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FineW> rktng'_' ______ ___ January/February 1989DEPARTMENTS4 Letters8 Methods of WorkFixed-louver shutters; spindle tapering jig; half-lap joints12 Questions & AnswersOil-bleeding problems; japan-finishing; northwest red alderModern scroll saws are precision machines capableof accurate work in thick hardwoods. Greg Bovertests eight current models on p. 50. Cover: Scott Dickersonshapes a leg on his foursquare chair, a chairbuilt without angled joinery (see article, p. 36).Managing EditorArt DirectorAssociate EditorAssistant EditorsCopy EditorDick BurrowsRoland WolfSandor NagyszalanczyJim Boesel, Alan PlattCathy McfannAssistant Art DirectorEditorial SecretaryContributing EditorsKathleen CrestonMary Ann ColbertTage Frid, R. Bruce Hoadley,Mi'chael S. Podmanjczky, Graham Blackburn, ChristianBcksvoort, Michael DresdnerCorJ.ulting EditorsNOrman VandalMethods of WorkIndexerHarriet HodgesAssociate PublisherGeorge Frank, Richard E. Preiss,Jim RicheyAdministrative SecretaryJohn LivelyLynn MeffertAdvertising Sales Manager James P. ChiavelliNational Accounts Managers Don Schroder,Dick WestAssistant Accounts Manager Ben WarnerSenior Sales Coordinator Carole WeckesserAssistant Advertising Coordinator Kathryn SimondsAdvertising Secretary Sherry DuhiggTel. (800) 243-7252 Fax. (203) 426-3434Fine Woodworking is a reader-written magazine. We welcomeproposals, manuscripts, photographs and ideas fromour reaciers, amateur or professional. We'll acknowledge allsubmissions and return within six weeks those we can'tpublish. Send your contributions to Fine \'(/oodworking, Box355, Newtown, Conn. 06470.Title to the copyrights in the contributions appearing inFine \Voodworking magazine remains in the authors, photographersand artists, unless otherwise indicated. They havegranted publication rights to Fine WoodworkingFine Woodworking (ISSN 0361-3453) is published bimonthly, January, March, May,July, September and November, by The Taunton Press, Inc.. Newtown, CT 06470.Telephone (203) 426-8171. Second-class postage paid at Newtown, CT 06470, andadditional mailing offices. Copyright 1989 by The Taunton Press, Inc. No rcproductionwithout permission of The Taunton Press, Inc. Fine Woodworking@ is a regiSteredtrademark of TIle Taunton Press, Inc. Subscription rates: United States andpossessions, S22 for one year, S40 for two years; Canada and other countries, S26 foronc year, S48 for rwo years (in U.S. dollars, please). Single copy, S4.50. Single copiesoutside U.s. and possessions, S5.50. Send to Subscription Dept., 111C Taunton Press,PO Box 355, Newtown, CT 06470. Address all correspondence 10 the appropriatedepartment (Subscription, EditoriaL or Advertising), TIle Taunton Press, 63 SouthMain Street, PO Box 355, Newtown, CT 06470. U.S. newsstand distribution by EasternNe .. vs Distributors, Inc., I 130 Cleveland Road, SandusJ...-y, OH 44870.14 Follow-upMore on tool reviews; radial-saw recall; safety and photography105 Index to Issues 66 through 73110 Events112 Books114 Notes and CommentWomen designers/makers; a bench for children; product reviewART ICLES36 Making a Foursquare Chair by Scott DickersonComfortable seating with right-angle joinery40 Wrapping a cane seat by Janet Redfield42 Secret Compartments by Christian BecksvoortA furnituremaker's cache box47 Sliding-Lid Boxes by John HeatwoleHand-carved, top to bottom50 Testing Scroll Saws by Greg BoverSmooth and precise cuts, even in thick stock55 Alabaster on the Lathe by Max KrimmelTurning stones into translucent vessels58 Building a Shaker-Style Wardrobe by Tom HagoodBeads and crown dress up a basic cabinet62 Souped-Up Scraper by Kelly MehlerOld-time hand tool challenges belt sander64 Pedestal Tables by Jim WallaceSculptural bases and veneered tops68 Joining Molding by Graham BlackburnCoping with COrners and complex miters70 Drawing and the Design Process by Peter KornTranslating ideas into furniture74 A Solar Kiln for Drying Wood by John WilsonDry, defect-free wood and a place to store it, too76 Wood-drying basics78 Bird's-Eye Maple by Bill KeenanNature flaunts her 'Midas' touch81 Woodworkers' Tour of Chinaby John Kriegshauser and Nancy LindquistAncients ways persist in the age of automation84 The International Turned Objects Showby Michael PodmaniczkyNew signs of the turning tidePostmaster: Send address changes to The Taunton Press, Inc., PO Box 355, Newtown, CT 06470. 3

LettersWoodworkers are not snobs -I'm upset by the letter in fWW#72 stating "woodworkers are egotistical, pompous snobs." Ifthe author had preceded his statement with the word "occasionally,"I might not have taken offense. But when he implied thatall woodworkers are in that category, he should be forced toswallow those words. I have met many woodworkers from allover the nited States and from a few foreign countries, andamong them all, I have found only one that fits his description,and he wasn't even a fair amateur. In my town, we have the ParsonsAmateur Woodworkers Society with 35 members. I mustsay I've never associated with a finer bunch of men, who arealways willing to help each other. When beginners feel they can'tcompete with the work being done by more experienced workers,we encourage them to keep trying and remind them ofthese lines that I once read, "Use your talents to the best of yourability. Remember, the woods would be very quiet if the onlybirds that sang were those that sang best."-Myer S. Freshman, Parsons, Kans.Praise for authentic Chinese joinery-Allan Smith's article infWW #73 on Chinese furniture was not only good reading, but adelightful change of pace. For many years, I've been excited bythe Chinese style and curious about the joinery. I've made twocoffee tables similar to Smith's horsefoot deSign, to showcasesome antique tiles my wife inherited. The results were spectacular.But, I used classical European joinery methods, because Ididn't know any better. It wasn't untill read Gustav Ecke's bookChinese Domestic Furniture that I discovered the authentic Chinesejoinery. (Smith recommended this book, and it is available fromCharles E. Tuttle Co. Inc., Box 410, Rutland, vr 05701-0410.) I'vemade a third table following Ecke's faultless drawings. All thecomponents interlock, and the structure would be perfectly stablewithout glue. However, I'm not a total purist and did gluethings together at final assembly. This table will last forever andneed never be taken apart. -Thomas A. Sharp, Sanibel, Fla.The old resaw joke -A man came to our store and boughtseveral thousand dollars of woodworking equipment. After athree-day class in the fundamentals of woodworking, he put anad in the paper that claimed his shop could do any kind ofwoodworking. His first caller asked if they resawed wood, towhich this entrepreneur answered, "We don't have to; we saw itright the first time." He later came back to the store and prefacedhis story with the question, "Hey, what does resaw mean ?"-Jimmy Reina, Indianapolis, Ind.More hints on rubbing out finishes-Many thanks to MichaelDresdner for his fine article on rubbing out fi nishes ( fWW #72).But I would like to make a few suggestions that might be helpful,especially to those who do a lot of commercial refinishingand finish restoration.When spraying lacquer, add fish-eye remover rather than retarderto increase flow-out and gloss. Add the fish-eye removeranyway when working with previously finished furniture thatmight be contaminated by silicone. The fish-eye remover won'tUNTON PUBLICATIONS... hy Icllo",' ('H(hll:;;:J."I'The Taunton Press: PaulRoman, publisher; janice A. Roman,associate publisher; Roger Barnes, design director, Carol Gee, e.'-­eculive secretary. Accounting: Wayne Reynolds, controller; PatrickLamontagne, manager; Carol Diehm. Rosemary McCulloch, JudithSmith, Rachel Yahwak, Elaine Yamin. BooksIVideos: john Kelsey,associate publisber, Eileen Hanson, administrative secretary, DeborahCannarella, managing editor, Paul Bcrtorelli, senior editor, ChristineTimmons, associate editor, Maria Angione. secretary; Videos: RickMastclli, producer/director; James Hall, assistant producer; Art:Deborah Fillion, manager; Gary Williamson, assistant art director;Cathy Cassidy, art assistant; CopylProduction: Ruth Dobsevage.manager; Pamela Purrone, COPY/production editor; Marketing: JonMiller, manager, Philip Allard,promotion writer. Corporate Market·lng: Dale Brown, director, Andrea Ondak, manager, Donna Pierpont,publiC relations manager; Barbara Buckalew, e:t:ecutive secretary;Christine Cosacchi. customer service coordinator. Data Process·ing: Drew Salisbury, manager; Brendan Bowe, senior programmer/tmalyst; Susan Partis, programmer trainee; Ellen Wolf, PC coortlillator.Fulflliment & Operations: Tom luxeder, director; janeTorrence, secretary; Circulation: Karen Cheh, coordinator .. Barbaral'less, fulfillment assistant; Customer Service: Terryl n,omas, supervisor,Anette Hamerski, Patricia Malouff, Nancy Schoch, ClaireWarner; Distribution: Danny D'Antonio, supervisor, Grace Aumuller,David Blasko, TimodlY Harrington, linnea Ingram, Mary Ann Costagliola,Alice Saxton, Robert Weinstein; Purchasing & Facilities: Williamslow the (hying/curing process as it improves flow-out and gloss.Also, here's how to rub out a dining table to a beautiful glossin an hour or less: First, level the surface with 600-grit stearatedpaper. Remove any sanding scratches and remaining orange peelwith a power buffer and Ditzler #16 rubbing compound, whichis available from auto-body supply stores. If you've never used apower buffer, practice on something expendable fi rst-bufferscan be tricky. Finally, remove t11e residue with naptha and a softrag, then buff to a diamond gloss with a clean lamb's wool padon your power buffer. -Scott Lawrence, Redmond, Wash.Clean water for eye safety-Dr. Paul Yinger's eye-safety article(fWW #72) is fi ne as far as it goes, but I have some concernsabout his recommendations on using water as eye wash. Thewater in Lexington, Mass., must be better than here in centralOhio. Tap water here is so hard it's an irritant. For this reason, Ikeep sterile solution close to my first-aid kits. Sterile saline isconunonly available at drug and grocely stores in t11e contact-lenscare sections. I reconunend the types labeled "for sensitive eyes."-Douglas Campbell, Clintonville, OhioMore warnings on eye injuries -In addition to Dr. Yinger'swarnings (fWW #72), I'd like to mention two other specific injuriesI've seen as an ophthalmologist. Catastrophic eye injury canoccur when someone is reaching under a surface to drive in ascrew and looking from above. A slipped screwdriver can be adangerous stabbing tool. I've seen three such injuries in t11e pasttwo years, and each one resulted in an eye lost.All forms of hammering can be dangerous, but hitting steel onsteel is by far t11e most dangerous, as tiny particles can fly off theface of the tool at tremendous speed. These tiny particles canpuncture the eye quite easily, and they are very difficult to locateand remove. Observers are just as vulnerable as the tool operatorto injuly, too. Unfortunately, many times t11e injUly may noteven be recognized as serious, and the person may not seek adoctor. This could lead to potentially disastrous complications.Dr. Nick Strong, Cambridge, EnglandLye for apple - Some time back, Fine Woodworking had an articleon using lye to enhance the color of cherty. I tried the ideaand was totally satisfied. Perhaps the finest piece of furniture Ihave yet made is a cherty side table colored with lye and fi n­ished with an oil finish. I've since used lye to enhance the colorof apple and have had equally impressive results. Appleheartwood takes a rich, deep color, whereas sapwood is affectedonly slightly. The results can be quite dramatic.-Keith Hacker, Scandia, Minn.Kids do have a place in the shop-I don't agree with recentletters (fWW #71 and #73) that say kids don't belong in theworkshop. The first reason being that my father was a carpenter,and if he hadn't allowed me in the shop, I would never havebecome so involved with woodworking. Secondly, my 8-year-oldson now works with me in my shop. He knows how to safelyoperate the bandsaw, drill press, jigsaw, sander and lathe. He hasSchappert, purchasing agent; Lois Beck, office-services coordinator;Donald Hammond, mail-services clerk; Chuck Hollis, Office maintenance;Christopher Myers, Office-operations clerk; Debra Brown,chef/manager, Yang Rogers, cafeteria (lsslstant; Subscription:Carole Ando, manager, Patricia Aziere, Connie Bar

Letters (contillued)never hurt himself, except for a bruised thumb from his hammer.I believe that if kids aren't allowed in the shop, they willnever learn, and 1 don't want my son to be afraid of the equipment.Children need to participate in, as well as watch, what isgoing on. Telling children they're not allowed in the shop onlyarouses their curiosity; then, you have problems.-Scott j. Cornelius Sr., Amberst, ObioSubstituting catalpa for butternut- I was pleased to read JonArno's article on catalpa (FWW' #72). Like Arno, 1 find catalpahas properties quite similar to butternut, which is my favoriteand most-used carving wood. But as far as I can determine, buttermltis disappearing from the commercial market in manyparts of the country, as existing stands are wiped out by disease.In the future, many carvers and other woodworkers will probablybe looking for catalpa as a substitute for butternut.-Wa lter F Gretber, Dayton, ObioPEG and refractory wood-Regarding comments on usingpolyethylene glycol (PEG) for drying almond wood, PEG doesnot work well with almond or any other wood that has a lowpermeability to liquids (including PEG solutions). Low permeabilitycan result naturally, as in Douglas-fir heartwood, or it canresult from a tree injury. Orchard trees, such as almond, wouldbe full of impermeable wood due to frequent pruning of the trees.Air drying is also not suitable for this wood or any other refractory(prone to splitting, cracking) wood. The uncontrolledexposure to hot, dry weather and then rainy weather will damageall but the most tolerant species. The best drying method forrefractory woods is a partially closed shed, which will protectthe wood from rain and sun and help control drying. Duringespecially dry weather, the shed's walls may have to be closedfully with burlap to retard airflow. Also, when sawing refractorywood, always leave the bark edge on to minimized warpage. Edgethe lumber after drying. -Eugene M. Wengert, Blacksburg, VirgHardness not the only factor in tool quality-A recent itemin "Question and Answer" (FWW' #71) stated that a high-qualitychisel blade might have a Rockwell hardness of 60, while a poorqualitytool might be around 52. These words echo an apparentlywidespread assumption that regardless of other factors, the harderthe steel, the higher its quality. The fact is that whatever itsquality, the steel in a wood chisel or plane iron is not made ashard as it could be. The reason is based on the nature of steeland the process by which it is hardened.At the risk of oversimplifying things, most woodworking cuttingtools are made from "high carbon" or "tool steel," which containsfrom 5% up to l.5% carbon. The deliberate, as well as unwelcomepresence of other elements, in quite small amounts, gives the steelother qualities, but the presence of carbon permits hardening.Hardening is done by heating the steel between 1,350or- and1,480or-, which changes tlle crystalline structure of the metal tomake it hardenable. If the steel is allowed to cool slowly, it revertspretty much to its former state. If the steel cools quickly,the new structure is "frozen," and the steel hardens dead hard.In this dead-hard state, the steel is brittle. If you made a chiselout of it, it would be tough to shape and sharpen, and the edgewould chip and crack. To achieve a better balance betweenhardness and utility, the steel is softened. This is done by reheatingit, but to a lower temperature than before, to change thecrystalline structure. This is called tempering. At about 430"F,quite hard steel will result, suitable for machinist's scrapers,scribers and burnishers. At 600or-, the steel is too soft for muchexcept wood saws, screwdrivers and springs. Wood chisels andplane irons come in at or near 500or-.There is, of course, a lot more to say, but the point is thatthere is a good deal more than hardness to deal witll if a high-quality tool is to be made. These factors include toughness, malleability,heat resistance, stability and grain size. The right mixbegins with tile right steel alloy and runs through the whole heattreatingprocess. Steel doesn't lend itself cheerfully to all this.Given half a chance, it oxidizes, cracks, distorts, pits, scales, heatsunevenly, carburizes or decarburizes. And in other ways, it justdoesn't go along with your plans. High-quality steel is the resultof dealing successfully with all of these factors, and there is noone nonsubjective criterion that can be applied to gauge quality. Intile end, as a steel user, you have to accept what tile man says andfind out if he's right later. -Henry T. Kramer, Somerville, Nj.More on myrtle wood-It is high time to put the old myth ofmyrtle wood only growing in Southern Oregon and in the HolyLand aside for good. In the first place, the tree is not a myrtletree, but it is in the bay or laurel family. The scientific name isUmbellularia cali/arnica. 1 have used tlle leaves in cooking foryears, collecting only the new tender leaves and drying them.The tree grows all the way from Southern Oregon to thesouthern border of California, and tile largest tree is to be foundin San Leandro, Calif. It is a monster and should be seen byanyone interested in that species. Contrary to belief, myrtlewood does not grow in the Holy Land.Anyone who ever works myrtle wood will fall in love with it.I put myrtle wood up there with black walnut and mahogany interms of bOtil its beauty and working qualities.-Fran Hall, Boulder, Colo ... . Myrtus communis, tlle myrtle found in the Holy Land andcited in the Bible (Isaiah 55:13) belongs to a different family(Myrtaceae). It is not related to Oregon myrtle, aka Californialaurel (Umbellularia cali/arnica, family Lauraceae).-Robert Pinney, Rutbeliord, Calif.... The talk about Oregon myrtle wood growing only in Oregonand the Holy Land is a myth perpetrated by the companies thatmake and sell "myrtle wood" souvenirs.-Cbarles Slay, Belmont, Calif.Twig-whistle poetry-In reference to Denis Foster's search forthe poem his grandfather used to recite as he made twig whistles(FWW #73), here is one I learned from my mother. I don'tknow if it's the poem Denis remembers, but it comes to mindnow and tllen, and gives me a chuckle: I've always been a suckerfor sophisticated humor. -Roy Deppa, Brookeville, Md.(We also received a copy of the same poem from Richard A.Fisher of Cleves, Ohio, who points out that tlle "tin" in the lastline was interpreted a a toddler'S word for "can.")I made a wooden whistle,But it wooden whistle.So 1 bought a steel whistle,Bit it steel wooden whistle.Then 1 bought a lead whistle,But it steel wooden lead me whistle.Then I got a tin whistle.Now I tin whistle.About your safety:Working wood is inherently dangerous. Using hand or powertools improperly or neglecting standard safety practices canlead to permanent injury or death. So don't try to performoperations you learn about here (or elsewhere) until you'recertain tbat tbey are safe for you and your sbop situation.We want you to enjoy your craft and to find satisfaction inthe doing, as well as in the finished work. So please keepsafety foremost in your mind whenever you're in the shop.-Jobn Lively, associate publisber6 Fine Woodworking

• •DOWEL IT!For tough joints that are perfectly aligned, The Dowel Mateis the answer. A single step on the foot pedal firstclamps the wood and then shoots in two dowel holes.Air clamp and air feed. • Shipped ready for• Double spindles on 1"production.centers.• USA High quality at• 3/4 hp 115/220 V withLow price.switch & cord.See your woodworking machinery dealer or calltoll free for an informative brochure.• • • • •PORTA-NAILS, INC. PO BOX 1257 WILMINGTON, NC 28402PHONE (919) 762-6334, OUT OF NC 1-800-634-9281Porta-Nailer Router Mate Panel Template Ring MasterTHE "DOOR-STICK"NEVER THROW OUT ANOTHER DOOROR DRAWER FRONT AGAIN !MODEL NO. DS-48PRICE $49.95+4.05 postage & handlingTHE FAST, EASY WAY TOMEASURE EUROPEANSTYLE CABINETRY*Cuts Measuring Time Up To 60%Designed Primarily For Use WithFrameless Box ConstructionEliminates Erratic Spacing of Doorand Drawer Fronts Both Verticallyand Horizontally* Compensates For Overlays, Inlays,Door Gaps and Edging Material ___ ":':":"":==':'_-'--- ...." * Calculates Drawer Fronts - 1 to 5 PanelsINDUSTRIES,INC.45 HALLADAY ST. 175 LAFAYETTE ST.* Calculates Doors - Singles and PairsCalculatesActual Drawer DimensionsWithin a Cabinet Compensating ForDrawer SlidesCALL 1-800-526-30033660 GENESEE ST 7215 N. WEST 31ST LANEJERSEY CITY, NJ NY,NY BUFFALO,NY MIAMI, FL(201) 433·3800 (212) 226-4000 (716) 634·8930 (305) 691·2277VISA - MASTERCARD ACCEPTEDBEGINNING·OF· THE· YEAR SPECIAl.S!G11822601bs.!WeighsOur Best Selling10" Tablesaw!Precision ground cast-iron tableand wings, powerful 1 V2 HPmotor, heavy-duty rip fence withmicro adjustment and T-slo15 intable are only some of its excellentfeatures. Weighs 235 Ibs.Regularly $365.SALE PRICE 53256 X 47" JointerAll ball bearing, 3-bladecutterhead, 1 HP single phasemotor, precision ground bedswith an exclusive 47" bed length.This is the nicest 6" Jointer onthe market.8 X 65" JointerAnother winner! Ali bali bearing,3-blade cutterhead, magneticswitch 1 V2 HP single phasemotor and precision groundcast-iron beds.Regularly $335Regularly $665SALE PRICE 5310SALE PRICE 5625-+ -+(For Orders & Catalogs Only)WEST+-(For Inquiries & Customer Service)All above prices are F.O.B. Williamsport, PA or Bellingham, WANEW TOLL FREE LINESEAST OF THEMISSISSIPPI:1-800-523-GRRR(717) 326-380620" Planer20" x 8" capacity, 2 automaticfeed rates, 3 HP single phasemotor, 4-blade ali bali-bearingcutterhead, built in stand,extension roliers and dust chute.Weighs 950 Ibs.Regularly $1295SALE PRICE 51175(FOR ORDERS AND CATALOG REQUES TS ONLY)OF THEMISSISSIPPI:1-800-541-5537 §(206) 647-0801 January/February 1989 7

