropriate size. reaches all the way across the
Power Tools stile.
Hand Tools
Where to locate the hinges
Projects
Workshop
Finishing
Turning

Choosing a Butt Hinge
Carving
Professional Topics
It's pleasing to the eye if you relate the hinge locations to the rails
(left). However, this may not be possible on doors with thin rails
(right).
Plan ahead
Choose and purchase hinges during the design stage of a project. You
don't want to be ready to hang a door and then realize that the hinge
leaf to be mortised into the door is wider than the door stile, or that it
leaves just the thinnest ribbon of wood at the back of the mortise to
break away someday. Knowing door and carcase dimensions, you
can narrow down the possibilities of hinges that will fit. If you're
unsure of the best choice, buy two sizes.
For more on hinges, see my article, "Installing Butt Hinges," in the

November/December 2002 issue of Fine Woodworking (#159).
Garrett Hack is a furniture maker in Thetford Center, Vermont.
Photos: Asa Christiana; drawings: Vince Babak


Selecting Sheet Goods
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Entire Site Selecting Sheet Goods

A furniture maker offers tips for sorting
A selection of great through the stacks of hardwood plywood Understanding Wood
information from our 2nd ed.
Magazines, Books, and by Mark Edmundson
R. Bruce Hoadley's
Videos.
Woodworkers can choose from a comprehensive guide
Skills & Techniques wide selection of hardwood to wood technology,
plywood. Whatever you want is revised and updated
Joinery
likely to be available somewhere,
Tools especially if you live in a city. And
if your dealer doesn't have it in
Finishing stock, the dealer can order it from
Workshop & Safety a supplier. Most places carry a
pretty good selection of 1/4-in.-
Projects & Design thick hardwood plywood. If you're
forced to order something sight
Materials
unseen, try to be as specific as you
can about your needs. Most places
Reader Showcase will let you decline something if
it's not up to your expectations.
You'll most likely have to make Some of the finest logs end up
decisions about veneer slice, core as plywood veneers. Most
Get instant access to hardwood plywood dealers sell
type, face grade and back grade. I attractive sheet goods in a
put the highest value on the veneer variety of common species,
Fine Woodworking featuring rotary-sliced, book-
slice, which is the manner in matched and quarter-sliced
articles.
which the veneer has been cut. veneers.
Fine Woodworking The best choices for the exterior
Online Archives are either a plain-sliced or quarter-sliced veneer. Both of these are cut
in a straight line, duplicating the figure of sawn lumber. Rotary slicing
involves centering the log in a lathe and turning it against a broad
cutting knife. The grain pattern does not match that typically found in
Browse our online solid wood.
how-to information.
Techniques
Furniture
Power Tools
Hand Tools
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Carving Rotary-sliced veneer Plain-sliced veneer Quarter-sliced veneer

plywood looks the plywood is a better looks like
Professional Topics least like solid choice. The veneer is quartersawn lumber.
lumber. The veneer is sliced as plainsawn Both are sliced
peeled off the lumber would be, parallel to the growth
perimeter of the log, giving the look of rings. Quartersawn
producing a wavy solid wood. It is often oak plywood with
pattern that doesn't book-matched at its book-matched ray
exist in solid wood. seams. flecks has added
appeal.
Choose MDF for a

hardwood plywood core
For a hardwood plywood core, I
prefer MDF because there's no
chance of a void being telegraphed
onto the surface veneers. The face
grade will most likely be A if
you've chosen plain- or quarter-
sliced veneer. It's also helpful to
know that veneer-core plywood
tends to run a little under its stated
size, usually by a light 1/32 in.,
while MDF core is usually dead- MDF- vs. veneer-core plywood.
on. Veneer core tends to run a little
undersized, while MDF core is
usually right on.
I make it a point to talk with a
knowledgeable sales clerk and view everything the yard has to offer.
You may find a few nice alternatives or surprises.
Know your panel dimensions before you shop

As you leaf through a stack of plywood, you'll notice that the sheets
come in runs, that is, there will be several sheets with veneers from
the same log, or flitch. This run might be two or five sheets long. If
you ask politely, most places will let you go through the stack to find
a run that suits your needs. If you're looking at plain-sliced veneer, it
is likely that the veneers will be quite wide. A quarter-sliced stack
will most likely consist of narrower veneers. When considering which
type of figure suits your piece, consider also where the veneer joints
will end up. This means you need to know your panel dimensions
before you head out to the lumber dealer. A best-case scenario for a
top panel might be a face-grain panel, where two book-matched
veneers are wide enough to cover the entire top, with the seam dead-
center.
For the freestanding cabinet in my
article "Fine Furniture from
Plywood" in the July/August 2002
issue of Fine Woodworking
(#157), I used the top dimension
as a rough guide because the sides
were to be a bit narrower. I was
able to line up the book-matched
seam on the sides and the top. A
second choice would have been to
cover the top and the sides in four
veneers (two book-matches).
When neither of these is possible,
I try to find a veneer that will
cover the sides with one book-
match and hope that a suitable cut

will present itself for the top. A second sheet of plywood

(top) makes a serviceable edge
guide for rough-cutting large
Plywood veneers may not be sheets.
totally consistent in width. It's
usually a small variation but something to watch out for nonetheless.
In deciding how many sheets I need, I play it safe. An extra sheet
gives me more options when it comes to laying out the cuts.
A scratch now is a scratch forever, so choose

carefully
Hardwood plywood is one of the more expensive items at the
lumberyard, and most places try to take good care of it, but dings and
scratches are still possible. Commercial veneer is paper thin and easy
to sand through. A good rule of thumb is if there is a scratch in it now,
there will be a scratch in it forever. So I choose pieces carefully and
then accept minor dings as character traits. When I have found what I
need, I ask for some of the 4x8 sheets of cardboard used for shipping
to protect the material for the ride home and when storing it at my
shop.
When picking out the interior stock, I'm not as particular. I like to use
a light wood like maple. At all of the yards in my area, 1/4-in.-thick
maple is available only in rotary-sliced veneer, which means there
will be no seams to worry about. Also, I take whichever core is
available because small voids won't be noticed on the inside.
Mark Edmundson is a furniture maker in northern Idaho.
Photos: Asa Christiana; drawings: Vince Babak

67

Gluing and Clamping Strategies
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Edge gluing
Entire Site Gluing and Clamping Strategies
Lots of tape, lots of cauls and lots of clamps
A selection of great make glue-ups easy
Magazines, Books, and by Lon Schleining
Videos.
If you don't have complete confidence
Skills & Techniques A visual guide to
in your gluing systems, perhaps it's
time to take a closer look at them. gluing and clamping
Joinery
When I ask a group of woodworkers
Tools how many trust their glue-ups
completely, very few hands pop up.
Finishing Personally, I couldn't sleep if my
Workshop & Safety gluing techniques were suspect. When
my stairbuilding shop is really
Projects & Design cranking, it is not unusual to go
Materials through 10 gal. or 12 gal. of glue in a
year. That's not much by some
standards, but it represents a fair
Reader Showcase amount of gluing for a three- or four- (opens in new
person shop. We've developed systems window)
for gluing that are reliable and fast, not
so much because we set out to do so,
Get instant access to but because we have to have reliable glue joints so that we can sleep
over 600 of the best at night.
Fine Woodworking
articles. In this article I'll outline a few common gluing situations a
woodworker has to tackle and provide a few tips that, hopefully, even
Fine Woodworking the seasoned woodworker can use.
Online Archives
It's easy to test your gluing system
If a glue joint fails, the first suspect is the glue itself. But the glue is
seldom the real problem. Modern glues are so effective as to be
Browse our online nearly foolproof. More often than not, operator error is the problem,
catalog of in-depth, not the glue.
how-to information.
You can easily test both the glue and your gluing system to increase
Techniques your confidence. Simply glue up a sample, let it cure, then break it
Furniture apart. If the sample breaks at the joint, you have a problem with the
glue or the joint. If the wood does not break along the glueline, the
Power Tools test demonstrates that the joint is stronger than the wood, which is
Hand Tools what you want. If necessary, keep modifying your system until you
achieve satisfactory results.
Projects
Workshop Glue has a limited shelf life
On those rare occasions when the glue itself fails, either the type of
Finishing glue being used is unsuitable for the job at hand or the glue has
Turning exceeded its shelf life. Remember, some glues have a very short shelf

Carving life -- as little as three months in some cases. One year is more
common, although it varies a great deal. One thing is certain, though:
Professional Topics If you are still using that bottle of glue you got from Uncle Harry
before he died a few years back, it's at least suspect. Do yourself a
favor and buy a new batch.
I recommend buying small quantities of glue, as much as you'll likely

use in a few months, from a place where the turnover of merchandise
is high. That way, you'll run out of glue before it gets a chance to
spoil. When you bring home a new bottle, write the date on the bottle
with a felt-tipped marker. Relatively speaking, glue is cheap. When it
gets old, throw it away.
Many glues are susceptible to spoilage from freezing or excessive

heat. It's important to keep track of temperature for both storage and
actual gluing.
Different operations require different types of

glue
Before you even buy a bottle of glue, read the label. Glue
manufacturers want your glue-ups to be successful. They make a
point to tell you exactly what you need to know right there in the fine
print. If the label says the glue is unsuitable for use around moisture
or under stress, no doubt they mean just that. Lamination bending,
for example, puts the glue joint under constant stress. Yellow glue,
tough but flexible, is unsuitable. Epoxy or plastic resin is a better
choice.
Some glues, the polyurethanes for example, like dampness, but most
glues do not. Another reason to read the label and do some testing.
Well-fitted joints are a must

Clean, dry, well-fitted and porous edges glue well. If the mating
pieces do not fit well enough without clamping pressure, perhaps the
work is not yet ready for gluing. Joints ought to fit naturally without
being forced by oversized clamps. If you have to force the joint
together, you're asking a lot of your glue to keep it that way once the
clamps are released.
Porous edges allow the glue to ooze into the pores and strengthen the
joint. If you make a very slow pass over a dull jointer, chances are
you'll pound the fibers of wood together instead of cleanly slicing
them. This forms a glazed, nonporous surface that won't be suitable
for gluing.
Cauls and dry-fitting are the keys to success

Moving too slowly may well be the most common cause of glue
failure. Very quickly -- especially in warm, dry weather -- the surface
of fresh glue will form a skin, a sort of blister. This blister prevents
liquid glue from adhering to the other surface. If the glue skins over
before the two mating pieces come together, you might as well call it
a day. Sure, you can scrape off all of that excess glue, but the residual
glue will seal the surface. The edges will need to be remilled, not just
cleaned.
One sure way to reduce the time it takes to get something clamped up
is to practice. Especially if the gluing operation is complex or large, a
rehearsal helps ensure that you have all of the clamps you need and

that all of the little blocks and pieces of masking tape are at hand. It's
a good idea to dry-fit and clamp up the project entirely, as if you had
spread the glue already, to make sure one last time that the pieces
actually go together.
Keep in mind that the addition of glue in the joints will change the
operation a great deal. It lubricates the pieces just enough for them to
move around when you don't want them to. Then the glue begins to
set up and grab the pieces, holding them in place just when you want
them to move. But these problems are easily solved. The key for
almost every gluing situation is to use clamping cauls (see Edge
gluing). Simply put, clamping cauls hold boards in alignment while
other clamps close up the joints.
Clamping time -- The amount of time a project has to remain

clamped up depends on temperature, humidity and the complexity of
the project. It's important to follow the directions on the label of the
glue you're using. If the label says clamping time is an hour, give it
an hour. If the label says overnight, wait until the next morning to
remove the clamps.
Remember that the temperature

requirements are critical. If the
label says the minimum is 50°F,
that means the air, the glue and
the material itself must be at least
that warm. It also means that the
materials must stay that
temperature for the duration of
the curing time. It's worth noting
that a simple light bulb inside a
small, insulated enclosure will
keep the contents quite warm, Tip: PVC pipe cut into narrow
even if the rest of the shop is cold. sections works like mini spring
clamps. The pressure varies by
the diameter of the pipe, its
Cleanup -- Gluing over butcher thickness and the width of the
paper or newspaper certainly section you cut off.
saves you from having to do a
great deal of cleaning up. Wearing vinyl gloves not only keeps hands
clean but also helps you avoid contact with toxic chemicals.
With most of the common

polyvinyl acetate (PVA) glues,
under normal conditions, a project
usually has to stay in the clamps
about an hour. I have been
accused of using too much glue,
but because scraping glue before
it hardens is so simply done, I see
no need to skimp on glue.
Along a glueline, I want to see at

least a thin bead of glue. When Tip: Use inner-tube strips to
the glue has set up in the joints hold laminae together for
bending. The strips hold firmly
and the clamps are removed, the yet allow the bundle to flex as
excess glue should still be soft it bends.
and pliable. This is the perfect
time to remove the excess with a scraper. I never wipe up glue with a

wet rag, because the added water will raise the grain and the finished
surface will be uneven.
My favorite glue-scraping tool is

a small hook scraper, available in
the paint section of almost any
paint or hardware store. With a
good edge on it, a small hook
scraper will remove excess glue
while it's still soft, thus saving
hours of sanding. If you wait until
the glue has hardened to scrape
off the excess, it is very likely, A hook scraper, filed razor
especially with softer woods like sharp, quickly removes excess
glue once it has blistered over
mahogany, that you'll tear chunks but before it hardens.
out of the surface.
I do my best to use a simple and quick system for gluing. Once the
glue has been spread, I use every trick I know to speed it along. I
always follow the manufacturer's instructions to the letter. When in
doubt, I call the manufacturer on the phone. Manufacturers have
always seemed more than happy to discuss individual situations. I
have a habit of testing my glue joints constantly. If I trim a glue-up to
length, I take the scrap piece and snap it over the corner of the bench
to make sure the joint is reliable. I am always happiest when it breaks
1/2 in. away from the glueline. Your confidence builds with every
test. If you adopt this habit, you'll soon be confident in the boards
you glue together. You'll sleep better, too.
Lon Schleining builds custom stairs in Long Beach, Calif.
Photos: Matthew Teague; except where noted.