MetiJods of Wo rkedited and drawn by Jim RicheyMaking fixed-louver shuttersto lock the arms at this distance. With dle sawblade set as high asdle cove will be deep, place the device over the blade and rotateit until the arms contact the tips of the teeth at front and back.The device is now at dle correct fence angle. All that remains isto clamp a fence to the saw at the same angle, and taking about!i16 in. at a pass, begin making incremental cove cuts untildle final depth is reached.-joe Hardy, Des Moines, Iowa--",jlll"- Dowel in stop blockfits holes in channel.Exterior wood really takes a beating in the subtropical climate ofKey West, Fla., where I work. So when a client hired our companyto replace his deteriorated pine shutters with longer-lastingredwood, we developed dlis quick, easy and inexpensive medlodfor building the shutters right on the job site.A 'tedious but critical part of shutter construction is routingslots in dle stiles for louvers. For this operation, we devised a jig,as shown in the sketch above, dut holds the stile in a channeland allows it to be moved in steps as each louver slot is routed.Accurate spacing is ensured by using a stop block and a series ofholes 1318 in. apart in me channel. A dowel in the bottom ofme stop block fits the holes. The jig is also fitted with a bridgemat holds the router above and at ISO to the stile. The bridgemay be unfastened and repositioned to cut mirror-image slots inme mating stile. A recess in dle top of me bridge allows merouter to travel back and forth the precise distance needed tocut each slot.To rout louver slots in a stile, we first mark off 6 in. at the topand bottom to allow enough room for the rails and waste. Wealso mark off me center of the stile where we skip two slots toleave room for the middle rail. Then, with the stile located in thejig's channel, we begin routing slots, tipping back the router tostart me cut (a plunge router would be great for this job). Afterrepositioning the bridge, we rout slots in me opposite stile. Tocomplete the shutters, we mortise the stiles, cut tenons on merails and glue up with epoxy and pipe clamps.-Barb M. Kamm, Key West, Fla.Angle finder for cutting covesSet parallelogram jig to desired covewidth; place astride blade todetermine fence angle.Quick tip: Recently I was assembling some sliding dovetailjoints. As might be expected, they stuck. To find the tight spots, Irubbed the dovetail wim chalk. Where me joint was binding, thechalk was rubbed off, indicating high spots mat needed to bepared down. -Dennis Sweeney, Upper St. Clair, Penn.Wooden spring for outfeed supportI tried using a roller work-support while joining the edges oflong, heavy boards, but no matter how carefully I adjusted theheight, invariably the work would be marked when the end ofme board bumped me roller. What I really needed was a moreflexible support that simply helped hold up me front of mePlywood springsupports work.board. The arrangement I came up with consists of a 2-ft.-long,!i4-in. plywood spring screwed to a 6-in.-long 2x4 clampingspline. 1 clamp me spring in a portable vise an I adjust it so itbalances the weight of the work and requires only a slight downwardpressure to keep the work flat on the outfeed table.-jack jerome, Nokomis, Fla.Glue injectorOverall lengthis about 3 in.To accurately cut coves on the tablesaw, you must clamp thefence to the table at dle correct angle, because dle angle determinesme shape of me cove. This simple parallelogram devicemakes finding me correct fence angle easy.To use the device, simply move the arms apart a distanceequal to me desired widm of the cove and tighten the wing nutsAsk your veterinarian to save you a few of these little accordionsqueeze bottles mat come filled wim an antiseptic used to irrigatepuncture wounds. The bottles make great glue or oil applicatorsin tight places.-Steve Altal-d, Carbondale, Ill.Quick tip: It's long been dle rule to buy two rechargeablebatteries for a portable electric tool: One battelY can sit chargingwhile me other one works. A neighbor recently shared another8 Fine Woodworking

JIG SAWS158ZVS Orbit. Action 1I0b Hdlo Jig So .. .118.003Z38VS Un •. Shonk Muh. Orbit. Jig So .. 99.001651 7 1/4" Cir. So .. , 13 Imp 99.001654 7 1/4" Pi.oting Cire. SI .. 105.00163Z VSK Plntlllr Rlep. SI ..lZ9.00DRILLS DRILLS DRILLS9Z0VSRK 3/8" 9.6 V Cordlo .. Drill I I 5.009Z0VS 3/8" 9.6 V Cordl.ss Drill ../0 elso lZZ.0019Z0VSRK 3/8" Cordlo .. R .. orsing Drill 95.00II 58VSR 3/8" Vir. Spd. Rev. Drill 69.0091066 liZ" VSR Mighty Midget Drill 109.001196VSR 3/8" VSR Hornet Hlmmor Drill 109.00II 98VSR 112" VSR Z spd. Hlmmor Drill 129.009Z1VSRK 3/8" Cordl .. s 9.6 Drill ../eluteh139.00ROUTERS ROUTERS ROUTERS1601 I hp Routor 9Z.00160Z I 112 hp Routor 109.001604 I 3/4hp Router 118.001606 D-Hlndle, I 3/4 hp Routor 138.0090300 FilOd Blso Router. 3 3/4 hp 309.0090303 Plungo Blso Routor, 3 112 hp 449.501608 Trim Router 79.001608M Motor for 1608/1609 Series 85.00160BL Laminite Trimmer 85.001608T Tih Blse Trimmer 89.001609 Offset B,se Trimmer 119.001609K Installers Kit 159.001611 Plunge Routor. 3 hp 198.001611 Plunge Router. 3 hp. 220 Volt 261 .00SANDERSSANDERS SANDERS32700 3.21 Dustlo .. Bolt Sindor 125.001272 3".24" Bolt Sindor 149.0012720 3".24" Bolt Slndor .. I Dust Colloetor 169.001273 4".24" Bolt Sandor 168.0012730 4".24" Belt Sindor 101 Dust Collector 175.001290 Finishing Sandor, 1/2 shoet12900 Finishing Slndor, 1/2 sheot dustloss1273 DVS 4".24" B.lt Sindor3268 H.lt GunOTHER TOOLS1700 10 Gil. WetlDry Vleuum3221 18" Professionll Hid •• Trimmer3221l26" Professional Hedge Trimmer1347 4 1/2" Mini Grindor1323 9" Grinder11210 5/8 Rotary Hammer11212 3/4 Rotlry Hlmmor3258 3 1/4" Powor PllnlrC15FBFl000A001 .. 0 IS" Mitor SIlOHITACHI12" Pllnor/6" Joinor Comb.129.00139.00198.0069.00227.5094.50105.0075.00119.00169.00189.00119.00380.001440.00CB75A Bind Sa.. 1589.00C8FB Compound Mit .. Saw 480.00FREE FREIGHTColo. Watts 1-800-523-6285CALL TOLL FREE1-800-525-0750VISA and MASTERCARD ACCEPTEDAVIATION/INDUSTRIAL SUPPLYP,O. Box38159 . Denver. CO 8023871'1.aKilafreight prepaid6012 HDW.,,-&3/8 Cess Clutch Drill2708 W 8" Table Saw wlc blade 266.00'"3601 B I 318 hp. Router121.00 .9820-2 Blade Sharpener199.00 . ,... "5402 A 16" Circular Saw 330.001900 BW 3 1/4 Planer115.00 4302 C Var. spd. Jig Saw 152.00LS10209900 B 3x21 Belt Sander 143.0010" Mitre9401 4x24 Belt Sander170.005007NBA 7 1/4" Circular Saw 136.00JR3000V Recpro Saw3705 Offset Lam. TrimDP 4700i .130.00134.00112" Drill1 ... 00410 Oust Collector272.003620 1 1/4 hp. Plunge Router 97.003612B 3 hp. Plunge Sq. Base 199.005077B Hypoid Circular Saw 149.006093DW Clless Clutch drill, V.S. 121.00 3612 BR9030 I 1/8" x 21" Belt Sander 132.00BO 45503 hp. RouterDustless Pad Sander 49.00 $199Batteries for Cordless7.2 Volt $32.009.6 Volt $34.00Orders only Call:1-800-533-9282608-273-01482833 Perry St.Madison, WI 53713MasterCard and Visa Welcomelr ROBLANDThein te11 igen tone-manshop.-DEALERS WELCOME­CANADAGeneral Mfg. Co. Ltd.835 CherrierDrummondville, QUE J2B 5A8(819) 472-1161LAGU\IA TOOLS1-(800) 234-19762081 Llguna Canyon RoadLlguna Beach, California 92651TheseTwo ToolsMayBeThe finestThat YouWm r:verOwn.A wonder to look at, a loy to hold and apleasure to use.Craftsmanship demands accuracy.The TS-2 MASTER TRY SQUAREis the most beautiful and accuratesquare made today. Solid hardenedbrass and rosewood, it is the perfectmarriage between craftsmanship andmaterials. The TS-2 is guaranteedsquare to ± .002:' inside and out,over the length of the 8" blade!Designed as a companion tool withthe TS-2, we proudly offer the SA-2SCRATCH AW L. This 8" tool is acraftsman's dream. The two degreetapered blade is long and sharpenough to get into those tight dovetaillayout situations. The hardened toolsteel blade is capped with a fla'blesSlyhand-turned rosewood handle ymaster turner, Mark Stevens.Craftspeople deserve and shoulddemand quality. Our tools are forpeople who care, those that know thespecial joy of working with distinctiveproducts, those that know quality iscontagiOUS.----1·800·253·3332r Bridge City Tool Works - 1IIII__1104 N.E. 28thSuite 200APortland, OR 97232Please send me.TS-2--SA-2 Scratch Awl @$28.00 + 4.50 P&H__ OneIIMaster Try Square @ $50.00 + 5.50 P&H______________ Iof each @ $82.00. SAVE $6.001 II--Catalog $1.00 (Free with purchase)IEnclosed is $ 0 CK 0 Money OrderI 0 Visa 0 --MC 0--- _ __AE Exp. Date II Card # INameI IAddressState ---ZipJ-----------L CityJanuary/February 1989 9

Methods of Wo rk (contillued)example of the "buy two" rule with me. If you have two filtersfor your shop vacuum, you can use the fresh one to clean theembedded dust out of the old one, thus avoiding a typically miserablejob.-Dan Miller, Elgin, Ill.Detachable vise padsSpindle tapering jigDowel to be taperedMasoniteTapered V-grooveRecently 1 needed a quantity of tapered wood rods to make dropspindles for spinning wool. The spindles' diameter had to taperfrom Y2 in. to Ijj in. evenly along their 12-in. length. Rather thanattempt to turn these tiny spindles on the lathe, 1 designed thejig shown above, which worked perfectly.First 1 selected a 12-in.-long chunk of 1 1/2-in.-thick hardwoodfor the sanding guide and sawed a Y2-in.-deep V-grooveinto one edge. After cutting the groove, I ripped the guide at aslight taper so the groove was only Y4 in. deep at one end. Touse the guide, 1 clamped it to the worktable of a disc sander,with the grooved edge almost flush against the disc. Then Ichucked a length of dowel in an electric drill, and with the drillat slow speed, guided the dowel into the V-groove. After a littlepractice and some trial-and-error setting of the guide, I was ableto make perfect tapers every time.-Bert. G. Whitchurch, Hemet, Calif.Quick tip: 1 have finally found the perfect spot to keep mysteel carpenter's square: It hangs on the molding around thedoor to my shop.-A.E. Waterhouse, Redding, Conn.Carcase dadoing jigDadoingjigscrewWorkpiece --"-- ___The homemade dad01l1g jig illustrated in Christian Becksvoort'sarticle "Building a Chest of Drawers" (FW\V #68) is similar tothe one 1 made several years ago. Mine differs in one respectthat I think improves the jig. I purchased an Acme screw, whichis often used in constructing book, cheese or juice presses and isavailable through many tool catalogs. I installed the screw asshown to make the positioning and clamping of the jig quickand accurate-certainly better than using C-clamps.-Cha1'les Leik, Great Falls, Va.These easy-to-make jaw pads enable me to adapt my machinist'svise for woodworking, and just as quickly, to switch it back tometalworking. To make the pads, cut two Ijj-in.-thick Masoniteor hardwood blocks as wide as the vise jaws and as tall as thedistance from the top of the jaws to the vise screw housing.Thread a short length of Y16-in. elastic cord through twoscrew eyes on the back of the pads to hold them to the jaws.Secure the ends of the elastic cord by wrapping them with 20-gauge steel wire.-George A. Ferrell, Huntsville, Ala.Quick tip: If you do not have a round slipstone to fit the fluteof a gouge, wrap some 600-grit wet-or-dry sandpaper around adowel of the correct diameter. This makes a very handy hone.-William E. Richie, Mechanicsburg, Penn.Sliding measuring sticksAdjust to inside dimensionsand clamp together ormark with pencil.The next time you're running tongue-and-groove glue joints, ripoff some sticks about % in. thick, with the joint profile onone side. Put the two sticks together to make a sliding measuringstick that can take inside measurements accurately. The measurementscan be registered by marking across both sticks with apencil or by clamping the two sticks together with a small C­clamp. The measuring stick is especially useful for checking adoor opening for consistent width from top to bottom.-Robert M. Vaughan, Roanoke, Va.Perfect half-lap jointsThe half-lap joint is a strong, useful joint for cabinet frames, butsetting up the saw so it cuts away exactly half from each piececan be frustrating. Here's a method for setting the blade heightthat's fast and foolproof, and it doesn't require jigs or measuring.Grab a waste piece of the frame stock, and with your tablesaw'sblade height elevated to less than half the stock thickness, passthe stock over the saw on both sides to leave a d1in center section.Raise the blade a little and make a second pass. Continueraising the blade, taking cuts on both sides, until only the slightestmembrane of wood remains in the center. You have nowachieved the perfect blade-elevation setting. I waste the lap areawith repeated passes, then clean up any small ridges and sawmarks with a rasp. -Duane Waskow, Cedar Rapids, Iowa.Methods of Work buys readers' tips, jigs and tricks. Senddetails, sketches (we'll redraw tbem) and pbotos to Metbods, FineWoodworking, Box 355, Newtown, Conn. 06470. We 'll returnonly those contributions tbat include an SASE.10 Fine Woodworking

R · I · TA.O. S: ASSOCIATE OF OCCUPATIONAL STUDIES• • •A• •New Two-Year• •Degree in• • •Wood'Formerly offered at the Wendell Castle SchoolA two-year program leading to excellence in woodworking and furniture design.Wood Studio I 3-D Design Crafts Drawing Creative SolUtes Technical DrawingWood Studio n 2-D Design Professional Practices Furniture HistoryRochester Institute of Te chnology(716) 475-2646COLLEGE OF THE REDWOODSFine Cabinetmaking• with James Krenovand Michael Burnsaccepting applications to theAugust '89· May '90 programfrom April 1 to May 1, 1989.College of the Redwoods440 Alger StreetFort Bragg, CA 95437(707) 964·7056LEEDS DESIGNWORKSHOPSTraining ProgramUncompromising attentionto fine workmanship in contemporaryfurniture design.• • •Onetotwoyear internships infinewoodworking, hand•.• and machine• •instruction Drawing DraftingProfessional developmentamidst design-maker businessesLoan financing available.ONE EASTHAMPTON COTTAGE ST MA BOX 348 01027DO YOU WISH YOU HAD MORE TIMEFOR YOUR SHOP?THEN PROJECTS N METAL IS FOR YOU•Projects in Metal is the new magazine for busy home shopworkers. It's filled with all kinds of small yet challengingprojects- each complete in one issue. You can relax foran evening or weekend, and finish a job you can show offwith pride.Projects in Metal is 100% editorial. Not one word ofadvertising limits the space devoted to helpful details onprojects, special workshop features, and tips on savingtime, money, and headaches.$15.50 a yearMaslerCard orders (6 issues,. call toIllree Visa or1-800-447-7367, or write P.O.1810-02, BoxTraverse City, Ml49685How to Design, Build, and InstallJapanese ScreensBy Jay van ArsdaleThe first practical guide to designing and makingJapanese shoji screens, this new book covers allthe basics of materials, assembly, installation, anda wealth of creative design suggestions. Traditionallyused to partition rooms without sacrificinglight or airiness, shoji can open up a world of possibilitiesas doors, transoms, windows, and evenskylights. Jay van Arsdale also includes a specialsection on how to restore antique shoji.$15.95pb 96 pages 40 black-and-white photos, ZOO line drawingsTHE SOUL OF A TREEA Woodworker's ReflectionsBy George NakashimaThis new, lavishly-illustrated paperback revealsan intimate portrait of the Americanmaster woodworker George Nakashima.Woodworkers everywhere will enjoy the visionof this artist as he shares his experience,techniques, and above all, his devotionto preserving the vitality of wood in his exquisitefurniture.$34.95pb 224 pages 48 full-color pages,250 sketches, drawings, and photosSAM MALOOF: WOODWORKERBy Sam MaloojThis long-awaited paperback tells the personaland professional story of Sam Maloof,winner of the 1988 Craft Council Gold Medal. Award. Mr. Maloof relates his artistic aims tohis philosophical concerns, revealing thelove for his medium that has infused his furniturewith simplicity, warmth, and beauty."This master furniture maker handlesprose with the same clear, natural mannerwith which he applies a chisel to awalnut board."-The New York Times"Magnificently made ..."-Fine Woodworking'l\n important contribution toward documenting the American craftrevival."-Washington Post$39.95pb 224 pages 70 color plates, 236 black-and-white photosCOMING IN APRILTHE GENIUS OFJAPANESE CARPENTRYAn Account of a Temple's ReconstructionBy S. Azby Brown1-800-638-3030

Making a door sandwichI intend to make a heavy front door, 2% in. thick, 36 in.wide and 77 in. tall, with two glass panels. Rather than constructit of solid stock, with conventional mortise-and-tenonjoints, could I make it a three-layer sandwich of %-in. plywood,as shown below, glued together with epoxy?-Paul Carson, Minneapolis, Minn.---=-=77:----- ILayers are glued togetherwith epoxy glue.John Birchard replies: Making anone you describe by laminating three layers of %-in. material isa viable approach, as long as you are careful to use good-qualityplywood that is very dry and of a uniform thickness. You aresmart to use an epoxy glue for this type of lamination, because itwill hold well even if your joints are not perfectly tight. I recommendSystem Three Quick-Cure epm.)', available from SystemThree Resins, Box 70436, Seattle, Wash., 98107; (206) 782-7976.Your main problem will probably be finding enough C-clampsfor dle glue-up. You might want to use as many as 100-two evely6 in. all dle way around. if you can't get dlat many clamps togedler,you could use finish nails, which can be set and puttied. Youmight also consider doweling dle frames togedler before youlaminate them so you don't have to worry about getting the railto-stilebutt joints tight while you're laminating. You could evenmake the window holes a little bigger on one of the frames soyou won't have to rout out a rabbet for the glass after the laminationis together.Uohn Birchard is a professional woodworker in MendOCino, Calif.]Oil bleeding problemsI was oiling several raised-panel mahogany doors with clearWatco oil. After the oil dried overnight, there was a thicksludge of oil that couldn't be removed from the surface. Themanufacture,-'s instructions say to reoil and wipe immediately,but this didn't help. I called Watco and was told the oilworks its way out of the pores and that lacquer thinner willclean it up. This does work, but very slowly. Is there anythingelse I can do?-Tim Tomaselli, Salt Point, NYBob Flexner replies: Varnishes and sealing oils, such as linseed,tung and Watco Danish oil, cure and harden mrough aprocess of solvent release and polymerization. As the turpentine,mineral spirits or other solvents evaporate, the resin moleculeslink up and form a hard film that can no longer be dissolved bythese solvents. When you spread one of these oils onto a porouswood, such as oak, walnut or mahogany, the oil penetrates fairlydeeply into the pores and remains mere even after me surfaceexcess is wiped off. Even dl0Ugh the oil immediately begins topolymerize over any surface exposed to air, the resins will havetrouble linking-up over the pores, because the solvents continueto break through as they evaporate. As the solvents come to thesurface, they carry along resins that spread out around me pores.If these resins are not wiped off in time, they polymerize on thesurface, forming hard shiny spots, much like scabs over wounds.The problem is worse on warm days or when the wood ismoved to a warmer atmosphere, which excites the molecules ofthe trapped solvents. But, as you have probably experienced, itoccurs even on cold days.I don't know of any way to prevent oil from bleeding, but Ihave found dlat I can avoid the problem if I apply the oil early inthe day and wipe the surface every hour or two before me resinshave a chance to harden. The bleeding usually stops by the endof the day. The next coat causes fewer problems, because thepores are now partially or fully sealed. You are correct dut neitherthe application of more oil nor lacquer thinner will removefully cured spots. These spots should be abraded off wim finesteel wool or sandpaper, possibly using some more oil as a lubricant.As a last resort, dle finish should be removed with paintand varnish remover, and you should start over.[Bob Flexner is a professional finisher and restorer in Norman,Okla. His videos "Repairing Furniture" and "Refinishing Furniture"are available from The Taunton Press, Box 355, Newtown,Conn. 06470.]Two glue problemsFor some time I have been having problems with yellow glue.The glue seems to grow out of the joint after the project hasbeen finished, so I have to resand and refinish the piece. I usuallyfinish with Watco oil. How can I solve the prOblem?-Ray Allen, Yuma, Ariz.I've been using epoxy for gluing furniture for some timenow. It works very well for restoring old splintered joints,but I hesitate to use it too much, because I've heard epoxy istoo rigid to accommodate normal wood movement. I'vealso heard that you should not use it, because it is impossibleto disassemble to make repairs.- Colin Conolly, Corvallis, Oreg.George Mustoe replies: After years of listening to woodworkerswony about "which glue is the strongest," it's refreshing toreceive two letters that illustrate that strengm alone doesn'talways determine whemer an adhesive performs adequately. Theexperiences of Allen and Conolly can both be traced to the greatrange of rigidity among various types of adhesives. Soft-settingglues include contact cement, hot-melt thermoplastic sticks andboth the white and yellow varieties of polyvinyl acetate (PVA)glue. These adhesives produce a rubber-like glue film that cancreep under load. For dlis reason, they are not recommendedfor heavy-duty applications, such as laminated structural beams,where intense stress may cause dle joints to deform or rupture.As Allen discovered, soft-body glues may bulge or shrink as dlesurrounding wood undergoes changes in its moisture content.This is particularly common when a thick glue layer is present.Yellow glue sets to a harder consistency than white glue, and itshouldn't cause problems if it's used on well-mated surfaces.Make sure to use just enough adhesive to coat the surfaces;applying a thick layer is asking for trouble.At me omer end of dle spectrum, Conolly is worried about epoxybeing too rigid an adhesive. ExceSSive rigidity is not a problemwim epoxy. In fact, epoxy's hard, but not brittle, durability is oneof its best features. In contrast, hide glue and urea-formaldehydeplastic resin glue bodl form brittle films that sometimes fail dueto internal fracturing wimin the glass-hard layer of cured adhesive.The inherent brittleness of these adheSives usually causesno difficulties, as long as the glue film is kept min. AlthoughConolly is correct in his statement that epoxied wood joints arevirtually impossible to disassemble, me same can be said of mostodler adhesives. Synmetic mermoplastic resins can be softenedusing heat, but even wim these glues, taking apart a joint isalways a tricky procedure.With any type of woodworking adhesive, maximum performancecharacteristics are obtained when the glue line is kept asthin as possible. This means close-fitting surfaces; uniform adhesiveapplication using a brush, roller or spreading stick; andfirm, evenly-distributed pressure during curing. If you have touse glue to fill up the voids of a poorly fit joint, make me best12 Fine Woodworking

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Q & A (colltillued)of a bad situation by using epoxy. It's about the only glue thatdisplays an acceptable degree of gap-filling ability without sacrificingother physical properties.[George Mustoe is a geochemistry research technician at WesternWashington University in Bellingham, Wash.]Japan-finishing a planeI have several old Stanley planes that I would like to refurbish.I have no difficulty cleaning and tuning the planes,but I don't know how to japan the parts that are in badshape. Is there some home process available that will allowme to duplicate the original finish?-Harold Shipley, Memphis, Tenn.Graham Blackburn replies: The japan finish used on oldStanley planes was a tough, durable coating composed of pigmentsand synthetic resin varnish, dipped or sprayed on, then baked attemperatures ranging from 250°F to 350°F. In short, japanning isbaking on enamel. Duplicating this process isn't practical athome and can be extremely dangerous. An alternative is to use amodern air-drying enamel. These enamels are less resistant towear, but they are easy to apply and capable of producing resultsthat look just like the plane's original finish. The air-dryingenamels formulated for household use are sometimes called"liquid enamels," because they closely resemble porcelain orvitreous enamels-like japan. Avoid using lacquer-base enamelson your planes: They are cheap and fast drying, but less durablethan the air-dtying enamels.[Graham Blackburn is a conu'ibuting editor to Fine Woodworkingand has written numerous books on woodworking and tools. Hisshop is in Santa Cruz, Calif. ]Braces and ball-bearing chucksI was thrilled to find an old brace with a 14-in. swing, butunfortunately, I'm unable to make it work. Someone has replacedthe original jaws with newer ones that are apparentlytoo small. Also, the chuck appears to be designed for ballbearings, but they're missing. Can you help me repair mychuck?-Bob Clark, Collinsville, Va.Richard Starr replies: It's good that your brace has a ball-bearingchuck. TIle ball bearings reduce friction, making it easy to snugup any bit with just a little twist on me chuck shell. This isn't soimportant when chucking an auger bit witll a tapered, squareshank, but it u'emendously improves tlle chuck's ability to firmlyhold round-shank bits, which are more prone to slipping.Most brace chucks have an Loosening setscrew allowsouter shell that rotates around adjustment of shell, to set tightnessthe jaws to tighten them against of ball bearings in race.the bit, and there's considerablefriction between the shell andjaws as tlle collar tightens. Asthe outer shell on a ball-bearingchuck turns, however, a freefloatinginner collar bearsagainst the jaws and closesthem. The outer surface of eachjaw is flat (instead of round ason non ball-bearing chucks) andslides in a groove milled in theinner collar, to keep it alignedas it closes. To minimize friction,the outer shell and innercollar bear against ball bearingsOutershellthat roll freely in a race or groove that's formed between them(see the drawing above). To replace tlle missing ball bearings,first loosen the small setscrew on tlle outer shell, then unscrewthe shell to remove it. You can get replacement balls by scroungingthem from another ball-bearing chuck on a junker brace, oryou can take the chuck to a good bicycle repair shop and ask forthe kind of loose balls used in bicycle hubs. Loosely assemblethe outer shell and inner collar, then dribble in balls until youform a ring of balls in tlle race. Screw the shell back on thechuck until there's just a little play and the ball bearings rollfreely wimout rattling.Fixing the jaws on your brace might be more difficult. Jawsare seldom interchangeable between braces, and finding a pairthat would fit is unlikely. Some chucks are designed with aspring to hold the jaws apart; on others, the jaws flop aroundloosely, separated at the bottom by a protruding tab in the jaws.You could make a pair of jaws yourself, but because you don'thave a pattern, this could be tedious trial-and-error work witll ahacksaw and file. You'd have to use a blank of tool steel softenough to work, then temper it to a color between blue andstraw, so tlle jaws would be hard enough to resist galling, yetnot be brittle.There are lots of good old brflces out tllere, but few wim a 14-in.swing. As a last resort to save yours, you may end up havinganomer chuck welded on-not a pretty solution, but functional.[Richard Starr is a teacher and the author of Woodworking withKids, The Taunton Press, Box 355, Newtown, Conn. 06470.]Northwest red alderRed alder is very plentiful here in the Pacific Northwest, and Ihave been conSidering using it for some custom bathroomcabinets. Is it dimensionally stable, and how should it besealed to prevent moisture damage in a bathroom ? The woodseems rather brittle, and when left in the weather, it rots tomush in only a year's time. Am I asking for trouble?-Robert Moen-Starr, Raymond, Wash.Jon Arno replies: I certainly don't see any tragedy in using redalder for interior cabinets. In fact, because it is readily availableand inexpensive in your area, it is probably the best choice youcould make. If it was equally available here in the Midwest, Iwould prefer it to birch, even though birch is one of the primarywoods for commercial cabinets.COinCidentally, red alder (Alnus rubra) is a member of thebirch family (Betulaceae), and I would choose this wood as thepick of the litter. With an average specific gravity of only 0.37(oven-dty weight/green volume), it is much softer and easier towork than yellow birch, which has an average specific gravity of0.55. Red-alder heartwood has a beautiful rose-pink color, andbecause it produces a fibrous layer of cells along the annual rings,its tangential figure is more like cherty than it is like its cousinbirch. Red alder is also more stable than birch: Its average volumetricshrinkage is only 12.6%, versus 16.8% for yellow birch.If the stock you use for tlle cabinets is thoroughly seasoned,you shouldn't have any trouble. Red alder holds nails and screwswell, accepts glues and sealers without difficulty, and because itis a diffuse-porous wood, polishes down to a smooth finish withoutrequiring fillers. As for finishing alder, or any other cabinetwood, Irecommend first applying a penetrating oil stain to achieve thedesired color, then follow this with at least three coats of satinpolyurethane varnish. Polyurethane may not rub down as well asotller varnishes-I don't use them on fine furniture-but for yourpurpose, you want the most impervious moisture barrier youcan achieve. The polyurethane will prevent raised grain and waterspotting when the wood gets that inevitable splash from thesink or the shower stall. Although neither alder nor birch areknown for their durable weatllering properties, normal interiorhumidity levels are low enough so this should not be a problem.Uon Arno is a woodworker and amateur wood technologist inSchaumburg, IlL]Send queries, comments and sOUl'ces oj supply to Q & A, FineWoodworking, Box 355, Newtown, Conn. 0.6470.14 Fine Woodworking

PORTER-CAB' FPUTS THE SCREWS TOTHE COMPEl IliON.If you want a cordless driverldrill that works as hard as you do,pick up PORTER-CABLE'S NEWMODEL 9850 12-VOLT 3/8"DRIVER/DRILL with exclusiveMAGNEQUENCH® power. Thistough tool has the guts to do thejobs other units can't handle. Andto keep working long after thecompetition has run down.Why? The 12-volt battery packhas full-size, select, gradednickel-cadmium cells for maximumenergy. Combined with thenext generation in cordless toolmotors-MAGNEQUENCH usingrare-earth magnets that dramaticallyincrease the power ofmotors-you get higher torquewith less battery drain. In fact, the9850 produces substantiallyhigher watts output than competitivecordless driver/drills.So take charge of your next jobwith Porter-Cable's new 9850Cordless DriverlDrill. At Porter­Cable distributors everywhere.x TESr RESULtS11/2 wood of 1112 Independent labofatorytests shOwthe quantityscrews vanous COtdtess dnver/drills candnve on one charge195America's Working ClassPORTER+[ABLEPROFESSIONAL POWER TOOLSP. o. BOX 2468 · JACKSON,TN 38302

Pollou'-upby Dick BurrowsMore on tool reviews -We have been regularly publishing articlesevaluating hand and power tools, like the review on scrollsaws in this issue (see pp. 50-54). Judging from the telephonecalls and mail we receive, most readers enjoy the reviews andwant more. But, these articles are difficult to produce, requiringa great deal of research. They also provoke a good bit of controversyamong readers and manufacturers.Manufacturers often are concerned that the tools do not showup as well in our tests as they do in their factory tests. The factorytests are often more scientific than our reviews, but we feelobligated to test the tools in actual workshops under typical jobsituations, rather than in laboratories under ideal conditions. Wesee more value in determining how many holes a cordless drillcan bore on a single charge than hooking it up to an instrumentto get a digital readout of its torque or RPM. After all, our readersare primarily woodworkers and must decide how the tool willoperate in their shop situation.This need for real-shop situations is one reason why the authorswe recruit to test tools are people who have worked withthe particular tool for years. This work experience is essentialto separate the gimmicks from the real innovations. It is alsoinvaluable when evaluating such things as balance, power, easeof operation, performance versus price, and the other somewhatsubjective factors that determine whether or not a tool can getthe job done accurately, effiCiently and safely.In addition to actual testing, we often talk with manufacturingrepresentatives and engineers to clear up problems with thetools, have them answer technical questions and obtain theirviews on what they see as their tools' strong points. We also welcomeletters from readers about their experiences with thetools, and we will try to present as many letters as possible inthe "Follow-up" or "Letters" columns.Skil's cordless drill-The Skil Corporation is disappointed withour review of their cordless drill in the September issue (FWW#72). They say they don't feel the review is accurate or objective.First of all, Skil disagrees with some of the general statementson the drills. The company says we are describing old-stylenickle-cadmium batteries when we state that the batteries have amemory and you should let the battery drain completely beforecharging. Our research indicates that if you charge a partiallydrained battery often, you can reduce the battery's capacity. Skilsays we are wrong."The batteries we have been putting into our tools for the lastfew years have virtually no measureable memory," Skil says. "Theeffect is still dlere, but it requires some velY accurate laboratOlYinsu-uments and a complex test procedure in order to measure ....At least in the case of our supplier, which also supplies batteries tosome of our competitors, dle memOlY effect phenomenon nolonger exists." Skil also maintains dlat draining a battery beforerecharging could damage dle battery under some conditions, so besure to read the owner's manual for your particular tool.Skil's letter also offered some good advice on the care of batteries.They say dlat generally you should avoid excessively high orlow temperatures when charging batteries. Also, avoid prolongedexposure to high temperatures: A car u-unk or a metal storage shedwould be a particularly bad place to store a ni-cad battery. In anodlertemperature-related problem, Skil disputed our claim thatwe had killed one of their batteries by recharging it before itcooled down. They say the battery would have been okay ifcharged after it cooled. But, that doesn't match our experience.Again, check your owner's manual for the specifics on your tool.Ryobi radial-saw and planer modifications- Ryobi AmericaCorp. has asked its dealers to stop sales of the RA-200 radial-armsaw until the company can change dle carriage center componentthat joins the motorlblade assembly to the saw arm. Undercertain conditions, the component could break, the companysays, which would affect accuracy and might even cause operatorinjUly. Anyone who owns one of these saws and has not beencontacted by a company representative should call their customerservicedepartment at the number listed below.Ryobi is also offering a free upgrade kit to owners of earlymodels of the AP-10 planer (bearing serial numbers lower thanand including #064155) and the Sears/Craftsman Portable lO-in.Thickness Planer, model #351.23372. The kits are designed toeliminate the space between the main body of the planer andthe rear feed-support roller. This upgrade will prevent an operator'sfingers from being caught between dle emerging board andthe rear feed-support roller, which could cause serious injUly.For more information on dle radial-arm saw or planer, contactRyobi America Corp., 1433 Hamilton Parkway, 1r. '1Sca, Illinois 60143;(800) 323-4615, eA'\:. 235 (in Illinois, 312-350-7999, ext 235).Inca 810 radial-ann saw-The Austrian-made Inca radial-armsaw, which we reviewed in FWW #73, will probably not be availablefor much longer in the United States. The manufacturer hasdecided it will no longer sell the machine outside of Austria,because of insurance considerations. Inca dealers will still sellthe models they have in stock and intend to continue to provideparts and service for the models already sold.Safety and photography-Safety is a prime concern wheneverwe describe or picture any woodworking operation. Woodworkingis, by nature, a dangerous activity, and caution is essential.Sometimes things can appear to be worse than dley actually are,but even these incidents are good reminders of what could happen.One recent case involved the cover of FWW #73, whichshowed a cut being made on a radial-arm saw.Doug Smith of Miami, Fla., wrote, "The photographer sure forgotthe tree-coming-out-of-the-person's-head lesson. It appearsas though a thumb is just about to be lost. A well-composed,beautiful cover picture, but that blade is sure to get that thumb."Actually, the thumb was a safe distance from the blade all duringthe operation, and the operator was velY conscious of theposition at all times. I have this on good authority, because I wasthe operator. On my own saw, I've followed Frank Klausz's adviceand painted a red strip on the crosscut area of the saw tableas a warning of the potential danger.Tools-To-Go-We have been contacted by several readers whosay they have ordered and paid for tools from Tools-To-Go Inc.(15935 N.W 57th Ave., Hialeah, Fla. 33014) and have never receivedtheir merchandise. We have been unable to contact dlecompany ourselves and unfortunately have not yet been able toidentify any avenue for readers who wish to file a claim. We willpublish that information as soon as it is available.Antique tool association-The Crescent Universal Associationhas changed its name and broadened its scope to include ma­. chines other than its classic namesake. TIle Universal Wood-Workeris a do-everything combination madline, which was producedfrom the late 1890s to the early 1940s. TIle machine tipped thescales at 1,700 to 5,200 Ibs., depending on the model, and includeda bandsaw, jointer, shaper, tablesaw and horizontal borer.The two-year-old organization is now called the AntiqueWoodworking Power Tool Association. According to presidentWalter S. Vinoski, the group provides members with advice onthe acquiSition, restoration, preservation and operation of classicwoodworking machinely. The group also publishes a bimonthlyjournal. For more information, write the organization at Box1027, Connellsville, Penn. 15425. DDick Burrows is managing editor at FWW16 Fine Woodworking

26 SHOWS IN 1989!Free Workshops * 100 Exhibits * Prize/DrawingEverything you for setting andjointer and planer knives and rollersTraditional knife changing methods take too long and can bedangerous. One or more knives can be reset too high or too low,out of parallel, or sqirm out of position when tightened. Eliminatethese miseries with the Magna-Set system! The patentedmagnetic design grips each knife in perfect alignment. Great for+ Add 2.50 for shipping & handeling. C.O.D.charges if any. Allow one week for deliveryshifting knicked blades in seconds!Planer Jig pair 159.95a:v 800-331-1748 Jointer Jig 49.95Rotocator 159.95Phone your order TOLL FREE and use your VISAor MA STERCARD or simply mail payment to:UNIOUESTCORP 585W. 3900 SO. #6 MURRAY,UTAH 84123 801-265-1400WOODWORKER II best on TABLE SAW WOODWORKER I Best on RADIAL SAW• With this ONE ALL PURPOSE blade 40 Teeth and I/S kerf.SMOOTH RIP & CROSSCUT 1" - 2" ROCKHAROS andSOFTWOODS with smooth,as,sanded surface.PLY-VENEERS oak/birch crosscut with NO BOnOMSPLINTER.MostlyDOUBLE I/S HARDER kerf 15' ATB and 20' face hook (easyfeed).and 40% STRONGER CARBIDE.Endscutting 1/16" oversize to allow for RESURFACE.blade instead of 3, 24T rip, 50T• blade changing (does rip, combo and crosscut).Ends scratchy saw cuts (for the rest of your life).Ends second step finishing (jointing and sanding).EndsBuy and sharpen ONE• Strongly recommend our .001 flat large stlflener ­30T il ripping mostly 2" -3" hardwoods.Side wobble held .001 - others .004/.010 is commonlRAISE for THICK woods, LOWER for THIN woods andperfect cut everything!12"x 30T x I" 162•Combination, 80T Crosscut.dampener against outside 01 blade lor smoothest. Quietest,cuts by this and any other blade.UseList Sale List Sale12"x40Txl" SlS3 S109 S"x40T JI32'" 5136 S8297 30T 3132" 115 6910'"x40T 156 94 71/4"' x30T JI32'" 112 4930T 135 Sl T' x30T 3/32" 112 49ALSO help your SEARS blade.THIN SAW, DML, LEITZ, FREUD, PIRANHA, JAPANESEelc.9'" xji S 6":.. b Ihl; 50OooFREE dampenerFOR BETTER CUTSIUse our large 1/8"' DAMPENERSTIFFENERS. against one side6'" , S25 Parallel and flat to .0015'" - 24 Stops vibration. flutter,cuHing noise and bladering.Full cash refund.$10.00O(4'" - 21 Tlyable and RETURNABLE.all with any 2nd blade.518" holes bOle to 11/," $7.50 extra. Othersavailable. Add $2.00 Shipping.•(tablesaw too) This ALL PURPOSE blade gives scratch freePOLISHED cuts on all materials RIP or CROSSCUT up to 2'".All 60T and THIN 3/32" kerf 20' ATB and 5' face hook.DOUBLE HARDER and 40% STRONGER carbide.•THIN KERF:Saves lf3 wood loss on each cut, radial or table.Feeds easy when used for moderate rip and crosscut ontable saw.Reduces "JUMP IN" greatly lor better "PULL-CONTROL".Practically elinlinates bottom splinter on RADIALCROSSCUT . .Totally stops ALL bottom and top splinter on ply veneersin push-cut mode on RADIAL.• Our STIFFENER STRONGLY RECOMMENDED AGAINSToutside of blade only for best cuts.Made and serviced in USA for your benefit.12'" 60Tx l'"or 5/8"10'" x 60T x 5/8'"9'" x 60T x SIS"S" x 60T x 518"150New SII'" x40Tx 518"RYOBf RA200 TS200HITACHI PSM8l .. ercut DADO KING MUlTITOOTH dad. set culs ALL II''"SEE THE WIDEST VARIETY OF WOODWORKINGPRODUCTS ALL UNDER ONE ROOFMachinery . Power & Hand Tools · SuppliesCentral Florida Jan. 13-14-15 Curtis Hixon Conv. Ctr./TampaKansas City Jan. 27-28-29 Kansas City Convention CenterIndianapolis Feb. 3-4-5 Indiana Convention CenterColorado Feb. 10-1 1-12 National Western Complex, DenverNorth Texas Feb. 17-18-19 Dallas Convention CenterGreater Milwaukee Mar. 3-4-5 MECCA Convention CenterMetro-Richmond Mar. 1 0-1 1-12 Richmond CentreArizona Mar. 17-18-19 Phoenix Civic PlazaNo. California Mar. 31-Apr. 2 Santa Clara Convention CenterSo. California Apr. 7-8-9 Los Angeles Convention CenterTennessee Apr. 14-15-16 Nashville Convention CenterNew England Apr. 21-22-23 Hartford Civic CenterChicagoland Apr. 28-29-30 Odeum, Villa Park/ChicagoGreater Cleveland May 5-6-7 Cleveland Convention Center1·800-826-8257 or 213-4n-8521Seminars by Ian Kirby - Roger Cliffe - Bob RosendahlRude Osolnik - Nick Cook - and other Master CraftsmanCall for free brochure, 8:30-5 Pacific TimeSave $1 off reg. $6 admission with this adListSale519S 511997162156 9490136 S2MAKITA 5008 NBAPORTER CABLE 368-1-13/16"'u a Ii'Ls ao N8 s sUTrR9gti I :nfillers and 24T outside saws. NOTHING LIKE IT IN THE USA!!••• ••S'" x 24T x 4T x ST lillers 501 13116"' 5299S'" 24T x 4T10" x 24T x 4T x ST fillers3/4"' sel 24913/16'" sel 362SIS" sel 5209112"' set 179FOR Mep MELAMINE & LOW PRESSURE LAMINATESS'" Neg-shear 24T x 2T or 4T fillers 525910'" Neg-shear 24T x 2T al4T lillers 314SIS" holes - boring exira - SHIPPING 55.50WE RECOMMEND OUR FACTORY SHARPENING 2-3 DAYS ON THESE AND ALL MAKES OF CARBIDE TIP SAWS SHIP IN UPS(500 grit microscoped) 10 X40T$14 25. 60T$16.83 Add leluln UPS $3 or 2nd Day All $5NOW ORDER [he one blade that Will outlast you! (10-20 sharpenlngs possible)SATISFACTION GUARANTEED OR FULL CASH REFUND.40 Dealer Inquiries Welcome.years of fine American saw making & sharpeningFORREST250 DelawannaMANUFACTURINGAveCOMPANY. INC... Clifton, NJ 07014For TABLE and RADIAL SAW(very good on chop saw loa!) STOP SPLINTERINGIhose SPLINTERY OAKS, HARDWOOD VENEERS andthin 2 SIDE LAM INATES ON PARTICLE BOARD.FOR FASTER FEED RATES AND MORE ABSOLUTESPLINTER CONTROL.DURALINE HI-ATEditorial Nov'/Dec. 1988No. 73 pg. 65 S.N.Note: Fine Woodworkingrecommends !1!IJ!!.alternating top bevel (ATB)1l1i!1 kerfs and!MM bladestit/eners for smoothestcuts on RA DIAL SAWS ,etc. FREE dampener'I '2nd', . .' .'Jim Forrest, President and deSigner,mlcroscoping cutting edge.AII 5/e" hole. Boring up to 11/4" $7.50 extra- Larger holes - time basis .Shipping $3.50.HI-AT Price ListS" SOT 5202 14'" x SOT 52329'" x SOT 207 lOOT 26610'"x SOT 207 16'" x SOT 26212'"x SOT 212 lOOTlOOT 253All CARBIDE is THE HARDEST OF THE C-4 gladesand 40% STRONGER. NOT WEAKER!'For 50% to 300% longer life!orS'O,OO 011 wilh anybfade.. CHOPMASTER SERIES FOR MITER SAWS fOI294flghl. smooth. splintel-ftee mltel-Ialnts. NEWHitachi Sl/2'" DeWalt SII2" S1/2'" x60T x 518"" 5179 S l-S9Use small stiffener where possible.w";,!... & Money We Orders. honor Amex, Personal Visa Checks MasterCard. and COD's IIiIiIITo order BY MAIL clip ad. Circle chOices and!' ., . . AVAILABLE SIZES.list SaleDelta 9" x SOT 5/S'" 204 99Ryabi-Makila 10'" SOT x 5/S" 207 1 09Ryobl-Maklta 14" x lOOT x I'" 266 160Hitachi IS'" x l OOT x I" 277 1641-800-526-7852 PHONE TOLL FREE!(In NJ: 201-473-5236)enclose payment Specify Dept FW when ordering ___January/February 1989 17