50

Making Sense of Sandpaper
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Knowing how it works is the first step in
A selection of great choosing the right abrasive The Wood Sanding
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Veteran furniture
Videos.
Years ago at a garage sale, I maker and author
Skills & Techniques bought a pile of no-name Sandor Nagyszalanczy
sandpaper for just pennies a sheet. expands your
Joinery understanding of
I got it home. I sanded with it, but
Tools nothing came off the wood. abrasive materials,
Sanding harder, the grit came off machines, and
Finishing the paper. It didn't even burn very methods
Workshop & Safety well in my wood stove.
Projects & Design Sanding is necessary drudge work,

improved only by spending less
Materials
time doing it. As I learned, you
can't go right buying cheap stuff,
Reader Showcase but it's still easy to go wrong with
the best sandpaper that's available.
Not long ago, for example, I tried
to take the finish off some maple flooring. Even though I was armed with
Get instant access to premium-grade, 50-grit aluminum-oxide belts, the work took far too long.
over 600 of the best It wasn't that the belts were bad. I was simply using the wrong abrasive
Fine Woodworking for the job. A 36-grit ceramic belt would have cut my sanding time
articles. substantially.
Fine Woodworking The key to choosing the right sandpaper is knowing how the many
Online Archives different kinds of sandpaper work. Each component, not just the grit,
contributes to the sandpaper's performance, determining how quickly it
works, how long it lasts and how smooth the results will be. If you know
how the components work together, you'll be able to choose your
Browse our online sandpaper wisely, and use it efficiently. Then you won't waste time
catalog of in-depth, sanding or end up burning the stuff in your wood stove.
how-to information.
Sandpaper is a cutting tool
Techniques What sandpaper does to wood is really no different from what a saw, a
Furniture plane or a chisel does. They all have sharp points or edges that cut wood
fibers. Sandpaper's cutting is simply on a much smaller scale. The only
Power Tools substantial difference between sandpaper and other cutting tools is that
Hand Tools sandpaper can't be sharpened.
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Finishing
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Carving

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Sandpaper is made of abrasive minerals, adhesive and a cloth, paper

or polyester backing. The abrasive minerals are bonded to the backing
by two coats of adhesive; first the make coat bonds them to the
backing; then the size coat locks them in position.
Look at sandpaper up close, and you'll see that the sharp tips of the
abrasive grains look like small, irregularly shaped sawteeth . The grains
are supported by a cloth or paper backing and two adhesive bonds, much
the way that sawteeth are supported by the sawblade. As sandpaper is
pushed across wood, the abrasive grains dig into the surface and cut out
minute shavings, which are called swarf in industry jargon. To the naked
eye, these shavings look like fine dust. Magnified, they look like the
shavings produced by saws or other cutting tools.
Even the spaces between the abrasive grains serve an important role.
They work the way gullets on sawblades do, giving the shavings a place
to go. This is why sandpaper designed for wood has what's called an open
coat, where only 40% to 70% of the backing is covered with abrasive.
The spaces in an open coat are hard to see in fine grits but are very
obvious in coarse grades.
Closed-coat sandpaper, where the backing is entirely covered with

abrasive, is not appropriate for sanding wood because the swarf has no
place to go and quickly clogs the paper. Closed-coat sandpaper is more
appropriate on other materials such as steel and glass because the
particles of swarf are much smaller.
Some sandpaper is advertised as non-loading, or stearated. These papers

are covered with a substance called zinc stearate -- soap, really -- which
helps keep the sandpaper from clogging with swarf. Stearated papers are
only useful for sanding finishes and resinous woods. Wood resin and
most finishes will become molten from the heat generated by sanding,
even hand-sanding. In this state, these substances are very sticky, and
given the chance, they will firmly glue themselves to the sandpaper.
Stearates work by attaching to the molten swarf, making it slippery, not
sticky, and preventing it from bonding to the sandpaper.

Methods for sanding efficiently

Sanding a rough surface smooth in preparation for a finish seems a pretty
straightforward proposition. For a board fresh out of the planer,
woodworkers know to start with a coarse paper, perhaps 80-grit or 100-
grit, and progress incrementally without skipping a grade up to the finer
grits. At each step, you simply erase the scratches you made previously
with finer and smaller scratches until, at 180-grit or 220-grit, the
scratches are too small to see or feel. But there are a fair number of
opinions on how to do this most efficiently.
Don't skip grits, usually -- Skipping a grit to save time and

sandpaper is a common temptation, but not a good idea when working
with hardwoods. You can remove the scratches left by 120-grit sandpaper
with 180-grit, but it will take you far more work than if you use 150-grit
first. You will also wear out more 180-grit sandpaper, so you don't really
save any materials. When sanding maple, for instance, skipping two grits
between 80 and 180 will probably double the total sanding time. This,
however, is not as true with woods such as pine. Soft woods take much
less work overall to sand smooth. Skipping a grit will increase the work
negligibly and may save you some materials.
Sand bare wood to 180- or 220-grit -- For sanding bare wood,

180-grit will generally give you a surface that looks and feels perfectly
smooth and is ready for a finish of some kind. Sanding the surface with a
finer grit is only necessary if you're going to use a water-based finish.
These finishes will pick up and telegraph the smallest scratches. Sanding
the wood to 220-grit or finer will prepare the surface better. However, it's
not always wise to sand to a finer grit. You will waste your time if you
can't tell the difference, and you may create problems in finishing. Maple
sanded to 400-grit will not take a pigmented stain, for example. Pigments
work by lodging themselves into nooks and crannies on the surface;
without them, they will have no place to stick.
Sand faster across the grain -- How many times have you been
told never to sand across the grain? True enough. The scratches are much
more obvious, look terrible and are hard to remove with the next finer
grit. But what holds true for planing wood is also true for sanding. You
will plane and sand faster and more easily when the direction of your cuts
is between 45° and 60° to the grain, because the wood-fiber bundles offer
the least resistance to the cutting edges. Cross-grain scratches are harder
to remove simply because they are deeper.
Use a combination of cross-grain and with-grain sanding to get the

smoothest surface in the fastest manner. First make passes at 45° to 60° to
both the left and the right, making an X-pattern on the workpiece. Then,
with the same grit, sand with the grain to remove the cross-grain
scratches. Do this with each grit when belt-sanding and hand-sanding.
The non-linear sanding action of random-orbit and orbital sanders can't
take advantage of the wood's grain properties. When I use my orbital, I
just sand with the grain.
Choosing from the four abrasive minerals