Easy toStep by Step DrawingsBuildOnly a few simple tools req uired$12,95 for a complete set of plans. tax includedplus $2,00 postage and handlingOak Roll Top Center Table, Dept. BK12JDL Industries. 15721 Ryan. Holland. MI 49424'The Bester is the best waterstone for the professional"Jay van Arsdale, Author of ShojiThe harder, wider waterstoneBlends natural stoneand ceramic to workfaster and last longer(Three-inch width -perfect for wide blades.)Bester #700 #1000 #1200 Polish #8000Prices $19.80 $23.80 $25.80 $38.80Special set of four $100Free shipping in cont. U.S.(AK &HI add $18. CA tax 7%)Comes with #150 surface flattening stone(list $9.80) Sale ends 3/31/89Send $3 for complete tool catalog.HIDA JAPANESE TOOL 415-524-37001333 San Pablo, Berkeley, CA 94702The SawmillFOR WHOLFSALE INQUIRIESEXOTIC AND ooMESTIC HARDW OODSMUSICAL INSTRUMENT WOODSTOLL FREECUSTOM CU TTING. RESA WING. ABRASIVE PLANINGEBONIES. ROSEW OODS. MAHOGANIES. PADAUK.PLUS ALL OTHER EXOTIC W OOD SPECIES800 345-3103PA RESIDENTS CALL (215)759-2064GWOO

RockinghamCommunity CollegeProgram:Degree:Fine and Creatille Woodworking2Associate year of Applied ScienceInstructors: Dallid Kenealy and Ted CurrinEmphasizes designing and building of finequality, custom furniture. Related areasstudied in depth.•Curriculum includes:Furniture Construction (Period andContemporary).Finishing.Wood Turning.Chair Construction· Design and DraftingWood Forming and Bending·BusinessOperations.Equipment and Maintenance·AndMoreLocated near the furniture center of the Southeast,Ree offe rs low tuition, outstanding facilities,small classes, and experienced instructors.A balance between the use of hand/ools andwoodworking machinery enables students toacquire the knowledge and skills of a wellroundedcraftsman.CALL (919) 342-4261ARockingtlamCommunity Collegep.o. Box 38·Wentworth, NC 27375-0038Equal Opportunity/Affirmative Action CollegeL EARN THE SE CRETSOF WOOD'SG REATEST FINIS HER111"Secrets of the Old Master:Wood Finishing byGeorge Frank"A l20-minute videotapesharing the skill of amaster wood finisherand author ofAdventures Finishing in WoodandFrank on Wood George Finishin..?1 930 's, heFew people know wood tinishing like GeorgeFrank. As one of Europe's Illost sought-aftercraftsmen during the f920'5 andperformed incredible work fex a distinguishedarray of clients, perfecting a vast knowredge offinishing techniques. He refined old methodsand invented new ones. George Frank is a ConsultingEditor of Fille Wr}()d WIJrkiltl1 magazineand Honorary Editor of The Wr)()d Flllisim'quarterly. In this video, he shares that knowledgein an entertaining manner direct from hisown workshop as he describes the techniques,shortcuts and se rets behind his success.$39.95 plus $3.75 shipping and handlingORDER TODAY!Send your check or money order to:WOODFINISHER INDUSTRIES, INC.P.O. Box 6923Arli ngton, VA 22206(703) 553-9694THE GREATEST ADVANCE IN WOODTURNING IN 50 YEARS!SYMTEC has re-examined every aspect of woodturning, introducingnew design principles which make turning fluting and copying easier andmore accurate than ever before.FOR FURTHERINFORMATION166 Robie St.Truro, N.S., Canada 902-893-1915• Two models available. 1800mm and1500mm length bed.• Easier to use than any othercomparable lathe .• Motor, drive belt and cone pulleysare completely enclosed for maximumsafety .• Exact replicas and repetition workaccomplished in a fraction of the timepreviously required.• Copies can be turned from a flattemplate.• Built in sharpening feature and resettingdevice.• Can be used with traditional chiselsand tool rest.• Many accessories, including routerSyrnTEr: AMERICA...NEW INFINITELY VARIABLE FEED RATE gives you totalcontrol in any sanding situation!EXCLUSIVE QUAD-DRIVE FEED SYSTEM four powersandingat first and last few inches of a board!and holder, 'steady' for long work, fullrange of centres and faceplates, and1-800-565-1490the exclusive SYMTEC centering guide.At last! A complete power-feed Drum Sander at an affordableprice! Choose from 12" and 26" modelsSAVES TIME .. .IMPROVES RESULTS. Use this high-tolerancemachine for light dimensioning as well as the finest finish work. Nowyou can add new beauty to each woodworking project. .. savehours of tedious hand sanding! In a matter of seconds youcan produce a satin-smooth finish impossible to duplicatewith hand methods or hand-held powersanders ... no more low spots, waves or cross-grainmarks! Check these advantages ...FREE FACTS!Send for complete facts on how you can try this'-----,low-cost tool in your own shop for one fullmonth without risk. See how the sander candimension and finish-sand cabinet pieces,resawn stock, paneling, toys, tabletops,knees, burls, crotches and much, muchmore! You'll oon find it's one of the mostvaluable tools in your shop! Made in U.S.A.r'lEasy Terms.Call Toll-Free 1 (800)538-4200, Ext. 5228DYES! ;;,; ::h"';Y"';R7E'.--•••NAME'. 1\I INFORMATION KIT and details on.your 30-day Free Trial Guarantee .- Woodmaster Tools, Dept. 0528,."2908 Oak, Kansas City, MO 64108_...feed rollers for maximum traction. Eliminates over-• •NEW FELT-BACKED ABRASIVE mounts in just seconds •______________ADDRESS •to Velcro covered drum. The harder you sand, the•CITY•... _ ---------_tighter it stays! Eliminates stretching ... allows fastremoval and re-use! _ STATE ZIP-_January/February 1989 19

(25 years)P-SOO20" PlANERSEATTLE:1 000 Andover Park E.Seattle, WA 98188(206) 575-4131CT-60F- 6"JOINTERATLANTA:3184 Marjan Dr.Chamblee, GA 30340(404) 455-8109It takes experience to serve you right!NORTHSTATE15" PlANERS LENEAVE mUALITVNORTHSTATE PlANERSCABINETDOOR MAKERNORTHSTATEWIDE BELT SANDERNORTHSTATEOUST COl1£CTORS• Model 310: $725Powerful 3 hp motorCast iron constructionMagnetic switch1 year warrantyDust hood• Anti·kickbackNORTHSTATE10",12",14" CABINETSHOP SAWS• Model 315: $795• Same featJJres as theModel 310 plus:Table extension• 2 speedsDElTA SHAPER• 20", 5 hp: $1,295. 24", $2,595• 5 hp & 7Y, hpNORTHSTATEBANDSAWS14", 1 hp: $29518", 2 hp: $695• 20": $1,495.24": $2,465DELTA "UNISAW'Heavy cast iron canst• 2 hp, single phase.9" x 01" bed3 kne cutter headDual ti fenceMagnetic controlsSALE: $775FREE FREIGHT6" jointer: $325• 12""rr_jointer: $1,895. .• Delta 8" jointer: $1,245DELTA 18" VARIABLESPEED SCHOU SAWModel-... ...3 hp/l ph, 5 hp/3 ph43-3753, 5, 7Y, hp motors" ..' & y," spindles 2 speed·reversible1'h. 3, 5 hp motorsMagnetic controls$1,399 I2 spindles: "" 1Pricing starts at $1, 150Cast iron top• Freeborn & Freud Shaper • Specials on unijence V ..'Y,", 1" availableReg.: $1,114UnHock fenceCutters available. models SALE: Router collets avail.$656VERY HIGH QUAUTY• 96 Cast iron tablefree blades • Spring hold down &$1,050 w/std fencemiter gauge$1, 150 with 50" rip fence LENEAVE MACHINERY•& SUPPLY COMPANYExtra heavy dutyFREE FREIGHT305Charlotte,WestNorthMoreheadCarolinaStreet1 year warranty$1,05028202 • FREE FREIGHT(704) 376·7421Requires 6 sq It space• Set·up time reduced by 80%Easy top side adjustmentsAll cutters fully guardedCutters included• Safe, easy operationNORTHSTATE CABINETSHOPBest buy in the induSl!y!Variable speedPlaten headDual motorsHeavy cast iron & steel• Plate construction10, 15 & 20 hp25" ust: SALE: $7,950$5,695, 15 hp37" ust: $1 2.llX)• SALE: $8, 100, 20 hp• Phase converter avail..2 hp. 2 bag: $350• 3 hp, 4 bag: $520• Reg. $1,479• • SALE: $879•• CELTASPECIALSComplete Delta Une Available37-350: 8" jointer w/stand: $1,24534-444: 10" contractor saw: $59528-2835: 14" bandsaw: $59828-243: 14" bandsaw: $47840-601: scroll saw:17-900:$65616 y," drill press: $32543-122: shaper: $49933-990: 10" radial anm saw: $53534-985: stock feeder: $53933-150: sawbuck: $50920 Fine Woodworking

B:uy 1 tool and get our 212 page tool free.Just a few of the unique woodworking tools ofthe 3,500 others available ftom our most versatiletool , the 1989 Garrett Wade Catalog.The 212 page Catalog, regularly $4.00, is Freewith any order from this ad. Or if you wouldjust like the Catalog, send us $4.00 with yourname and address.A lOur 202GF Gap Filling Glue HasRemarkable PropertiesIt has a very high solids content so that smallgaps in our joinery are actually filled - withstrength. And the "squeeze-ouc" beads right upand chips off when dry. No soaking in to ruinfinishes. Dries to a light tan. Water clean-up.62}0 1.01 I pt. 202GF $ 6.501 qt. 202GF $11.5062}0 1. 03B I Special Bandsaw "Cool Blocks" ProlongBlade Life And Increase AccuracyMade of a special Graphite impregnated PhenolicLaminate, this set of 4 replaces your upperand lower side blade guides.They run cooler than conventional steel guidesand are more "slippery". You can set themactually touching the blade, consequently givingmore control and accuracy over the cut.They are sure to improve the performance ofwhatever bandsaw you use. 9 sizes are availableto fit most bandsaws.Model33K09.01 "K Delta l4" $9.9533K09.02 "B" Sears 12" $9.9533K09.03 "c" Inca lOW' $9.9533K09.04 "D" Shopsmith $9.9533K09.05 "E" Old Sears (!!.I" Rd.) $9.9533K09.06 "F" Jet 14" $9.95(fits most Delta-type copies)33K09.07 "G" Gilliom ('i'h" Rd.) $9.9533K09.08 "H" Delta 16" $9.9533K09.09 "K" Sears 12" (Electron.) $9.95C I Garrett Wade Has Discovered SomeVery Interesting Bandsaw Blades.Yi6" "Super Narrow" BladesYou may have never seen a blade like this 24tpi . In a raker style, these give smooth cutswhile making incredibly tight rums. Westrongl y recommend our "Cool Blocks" forthese delicate blades, because they can be setcloser to the blade withouc danger of overheatingor destroying the teeth as normal metalguides can.Cabinetmaker's Special Bandsaw BladesA Garrett Wade exclusive. In appearance, theylook like "skip tooth" blades. But each tooth isactually fo rmed as a hook, with every 5th toothan un-set raker. The result is a very smoothcutting blade that feeds very easily. Use the !!.I"(4 tpi) blade for general work, and the W' size(3 tpi) for resawing and heavy straight sawing.Garrett Wade CO., Inc.161 Avenue of the AmericasNew York, NY 10013 Dept. 622Call Toll Free(NY___________________212-807-1757800-221-2942No Collect Calls Please)Please send me these Garrett Wade tools and include a1989FREECatalog with my order. (Prices__ good ulltil JUlie 30.__ 1989)Namc:Address:City:: Statc: Zip:o_________________Check or Money Order Card Nurnber_ :::rin::::eard I1---r 1-r"1 -r-I""'- 1"'--'- 1-'1-'-1 '-- 1 "--' 1 1-'-1-r"1 -'-- 1 1E,Ilpi ral ion DalcSTOCK #GWQTY.I93 W' Blades (Delta 14" and copies)33Kl1.01 Yi6" Scroll33Kl1.02 WCabinet.33Kl1.03 W' Cabinet.80" Blades (Sears)33K12.01 Yi6" Scroll33K12.02 W Cabinet.33K12.03 W' Cabinet.72" Blades (Shopsmith)33K13.01 Yi6" Scroll33K13.02 W' Cabinet.33K13.03 !l2" Cabinet.$12.50$11.65$11.95$11.95$11.30$11. 50$11.25$10.20$10.5073 W' Blades (Inca 10 W')310. 160 Yi6" Scroll $11.25310. 161 WCabinet. $10.20310. 162 WCabinet. $10.50104 W' Blades (Delta w/Riser and Inca 20")710. 101 Yi6" Scroll $12.85710.201 WCabinet. $11.95710.202 WCabinet. $12.90D I Saw Setting Gauge Can Be Read FromAny PositionMost saw setting gauges have at least one or twomain weaknesses. They either rest partially onthe insert plate which is usually not the sameheight as the main table, or they are so thinthat it is difficult to ensure that teeth are beinggau g ed at the top of the arc. This Gauge ismade from machined Aluminum a full 3;4"thick and 9" long. With W' graduations on oneend and !Is" on the other, it will indicate anyheight from !Is" to 2". Most useful for TableSaws but also handy for Router depth setting.The markings are vertical on one mce and horizontalon the other, so you can read them easilyand accurately.71K26.02 Saw Setting Gauge $16.95DESCRIPTION PRICE TOTA L1989 Catalog (free with order) $4 00Shipping: Orders up to $100-$2.50Orders over $100-$6.95New York Residents add applicable Sales TaxSub TotalSales TaxShippingGrand To talJanuary/February 1989 21

There areover 4,000money-savingreasons whywoodworkers rely onConstantine.Unique products. Hard-to-find products_4,000 woodwork items! Everything importantto people who like to Build-Restore-Repair­Refinish-and like to save money doing it.Cabinet or furniture wood? Choose from over200 sizes and kinds. Beat up surface to cover?NEW_ 500 plans . . cabinet116 Page Catalog-Only $1.00CONSTANTINE Est. 181220654 Eastchester Road, Bronx, NY 10461JETJWP. 12 12"WOODWORKINGPLANERExcellent home shop planer.Very inexpensive yet will acceptup to 121/," boards. High quality2 HP motor for tough jobs with.out bogging down.SPECIAL INTRODUcrORY PRICEWe will meet any price on this planer in this ... issue. $3941712 E. BROAD STREET (18th & BROAD)RICHMOND, VA 23223 • IN HISTORICSHOCKOE VALLEY804·643·9007"Serving the craftsman since 1898 with Specialty Tools & Supplies."FINALLY!PERFECT SAW ALIGNMENTFORPERFECTIONIST!THE WOODWORKINGALIGNMENTACHIEVE ALLONMODESEITHEROFARM OR TABLE SAWS, INCLUDINGRADIALCOMPOUND CUTS.$44.00 plus $3.50 forpostage and handling. VISA.Mastercard. Check, MoneyOrder or call (503) 997-2377.Send for color brochure:EXACT CUTS5306 Boy Scout Rd .,PO. Box 268, Florence,OR 97439.01111' IIIli,ill lnilel* SANDPAPER *NO GIMMICKS - GREAT PRICESBELTS: GAITS ASSORTED SHEETS: 19 1 11) PflICfUNLESS OTHERWISE SPECIFIED1130 1,69 3124 I .80 ea1142 .69 ea 3127 .83 ea1144 ,69 ea 4x 2111 ,91 ea211 1 16 .73 ea 4124 .94 ea3118 ,74 ea 4136 1.14 ea3121 .n ea 6148 2.98 3 1 23¥. ,80 ea 2V. 1 80 2.47 eaOTHER SIZES ON REQUESTNO LOAD PAPERso / pk 100 / pklBO-A Ihru 4OI).A110/pk 118/pkPRESSURE SENSITIVECABINET PAPERso / pk 100 / pk4G-D 116/ pk 130 / pk5O-D lS/pk 27 /pk6O-D 14/pk 2S /pk6O-D 13/pk 23/pk100 thru l50C 12/pk 21 /pkFINISHING PAPER100 Ihru 280ASO/pk l00/pk19/pk 116/pk8/pk14/pkWET lORY PAPERSO/pk l00/pkADHESIVE DISCS! 220 Ihru 600A 113 /pk 123 /pk6" 11.06 ea * OTHER ITEMS * * JUMBO CLEANING STICK *8" 1.99 ea * WIDE BELTS 18.809" 2,46 ea * ROLLS SEND MAil ORDERS TO:10" 3,05 ea * FLAP WHEELS ECON·A8RASIVES12" USea * PUMP SLEEVES P. O. 80X 8865021IS" 6.95 ea PLANO, TX 75086NA lIONAl H00-367 -4101* MINIMUM ORDER 125,00 IN TEXAS (214) 3n-9779* MASTERCARD, VISA OR CHECK * TEXAS RES, ADD 7%SALES TAX* SATISFACTION GUARANTEED!! * SHIPPING CHARGES ADD 14.25,,---SPECIAL OFFER ... --.BRANDING IRONFor hard and soft woodPlus $2.00 lor\- Shipped in 1 or your money+backweekSolid brass head - Compacl SizeFirst Line: HAND CRAFTED BY - as above2nd line: Your choice• -20 characters/spaces max.As above but wilh 3rd line - $37.00 $2.00ORDER TOll FREE 1-800-826-7606 (except Nebraska(In.•Nebraska 1-402-464-0511For free brochure, write or call (402) 464-051 1Order by mail Iram NOVA TOOL CO.12500 Finigan r===lP.O. Box 29341. Lincoln, NE 68529 L::::JmwRdDept.FWMy EbacLD82paid for itself injust 3 months!IIYES YOU CANKILN DRY YOUROWN LUMBER ...... As Ittte as 100LetBF per month tor pennies a board toot!ERAC, the Wortd Leader. show yo. how with•an ...EBAC LD82 WOOD DRYING KILNSimple to operate - plug it in and turn it on!Dry lumber - 6%-8% - when you need it!Increase your profits - buy green wood & dry it yourself!Quiet and efficient - your TV probably uses more electricity!Rapid payback - usually within 1·6 monlhs!What are yo. waiting for] For less than $1,500, you could be kilndrying yo.r own lumber and pocketing the kiln dried premium! Findout why over 2000 at your friends in the U.S. and Canada, and thewortd--most with no wood drying experience-own EBAC DRY KILNS.GET THE FACTS-CALL EBAC, or write, for more informetion and a noobtigation lumber drying proposal. YOU'll BE GLAD YOU DID!y. ..ill EBAC LUMBER DYERS5789 Park Plaza Ct., Dept Flo Indianapolis, IN 46220317-Sn-7870 11-800433-901 t /1 FAX 317-sn-8171- LARGER SYSTEMS AVA/LABLE -.tn IAllows one person to easily flip::::> a 4'x8' sheet"-3