Four common abrasive minerals are aluminum oxide, silicon carbide,
ceramics and garnet (see Four abrasive minerals). Except for garnet, they
are all manufactured, designed if you will, for different cutting properties.
Harder and sharper minerals cut deeper scratches and, consequently, sand
the wood faster. But these deep scratches leave a coarse finish, whether
you sand with or across the grain.
Softer minerals within the same grit size will cut far more slowly but

leave a smoother finish. For example, if you sand a board on one side
with a 120-grit ceramic, the hardest abrasive mineral, and the other side
with 120-grit garnet, the softest, you will be able to feel a distinct
difference between the surfaces. It will seem as if you sanded the two
sides with different grit sizes.
It's easy to rate each mineral's hardness and sharpness, but it's not as
simple to prescribe specific uses beyond generalizations. There are many
other factors that influence the appropriateness of a sandpaper for a job.
Some fine points about grading scales

If you don't mind that we have two measurement systems, the U.S.
Customary (foot, gallon) and the International (meter, liter), then you
won't mind that we have three major abrasive grit-grading systems. In
North America, the Coated Abrasives Manufacturers Institute (CAMI)
regulates the U.S. Standard Scale. CAMI-graded sandpapers simply have
numbers, such as 320, printed on them. The Europeans have the P-scale,
regulated by the Federation of European Producers Association (FEPA).
These abrasives are identifiable by the letter P in front of the grit size,
such as P320. Finally, to make sure everyone is really confused, there is a
totally different micron grading system. This system is identified by the
Greek letter mu, as in 30µ.
The three systems grade particle size to different tolerances but by the
same methods. From the coarsest grits up to about 220, particles are
graded through a series of wire mesh screens. The smaller grit sizes are
graded through an air- or water-flotation process that separates particles
by weight.
The chart is helpful in comparing grits of the three grading systems, but it
doesn't tell the whole story. Abrasives on the P-scale are graded to tighter
tolerances than CAMI-graded abrasives. This means that the CAMI-scale
tolerates a wider range of grain sizes within the definition of 180-grit than
the P-scale. Tolerances are even tighter for micron grading. P-graded and
micron-graded abrasives give more consistent cuts with fewer stray
scratches from outsized minerals.
Micron-graded abrasives on polyester films are about three times as

expensive as paper products and probably not worth it for sanding wood.
I have a hard time telling the difference between wood sanded with a
100µ finishing film abrasive and standard 120-grit sandpaper. But for
polishing a high-gloss finish, I find micron-graded abrasives make a
substantial difference.
The supporting role of backings and bonds

The backing's stiffness and flatness influence the quality and speed of the
sandpaper's cut. For the most part, manufacturers choose adhesives and
backings to augment the characteristics of a particular abrasive grit. You
will have a hard time finding an aggressive abrasive mineral, for
example, on a backing suited to a smooth cut.
The stiffer the paper, the less the abrasive minerals will deflect while
cutting. They will cut deeper and, consequently, faster. Soft backings and
bonds will allow the abrasives to deflect more, giving light scratches and
a smooth finish. You must even consider what's behind the backing.
Wrapping the sandpaper around a block of wood will allow a faster cut
than sanding with the paper against the palm of your hand. For instance,
an easy way to speed up your orbital sander is by exchanging the soft pad
for a stiff one. The other consideration is the flatness of the backing,
which has nothing to do with its stiffness. Flat backings position the

minerals on a more even level so they

cut at a more consistent depth,
resulting in fewer stray scratches and
a smoother surface.
Cloth is the stiffest but least-flat

backing. It will produce the coarsest
and fastest cut. Cloth comes in two
grades, a heavy X and a light J. Paper
is not as stiff as cloth but it's flatter. It
comes in grades A, C, D, E and F Soft backings on sanding tools
(lightest to heaviest). A-weight paper won't support the sandpaper
and make it cut more slowly.
that has been waterproofed is
approximately equivalent to a B-weight paper, if one existed. Polyester
films, including Mylar, look and feel like plastic. They are extremely flat
and pretty stiff. They will give the most consistently even cut and at a
faster rate than paper.
The backings for hand sheets and belts

are designed to flex around curves
without breaking. This is not true for
sanding discs for random-orbit
sanders. They are designed to remain
perfectly flat, and if used like a hand
sheet, the adhesive will crack off in
large sections. This is called knife-
edging because the mineral and
adhesive, separated from the backing,
The adhesive and backing on a
form knife-like edges that dig into and random-orbit sanding pad can
mark the work. crack if the disc is folded like
ordinary sandpaper.
Adhesive bonds on modern sandpaper
are almost exclusively urea- or phenolic-formaldehyde resins. Both are
heat-resistant, waterproof and stiff. Hide glue is sometimes used in
conjunction with a resin on paper sheets. It is not waterproof or heat-
resistant, but hide glue is cheap and very flexible.
When this article was written, Strother Purdy was an assistant editor of Fine
Woodworking.
Photos: Strother Purdy; drawing: Tim Langenderfer

67

A Working Guide to Glues
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Entire Site A Working Guide to Glues

Choosing the right adhesive for the job might
A selection of great mean more than grabbing that old bottle on
information from our the shelf
Videos. by William Tandy Young
Skills & Techniques There is no such thing as a

Joinery miracle adhesive with magical
properties that will tackle any
Tools task. When I choose glue for a
job, I try to take as many things
Finishing
into account as I can, without
Workshop & Safety spending a lot of time dwelling on
details and pondering different
Projects & Design glues. This article is designed to
Materials help you choose glue in just such
a fashion, so that your work flow
won't be disrupted by endless
Reader Showcase head scratching.
All glues are carefully formulated

Photo: Michael Pekovich
products with specific properties,
Get instant access to and they perform well only if the
over 600 of the best conditions in your workshop,
Fine Woodworking such as temperature and humidity, are favorable. Gluing well is a
articles. matter of knowing how to get the best performance from the glues
you use while also knowing their limitations. By keeping an
Fine Woodworking assortment of glues at your disposal and knowing what to expect
Online Archives from different ones, you can choose the adhesive that best suits your
needs in any given situation.
Glue or adhesive?
Browse our online Is there a difference between a glue and an adhesive? Technically,
catalog of in-depth, there is. Strictly speaking, glues are based on polymers, such as
how-to information. starch and protein, that are derived from natural sources, such as rice
flour or cattle hides. Adhesives are based on polymers that are
Techniques
chemically synthesized, like PVA resins found in white and yellow
Furniture glues. However, most people use the terms glue and adhesive
interchangeably on a casual basis, as we do in this article. In general,
Power Tools
you won't encounter a formally observed distinction between glues
Hand Tools and adhesives unless you read literature of a highly technical nature,
such as engineering standards.
Projects
Workshop Comparing the properties of adhesives
As you compare the properties of the adhesives listed in the charts
Finishing
that follow, it may be helpful to evaluate different glues by grouping
Turning them into the following categories:

Carving
Natural vs. synthetic -- Most glues that are derived from natural
Professional Topics sources, like wheat paste or hide glue, are reversible, meaning they
can be reactivated with water after they harden. Adhesives that are
based on synthetic polymers, such as urea resin glue, polyvinyl
acetate (PVA) or epoxy, generally can't be reversed after they cure,
but they may have other properties that are superior to those of
natural glues.
Water based vs. non-water based -- Even though water-based

adhesives are easy to handle, in general, they can add quite a bit of
moisture to glued work. There often are instances when this added
moisture is unwelcome. If you're face-laminating an unstable wood
like beech or sycamore, for example, you're better off using an
adhesive that contains less water. Of the glues in this article, most
natural and nonreactive synthetic glues (except solvent-based contact
cement and hot melt) are high in moisture content. Of the reactive
synthetic glues, only a few resorcinols and ureas contain a significant
amount of moisture.
Toxic vs. nontoxic -- It's common to encounter a trade-off

between toxicity and performance: The glues that offer higher levels
of performance and power are often more hazardous to use than those
that are not as powerful. This is especially true when comparing
different variations of the same kind of glue. For example, high-fume
urea resin glue (which emits powerful formaldehyde vapors) usually
outperforms low-fume urea resin glue, which is safer and less
noxious to use.
Using the charts in this article

Here's an example of how I might choose the best glue for a job
using the charts that follow. Suppose I need to glue down a metal
inlay. Many woodworkers use epoxy for this type of work, but it's
not a good choice because scraping or sanding metal inlay flush with
the surrounding wood usually creates a lot of heat. Most epoxy has
low heat resistance and softens as the inlay is being scraped, which
can cause the inlay to lift out of its recess.
As you look at the properties of polyurethane glue, you'll notice that

it has high heat resistance, long open and closed assembly times and
is very easy to clean up with hand tools after it hardens -- all of
which make it an ideal adhesive for metal inlay. If you want to use a
natural glue instead, you'll notice that fish glue's long assembly time
and high heat resistance make it preferable to hide glue for metal
inlay.
Natural glues
Glues in this group (rice and wheat pastes, fish glue, hide glue, and
casein glue) are made of natural ingredients and cure by moisture
loss, heat loss or a combination of both. Casein glue is a slight
exception, as it is made of milk curd but accomplishes some of its
curing by chemical reaction. For a comparison of the properties of
the glues in this category, see Chart 1: Natural glues.
Nonreactive synthetic glues

The glues in this group (EVA, PVA, contact cement, and hot-melt
glue) are formulated from synthetic ingredients but cure much like
natural glues -- by releasing water, solvent or heat. For a comparison

of the properties of the glues in this category, see Chart 2:

Nonreactive synthetic glues
Reactive synthetic glues

The glues in this group (urea resin, resorcinol, epoxy, polyurethane,
and cyanoacrylate) are formulated from synthetic components and
cure primarily by chemical reaction.For a comparison of the
properties of the glues in this category, see Chart 3: Reactive
synthetic glues
William Tandy Young, author of The Glue Book (The Taunton Press, 1998), is
a woodworker and adhesives consultant in Stow, Mass.
Photos, except where noted: Matthew Teague

67

Sweetgum: Neglected Wood with an Elusive Identity
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an Elusive Identity
A selection of great Understanding Wood
information from our This Dixie star is a master of disguise Wood technologist R.
Magazines, Books, and Bruce Hoadley's
Videos. by Jon Arno
comprehensive guide
Skills & Techniques As a wood consultant, I am often to the nature of wood
asked to identify various species has been updated to
Joinery include new
of wood. Exotic tropical timbers
Tools account for a good many of these information on wood
requests, but among domestic composites, adhesives,
Finishing hardwoods, no species seems to and finishes
Workshop & Safety cause as much confusion as
Identifying Wood
sweetgum. The confusion is
Projects & Design especially acute if the sample in R. Bruce Hoadley
question has been stained or is old teaches you
Materials straightforward
and very oxidized. It's no surprise
that so many people are stumped, techniques for
Reader Showcase because sweetgum is a true identifying more than
chameleon, with similarities to 180 domestic and
many other woods in terms of tropical hardwoods
density, texture, appearance and
Wood
Get instant access to working characteristics.
Sweetgum also takes stain well In these articles from
enough to pass for anything from maple to cherry, even mahogany Fine Woodworking,
Fine Woodworking
and walnut. Given all of this, confusion is virtually inevitable. And you'll find practical
articles.
frankly, it is often intentional. You see, the sad truth is sweetgum is a advice on buying,
Fine Woodworking counterfeiter's delight. As a result, it is often overlooked as a wood in drying and storing
Online Archives its own right, and this is a great shame, because despite some common North
drawbacks, it is a very fine wood for cabinet work. American cabinet
woods, plus a few
One tree, two timbers exotics
Browse our online Our native sweetgum, Liquidambar
catalog of in-depth, styraciflua, produces two woods so
how-to information. strikingly different in terms of color that the
lumber trade markets them separately. The
Techniques
abundant sapwood tends to be just to the
Furniture creamy side of stark white in color and is
Power Tools sold as sapgum. The heartwood, by contrast, is a complex reddish-
brown with a slight grayish hue and is typically marketed as redgum
Hand Tools or simply gum. Unfortunately, the name gum leads to some
Projects confusion, because several species of tupelo, or blackgum, also
sometimes find their way to market as simply gum. Although
Workshop sweetgum and tupelo are quite similar in texture and density, and
Finishing their sapwoods can be easily confused, they are not closely related.
Tupelo belongs to its own small botanical family, Nyssaceae, and is
Turning more akin to dogwood, while sweetgum belongs to the witch-hazel

Carving family, Hamamelidaceae. In fact, sweetgum is the witch-hazel

family's only major timber-producing species in North America.
Professional Topics
Sweetgum's native range extends
from Missouri to Connecticut and
from the Ohio River Valley south
to the Gulf of Mexico, but it
grows best on river flood plains
deep in Dixie from Louisiana
through Alabama. When grown in
dense forests, it is a magnificent
timber tree capable of attaining
heights well in excess of 100 ft.
Drawing: Kirk Caldwell
and diameters of up to about 5 ft.
Its corklike grayish-brown bark
contrasts with its bright green, star-shaped leaves, which turn vivid
red in the fall. The seeds are encased in small, 1-in.-dia. woody burs
vaguely similar to those of sycamore. The tree is so attractive that it
is a popular cultivar wherever it can be grown, and landscapers have
managed to push its range as far north as extreme southern Ontario,
where it occasionally suffers from winterkill and seldom attains its
full potential.
Much used, somewhat abused

Sweetgum's great beauty as a living tree has not spared it from heavy,
long-term exploitation by the lumber trade. Vast quantities of both
sapgum and redgum were used in the 19th century for loose
cooperage and railroad ties. Demand for these products declined, but
equally great quantities have since been diverted to the crating and
pallet-making industries. As to the high-volume use of top-quality
redgum, this has historically centered in the millwork and plywood
industries. Over the years demand has noticeably shifted. It is still an
important species, but its use in millwork seems to have peaked in
the 1930s. Until that time it had been one of the primary low-cost,
paintable hardwoods used for interior trim, and these products were
shipped to markets throughout the country. However, as supplies
diminished and prices increased, this role has largely been taken over
by yellow poplar.
Redgum has much more effectively