CONTROL THE SPEED OF YOUR ROUTERROUTE AT THE SPEEDTHAT GIVES THE BEST...RESULTS WITH THEWOOD• AND BIT YOUI'\A..L-OI"_ ARE USINGIftrocCNr'r'llllli.LESS TEAR OUTSTOPS BURNING3 _ 7oFEED AT COMFORTABLE RATEBETTER. 1 .• •.8I 9WEAR ON BITS0 10•SAFER RESULTSWITH LARGE DIAMETERPANEL·RAISING BITSLESSLESS •FEATURES:SPEEDFULLGONOISE AND SOFTER STARTSAT LOWER SPEEDSADJUSTABLE FROM FULL SPEED TO 0 RPM•HORSEPOWER AND TORQUE AT ALL SPEEDSBACK AND FORTH FROM ANY PRE·SET SPEEDTO FULL SPEED AT THE FLIP OF A SWITCHWORKS WITH ALL ROUTERS 3 HP OR LESS120V 15 AMP•GIVES YOUR ROUTER A FEATURE ONLY AVAILABLEON ROUTERS THAT COST OVER $500.00EASY TO USE -SIMPLY PLUG IN SPEED CONTROL AND PLUG YOURROUTER INTO THE SPEED CONTROL - TURN DIAL FOR BEST RESULTS.(SPEED CONTROL HAS A CLIP THAT CAN BE WORN ON YOUR BELT ORHUNG ON WALL OR LEFT LOOSE.)REDUCESSPEED ELECTRONICALLY WITHOLIT REDUCING TORQUE;ELECTRONIC FEED-BACK MAINTAINS SPEED BY INCREASING VOLTAGETO MOTOR AS LOAD INCREASES.To order by Master Charge or Visa Toll Free7 Day -24 Hour Order Service. Call1-800-533-9298or send check to: MLCS, ltd., P.O. Box 4053F3, Rydal. PA 19046MAKE BEAUTIFUL RAISED PANEL DOORS ...WITH YOUR 1/4" ROUTER!ALSO AVAILABLE IN 1/2" SHANK -$79.95Professional production quality bit makes it quick and easy toproduce matching rails and stiles - the panel raising bit withball bearing guide makes the raised panel perfect every time.Regular value Over $150.00SALE PRICE $6995 FOR COMPLETE SETORDER ITEM H054 for 1/4" Shank Set(Includes all bits shown)114" ShankRAISED PANEL BITSUPPLIED WITHBALL BEARING2" large DiameterRAILPANELPERSPECTIVE VIEW OF PANEL DR(WITH ONE RAil REMOVED)REVERSIBLECOMBINATIONRAIL and STILE BIT(For making matching rails and stiles inraised panel doors, etc.)Works with stock from11/16" 10 718" thick24 Hour Order Service Call-CARBIDE TIPPED - TWO FLUTE114" SHANKsupplied with Ball BearingITo order by Master Charge or Visa Toll Free7.•Day' ·800·533·9298or send check to: MLCS. LTD P.O.Box 4053F2. Rydal, PA 19046NewFeet-InchCalculatorFor SeriousWood­Workers!IntroducingPocketthe All-New-JustHandymanTN$39.95/N ow you can save time and cut costly errors by solving allyour woodworking problems right in feet, inches and fractions-withthe new Pocket Handyman feet-inch calculator.Adds, Subtracts, Multiplies and Divides In Feet,Inches and ANY Fraction so you never need to convert to10ths or 100ths because the Pocket Handyman works with alldimensions just like you do.Plus, you can work with any fraction-1/2's, 1/4's, 1/8's,1/16's, 1/32's, even down to 1/64's-or no fraction at all.Easy to Use You enter a feet-inch-fraction number just asyou'd say it-7 [Feet] , 6 [Inches], 1 [J] 2. And, you can mixall fractions (3/8 + 11/32 = 23(32) and all fonnats (Feet +Inches + Yards + Meters) in your problems. To get square andcubic measurements, just multiply your dimensions together.Converts Between All Dimension Formats - directlyto or from: Feet-Inch Fraction, Decimal Feet (10ths, 100ths),Inches, Yards and Meters-including in square and cubic.Also Works As a Standard Math calculator with Memory(which handles all dimensions), battery-saving Auto Shut-Off,easy-to-follow User's Guide, full I-Year Warranty, replaceable2-Y ear batteries and sturdy vinyl carrying case.Order 2 and Save Even Morel To order your PocketHandyman at the discounted price of just $39.95, or 2 for$74.95, complete and return the coupon to Calculated Industries,22720 Savi Ranch Pkwy., Yorba Linda, CA 92686.Or better yet call Toll-Free 24 hours every day: 1-800-854-8075 (in Calif., 1-800-23 1-0546).Order Risk-Free For 30 Daysl And if for any reasonyou're not completely satisfied with your new Pocket Handyman,simply send it back within 30 days of delivery for a fullrefund. You just can't go wrong!So why not put an end to costly errors and start savingtime right away, order your new Pocket Handyman feet-inchcalculator risk-free today!Calculated Industries, Inc.Yorba22720Linda, Savi RanchCA 92686Parkway- - - - - - Clip & 11.11IIII_______________________I_INameIAddressI CitylSt/Zip,IAccountI #o Check o VISA 0 MasterCard 0 Am/ExpExp Date _1_$_-IL _____________ January/February 1989 23

READY TO ASSEMBLE-SOLID-CHERRYWALNUTMAHOGANYAvailable OAK_, nb.615/587-2942Morristown. TN 37814Dept.FREE93BROCHURE;;a..- .;: 9rl=lUldg;Air Handling SystemsYOUR BEST DUST COLLECTION SOURCE ...COMPLETE LINE OF ROUND PIPE FITTINGS IN STOCK FOR FAST DELIVERYFOR CATALOG & PRICESCALL 1·800·FOR·DUCTOr in Connecticut 203·336·0533• Buy direct from manufacturerand save.• Install yourself andsave more.• We supply you withall the materials.• All you have to dois put it together.Manufacturers Service Co., Inc.358 Bishop Ave.Bridgeport, CT 06610Popular,Pocket-sizeMINI·LlGNO$110Onlythat the moisture content of wood iscrucial. Moisture related defects such assurface checks. warpage, cracks. loosejoints, foggy finishes, etc" can ruinthe besl piece ever built.'OfIncl.:V16·Case,1/16"Batteriesand PinsandMeasuring Depth.moisture defects are irreversible.Therefore don't waste money andlime on wet wood. Use a moisturemeter to be sure you workonly with dry wood.24 Fine Woodworking

CALL TOLL FREEORDERS ONLY1-800-327-6250OTHER INFORMATION71 4-525-35818 AM to 5:30 PM PST1567 HARBOR BLVD.FULLERTON, CA 92632ALL ORDERS SHIPPED UPS FREIGHTPREPAID (CONTINENTAL USA) ONORDERS $50. OR MORE. SINGLEITEMS WEIGHING 70 LBS. OR MOREARE SHIPPED F.O.B. SANTA FESPRINGS, CA. CALL FOR DISCOUNTFREIGHT RATES. SALE PRICES,LIMITED TIME ONLY AND SUBJECTTO CHANGE WITHOLIT NOTICE.NEED IT QUICK?FEDERAL EXPRESSSHIPPING AVAILABLE@HITACHI$189TR12 3 HPPlunge Routerwith $60.00AccessoryPackage.You get:Straight guideMicro guide holderRoller guide'/4, % and '/2" colletsTemplate guide* Template guide adapter* '/2" carbide straight bit$1591581 VSK Tophandlejig saw kitwith metalcase $159PORTER+[ABLE'330 Finish Sander withFree Stik-It Pad NewModel with 15000OPM $59•PORTER+[ABLE'5116 Omni-jig DovetailMachine with Half­Blind Te mplate,Dovetail bit, templateguide and manual.$29942000 Te mplate guidekit. Fits most routers.$39PORTER+[ABLE'$159NEW!ADJUSTA BLEFENCE FOR THEPORTER-CABLE555Tilts D-45°* Slides parallel up &downPrecision accuracy* Screws right on. nodrilling or tapping.INTRODUCTORYOFFER $59.95555 Bisquit joiner withcase $159555A Bisquit joinerwith adjustable fence &metal case $199AFPC adjustable fencefor 555 $59.950-10-20 Bisquits $29$299#3338 2% H.P.electronic variablespeed plungerrouter.New Freud Thin KerfCarbide BladesLU87M010 10" x 24TRipping $44LU88M010 10" x 60TCut-Off $54FINE CUT.()Ff CROSS CUT BLADESLU73MOO8 S'"X48T ATB $54LU73MOO9 9'"X54T ATB 59LU73M010 10'"X60T ATB 39LU73M012 12'"X72T ATBPREClSJ()N PL YWOOO BLADES 85LUS2MOO8 S'"X48T TCG 59LUS2MOO9 9'"X54T TCG 64LU82M010 10'"X60T 59LUS2M012 12'"X72T TCGCOMBINA T/ON BLADES 92LU64MOO8 S'"X40T COMB. LU84MOO9 9'"X40T COMB. 53LU84MOll 10'"X50T COMB. 34LU84MOI2 12'"X60T COMB.RIPPING BLADES 69LM72MOO8 S'"X24T FLAT TOP 43LM72M010 10'"X24T FLAT TOP 36LM72M012 12'"X30T FLAT TOPSUPER FINE CUT.()Ff BLADES 65TEFLDN COA TEDLU65MOO8 S'"X64T ATB $69LU85MOO9 9'"X72T ATB 75LU85M010 10'"X60T ATB 59LU85MOI2 12'"X96T ATB 99= =LU85MOI4 14'"Xl08T ATB 119LU85M01S IS'"Xl08T ATB 149ATB Alternate Top BevelTCG Triple Chip GrindSCOOI Saw Blade Stabilizer 17DS306 CARBIDE 6'" DADO SETSDS308 $99S'" Dado109A DBOO S'" AdjustableJS-l00 Dado 49Joining Machine 169()'1()'20 Bisqus box 01 1000 29--- -YT., ... .... .-.: 5.94-100 5pe Cabinet Set $17995-100 5pc Cabinet Set wnh 99PK·lMuttiform $229Both Sets Come With FREE Door making book!9().100 15pe Carbide set $17991·100 13pc 'h' Shank set $19991·102 'h' Shank set $8991·104 '12' Shank set $12992·100 router M set $295Ffl.l07 7pe Forstner bit set $49Ffl.l00 16pe Forstner set $179WC·l06 6pc Chisel Set $39WC·l tD lOpe Chisel Set $59__ d !';', ;;, ..;'"-;:UNDERSTANDING ORIGINAL HARDWAREUNDER THE TABLE HARDWARE ...Seldom seen, usually neverpolished, often taken forgranted, - catches for tilttop's, hinges for drop leavesand holding clips forsectional dining tables allcontribute to the function ofthe finished piece.Square, round, lion paw, orcup casters of all sizes, usingbrass, china, wood, cast iron,leather, or no wheelsfinished thousands of legssince 1700.Call or write for free minicatalog,or send $5.00 forour full 108 page catalog.We now reproduce morethan 100 items like these.. .h> .'[V' /r;:=...·o::..:-.7 ,...l ' ',. - ,"'.463 W. Lincoln Hwy • Exton, PA 19341 • (215) 363-7330t. ooK./ NO HANDSNEAR THESTRAIGHTERNO KICKBACKSCUTSNOKEEPSADJUSTMENTSFINGERS SAFE!The RIPSTRATE is now an indispens Ie tool in tensof thousands of amateur, professional, school,corporate, government and military shops. Isn't ittime you joined them?January/February 1989 25

THE BARTLEYBUNDLES!AlJ.500 ·24"Bandsaw AIIo_io 211",21" 3Z"& 31"1&"Radial Ann Saw7.5 HP or 5HP Available32" Cross Cut 4 HP43" RippingCarter Guides5-1/8" Cuning Capacity13" Cutting Height3I4"and 660 LBS. Weight: 800 LBSWE ALSO CARRY A FUll UNE OF EOGEBANDERS, MOULDERS, GANG RIP SAws, DUST COllEcroRS, WIDE DElI SANDERS,PNEUMATIC CUT·OFF SAWS, OVERHEAD ROUTERS, BORING MACHINES AND MUCH MUCH MORE!rIIIIIIIIIIIIALL LEASING MACHINERY AVAILABLE. ON DISPLAY ALL MACHINES FOR DEMONSTRATION WITH FULL 1 YEAR IN OUR GUARANTEE. SHOWROOM-----------AAAW&H Molder-Planer & LatheNYTIMENYWHERENYWOODProfessionals and hobbyists alike know the strengths of our products!The W&H Molder·Planer converts from planing to molding in only two minutes, andduplicates moldings from 3/4" deep to 7" wide.Our 12" Lathe, with its cast iron headstock/tailstock and solid steel ways, has four·speed versatility and 46" between centers!Superior made·in·USA construction, exceptional warranties, and free 30 day trials areyour assurance of long life and total satisfaction.Williams & HusseyP,O. Box 1149, Dept. 139AAWilton, NH 03086Mail this ad or call us toll·free today,1·800·258·1380 In NH 603·654·6828___ State~Zip___YES! Send your free information kit today!Name ________________________________________________ ___Address ___________________________________________________________ City _-----------IIIIIIIIIII.IWhen we make our antique reproductionfurniture kits, we have lovely mahogany andcherry left over , , . it's just too small for us touse, Most bundles sell for $25, Call today toorder or for info!1 ·800· BARnEY(In Maryland 301 ·820·7722)nn71ie .DartleY'rPllectio!lL ' I M I T EDDept FW19, 3 Airpark Drive, Easton, MD 21601Catalog fromthe exclusivedistributers ofHEGNER &FELDER Woodworking Machinery.FREE - The mostcomplete selection ofscroll saw blades,accessories. andimprovementsfor almost anyscroll saw,plus much,Includes HEGNER Precision Scroll Saws,Lathes & Lathe Duplicators, JET Clamps,Workbenches, FELDER Systems, and more!A $2.00 value. now offered FREE duringthis special promotion. Y 1·800·962·2589____________________ ___TOLL-FREE FOR YOUR COPYNameAddress ____________________ _City, State, ZipPhone ( IP.O. Box515 ADVANCED 312MACHINERY Dept. New Castle, 32619720 DE IMPORTS LTD.26 Fine Woodworking

irecl Mill SavingOver 20 different hardwoodsand veneers!Domestic and exotic.Books, supplies, plans andseminars.Visit our NEW store anddemonstration woodworkingshop.FREECATALOGCWaxlcrafteA5®cAmerican---::::-=1025 South RooseveltPiqua, OH 45356Phone 513-773-7414 Ext. 263CASINGS. BASES. CROWNS. CORNER BLOCKSDOORS . GINGERBREAD . WAINSCOTLARGEST INVENTORYVICTOQIAN ELEGANCEOFVICTORIAN MOULDINGS& MILLWORK ANYWHERESpecializing in CustomerServiceBuy Direct from Mfr.Premium & Commercial•GradesNo Minimum OrderRush Orders -f\b ProblemlExpert SI1ipping & Packaginglots of Construction IdeasTop Quality PrecisionMillworkHigh OuaHly Full CotorCatalog with over 60 phQ(osnd 54 for Catalog& use or PhoneyourP.O.Box 2987-FW4 credit card303-259-5915 Durango. Colorado 81302Create ovals &exotic curves !FAST NEW WAY TO MAKESHAPELY FURNITURE, ETCSee VHS videoRENT-FREEWE REFUND $5 DEPOSITWHEN YOU RETURN VIDEOSend $5 check (no cash) to:Compu-Compass Co.2000 NE 100, Seattle WA 98125HARPSICHORDS& FORTE PIANOSBuild it yourselffromone of our kits or letour experienced craftsmenbuild it for you.Three Centuries ofHarpsichord Makingby Frank Hubbard(S 30 postpaid)For brochuresend S 3.00 toHARPSICHORDSHUBBARDINCORPORATED144-W Moody Street,Waltham, MA 02154(617) 894-3238Ii .....,...• QUALITY•• •HARDWOODSClear Kiln Dried Surfaced 4 Sides 3/4' Thick3' to 10' Widths 2-Ft. to 7 -Ft. Lengths20 Sq. Ft. Packs Random Widths & Lengths.................................................................Red Oak-Plain.... . $45.00Red Oak-Quarter Sawed $51.00White Oak $44.00Cherry... . $59.00Walnut. $60.00Hard Maple $33.00Ash $49.00Basswood...... ......................... $31.00Poplar. ................................ $27.00Aromatic Red Cedar (Tight Knots) .................. $32.00Cypress ... $31 .00Birch ......................... ...................................... $43.00Orders Shipped C.O.O. by UPS. Shipping Charges Added.Texas Residents Add 7% Sales Tax.To Order Call 21 4-693-4735 or Write to:K & S SPECIAL TV LUMBERP. O. Box 125 -Hill"s Lake Road - Carthage. TX 75633The RBI HAWK Scroll SawFamily of Precision Scroll SawsAmerica's largest line of Precision Scroll Saws canunlock yourcreativity. With 6 models to choose from,there is one suited for your needs_It takes a realwoodworker to build a ftrst class tool and that's whatRBI is all about. We're American Woodworkers buildingquality, affordable tools with pride for you - the• •American Woodworker. Send today for your freeinfonnation kit to see why rbi is the best value for yourwoodworking dollars.The RBI JOINT MACHINEPrecision Joint Making , Spindle Shaper RouterTable Inverted Pin RouterCreate beautiful wood joints so precise, you may betempted not to glue them!Making finger joints,mortise and tenons, all types of dovetail joints,mitered joints, and raised panel doors has neverbeen easier_ Your rbi Joint Machine can also convertinto a spindle shaper or an inverted pin router withaccessory attachments.today!Send for your free fact kitCall Toll Free 1-800-535-8665(In MO 816-884-3534) for informationDealer Inquiries InvitedThe RBI WOODPLANERPlaner ' Sander ' Molder ' Gang Rip SawFour essential woodworking functions designed intoone precision, dependable machine. Plane your roughstock into dimensioned lumber to the size you want,save yourself hours of hand sanding using thesanding attachment, you can edge cut and widthdimension your stock with the power-fed gang ripsaw atlachment, or create beautiful standard orcustom mOldings out of any wood you want with themolding head assembly. All these functions withouthaving to remove the knives from the cutterhead andthe time and trouble needed to reset the planer knivesagain like other machines on the market. Send todayfor your free fact kit on this extraordinary tool!1,--------------,1 Hawk Scroll Sam; WoodplanersYes, Please rush me a free fact kit on: FW14 1rbindustries1801 -Joint Machine (MarkInterest) Vine St.- PO Box 369 Harrisonville, MO1 164701January/February 1989 27

A GREAT DEA.L IMORE (f)5 HP, 3 Ph3 HP, 1 PhN ot since the late 1970's have Powermatic's prices onthe 66 TA Saws and 26 Shapers been so low! On machinesthat deliver a great deal more features than the competition's.Rugged cast iron construction. Massive key components.High resale values.For even more value, Powermatic now offers thesemachines in 5 horsepower, single phase - an industryexclusive!And a great deal more than just low cost, you'll get thePowermatic quality you've come to expect.Call us now for an exceptional value you can't afford tomiss. 1-800/248-0144.66 TA Saws 26 Shapers5 HP -1 Ph $1766* 5 HP -1 PhHP -1 Ph HP -3 Ph $1399*2 HP -3 Ph $1489*$1459*2 HP -1 Ph*Suggested consumer priceBetter By Design$1599*$1399*A Division of Stanwich Ind ustries, Inc.McMinnville, Tennessee 37110800/248-0144 615/473-5551 TELEX - 554455 FAX # 615/473-7819

.'7QE'e-cu. ..Cascade priceFORTHESHAPER3 mm thick C-2 carbide, 3/4" BoreSY-1212-11/4" $24.95SY-1212-23/8 " $26.95SY-1212-3w/Y2" BushingStraightSY-1212-43/4" $32.95SY-1212-S1" $35.95SY-1212-61/2" $28.95 1 - 1 /2" $36.95SY-1223-1SY-1212-82" $59.95FluteSY-1223-41/4" $24.95 3/4" $32.95SY-1223-2SY-1223-S3/8" $26.95 1" $35.95SY-1223-31/2" $28.95Bead'".,·::r: ,cCall Toll-Free: 1-800-235-0272 'TheRIGHT ARMCLAMPOne clamp does it all!!Its secret is its pivoting arm, which,when positioned, squares the work forperfect joining, gluing, and fastening.lifetime manufacturer's warranty. Instructions included.Suggested retail - $1795-$1 [JDD-or 6 for $5500FOR THE ROUTER!Dovetail•PART NO. D PRICE802 3/8 $7804 112 $7804-1/2Thousands of satisfiedcustomers tell us thatour ._, carbide tippedrouter bits and shapercutters are the bestva lue on the market.These bits and cuttersare terrific and availableat factory-to-youprices. Experience the,. feeling! Call orwrite for our new catalogfeaturing a great selectionlike:1/2 $7SY35 SY29806 9/16 $8810 3/4 $9810-1/2 3/4 $9• 812-1/2 $12lI•u S8020 5/8S8020'12 5/8- Flush Trimming-f•PART NO. A PRICERoundoverS8012Y 3/8 $7S8016Y 1/2 $8S8016Y'I, 1/2 $8$10$10Cove Bits PART NO..$jS706YCorner RoundAS702Y 1/16S704Y 1/83/16S708Y 1/4S710Y 5/16S712Y 3/8S716Y 1/2• S716Y-1/2 1/2• S724Y-1/2 3/4$1 2$12$12$1 3$1 3$13$14$14$28Now 3 DifferentEdge Beading BitsSY1403PART NO. AS502Y 1/16RS504Y 1/8RS506Y 3/16RI) S508Y 1/4RS510Y 5/16R+ S512Y 3/8Rl BS516Y 1/2RS516Y-1/2 1/2RS520Y-1/2 5/8RPRICES524Y-1/2 3/4RS528Y -1/2 7/8R• S532Y-1/2 1 R, S536Y-1/2 H/4RCoreBoxBeadingSY-1224-1 SY-1224-4 SY-122S-1 SY-122S-41/4" $24.95 3/4" $32.95 1/4" R $24.95 3/4" R $35.95SY-1224-2 SY-1224-5 SY-1225-2 SY-1225-53/8" $26.95 1" $35.953/8" R • tl •$26.95 1"R$49.95A -ISY-1224-3SY-122S-3 SY-122S-6• •1/2" $28.951/2" R $28.95 1%"R$49.95Indicates 1/2" shank.1 '12" HP, 2 speed, Reversiblevertical spindle lravel Holddown clampsIndividual fence assembly adjustment(Freight included)dovetailed into table• CAS-15 $495.003/4" and '12" spindles1.2"• '12" and 1/4" router collets• MitrePART NO. AS408 1/4S412 3/8S416 1/2S420 5/8S424 3/4S424-1/2 3/4S432-1/2• S450-1/2 1-1/2PART NO. AS602Y 1/16RS604Y 1/8R•S606Y 3/16RS608Y 1/4RS610Y 5/16RS612Y 3/8RS616Y 1/2RS616Y-1/2 1/2RS624-1/2 3/4RS ...AMJ 5' fACECARBIDE TIPPED SHAPER CUnER PANEL RAISER -3 WING, 5 PROFILES, 3MM THICK CARBIDE. 4-5/8" 0.0. with 3/4 " BORE (1/2" BUSHING)$6995 . 5-1/2" 0.0. with 1-1/4" BORE (1" BUSHING)CUT15' fACECUT..CONCAVE..-.12' fACE6•PC CARBIDE TIPPEDCABINET SETS3..-.CONVEX& OTR RDmm CARBIDE· 3/4" BORE W/ 1I2"BUSHINGONLY $179.9513 Great Cabinet Sets including these popular Profiles:SY 1280 ?l SY 1283 (1.1/4" Bore with L.f; Lb1"Bushlng­ONLY $249.95)S59952-5/8" 0.0. Panel4'BEX AIRSTAPLEROR NAILERwith 5,000staples ornails$99.95-Raisers in the 5profiles above$1 5.00$29!ah ,PRICE$11$11$11$11$12$14$16$16$20$20$34$34$40PRICE$10$10$12$14$15$15$18$30PRICE$11$11$11$12$13$15'$16$16$20Also available with bearingand under cutter to simplifycutting of a precise 1/4"tongue and making of$49 95cathedral panels.Bull NoseI-·l _A U1•PART NO.SY9·1SY9-1'i2SY9-3SY9-3'i2SY9-4•SY9-4'/2SY9-5SY9-5'i2SY9-6SY9-6'i2• SY9-8'I,SY9-9'I,• SY9-10'I,SY9-11'i2• SY9-12'i2Roman Ogee!fPART• J .:J • S5705Y'I,MCIVISA/COD USERS ORDER TOLL FREE1-800-235-0272IN WASHINGTON STATE CALL 1-236-02727AM - 7 PM Monday through Friday (P.T.)•NO.S5705YS5708YS5708Y'i2A1/41/43/83/81/21/25/85/83/43/41-1/81-1/41-3/8H/2A5/325/321/41/4•r& ,,,SY7002'i2--11---- • ,. l]-f SY7006' i2 3/16c SY7008 1/4SY7008'/2Slot Cutter -4 FlutesISY7004PART NO. A1/85/321(4mm)SY7004' i2 5/32 (4mm)- SY7006 3/16,1/4SOLIDCARBIDESPIRAL BITSPRICE$14$14$15$15$15$15$16$16$16$16$18$30$35$38$40PRICE$16$16$17$17PRICE$24$24$24$24$24$24$24$24January/February 1989 29