Inside the sweetgum
maintained its market position in the
furniture industry as a popular tree
secondary wood. Its role here seems
secure, because it is substantially
stronger than yellow poplar, and its
great versatility when it comes to
subterfuge provides a key benefit. In
the hands of a skilled finisher, it can be
quickly doctored with stains and then
used in conjunction with more
prestigious woods. The application of
dark brown pigments allows it to blend
in passingly well for the less noticeable (opens in new
parts in walnut furniture, while red window)
pigments make it one of the better
counterfeits for cherry. Sapgum offers
some sleight-of-hand opportunities as a blond-wood substitute in

birch and maple commercial furniture. I think these efforts at

misdirection degrade the image of sweetgum, suggesting that
somehow it is an inferior cabinetwood when, in fact, it merits
considerably more respect. It may take some looking to find a retailer
that carries redgum. Two that do are MacBeath Hardwood in
Berkeley, Calif. (800-479-9907), and M.L. Condon in White Plains,
N.Y. (914-946-4111).
Sweetgum is appreciated overseas

While we Americans often use our native sweetgum in rather
fraudulent ways, this is not a practice shared on the international
scene. Europeans are more appreciative of the wood's virtues,
welcoming our export of redgum for use as a primary cabinetwood.
In England, it is commonly called satin walnut, and it is fair to say
that the Brits know a good deal when they see one. Whereas redgum
must be stained to approximate the appearance of North American
black walnut, its natural color is almost identical to that of Old World
walnut (Juglans regia, a.k.a. English walnut), which has long been
both scarce and very expensive over there.
The fact is redgum has excellent working characteristics, almost

identical to those of cherry. It shapes beautifully, and the tendency
for it to friction-burn when routed or sanded is somewhat less of a
problem than it is with cherry. Like cherry, it contains a natural gum
that gives the wood a satiny surface luster, but the gum is not present
in high enough quantities to cause serious friction burn or major
finishing problems. This natural gum, called Storax, is a
commercially important commodity used in the manufacture of
medicines and perfumes, but the average sweetgum tree can be
coaxed to produce only about 8 oz. of the sticky fluid per year.
It would be a gross exaggeration to suggest that all redgum is

stunningly beautiful, but like maple it often produces some very
attractive special figures. Quartersawn stock almost invariably yields
a ribbonlike grain appearance. When this feature is especially
pronounced, it is exceptionally showy because of the wood's satiny
natural luster. Although less common, even flatsawn redgum
occasionally yields a wavy, fiddleback figure, or it may also be
highlighted with dark, chocolate brown streaks. These more carefully
selected examples of sweetgum are very attractive and deserve to be
ranked as prime cabinetwoods.
Sweetgum's shortcomings
Like all woods, sweetgum has at least a couple of potentially serious
shortcomings. Its very poor resistance to decay represents one of its
more important limitations, but this is not a particularly serious
problem when it is used for furniture and other interior projects. Of
far greater concern is its notorious lack of stability. The reason for its
instability is somewhat of a mystery. Laboratory tests indicate that its
average volumetric shrinkage is 15.8% green to oven-dry. This is,
admittedly, very high compared with most cabinetwoods such as
genuine mahogany (7.8%), cherry (11.5%) and walnut (12.8%). It is
even high compared with notably unstable species like sycamore
(14.1%) and sugar maple (14.7%). But volumetric shrinkage alone
does not account for serious distortion. A wood's propensity to warp
is better predicted by its T/R ratio (the ratio between its tangential
and radial shrinkage). Woods with a T/R ratio below 2:1 tend to be
less prone to distortion. But the surprise here is that sweetgum's T/R

ratio is a rather comfortable 1.92:1. Statistically, it should be less

prone to distortion than it is.
So why does it have such a high tendency to warp? I suspect the

combination of its interlocked grain, with its very high volumetric
shrinkage, is at the core of the problem. Similar attributes are shared
by a few other woods, such as elm, that distort in much the same
way. Because of the interlocked grain, even relatively uniform
shrinkage, if it is high enough, appears to induce extreme stress in
such woods.
The fact that sweetgum has a significant propensity to distort

presents a challenge, but it should not be viewed as a catastrophic
shortcoming. In the hands of a skilled cabinetmaker, it is simply an
attribute of the wood that must be managed in the same way it is
managed when working with maple or sycamore. Care must be taken
to allow wide panels to float, and the project should be designed with
an eye for counterbalance. In other words, various subassemblies and
structural elements should interact in ways that allow them to be
mutually restraining. Redgum's many other positive attributes in
terms of appearance, working characteristics and affordable price
make it well worth the effort.
Jon Arno is a writer and woodworker in Troy, Mich.
Photos except where noted: Jonathan Binzen
From Fine Woodworking #142, pp 56-

59

Krenov on Grain: The Story of a Cabinet
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Entire Site Krenov on Grain: The Story of a

Cabinet
A selection of great Understanding Wood
information from our When it comes to reading grain, Krenov wrote Wood technologist R.
Magazines, Books, and the book Bruce Hoadley's
Videos. comprehensive guide
by James Krenov
Skills & Techniques to the nature of wood
James Krenov loves to read, and has been updated to
Joinery include new
his conversation is laced with
Tools quotations from writers, artists information on wood
and craftsmen. Much of Krenov's composites, adhesives,
Finishing and finishes
best reading, however, takes
Workshop & Safety place, not with a book in his
Identifying Wood
hand, but a plank. A close look at
Projects & Design a piece of his furniture reveals his R. Bruce Hoadley
gift for reading the possibilities in teaches you
Materials straightforward
a piece of wood. You see that the
wood and the cabinet are techniques for
Reader Showcase beautifully blended: Only this identifying more than
particular plank could have made 180 domestic and
this piece. When we paid him a tropical hardwoods
visit, we found him working on a
Wood
Get instant access to new cabinet-on-stand in teak,
In these articles from
over 600 of the best spalted maple and olive. He was
Fine Woodworking,
Fine Woodworking nearly finished with the cabinet
you'll find practical
articles. and was contemplating the stand.
advice on buying,
We asked him to explain how he'd
Fine Woodworking drying and storing
chosen the wood for the piece and
Online Archives common North
how the wood had affected the
His cabinet, with its harmony of American cabinet
design. colors and patterns, proves woods, plus a few
again that when it comes to
-- The Editors reading grain, Krenov wrote exotics
Browse our online the book. Photo: Seth Janofsky.
catalog of in-depth, I started with only a vague idea of

how-to information. what I was going to make. I knew it was going to be a small cabinet
and that it would be made of a wood not too light -- and not very
Techniques
dark. Medium, like this teak. I did a little sketch, more of a doodle
Furniture than a drawing. The sketch just gives me a line on a map -- I can
follow it, but I still have to take a look at what's on either side of the
Power Tools
road.
Hand Tools
From there, I went to the wood room and picked and poked my way
Projects to a sense of confusion, irritation. I looked through the wood I had in
Workshop my bench room, but I didn't find what I wanted. I had some teak that
was very dark brown and extremely straight lined. Teak like that
Finishing
seemed too good to be true -- it didn't excite me. Then, back in the
Turning wood room, I noticed a small, crooked, sawn-up log of teak lying