--ANTIQUE & USED TOOLSQuality, older hand tools forcollectors and woodworkers.Illustrated lists published 5times a year.SUBSCRIPTION > $6.00CURRENT LIST > $1.50specializing inbuy and se/l511 W. II th • Port Angeles. WA 98362(206) 452-2292 (601- '-Jw1d beltCALL US FOR PRICES ON POWERMAnCMACHINES, DELTA MACHINES,DEWALT RADIAL-ARM SAWSBOSCHAND 00 • FRElI>POVvm•TOOLSMAKlTABYSKIl • PORTER{:.AJllE • JORGENSEN•a.AM'SBefore you buy, call us to/I-freefor prepaid freIght prices:(800) 821-2750. Ask for Tools DeptIn Miss. (800) 321-8107.ROUTER BITS & SHAPER CUTTERS - P.P.D. IN U.S.AVISA & MASTERCARDS ACCEPTEDsan"dar n.I 354-3756126 E. Amite St., PO Box 102, Jackson, MS 39205Every day products are created thatredefine the way we work. Look atcalculators, personal computers,and cordless tools. Through technologyand innovation, these productswere redeveloped and put into thehands of a much broader group ofconsumers, empowering them withcapabilities theypreviously lacked.NORTHWOOD ...quality you can see . .. and feellNW210C - two hp. dust collector developsnearly 1200 CFM to create a tornado of cleaningpower in your shop. Two bags. A midwinterbargain at $299.00NWl01 - you can get oneofthe best heavy dutywood shapers made for less than the price of adecent table saw. 3 hp, choice of spindle size allfor $1095.00shown wtthoptional XT(extension tableoption) &Motorized TableHeight AdJustmentoption.Sandstars feature TEFC drivemotors and separate feed motors;Instantly-available air-actuatedplaten sanding as well as contactdrum sanding; Infrared electric-eyetracking and safety mechanisms;all-welded structural steel frame;24-lnch (Model 755) and 36-lnch(Model 757) sanding widths withmaterial thickness capacities from.025" to 6".FREE BROCH UREASK HOW YOU CANQUALIFY FOR FREEFREIGHT ON YOURORDER.Leasing makes yourchoice easily affordable.See our VHS video demonstrationtape - The KusterChoice - InnovativeSa nding Solutions.Kuster Manufacturinghas been redefiningwide-surface power sanding foralmost a decade. WithDynasancfTM and .UltrasancfTM theyre-invented the drum sander, bringing backfrom near-extinction the drum sander's versatilityand functionality.Now, Kuster's innovative engineering anddesign have produced another ground-breakingproduct line: Sandstar wide belt sanders.Sandstars bring the time-cutting, labor-savingbenefits and profit-building capacities of professionalwide-belt finishing within reach ofevery type of woodworking operation.Kuster sanders are designed with the endresult in mind - atop-quality, smooth, evenfinish. Equally important: our sanders must bestrong, durable, and easy-to-use. Each sanderis carefully built in our New Jersey factory andgiven a sanding test before it is shipped. Atwo-year limited warranty and a technicalsupport staff bolster your choice of Kuster machinery.---KUSTER MFG.MACHINERY & TOOLSP.O. Box 34-FWW, Skillman, NJ 08558- - - -- ---PHONE: (201) 359-4680NW20 - heavy duty cast iron planer has segmentedinfeed roller and chipbreaker, all ballbearings, Century or Dayton motor. Capacity20" x 8" a steal at $2295.00II 11NW36K - the best design and constructionavailable on a wide belt sander of this sizeunder $12,0001 Uses 37" x 60" belt. 20 hp.Believe itl $9450.00NORTHWOODmachinery is now availablethrough dealers in several states. Call or writefor a free brochure showing our line and for thena me of dealer nearest you.NORTHWOODINDUSTRIAL MACHINERY11400 Decimal Drive Louisville, KY 40299Phone: 502-267-5504 Hrs: Mon-Fri 9-4 EST

TOYOURDOALONEBESTMOBILE 1. BASESModels avaifable forany machineWORK SUPPORTS2. OUTFEW ROLLERS loldneatly to save space5. SAW GUARDS lor Tablesaws and Band Saw pro·vide u/timale pro/eelion.ORGANIZEAND TOYOUR SHOP WITH EASEI7ir3HTC PRODUCTS, INC.L.i.L1,.tJ 10 E. HUDSON. ROYAL OAK. MICHIGAN 48067FREE CATALOG! CALL 800-624·20271(313)399-6185, ext. 120KNECHT HOME CENTER INC.320W. BLVD.RAPID CITY, S.D. 57701OUB 60tll YEJlB IN BUSINESSspd/clutch spd/clutch .S125 S138Complete KitCALL FOR PRICES Off:Complete Kit----------6002 DWK2 spd .. 7.2V 100 Bullet T M Bits & Sets1651 7V ..·.I3amp.C.T.Blade 92Full Line Makita60 12HDW 2spd .. 9.6V 1131604 1% hp router 119Parts And Access.6071 DWK VSR .. 7.2V 105 Piranha T M• all sizes 1920 RK 2 spd 7.2V 656092 DWK VSR.. 9.6V 115 Air Hose - all made Call for prices on Rotary9005B 5" HD Grinder 85 in U.S.A.Hammers( e also customB04550 wlbag 45WComplete line Routermake hoses)and Shaper Bits1900 BW 3Y, Planer 116 Sandpaper 11M 4 bits any mix 30% oil!360lBD handle router 120Screws And Bits3612B 3 hp router 187• Many one of a kind3620 I V.Sianley-Boslilc:hhp router 97 specials - Call for3700B Trim router 92List - Super Prices4300BV Jigsaw 1354302G Orbital jigsaw 155Nader .,.,5007NB 7V. saw 114T 25 lU6013BR y, drill 125 S6510LVR HD 318 drill 69J N60FM }ldl2l, (insihnailer 339·; lec . S188 T31·1 5/8·1 linrshnailer 1399900B 3x21 sander 132 ;;';"_$.;o;;;::!It.' __ --1 T31·21.·718uphol stapler 139NI2B·I Roofing nailer9924DB 3x24 sander 138 AP 1 0 10" planer 349 399940 I 4x24 sander 163 RA200 8Y

PhoneStater--- - -[][]Ur:iTheWoodworkers'Store®BUIW WITH gUALITYOver 3000 ProductsToy Spoke Wheelsfor toy or model build ing.Diameter Set of 4 10 SelsB2800 2' $3.45 $31 .10B2802 2·112' $4.50 $40.50B2803 2·3/4' $4.95 $44.60! 'U:InPedOWelsfll:t'Oak Each Per 10 Per 1 oo · ,;/82732 112' $2.50 $21.30 $1 75.0082734 314' $3.95 $33.60 $277.0082735 I' $5.50 $46.80 $385.0082736 1·114' $7.50 $63.80 $525.00Walnut82742 112' $3.75 $31.90 $263.0082744 314' $5.95 $50.60 $417.0082745 I' $7.95 $67.60 $557.0082746 1-114' $1 1.95 $101.60 $837.00Shaker PegsGenuine hardwood pegs.Traditional Each Per 20 Per 10081501 Birch $.30 $5.40 $23.0081502 Oak $.45 $8.20 $34.0081503 Walnut $.45 $8.20 $34.00Maple $.40 $7.20 $30.00Oak $.45 $8.20 $34.00Fast Delivery: Most orders shipped within 24-48 hrs.r-----------,SEND TO: The Woodworkers' Store21801 Industrial Blvd., Dept. 1212Rogers, Minnesota 55374-951 4(612) 428-2199Item # Qty. Description Cost TotalTotal of MerchandiseShipping/Handling/Insurance $3.50Sales Tax Where ApplicableTotal of OrderCheck or money order enclosed.D____________Charge my credit card:__ Acct. No.Expires,o FREE__________________________catalog subscriptionL__ _ ___ _____ _ __NameAddress,City Zip.J350-1 10" Table Sm":J Ill'. 1 ph. 2:JOV Motor MagnelicControlCall11tl lIP. 115t2:JOV 1 ph. Motor &SwitehCaJl160-2 Vm·. Speed LaU,c I 1-lP260-1 Val'. Speed Lathe 1 lIP115t230 Mag. Control1180-1 6" Jointer I Ill'. 1 ph.1151230 CallCanJ1512:JOV MotorCall4808" Jointer 1 tl2 Ill'. I ph.1151230V MolorCall490-1 15" B>Uld Saw w/base1 lll'. J1512:JOV Motor Can34-01 15" floor Moclcl DrWJtl lll'.presMolorCanJilO-l 14" Planer 3 lll', 1 ph. 2:JOV*So. Burlington, VT 05403802-863-9036Freight included. Except Alaska & Hawaii'OO-"ALY?MAAITt 4 POWER-FED:13i:111 TOOLS IN 1Now you can use this ONE power-feed shopto tum rough lumber into moldings, trim,flooring,furniture -All popular patterns, Rip­Plane-Mold & Sand ... separately or in combinationwith a single motor. Low Cost ... Youcan own this power tool for only $50 DOWN!------------RUSH_COUPON TODAYIFolc·-Bclsaw Co.. .6301 EquitJlblc Rd., Dept. 91 408 Kansas Cily, Mo. 64120IJ -MOIDER-SAW YES Please send -SANDER me complete and racts details about about30-DayPLANERtrial offer.--- ---N a meAddressCityState ZipAs much as--5 times faster than a band saw!10 times faster than a scroll saw!Now you can have all the benefitsof the famous Onsrud inverted pinrouter-in an economical machinespecially made for smallshops. The Onsrud Model2003 enables you to perfoffileven the most delicate cuttingand shaping operations.ONSRUDC.R. Onsrud, Inc.P. O. Drawer 4191 Highway 21 SouthTe lephone: 704/528·4528! 'Ielefax:704/528·6170 /Trolltman. NC28166Teak Oil •100% Pure Mahogany Tung Oil • Oakwood Wood Oil OilBring out the best of your beautiful wood products ...Write for Free CatalogAMAZON PO. LUMBER & TRADINGBox 530156, FW, Miami Shores, FL 33153PRECISIONEXCALIBURSCROLLIISAWSHIPPEDUPS PREPAID*Electrics extra • Cuts wood, plastics,metals etc.HUMFREY'S ORDER PHONEDelivered price• 1400, BOO &400Strokes/PM• 19" throat, up to 2"thickAccepts all 5" blades• Table tilts 45° left &rightEl IN THE U.S. CALL TOLL FREE •- 1-800-387-9789'J· Ph!f !:a?'u!?J'ffl9 1IIScarborough..,;,..\J: AddressName ___________________OntarioPlease rush me details of theMIVEXCALIBUR9 (416)293-8624Precision Scrol.l Saw. II----;)City ___ State ___ Zip ____ _32 Fine Woodworking

EveninghasNEW WORK IN WOOD 90, a new annual book from The Taunton PressYou're invited to participate inWork in WoodNew90, Rulesthe first in a newannual series of books that will look-An entry may consist of up to ten color transparencies of woodenat the state of the woodworker's art.objects made by an individual woodworker or woodworking partnership.You can submit ten photos of a single object, photos of tendifferent objects or any combination that totals no more than ten.We would like you to submit photographsof the very best work you'vedone in wood during the past twoyears. The editors ofworkingFine Wood­magazine will select about250 photographs for publication inNew Work in Wood 90. Every spring,we'll reissue the invitation and publisha new book each fall.New Work in Wood 90 will be a photographicsurvey of good design andSENDUSYOURBESTWORKsound craftsmanship. It's the successorto Fine Woodworking's Design Book series. In additionto photographs entered by readers, each annual will containa fully illustrated essay about the woodworking of aparticular region or about some specialized segment of thecraft, such as architectural woodworking, turning or studentwork. A separate section will feature photographicprofiles of individual makersdiscussed in the essay.Call forEntriesDeadline•ISMarch 15,1989-If you enter slides of more than one object, you must enclose anentry blank for each object. Code the photos and the entry blankwith matching identifying letters (A, B, C, etc.).-Photographs must be good-quality color slides (transparencies).The photo background should be featureless and of a neutral colorthat doesn't interfere with the object. All slide formats are acceptable,including 35mm, 2Y< in., 4x5, 6x7 and 8xl0. Please protecteach slide with a plastic sleeve, not paper or cellophane. Your nameand address must be legibly printed directly on each 35mm slidemount or on a label attached to the protective sleeve of large-formatslides. We cannot accept or judge unlabeled slides.-Snapshots, color negatives, color prints, Polaroids and black-andwhiteprints cannot be published, so they will not be judged.-Work submitted must be of original design and completed since 1986. Theprimary material must be wood. There are no restrictions on species, tools ortechniques. If it's mostly wood and you made it, you can enter it.-If you want your photos returned, please include a self-addressed stampedenvelope. Otherwise, photos will not be returned. If you wish us to acknowledgereceipt of your photos, please include a self-addressed stamped postcardthat lists the photos submitted. We'll check it off and send it back to you.-All entrants, whether accepted or not, may purchase up toten copies of the book at 25% off the cover price.Entry blank for New Work in Wood 90Mail to:_________________________ _____NewBox 355WorkNewtown,______________________ CT __06470File number (office use)_NalneMailing address___ --Ci___ __State___ ________Daytime phone phone(MaI

"""""',' Universal Precision Measuring Gauge 'Incra Jig $37.95 prepaidalso available. $13·9 $2.00'a: N\e,Orifil e:E3 \l\l[]=\Li:JWC!OLJshipping & handling• •"... the woodworkers' source"• Hardwood Lumber and Plywood • VeneerMoulding • Dowels Carving Tools • Books• Finishing Supplies • Clamps • Power Tools -DELTA • PORTER CABLE • RYOBI • EXCALIBUR •VIRUTEX • SAND-RITETo order call: 1-800-451-4086 orWrite for complete woodworking catalog :13650 Floyd Rd., #101, Dallas, TX 75243, (214) 669-9130Recane or re·rush heirloom chairs-- for yourself cr•for others as aprofitable hobby - with our full lineof materials & instruction books.Since 1934 America's largestselection of caning & basketrymaterials & supplies -Superior quality woaving cane& machine woven caneFlat, oval & round reeds• Fibre & gonuino rushDanish SI.t cordRaffia,• Hoops & handlosrattan, selgrassLockedonQuality!The kind you've come to expect from us-whetherit's locks and keys or any one of the thousands of finehardware fittings for the demanding furniture craftsman.It's all in our new 70-page catalog-a valuablereference tool that fully describes our expanded lineof period hardware. To get your copy. send $4.00 to:================LTD.PAXTON.HARDWARE7818 Bradshaw Road, Dept. FW18, UpperQuick Shipment Free Mini·Catalog (301)Falls.592-8505MD 21156SHAKER FURNITUREAn exciting collection ofShaker dining chairs, tables,beds and other furniture availablein Kits or completelyfinished. All exemplify thesimplicity and versatilebeauty of Shaker design.Pegs, Peg·board,shaker baskets, ovalboxes and dolls.Newand 1248tapepagesamplescolor catalog$1.00BoxSHAKER1028-FWI9,WORKSHOPSConcord, MA 01742Large selection of replacement chair tape.THE ONLY CORRECT WAYTO PREDRILLFOR WOOD SCREWS-.. ..SK408PA1" and SA" SpIndle3Hp with forward andreverse controlONE YEAR FREE PARTS WARRANTY.WE SPECIALIZE IN CUSTOMERSATISFACTION.SK-1_15" sanding widthSK-20D820" sending widthTwo different grit precision c0ntactdrum. 3HP sanding motor.Y. HP auto feeding motorLOBO POWER TOOLS FREE CATALOG UE. DON'T MISS IT.10922 KLINGERMAN STH 3 WRITE OR CALL NOWS.EL MONTE. CA.91733 (8181 350·1096New single twist tapered bits cut cleaner, fasterTapered bits allow screws to grip their whole lengthfor added holding power. Tapered bits outlast conventionalbits in this kind of work. Single twist permitsefficient chip ejection and reduces clogging.Adjustable countersinks leave a dean hole for plugging.Sets include drills, countersinks, and stop collarsfor each bit within the set. Production qualItyfor long service life.801-429 801-431 Sevcll-pieceset Follr-pieceset (N5,(N6, 7, 7, 8,9, 10) 10, 12) $42.50 $24.95Please add $4.50 for packing and insured delivery.DPlease enter my FREE two-year subscription to WxxJworker'sSupply catalog.Woodworker's Supply E3(,o •.\I;oI111'd;o PI;on·. ,\r. 1>

ORDER TOLL FREE 1-800-328-0457 -MAIL ORDER HOURS 7:00-5:30 C.S.T. MONDAY-FRIDAYDELTA BENCH TOP TOOLS MAKITA CORDLESSPIRANHA By Black & Decker NEW by Black & DeckerlModellist Sale ModelLiSl SaleCARBIDE TOOTH SAW BLADEBullet Drill Bit Sets23·700 Wet/dry grinder194 135 6070aw l " var spd rev 72v 123 65ModelList Sal.23·680 6" bench grinder V. H. P 78 62 6071DWK 3 " var spd. revModelN Diameter ifTeelh list Sale 14347 1Iu 'I. 8 piece to HSS .. 10.45 1223·saO 8" bench 'grinder 112 H.P. 133w/removable ball 190 10514350 'It(,23·980 10" bench grinder 1 H. P. 240 19911·950 8" drill press160 11914·040 14" 3U773·756 6·112 36 26.90 16.305090DW 3%" saw kit 243 125143535600DW 6'1. " circular saw 317 16714356II piece to '/4 HSS .27.18l/u 14 piece 10 '12 HSS 49.03 29'At73·71 7 7-1/4 IS 11 .72 71073-737 7-1/4 24 1492 900drill press235 6010DWK 3 ..... cordless drill kit 155 8914359 'A, % 16.51121 piece to HSS973·757 7-1/427.40 16.3529 piece to 112 HSS li2.n 8940·1SO IS" hObby scroll saw 173 125 6010SOW l ..... cordless drill 103 5873·758 8 40 39.90 24 1528·160 10" hobby band saw 185 129 OAJOOOOW l,1" angle drill 238 13073·759 8·1/440.66 24.60Black & Decker Deals31·0SO '" bell sander 2.0 amp. 93 69 4390DW 9.6 volt cdls. recip saw kIt 218 12273·739 929.52 1785 1707 795 8'12 " crosscut mitre saw 46931·460 4" belt/S" disc sander 173 125 6010DL 3"' drill wlflashlight 198 1136012HOWDELTA STATIONARY&•.73·769 9 60 64.40 38.95 2037 0-4000 5 amp drywall gun 160 922 spd. driver dnll73·740 1030.98 14.00 1703 10" mitre saw w/73-700 blade 313 169Model lIsl Sale34·761 10" unisaw 1112 H.P. 1715 117922·651 13" planer 2 H.P. 1586 979wlclutch case' 224 10967100W60920W &73·770 10 60 64.90 25.00 2660Cordless screwdvr kit 176 103V/Spd case'2J1 11760930W & V/spd w/ciulch case' 248 119 STYLE 32 PONY SPRING CLAMPS0·4000 4.5 amp drywall gun 13873·715 5·1/2 16 13.25 7.30 4015 112 f1sheel sander 3 amp 190 1092600 If." 0·1200 4.5 amp drill 119 764018 112 sheet sander 2.3 amp 122 7434·429 10" tilling arbor bench saw68910W Drywall gun 0·1400 225 120With coated tiPS and handles3051 711. " worm drive 13 amp 246 1421112 H.P. 1435 999OK100l 6010 DWK drill kit camp. &Sale Lots 3027-09 7V. circ. saw 10.5 amp 170 7528·243f 14" band saw w/stand. no motor 621 4194071 0 vac. cleaner 178 115Size lisl E 01 25 3103 2 spd recip w/case 190 9533·990 10 radial arm saw 695 539632007·4II-an 32" radial drill press 473 360:J1·280 6" motorized Joinler 440 31950·179 :1/.9.6 voll battery281.10 24.75 3028 7'1. CIfC w/18 looth caro bid 125 75632002·4 7.2 volt battery272" 2.78 1.65 37.15 3047-09 210 71/. " super saw cat w/brake 1643.00 67.SO 3048-09 81/. N super saw cat w/brake 285 174H. P. 2 slage dust collector 435 339S007N8A 7V. " saw w/elec. brake 219 1274" 8.63 5.15 115.85 3157 Orb v/spd. jig saw . 212 125:J1·154 Deluxe DJ·15 6 jointer5008N8A 8'1, " saw w/elec. brake 257 1453153wIll. H.P. motor 1117 979205 V/spd. Jig saw ' 121804510 Sander 97 46ADJUSTABLE HANDSCREWS99008 3"x21" belt sander w/bag 254 139BY JORGENSENRYOBI SPECIALS992408 3"x24" belt sander w/bag 260 145Open80x ModelLIst Sale9035 'I, sheet finish sander 100 58JilW Lenglh Cap list Sale 01 6 R50090458 '12 sheet finish sander 204 1169045N 'I. sht fm sand w/bag 206 1174200N ''2" 12.05 7.25 40.50 SSOOA21/, H. P. plunge router 326 159'1& sht. llnish sander 70 3643;' CIrC saw 7.5 amp 210 1115201NA 10'1. " Clrc. saw 12 ampMILWAUKEE TOOLS43018V 1'95" 2'12" 12.95 7.95 45.30 TS251U509 3007"10" mitre saw392 1696" 3" 13.88 8.35 47.60 TS251US & ION mitre w/acc. kit 603'12" 14.92 8.95 51.00100lh carbide blade 435 199Orb v/sp saw 3.5 amp 268 145PRICE 8USTERS S- 4'12 "list Sale16.61 9.95 56.70 AP10 10" surlace planer 13 amp 820JR JOOOW l 2 sp rec,p saw wkse 217 122ID" 6"0224·118.98 11.40 64.95 TS380 35814" mitre saw 773 3393;' '' drill 4.5A magnumJR3000V Vs reclp saw w/case 228 12512" 8'12"0234-1 lhH drill 4.SA magnum 189 10521.78 13.00 74.00 W640 71/. " ACIDC dbl in sui. 210 99lS1020 New 10" mitre saw 426 22914" 10"0244-1 '12 " drill 4.5A magnum 189 10527.62 17.50 99.95 A1SOK I H.P. plunge rOUler w/cse 206 959820·2 Blade sharpener 336 199t6" 12"0222·, 3;' '' dnll 3.SA 0-1000 rpm 16935.93 23.00 139.95 E381095 410 Dust collechon unit 458 2690228-1 %" drill 3.5A 0-1000 rpm 154 85 31U5 Offset trimmer 240 132 DELTA TOOLS0375·1 %" close quarter dnll 208 115STYLE 370-2500 3.7A drywall gun 143 69RJl02K SA 2 sp recip saw wkse 218 8921900BW 3'1, " planer w/case0379-1 '/2 " close quaner dnll 243 139 1100 3'1. " planer w{case0212·, l,-1" cordless drill v/spd 263 149 9207SPC T /2 " Throat V4 "X3;"" W740C 81/. ACiOC dbl insul eirc saw 234 115210 115381 185JORGENSENBE321 3"x21" v/spd. belt scir. 259 119Box34-410 Table Saw Complete6539-1 Cordless screwdriver 190 rpm 108 626540-1 w/b.ts &sander-pohsher276 139Item No. Jaw lenglh List Sale 01 6Cdlss screwdriver cse6546·' Cdlss screwdriver 200 & 400 rpm 120 nw/l1'2 H P molar & standPORTER CABLE36018 Pit H P router 228 12537066" 8.27 5.SO 29.70579.00Model LIst Sale:J1008 '12 H P Irlmmer 170 92371234"12" 9.17 5.95 32.50630 I H. P. router 6.8 amp 165 11095018 4" grinder 137 653718tS" 10.12 6.85 37.503102-1 Plmbrs rt angle drill kit 295 17533·150 8'!4 "Saw 8uck690 1 '12 H P. router 8 amp 205 115B04530 6" round sander102 5737243002·' ElectriCIans f1 angle drill 290 169 8045505399 '12 " D·hdle ham drill kit 299 1651676-1 024" 11.07 7.35 40.00499.00691 1 '12 P 0 H router hdle 225 132V, " pad sander w/bag 95373030" 12.35 8.25 45.00536 300DAJOOOR 34 " angle drill234H Hole Hawg w/cs 395 235 OP4700 '12 " v/sp w/rev 4.8 amp 192 1096511 2 sp SawZall w/cs209 119 6300lR 112"l'n H P speedmalic router 195373628·243S 14" Band Sawangle drill w/rev 316 1766405 8V." Circle saw209 120table saw 432 2586750-1 Drywall gun 0·4000 4.SA 149 89noP36' 13.49 8.95 49.00518 3 H. P. 5 speed router 520 325w/open stand light atlach520 3 H. P. 15 amp rouler 490 298PONY CLAMP FIXTURES'2 H motorloIS 309 3.B amp lam Irimmer 135 852711 10" table saw w/brake 460m.OoModelList Sale 01 12 3106798-1 Tek screwdriver173 105 GVSOOO DISC sander12050676226 2 sp bandsaw w/case 416 240 680008 2500 rpm 3.5 amp154 77 28·283f 14" Band Saw6234 TSC bandsaw w/case 427 279 68000BV &black pipe clamps52 1/2"3.8 amp H. D. lam Irimmer 190 11411.68 7.50 80 312 Ollset base lam Irimmer 205 1200·2500 rpm 3.5 amp6507 TSC SawZall w/case 219 129 6801086170 14 chop saw430 2956012 17114000 rpm 3.5 amp154 -80 3" H Pblack pipe clamps 9.73 6.00 65 319 Ttil base lam Irimmer 221 129w/enclosed stand 695 1'12 H. P. router/shaper 288 190motorSTYLE J_ ADJUSTABLE696 H.D68010BV 0·4000 rpm 3.5 amp88599.00Orbital sander 3%x7%"100 2030N 12" planer/Jointer2836 t5796014 Orbital sander 4112 "X9V4" 189 110 2040 15%" planer2358 1379 43·122 Lt. DulVshaper table 160 105HANDSCREW KITS351 3"x21" bell sander wlo bag 207 119352Shapet6305 6V." cordless circle saw 284 155planer kit w/case 609 340& H P3N x21 " bell sander w/bag 217 122Model length Jawslist Sale3606753-1 Drywall gun 0·4000 3.M 129 77 JV1600 var speed JIg saw2098977 Var temp heal gun 109 70 JV2000 1'9wist and t motor J06 6499.00J08 S3"x24" belt sander w/bag 302 1796.47 3.75361 3")(24" belt sander w/o bag 282 1707.38 4.25362 4" x24" belt sander w/bag 317 1898.31 4.80363 4x24" bell sander wlo bag 302 180var speed orb saw 230Jl0 109.69 5.750214·' 34 v. spd. cordless drill 220 125 50058A 5'/2 " circular saw20217-900 lli'!l " Floor Drill Press7556 112 " right angle drill . 290 175J12 1212 6.905397-1 %" v. spd. hammer drill kit 227 145 9S038H 4'12"289.00315-1 hdlasander-grinder5371-1 '12" v spd hammer doll kit 313 199 OP:J120 3;' '' drill rev 0-1800 rpm 1043107·' '12" v spd rt angle drill kit 305 180 6510lVR 0-t5oo711. top 13 amp circ saw 185 105BOSCH6173;' '' drill rev. rpm40·601 18" Scroll SawModel6754-1 Drywall gun 0-4000 4.SA 179 115 60138R '12 " drill rev. 6 amp 2246232 43/. " bandsaw w/case 432 275 5402A 16" circular saw · 12 amp 5SO6747-' Drywall drlver·0-25oo 149 870230-1 3 drdl 0·1700 rpm 169 993300-1 Ih magnum36128R H Pw/stand and blades1581VS 1'97V, " push handle 13 amp 185 105368-1 8'1." tOP handle 13 amp 195 131List Sale314 4112" Irlm saw 4.5 amp 195 125TOp hdle saw235 129679.00548 1582VS354302rtBarrell gnp Jig saw 220 1193 plunge router94011'9HD bayonet saw 245 1659548 X HD bayonet saw w/case 2.65 175Bosch metal case for above9629 Reclp saw vlsp 8 amp 225 1354" x24" belt sander w/bagsaws 34 26v spcl angle k,t 289 1809627 Reclp saw 2 speed 8 amp 215 1293620 IV. H P. plunge router w/cse 1805620 Router 1 P.-8 amp 289 169 4302C566056805455Router 1'12 P.-IO amp 299 180H.P-12Bosch blade assortment lor Jig saws666 3;' N H.D. IISp drill - Hdl 181 122Vlspd orb. Jig saw 27230 of Bosch's best seiling blades 23.99620 %" H.D. 4 amp 1000 rpm 140 8350778 7'1. " HYPOId saw 2541942Router 2 amp 350 205 lS1430'!t polisher 1750 rpm 199 1255535 7"Heat gun 6500.9000 99 69621 3;' N H.D. v spd. 0·1000 rpm 148 9014" Mitre saw 62412720 3"124 B S w/bag 295 1693202414 14" cul·off saw AC/DC 36512730 4"x24" B S wlbag 315 179polisher 2800 rmp 209 130 5007N8 7'1. " CIrC saw 13 amp lQ611·212 Bulldog :v. SDS rotary 339 1896215 16 cham saw 280 189 36128 3 HP plunge router sq/b 3541196VSAK J/8"AbraSive plane 3 amp 145 98126 Porta plane 7 amp 280 1649118vs hammer drill 205 1108975 Heat gun 85 551198VSA '12 " vs hammer drill 219 1256366 7V." circular saw 198 112 SKIL SIZZLERS1608 SPorta plane 7 amp kit 315 185653 Versa plane 10 amp 399 2509652 Versa plane 10 amp kil 419 2756368 7V." circular saw w/cse 226 125 Model0216-1 2 spd cordless drill H,-torQue 222 1340235-1 ,t,"6 amp lam tflmmer 135 757545 0·2500 v spd. drywall gunlist1608Ldrill keyless chuck mag 199 1236016 v.Same as above w/trlmgulde 139 815.2 amp 163 100saw 112160ST 56 amp tilt base trim 155 89505 '12 sheet pad sander 187 995625 (552) 6'12 " CltC saw 1751609 56 amp offset base tnm 199 1197511sheet pad sander 75 443 ..." v Spd drill 5.2 amp5656 (553) 7'1, " clrc saw 132183 1001609K lam Inslallers kit w/1609 285 1546145 4'"'' gflnder 10,000 rpm7514 ,,, " v spd. drill 0-750 188 1155665 (554) 8'1, " CIrC saw 204Offset base. trtmmer tilt base. tnmgUlde. V. "89SO 8 gal weI/dry vac 205 1393035750 (807) 7'14" ClfC . drop foot 198collet. collet nut. wrenches. hex keys and case8955 10 gal wet/dry vac 279 189 5765 (808) 8'1. " circ - drop 1001 2160239-1 '12 " drill keyless chuck 189 114 5790 (810) IOV." CIrC - drop loot 4001601 H PPaint remover 220 150304 7" diSC sander 4000 rpm 187 1251 Aouter305 lf1 7" diSC polisher 2000 rpm 1256749-1 Drywall gun 0·2500 4.5A 189 117 5825 (367) 6'h" worm saw 2296377 7V." worm drive saw 275 155 5865FREUD SAW BLADES%" Bore-Induslrial GradeH25.500 rpm 159 95 367 3V. planer 6.5 amp 225 135(825) 8V. " worm saw 2501112 H P Router537 1112 04580 Van · orbit Jig saw wlcse 14425.000 rpm 195 1093810CARBIDE TIPPED SAW BLADESItem No.10" Milre saw 263.PH. P. hdle rouier 315 2057548 Top hdl jig saw 4.8 amp 205 129595Oescription Oiam. Teelh lIsl SilleLUnM010 343"x21" sander w/bag 55A 1977565 'I."1112 H D handle Router 219 llQ 7648The famous Bosch 16041'10Barrel grip Jig saw 4.8 amp 205 129330 'I. f11h.p. Roulerpalm sander 527313List S219 Super Spec. S112Speed block sander sht 53555 SAGen.Purp ATB 10" 40LU81M010 Gen PUlP603118 belt sander 4 5A 7277TrCh 10" 40LU82MOID Cut-olf 10" 98.89 42lU84M011 Combtnallon 10" 50lU85M010 Super Cul-olf 10·367'1. " worm drive 23077·50 n. 13/4Plate bISCUit JOinter wiese Z69.iS 158955060 "Stalr Ease·' slair templel 194 125H P D hdle Router 243 135 5061 " Stair Ease" hard wood80RlpplnQ 511worm drive "Go;d Edition"3V. " planer w/blade guardstair templet 204 135wlCarblde blade 27185.25 655 0-4000 drywall gun 4 amp 125 745350to" 60 91.16 372'Il HP CIrC. saw 80.9932700 3"x21" belt sander w/bag 5A 21Q 129126.90 7540 0·4000 5.2 amp gun 158 995250 2V. HP CIrC. saw 68.991273DVS Var spd 4"124" 6 speedlMnM01D 10' 24 7H2 31100 % H. P. router 155 94Plywood 4()lU73MD1D Cut off XTRA SPECIAL BY SKIL6" 37.74rangE' sander 105 amp189 593811611 3 H P plunge router 339 198PS2D3 Gen'l Purp 71, · 24 3U2 16MODEL 2735·04-12 VOLT VSpd Cordless1651 7114 13 amp CIfC saw 179 99PS303 7'," 22OS306 Dado · CilrbldeOS308 8" DadO ·f{IDrill complete w/case and 2 Ballerles1922K JI9Door hanging kit 22 152399 104.50Cdlss saw w/cse169168.13 95List 210.00-Sale 118.00Carbide205.89 108921VSRK 3/,"Drywall cutout unit 6943218 Drywall cul0ut unil bit 6.75 5.505008 Dovelail template kit 95 69cdlss drill v/spd5009 & Mortise Te non jig. A9.95 38w/cJulch and case 235 137 348 l:t,·x"· B,scu,ts lCKX).Oty253 amp 3500 spm jig saw 143 88FlO 2'"l\l.,· B'SCUits lOOO-OtyFA25 LEIGH DOVETAIL JIGS1632VSAK Reclp saw 84A orb v/Spd 215 129WC1[14

FineWorking January/February 1989M aking A Four square Chaircomfortable seating with right-angle joineryby Scott Dickerson36 Fine Woodworking Drawings: David Dann

My client said he didn't know what he liked until he saw it,but added he had seen enough of my work to know he'dlike me to design and build for him a dozen diningchairs with arms. I took this to mean I had freedom of expression,but being wiser from years of calluses and tendonitis, I knew benerthan to proceed with wild abandon. After years of making chairswith steam-bent or laminated parts, I've grown tired of the manyrigors connected with these methods of chairmaking: breathingsawdust from sawing boards into thin strips for lamination, foolingaround with the complex joinery of curved chair parts, and tighteningand loosening an endless array of clamps during glue-ups.This commission appeared a good time fo r me to return to a styleof chairmaking I'd worked in years ago and to create a simple,practical design 1 call a "foursquare chair."I call my design a foursquare chair because all four legs join theseat rails, chair back and armrests at right angles. Building a chairwith basic right-angle mortise-and-tenon joinery simplifies the constructionimmensely, and it reduces the number of hours it takesto make the chair, and hence, its cost. In this article, I'll discusshow I produced my foursquare chair, pictured at right, and thesidebar on p. 40 will tell you how to make a comfortable and attractivecane seat once the woodwork is done.Design- I begin by making full-size drawings of the chair I have inmind. 1 rarely draw reduced-scale sketches, because they don'tshow much about the actual proportions and feel of the chair. Afu ll-size drawing can be pinned to the wall at floor level. By standingback and giving it the squinty eye, I can tell a great deal about whattile actual chair will look like before 1 begin consu·uction. Themost useful drawings for a chair design are side and front elevations,as shown in figure 1 on the facing page. I draw tile side elevationfirst, because the shape and location of tile surfaces that support thesitter-tile slope of tile seat, the profile of the backrest and the elevationof tile armrest-are best seen in that view. I don't wOrty muchabout the chair's aesthetics until tilese crucial surfaces have been established.I also draw a top view of tile armrest, to define its shape:I draw on rag-vellum paper that has light blue VB -in. and I-in.grid lines (available in rolls 20 yd. by 42 in. from Chan'ette, 31Olyt1)pia Ave., Woburn, Mass. 01888). The square grid speeds upplotting the contact pOints, and you can count squares instead ofusing a ruler to determine the length of chair parts.Starting witil chair dimensions that 1 know to be comfortablefrom past chairs I've built, I draw the side rail of tile seat 18 in.above the floor at tile front and 17 in. at the back. This providesjust enough incline to keep the sitter from sliding forward and outof the chair. For comfort, the backrest'S surface should be largeenough to fi rmly support the sitter's lower and middle back. Inthis chair, the backrest's surface should meet the sitter'S back atabout 10° reclined from the vertical. To support the fo rearms ofmost sitters at a comfortable height, I place the top of the armrests9 in. above the front seat rail. I also make the armrests level andextend them all the way to the backrest.Witil all the chair's siner-support surfaces defined, 1 still need toplot tile points where tile legs meet the ground. 1 like the front legdirectiy beneatil the front of me seat, so tile chair cannot tip forwardif a siner perches on the edge of the seat. Likewise, if tile back legsmeet the floor 2 in. or 3 in. behind the front face of tile backrest, mechair will resist any anempt by the sitter to cock the chair back on itshind legs, an abuse tilat will surely loosen me joinelY of any chair.To draw the front view of the chair, 1 follow a similar process.1 make the seat on my chair 18 in. wide, so all but the largestperson will have enough room between the armrests and full supportin the seat. Armrests should be wide enough to offer supportThe author's foursquare chair with its wrapped cane seat is comfortableand attractive. Though its parts are curved and shapely,the chair is constructed with mostly right-angle joinery, making itrelatively easy to build.for the fo rearms and hands. The armrests on my chair taper from2 in. wide to 1 V2 in. wide. If the legs meet the floor directlybeneath the armrests, tile chair won't tip sideways when the sitterleans over to pick up a dropped fork.1 draw the front outiine of the backrest to provide the most supportalong the sitter's dorsal muscles tilat parallel tile spinal column.These muscles cushion the load against the backrest's contouredsurface. To prevent tile backrest from pressing uncomfortablyagainst tile bony ridge of tile backbone, 1 split me backrest venically,allowing a slot fo r the spine's vertebrae. Thus, the form of thebackrest becomes a pair of sculptured plaques, and 1 attach themto a rear rail that ties the two back legs together.I complete bOtil the side- and front-view drawings, much as achild completes the figure of a connect-tile-dots puzzle. With thecritical support points and surfaces defined, the remaining linesare much a matter of style, though 1 have to continually be awareof the comfort factor. For instance, the curved front and back seatrails make Sitting in the chair more comfortable, and the roundedfront ends on tile armrests make them more pleasant to grip. 1 alsohave to factor in tile limitations of my material: Because I wantedto use solid wood fo r tilis chair, the curvatures I chose had to begradual, to avoid short-grain weakness that are inevitable intighter-curved sections. 1 prefer the look of slender components,but make tilem thicker at the joints that need more strength. Afterrefining the shapes and thicknesses of the various components, Iam ready to engineer the chair's joinery.Joinery design-The joinery in my foursquare chair is easy to execute,because so many parts join at 90° angles. Because diningJanuary/February 1989 37

Once the backrest plaques are joined to the back rail and clampedto the bench, they are roughed to shape with a small motorizedblock plane. The author then uses spokeshaves and scrapers to refineand smooth the forms.With a lh-in. spiral-fluted straight bit in a plunge router, the authorcuts through mortises in the chair's armrests and legs. Thechair parts are clamped inside a plywood jig, which guides therouter base as it cuts the mortises. Two adjustable stops clamped tothe top of the jig's sides act as stops to determine mortise length.chairs are among the most brutalized fu rniture in the home, I useinterlocking dowel and tenon joinery to help the chairs survive thestress of being sat on, of being dragged and of being balanced ontheir rear legs. Further, interlocking joints help prevent parts thatare joined cross-grain from separating due to differential woodmovement caused by humidity changes.The side seat rails join the four legs with through mortises andtenons. I make the legs thick enough at the joints to prevent rackingforces from breaking through the mortises. Also, I wedge theends of the side-rail through tenons to prevent them from pullingout. Because there isn't enough room to also mortise and tenonthe front and back rails to the leg, these rails are joined by angleddowels. The dowels are driven through holes drilled in the side ofthe legs, penetrating deeply into the ends of the front and backrails. The angle creates a dovetail-like effect that makes the jointinseparable once assembled, and because the dowels pass throughthe edges of the side-rail tenons, they also lock those joints.The armrests join the tops of both front and back legs withthrough tenons rising from the legs. Although the chair doesn'thave stretchers bracing the legs below the seat, the armrests reinforcethe front-leg to side-rail joint and keep the chair from rack-ing. The chair's connecting back rail is joined to the armrests witha bridle joint. The tenon is cut on the armrest, leaving more woodon the back rail, which needs the extra stock for strength. Thearmrests also have shoulders on their inside faces, which buttressagainst the back rail and keep it from racking. The backrest joinsthe back rail in a glued long-grain to long-grain jOint-the strongestjoint possible.Construction-I start construction by making up a cutting list forthe chair parts, specifying the dimensions of the final parts, asdrawn on the plans. Next, I make patterns for the parts that will beshaped so I can quickly make identical parts for all 12 chairs. I useYs-in.-thick white Marlite (a Masonite-like product used in bathenclosures, which is available from local hardware stores) fo r thepatterns, but its white surface is very slick, so I scrub it lightly withsandpaper to provide some tOOtl1 for the pencil lines. I transfer tl1elines for a part from the full-size plans using carbon paper betweenthe plans and Marlite. The patterns are then bandsawn out,and the edges are smootl1ed with a rasp and spokeshave.I decided to use cherry for my chairs to harmonize witl1 theinterior of the client's home. First, I jOint, thickness-plane and cutall the parts to rough dimensions. At this stage, I make the parts atleast Y4 in. oversize in width and thickness and allow 1 in. extra inlength. For maximum efficiency in making a whole set of chairs, Iperform each of the operations described in the following paragraphson all chair parts before moving on to the next step.I start with the backrests, and following the Marlite pattern, Imark and bandsaw out the shape. Because some of the edges ofthe backrests are difficult to sand after being glued to tl1e back rail,I spokeshave and sand all edges of the plaques. Next, I dress theback rail to final dimensions and cut the bridle-joint slot on eachend with a tablesaw. I then cut a 10° bevel on the rail's front faceand glue the backrest plaques in position on the rail. A Y' 6-in.­deep rabbet jointed on the back sides of the plaques keeps themfrom slipping when clamped.After the glue dries, I'm ready to shape the faces of the backrestplaques. I rough out the shapes with a Porter-Cable motorizedblock plane (see top photo this page), then use a spokeshave andcabinet scraper to refine the form-a rigorous job, but I've alwaysenjoyed the satisfaction of shaping wood to final fo rm by the judgmentof eye and hand. After the plaques are done, I spokeshave,rasp and sand the back rail to final shape.As with all the other shaped parts, the joints of the armrestsshould be cut while the armrests are still square pieces, becauseit's easier to reference a square part to the saw fence. The tenonthat joins the back-rail bridle joint is cut on the tablesaw, holdingeach armrest vertically in a sliding-tenon jig to cut the cheeks, tl1encrosscutting the shoulders using the miter gauge. I also cut theangled shoulder on the inside edge of each armrest on the tablesaw.The direction this 10° shoulder slants to meet the angled faceof the back rail determines whether an armrest will be a right orleft arm. One of the chairmaker neuroses I've developed over theyears is the "right-left top-bottom paranoia." To avoid confusionand mistakes, I separate my armrests and other right-left parts intodifferent piles and mark them accordingly.Next, I cut the mortises that join the armrests with the legs. Forthis, I use a plunge router fitted with a Y2-in. straight bit and amortising fi xture (see bottom photo this page), similar to the oneTage Frid wrote about in FWW #30, pp. 90-92. The armrest clampsin the fixture, while the top rails of the box-like fixture guide therouter base. Two adjustable stops limit router travel to determinethe length of each mortise. I cut two mortises in each armrest, onefor each leg. This same jig does tl1e mortises in the legs for the38 Fine Woodworking