Carving partly hidden on the floor. We'd had it for several years, and nobody
seemed to want it. It was no more than 5 ft. long and had been sawn
Professional Topics into 8/4 planks. I scratched it a little bit and discovered it was rather a
lively teak. It had nice color and a lot of motion in it. Once I found
that log, I was off and running -- it really gives me energy when the
wood helps me with what I hope to do. But I have to take care. If I
turn to one plank instead of another to start a cabinet, it can be the
difference between night and day. Or maybe just night. ...
I sawed some of the teak into

veneer and made up parts of the
carcase with it, using pleasantly
beige European cherry for the
inside. Some people like to use
high-contrast wood inside a
cabinet to make it a surprise when
you open the doors. I prefer a soft
transition. There's a lot of
movement in the cherry; it has
rhythm and ripples in it. But it's
not wild.
When I was working on the sides

of the cabinet, it became apparent
that something different from
what I had anticipated was going
on. I was making a perfectly rectilinear cabinet, but here the grain
was bending forward at the bottom: The crook in the log of teak was
now visible as a pleasing but definite curve in the grain of the veneer.
When I saw that the side of the cabinet created a forward curve, I
decided to change the stand to one with front legs that swept forward.
Making this change is an example of observing what's happening
with the wood as you work. But while you sometimes let the wood
guide you, you shouldn't let it dictate. You have to refer to the wood
without abandoning your intentions. There has to be a cooperation, a
partnership between the two. The idea is to follow, but be careful.

Going with the grain. When he saw the curve in the grain on the
cabinet side, Krenov rethought the stand's front legs. He gave
them a complementary forward curve and selected a plank with a
matching curve in the grain.
It's a matter of getting acquainted with all of the properties of each

wood you choose to work -- a wood's colors; its hardness or lack of
hardness; whether its grain is ornery or not. It's a very personal thing,
and not everyone pays such close attention. But if you do, you are
more in harmony with the wood and the work. And the results seem
to flow from this harmony, even though it is connected with periods
of stress and doubt. In the long run, knowing about these things will
help a person.
Making the drawers was dicey. I made them from one short, thick,
lively piece of olive, and I had a knife at my throat the whole time,
knowing I didn't have extra wood with the same pattern, or anywhere
near it, so there was no way I could replace a drawer -- if I spoil one,
there goes the whole facade. The olive wasn't long enough to give me
all of the drawers with the grain continuous from side to side. But it
was thick. So I made end-to-end bookmatches. The challenge was to
piece these busy elements together without creating chaos. I may not
have achieved quiet, but I think I avoided chaos.
The drawer sides, backs and bottoms are made of olive ash. It's a
subdued tan color that goes well with both the olive and the teak. It
looks much better than if I had used a high-contrast wood like maple.
The olive ash just melted together with the other woods.
By the time I cut the door panels, I had made most of the cabinet. But
again, I knew what I wanted -- sort of. My friend Brian had given me
two small pieces of spalted maple as a present, saying, "Make
something with these someday." I like that. We have these little
exchanges of wood going on. People share pieces of wood, and they
become a story. The piece I used for this cabinet was 3 ft. long and
about 8 in. wide. Part of it had crumbled, and only about a foot and a
half was usable.
With spalted wood, the pattern often changes dramatically in ways

you can't predict from one slice to the next. Just a bandsaw kerf away
you sometimes find the pattern very different. That was the case with
these panels. If you open the door and compare the inside with the
outside, you'll see they are quite different. I had originally planned to
set tiny pieces of ebony as straight lines dividing the door panels. But
when I saw the pattern of spalting on the panels, I thought, "There it
is; don't mess with it."
I should mention that earlier I tried a different set of panels. I had a

piece of spalted maple of my own that I sawed up, with spalting in a
very intricate pattern, like spiderwebs. The landscape they made was
wonderful. But when I saw those panels next to the olive of the
drawers, the panels were too pink. There was no other pink in the
cabinet -- the rest of the wood went toward yellows rather than
toward reds.
So I settled for the board my friend had given me. The composition
may not be as strong, but the color is better. Once I get finish on
them, the greenish cast will fade, and they will be much more mauve.
I think it will be a nice complement to the olive in the drawers and to

the teak. I still like the original panels, though. I'll just have to build
another cabinet for them someday. ... Maybe. ...
Later in the summer, we heard that the cabinet was finished, and we
asked Krenov how the rest of the process of making it had gone.
When you were here, I hadn't decided on the pulls, although I was
thinking about wrought iron, some kind of Japanese-ish drop pulls. I
contacted John Burt, a cabinetmaker and blacksmith, and he made
these for me. They are in three sizes to suit the smaller, intermediate
and larger drawers. John also made the handles for the doors. I
placed them a little above the middle of the door because there was
already considerable visual weight down at the drawers with all their
pulls.
When it came to making the stand, after I had abandoned the original
sketch and gone for the forward-sweeping front legs, everything was
rather simple. There was a little play with the grain. I used the natural
curve in the grain for the front legs, and I tried to get some of the less
curved, almost straight-grained wood for the back legs, which are
themselves straight. On the stand's front rail, you can see an upward
curve to the grain. If you turned that upside down, it would look
tired; with this gentle, upward curve, it lifts rather pleasantly.
So the stand was easy to make, but for a while I had some doubt as to
the dimensions. I thought maybe the stand was a trifle heavy for the
rest of the cabinet, and perhaps some will think so. But now, after
coming back to see it at different times, sneaking up on it and turning
on the lights, after asking my wife, Britta, to take a look with me and
hearing from other people who have looked at it, I see the cabinet
itself is not so delicate. In fact, it has a certain miniature sturdiness.
So perhaps the stand and the cabinet are friends after all and get
along rather well.
To finish things off, I just have to say that I'm pleased with the
cabinet, and people seem to like it. And I'm very happy to admit that,
in making it -- whether it's for the last time or not -- I have once more
been very lucky.
James Krenov works and teaches at the College of the Redwoods in Fort
Bragg, Calif.
Photos except where noted: Jonathan Binzen
From Fine Woodworking #133, pp. 128,

130, 132

Fine Wood Working - Reader Showcase
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It's impossible for all of Fine Woodworking's quarter-million
Entire Site readers to write an article for our reader-written magazine. But for
a long time we've toyed with the idea of how to showcase the
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A selection of great amateurs alike, who toil away in their shops, often in anonymity.
Magazines, Books, and Acknowledging the work of others is only one reason for this
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YOU ARE HERE: Fine Woodworking Home Reader Showcase Issue #162
Reader Showcase
From Fine Woodworking Issue #162
Entire Site
information from our Brian Bortz
Videos. "I am a high-tech corporate dropout who
picked up woodworking as a hobby five
Skills & Techniques years ago," said Bortz. He designed and
built this bow-front entertainment center
Joinery
(30 in. deep by 43 in. wide by 77 in. tall)
Tools because he has always felt that televisions
and stereos should not be considered
Finishing furniture and should be hidden when not
Workshop & Safety in use. Made of walnut, the piece features
book-matched pommele sapele veneered
Projects & Design door panels, Greek key dentil molding and
Materials turned ebony door and inside drawer
knobs. It has a lacquer finish. Photo by
Alex Justin
Reader Showcase

Fine Woodworking
Randall Shope
articles.
Fine Woodworking After his wife decided that they
Online Archives needed a larger desk, Shope
volunteered to build this rolltop desk
(34 in. deep by 56 in. wide by 48 in.
tall). Using Kenneth Baumert's article
"Building a Roll-Top Desk" (FWW
Browse our online
#79, pp. 48-53) as a starting point, he
incorporated design ideas from other
how-to information.
antique desks as well. Made of white
Techniques and red oak with trim and accent
pieces of Brazilian cherry, the piece is
Furniture
finished with Danish oil and wipe-on
Power Tools polyurethane.
Hand Tools
Projects
Workshop
Finishing
http://www.taunton.com/finewoodworking/pages/fw_readshow_162.asp (1 of 2) [11/3/2003 3:18:50 à«]

Turning
Carving
Robert L. Millard
Professional Topics
Millard made this shelf clock with bracket (5 3/4 in. deep by 11 3/4 in.
wide by 32 3/4 in. tall) based on a photograph of a David Wood original in
American Antiques from Israel Sack Collection: Volume 8 (Highland
House Publishers, 1986). The primary wood is mahogany, and the
secondary woods are poplar, white pine and basswood. The piece features
inlays of satinwood, curly maple and ebony and a professionally painted
clock face. Because the David Wood original is missing its bracket,
Millard combined features from several examples for his reproduction. It
is finished with a lime-and-water mixture, dye-tinted Danish oil and
shellac.
Andrew Wappett
Based on a design that Wappett regularly makes,

this rocking chair (44 in. deep by 27 in. wide by 48
in. tall) was commissioned as a Mother's Day gift.
The rocker is constructed out of figured birch and
cherry. The relief carving of the two chickadees on
the crest rail was done by Philip Marshall, a local
artisan. The rocker is finished with an oil-and-
varnish mixture, and the carving is highlighted with
oil paint.
Reader Showcase Home
Photo Tips | Reader Showcase Entry Form
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Feature Library - Joinery

YOU ARE HERE: Fine Woodworking Home Joinery

• Tablesawn Keys for Mitered Boxes

Tools • Tablesawn Dovetails

Workshop & Safety • Three Tongue-and-Groove Edge Treatments for Plywood

Reader Showcase • Edge Joints

Fine Woodworking • Tenoning Strategies

• Making Round Tenons from Square Spindles

Workshop • An Easily Aligned Jig for Routing Shelf Dadoes

http://www.taunton.com/finewoodworking/pages/fw_feat_joiner.asp (1 of 2) [11/3/2003 2:50:30 à«]

Carving • A Faster Way to Make Half-Blind Dovetails

Fine Woodworking | Fine Homebuilding | Fine Cooking | Fine Gardening | Threads

http://www.taunton.com/finewoodworking/pages/fw_feat_joiner.asp (2 of 2) [11/3/2003 2:50:30 à«]

YOU ARE HERE: Fine Woodworking Home Joinery Tablesawn Dovetails

From the pages of Fine Woodworking Magazine

Four cuts are possible

Accuracy and hand-cut look in half the time Custom-ground blade

http://www.taunton.com/finewoodworking/pages/w00120.asp (1 of 4) [11/3/2003 2:51:07 à«]

The pins are pretty easy, as long as the

Have a blade specially sharpened

When tilted to the proper angle, the top

I recommend using a carbide-tipped blade that has a flat-top grind.

Cut the tails first

http://www.taunton.com/finewoodworking/pages/w00120.asp (2 of 4) [11/3/2003 2:51:07 à«]

severed fibers. Of course, I use a marking gauge to scribe the depths

Size matters -- Basically, I cut the tails by setting the board on

Typically, I'll run each set of

Setting the blade height -- For through-dovetails, when using

http://www.taunton.com/finewoodworking/pages/w00120.asp (3 of 4) [11/3/2003 2:51:07 à«]

accidentally go too high, reposition the support board or flip the

Fine Woodworking | Fine Homebuilding | Fine Cooking | Fine Gardening | Threads

http://www.taunton.com/finewoodworking/pages/w00120.asp (4 of 4) [11/3/2003 2:51:07 à«]

Rabbet the tails before cleaning out the waste

http://www.taunton.com/finewoodworking/pages/w00120_p2.asp (1 of 3) [11/3/2003 2:51:59 à«]

Now cut the pins

On the tablesaw, use the double-miter-gauge setup. I usually stack

http://www.taunton.com/finewoodworking/pages/w00120_p2.asp (2 of 3) [11/3/2003 2:51:59 à«]

drawer sides into drawer fronts or case

both the process and final product. But

Photos: Asa Christiana; drawings: Kelly J. Dunton

From Fine Woodworking #152, pp. 56-

Fine Woodworking | Fine Homebuilding | Fine Cooking | Fine Gardening | Threads

http://www.taunton.com/finewoodworking/pages/w00120_p2.asp (3 of 3) [11/3/2003 2:51:59 à«]

From the pages of Fine Woodworking Magazine

Concave batten aids

Treatments for Plywood

Get instant access to

http://www.taunton.com/finewoodworking/pages/w00119.asp (1 of 2) [11/3/2003 2:52:25 à«]

Carving fewer clamps.

Detail photos: Kelly J. Dunton; other photos: William Duckworth

From Fine Woodworking #156, pp. 60-

Fine Woodworking | Fine Homebuilding | Fine Cooking | Fine Gardening | Threads

http://www.taunton.com/finewoodworking/pages/w00119.asp (2 of 2) [11/3/2003 2:52:25 à«]

YOU ARE HERE: Fine Woodworking Home Joinery Edge Joints

From the pages of The Complete Illustrated Guide to

A selection of great An introduction to the various types of edge Tongue-and-Groove

Projects & Design The Complete

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http://www.taunton.com/finewoodworking/pages/bw0002.asp (2 of 4) [11/3/2003 2:53:04 à«]

Dry-clamp the boards arfter

Reinforcing edge joints

So why reinforce an edge joint? Reinforcements in the form of

A tongue-and-groove joint is another effective way to join edges. The

http://www.taunton.com/finewoodworking/pages/bw0002.asp (3 of 4) [11/3/2003 2:53:04 à«]