Above: The leg-side rail assembly is securedin a bench vise while the author roughs theleg to shape with a drawknife. The joints forthe rails and armrests are cut while the legsare still square and easy to align. Right: Oncethe chair is assembled and held together withlight clamps, the author bores dowel holes tojoin the legs to the front and back rails. Theangles of the slanting holes aren't crucia4 sothey're eyeballed to speed the job along.side-rail tenons. The tenons atop the legs are cut on the sametablesaw tenoning setup described earlier. Because router-cutmortises have rounded corners, all tenons must be rounded tomatch. I do this with a rasp and fi le, and I think the roundedtenons look better than square-cornered tenons would with thecurves of my chair.Next, I cut out the side profile of each armrest on the bandsaw,following the side elevation, then I refine it with spokeshaves andsandpaper. I cut the top outline to pattern, leaving the front endsquare to provide a flat clamping surface when I glue the armrestto the back rail. I also leave some extra width on the armrest at theback tenon so I can clamp across the back to pull the bridle jointtight. After smoothing the edges of both armrests, I glue them tothe back rail.Before sawing the side seat rails to shape, the tenons should becut on the ends. I employ the same tablesaw setup I used for theleg tenons, cutting the rail's tenon shoulders square with the endsof the still-square rail blanks. Although the side seat rails arecurved and the tenons join the back legs lower than the front legs,the tenons will still fit squarely into the leg mortises (see figure 1,p. 36). Once all the joints are cut and fitted, you can shape thetenonless front and back seat rails and round their edges. I don'tshape the legs yet, because it's easier to hold them in a vise afterthey've been glued to the side rails.Assembly-Before gluing up the legs and side seat rails, I cut twowedging slots in each tenon and bandsaw a whole coffee can fullof wedges. After gluing and clamping, the wedges are driven in thetenon ends, to tighten the tenon in the mortise. With d1e leg-andrailassembly held in my bench vise, I begin shaping d1e legs usinga spokeshave, rasp and cabinet scraper, as shown in the smallerphoto above. While shaping, I follow d1e plans, using bod1 my eyeand touch to bring d1e shapes to final form. Leave the joint surfacearea unshaped where the front and back rails will join the legs.This area is shaped later, after assembly is completed.To drill the Y2-in. dowel holes in the front and back rails, I dryclampthe rails in place with the right and left sides of the legassemblies, taking care not to put clamps where I'll need to drill.To bore d1e holes, I use a brace fitted with a double-twist auger bitthat's marked at a 2 Y2 -in. depth by a file groove on the flutes. Ieyeball the angle of the holes to approximately 10°, the upper oneslanting down and d1e lower one slanting up into each rail end, asshown in the larger photo above. The dowels are cut about 3 in.long (d1e excess is trimmed off later), chamfered on one end andkerfed on d1e od1er to accept a wedge. If the dowels fit too snuglyin their holes, reduce d1eir diameter by driving them d1rough adowel-sizing plate (available from Woodcraft Supply, 41 AtlanticAve., Box 4000, Woburn, Mass. 01888).Because d1e dowel holes are angled, the chair, less the arms andbackrest, must be assembled in one step. I use four small barclamps for the initial squeeze before wedging d1e dowels and twoheavy bar clamps to snug d1e joints up tight. Moving quickly beforethe glue dries, I spread yellow glue on the ends of each rail andinto the dowel holes with a stick, then butter each leg at d1e joint.A single glue-dipped dowel is then driven into each rail end. Holdingthe rails in a vise while installing these starter dowels with amallet helps keep everything in order. Then, I push the legs ontothe angled dowels in d1e rails, first one side, d1en d1e other. Thesecond dowel for each joint is then driven home. When all d1edowels are in place, I clamp the chair with the bar clamps anddrive the wedges into the kerfed dowel ends. The excess dowel iscut off flush with the leg's surface with a small handsaw. I thenattach the bar clamps directly across the rails, using a softwoodpad under each clamp face to distribute tl1e pressure and avoidJanuary/February 1989 39

Fig. 4:.1:iim.lf1lmllli.iiiiie?tII·Cane-seat weave patternFor clarity, size of cane is exaggerated..:.rJ Weave strands onI I,'J I· It II, ! rt:ZTmple.ver two/underWeave patternI.; li. · I·I;[JI!Ii.wo pattern.at last warpII. IJ P"'7won't necessarily -- 1 II' I. I., Iii, ,.match patternat first warp. iii pi. r-'roI- :: I- l I----.- Simple knot tiesJ. Iii . ':: tl'rI ___ off ends ofThe over two/under twopattern changesaround centerwarp, thenresumes.Warp strands goover top ofl ..i CC I- r- I,1'Ili!uruC t it1-.-__11 , ::'to:::d' on" i"\r-""!I':"'--.11:---:..: Splicesr-; 'I t-r-1kt-r-f Jhti!t:t-H:==::=:jI""" '" by-.....;, Ir-r ! ' - ..,... t:'.J.I':-:::...tr tr M""I n: h: [E [E I- I, Iiirail and through 'I I,t--slot to lowerweave onseat bottom.Weave patternrepeats afterevery fourthrow.I II1Iml;D"".12341234r. I-:r::'",'\I,1\ r r1\rI-I' ,:r-R§IT§§3 AI•'f._ICenter weavE!: regardless of which strandStarts by gOingStarts by goingpattern falls In center, pattern pastunder one, goes Starts by going Starts by going over two, goes center weave (marked by tapeover three at under two, goes over one, goes under one at on rail) reverses. Example: If centercenter warp. over one at under three at center warp.weave is pattern 3, next strands are 2, 1, 4,center warp. center warp.3, 2, 1, etc.in warpcanes are hiddenweave.wire looselywrapped aroundcane markscenter of warp.Slide wire to rightas weavingprogresses.Last weave canend on anypattern number:V1, 2, 3 or 4 .on the facing page. Continue wrapping andsplicing until you have filled the side slots.Check to see that the warp strands are allstraight and not too tight. Finally, tie off theend of the last cane as you did the first.Now rest the chair on a soft surface upsidedown on its arms, with the back towardyou. Due to their growth nodes, you mustfeel each cane to find the direction it slideseasiest in, and weave it in that direction. Inserta cane, rounded side up, through theoutside of the slot in the back rail. Weave itthrough the bottom warp strands, going overtwo canes, under two, over two, under two,as shown above. Continue weaving towardthe front. Pull the cane through the frontslot until only 3 in. dangle out at the backrail. Align this first woven cane so it is perfectlystraight and in line with the end of thefront and back slots on the chair's left side(viewed from the top). Now turn the chairover, with the front facing you. Bring thecane hanging from the front slot over thetop of the front rail and begin weaving thetop of the seat, following the pattern of row# 1 in figure 4. Depending on the numberof warp strands, you may end the weavinggoing over or under one or two strands atthe back of the seat, but that's okay. Wrapthe center warp strand loosely with wire, soyou can locate it easily and slide it to theright as you work.Flip the chair over and insert the weavingcane through the outside of the back slot.Now weave the seat's underside in an alternatingover-two under-two pattern. Insertthe strand through and over the front rail asyou did above, pull the woven cane tightand begin weaving row #2. Next, weavethe seat bottom, then row # 3, seat bottomand row #4. When you reach row #5, repeatpattern # 1, and then rows #6, #7and #8 copy rows #2, #3 and #4 respectively.This pattern continues to themiddle of the chair, marked with maskingtape. Then you must flip the pattern and reversethe four-row repeat you did on the firsthalf of the seat. Whether the center strand isthe same as rows #1, #2, #3 or #4, thestrand just right of it follows the weave patternof the next lower-numbered row.When a cane runs out, thread a new one inon the seat bottom. Cut off the previousstrand two-thirds of the way from the back.Insert a new strand through the front slot,weaving it toward the back so it's woven overand under in the same pattern as the previousstrand at least 6 in. past the old strand. Pushthe new strand up over the old one, overlappingthe two. Push the pair tightly together.As you near tlle end of the rail slots, thewoven canes will be tight and weaving willbe difficult. On top of the seat, the 18-in.dowel will ease the weaving process: Slidethe tool into the warp, following the correctrow pattern, then thread the strand alongsideit and pull the tool out. When you'redone weaving, tie off the first and last canesunder the seat, as shown in figure 4. Removethe center wire and masking tape, and popthe seat with your finger. It should twang-asign that you can sit down and relax. DJanet Redfield is a stained-glass artist. Shelives in Harborside, Maine.January/February 1989 41

Secret CompartmentsA !u mituremaker's cache boxby Chris BecksvoortFig. 1: Secret compartments in drawersMethod 1: False back--- .. ---------------.------Compartment isaccessible whendrawer is pulledout beyond stop.False back isflush with caseat drawer stop.Conventionalkitchen drawerglideMethod 2: False bottomTurn drawer over,remove screw andslide bottom out. .,'/"/'Method 3: False bottomRemove screws anduse finger-hold toslide falsebottom out.Falsebottom42 Fine Woodworking)Secretcompartmentfor valuables1Two-pieceback andfalse bottomare screwedtogether.

Secret compartments were so common in the days beforesafety-deposit boxes that they could be considered a hallmarkof custom-built fu rniture. And, because hidden compartmentshave been popular among the well-to-do since ancienttimes, craftsmen have had plenty of time to come up with all sorts ofhiding places. They can be a simple drawer fit into otherwise wastedspace inside a cabinet or complex and imaginative devices based onhollow members, springs, catches and sliding panels-anything tofool the eye. Secret compartments are often commissioned fo r aspecific purpose, such as hiding coins, jewehy, precious documentsor pictures; sometimes they are the furnituremaker's whimsical secret,unbeknownst to the customer until the piece is delivered.These surprise compartments are my favorites. They allow methe most leeway in placement, size and construction; in addition,the customer feels like the recipient of a gift-an unexpected bonus.It also seems only right that a hidden compartment should be asecret shared only by d1e furnituremaker and the furniture's owner.Let's face it, a hidden compartment advertised in Tbe New Ym-ker isno secret by anyone's standards, but merely a sales gimmick.Some types of fu rniture lend themselves better to hidden compartmentsthan others. The best are case pieces with drawers anddesks with pigeonholes. But tables, beds, clocks and even lampscan be adapted to contain these intriguing tricks of the trade. I'lldescribe some of tho e I've used in my own work or seen in otherpieces of fu rniture. These examples are only a few of the possibilities:There are many others, from the extremely simple to theclever and complicated. The next time you're designing a piece,take a little extra time to examine how you can utilize any wastedspace in the fu rniture. You'll be amazed at how thrilled yourcustomers will be.Drawers -Years ago while working on a kitchen, it occurred tome that most drawer glides, except the fu ll-extension models,leave the back 4 in. of the drawer essentially inaccessible. So I rana cross-grain dado 3 Yz in. from the back end on each drawer sideand inserted a side-to-side divider. When the drawer is pulled o i ltto the stop, as shown in method 1 on d1e facing page, the falseback is flush with the case. When the glide stops are released,the drawer can be pulled out to access d1e long narrow compartmentbeyond the fa lse back. This area is good for storing seldomusedutensils or those that have always disappeared when youneed them most.One of the best methods for hiding photos, documents or otherflat objects is a double-bottom drawer. If d1e compartment betweenthe bottoms is kept as thin as possible, it is virtually undetectable,but the trick in thiS, as well as in other med10ds, is not to getgreedy. If you pull out a 6-in. drawer and discover only 3 in. ofspace inside, something appears amiss-you are not fooling anyone.On the other hand, you can probably get away with a 2-in.compartment in a 12-in.- or 14-in.-deep drawer.The bottoms of my drawers are slid from the back into groovesin the drawer sides. To create a secret compartment, I run parallelgrooves on d1e insides of the drawer sides and front, Yz in. to1 in. apart. ll1e back only gets the upper groove, because the actualbottom is slid underneath it and held in place wid1 a screw. Whenthe drawer is assembled, the false bottom is captured in the fourupper grooves. The real bottom can be slid in and out to get to thehidden compartment (see method 2 on the facing page). An alternativemethod is shown in method 3. The two-piece back wid1 arecessed finger-hold allows the false bottom to be slid out. Althoughthe spaces created by these double bottoms are not easilydetectable, they are bothersome to get to, because the contents ofthe drawer must be removed. In the first case, the drawer must beturned upside down to place anything into the compartment; inthe second case, the false bottom, which is acting as the drawerbottom, must be removed. To avoid having to empty the drawer,you could use the two-piece back method, but attach d1e lowersection of the back to the actual bottom of the drawer so they bothslide out together, forming a tray, as shown in method 4 below.Taking d1is a step fu rther, you could put sides all around d1is trayand create a minidrawer.The traditional construction of a chest of drawers presents anotheropportunity fo r hidden compartments. Visualize for a momentthe interior of an average case piece with drawers and a faceframe. On such pieces, there is often unused space behind d1eface-frame members, both between the case side and the drawersand between the drawers themselves. This space can be utilized bysimply building narrow wooden boxes to fi t into these locations.These boxes are totally hidden unless someone removes the drawersto look inside the case. Even if the divider strip between the drawersis only 1 in. wide, a flat box with Ys-in.-thick sides still yieldsabout % in. of usable interior space. Any number of methods canbe employed to secure the box: magnets, dowels, ledger strips,inset spinners or sliding pins.Some time ago, I was commissioned to build a chest of drawersthat required a vely well-hidden compartment for 10 gold coins.The usual false bottoms or boxes hidden in the case itself might bediscovered. Security was the primary concern; access was secondaly.I finally devised an "invisible" compartment, built the pieceand delivered it. I told the owner it was up to him to find thecompartment. He paid. I left. A few days later, he called to confesshe still had not found the secret compartment. He had removed allthe drawers and gone over the entire inside of the case with amirror, a magnet and a fine-tooth comb to no avail. I told him toMethod 4: False bottomLower portion oftwo-piece backslides out withbottom.Method 5: Mortised backTurn drawer over,remove screw andslide bottomout.Screws throughback secureboth bottoms.Drawings: Kathleen CrestonJanuary/February 1989 43

take out the middle drawer, turn it over, remove the scr w holdingthe bottom, slide out the bottom and look. The drawer backwas partially hollow. With a horizontal mortiser, I had made twoV4x6xl1/2-in. slots in the bottom edge of the drawer back, oneon each side of the screw hole. The coins could then be wrappedin felt or tissue to keep them from rattling. With the bottom replaced,there is no reason to suspect the hiding place (see method5 at the bottom of the previous page).Desks -In addition to the drawer methods, desks lend themselvesto a host of different hidden compartments. I've always suspectedthat pigeonholes in roll-top and slant-top desks were originallyconceived by cabinetmakers to allow themselves room to play withthese ideas. Everyone has seen a slant-top desk with two flutedhalf-columns that pull out and are actually narrow drawers. Theseare practically institutions, and not secret by any means (at leastnot now). Another common metho I often found in the pigeonholesof slant-top desks is a thin drawer behind the molding or scallopedfacia above the pigeonholes. These parts either pull out likedrawers or hang on hooks, clips or magnets. Roll-top desks sometimeshave small corner brackets in the pigeonholes that pull outto reveal a tray just big enough to hide two, always eluSive, pencils.Pigeonholes, letter slots or compartments with doors are alsoideal locations for false backs. A compartment behind a false backis not readily apparent if it is not too deep, especially if the surroundingareas are filled with books or papers. The created spacecan be reached either from the front, by reaching in and removinga part of the back panel, or through a removable panel near theback of one of the vertical dividers, as shown in figure 2A below.Either way, the access panel should be as unobtrusive as possible.I've used several methods with either hinged doors or loose panels.One of my favorite devices is the magnetic-touch latch, a boonfor makers of secret compartments: Just push on the panel, and itpops right out. For a hinged door, one latch will suffice; for aloose panel, two, with doorstops, should be used. Panels anddoors should fit as tightly as possible without binding.An alternative to the touch latch is illustrated in figure 2B below.In this method, dle panel is made as wide as dle opening, but in.taller, widl a discreet fingernail catch incised with a gouge on thefront of the panel. The panel is lifted into the 'l'16-in.-deep uppergroove, pushed into place and dropped into the Ys-in.-deep bottomgroove. Because of thestill held in place above.hallow bottom groove, dle panel isWhenever possible, access to the hidden area on desks or otherlarge pieces should be from the front, sides or interior of thepiece. Only once have I run across a compartment reached through ahinged door in the back. Thi entails moving the piece away fromthe wall to gain access, which is not only difficult, but in the caseof a full bookcase or large wardrobe, almost impossible.Hollow posts -Anodler traditional hiding place, somewhat reminiscentof Bat Masterson'S cane, is the hollowed-out post. The hollowsusually consist of drilled-out holes, which limit the amountand type of storage space available. On dle odler hand, you wouldbe surprised at how many $20 bills can be rolled up and slid into alY2-in.-dia. hole. If coins are to be hidden, it's best to tailor the holeto accept a plastic vial, which is easier to remove than loose coins.Turned posts are generally much easier to work with thansquare ones, because the cap for the compartment can join dlepost in an inconspicuous place. The underside of a ball or ring, ora scribe line is perfect for dlis. The bedpost in figure 3 belowshows how convenient a finial is for capping a hollowed-out post.To make this sort of secret compartment, I turn the post as I normallywould, but I allow 1'2 in. to 1 in. of extra lengdl for thetenon, which I turn directly below the portion of the post that willbecome dle removable cap. This tenon's diameter must match oneof your drill bits so the cap will fit snugly into the hollowed-outcomparunent you will drill in the post. When I've turned the tenonFig. 2: Removable panels (behind pigeonholes)Fig. 3: Hollow postB: Double grooves behind pigeonholesHole.1'12 in. dia.44 Fine Woodworking

-----.JFig. 4: Hanging tray below tabletopShim, 'Is in.Sliding bolt screwed to underside of tabletop.\TablerailNotch divider toallow clearance forsliding bolt.DrawerLedgerstrip ___-----Hanging tray drops Idown and out when bolt is unlocked.IRemove drawer toreach sliding bolt.to the proper diameter, I remove the post from the lathe and sawthis top portion off just below the tenon. Using the bit that coin·cides with the tenon's diameter, I drill a hole in the sawed-off endof the post. The depth of this hole minus the tenon determines thesize of the hollow storage area. The cap can also be drilled out fo radditional space.Figure 3 also shows the small wooden "key" on the tenon,which not only aligns the grain, but keeps the finial from turningshould some unsuspecting soul inadvertently place their hand on it.To locate d1is key, I place a dun wire in d1e hole, align the grain to itsoriginal position and force the tenon into the hole. The wire compressesthe wood and thereby marks the location fo r a Ys-in.-deepby Y4-in.-wide groove that I carve into each piece. The xl/4 xl/2-in.key is then glued into the groove on the tenon. The drilled-outpost can now be rechucked in the lathe and turned to suit, usingeither a wooden plug or a bullnose dead center to mount d1edrilled end.into dadoes in the fa lse top and the first shelf. I couldn't bear toseal such a marvelous space without getting some use out of it. So,I made a trapdoor in the false top that I could push up from insidethe cabinet to get at this space (see figure 5 below).To build the trapdoor, I marked the locations of the two dadoesto be cut (front to back) in the false top, then ripped the top(side to side) into three sections, about one-fourth of the wayfrom the front and one-fourth of the way from the back. I thencrosscut the center section of the wide middle piece along thedado lines. The fa lse top was now in five pieces. Next, I regluedthe two long pieces and the two outside pieces of the centersection together, creating a rectangular opening in the centerwhere the remaining piece would fit snugly. I took one pass offthe edge of this piece with a block plane, then screwed on tworibs perpendicular to the grain, extending Y2 in. on each side.After sanding, the top was dadoed and installed, and the dividersTables -There is a vast amount of space behind the rails or apronunderneath the top of a table. Except for children parking theirgum (or maybe because of d1is), very few people actually fondlethe underside of a table, so this otherwise wasted space is ideal forconcealing hanging trays. A hanging tray can be u ed even onsmall coffee or end tables and below the seats of chairs that haveside rails. It can be hinged on one end or merely rest on a ledgerstrip, with tl1e other end resting on a removable strip held in placewid1 dowels or pins. In figure 4, above, I've shown an example of atable with a center drawer that has a hidden tray resting on a ledgerstrip on d1e left and held up with a sliding bolt on the right.With the drawer removed, and with one hand supporting d1ehanging tray, you reach in and unlock tl1e sliding bolt. This unlockedend of the tray can now be lowered until it comes off theledger strip on the other end.If the table has a drawer, so much the better. Because mostdrawers don't extend the fu ll widtl1 of the tabletop, you can placetwo drawers on the same track, one behind the other.Tops and bottoms of cabinets -Other areas often overlookedand generally underutilized are the spaces between tops and thespaces inside boxed-in bases of cabinets. On many highboys, fo rexample, d1e bonnet top is hollow, usually with no access. I recentlybuilt an armoire with a 3-in. molding around the top. Inaddition to d1e cabinet top, there is a false top Y2 in. below themolding that acts as a doorstop. Two dividers were to be insertedFig. 5: False top in cabinetTo conceal paneledges, locate themabove dadoesfor dividers.False topTrap door liftsup and slides over.Rip, cut outsection for trapdoor; reglue.January/February 1989 45

.. SlideFig. 6: False bottom in cabinetFace frame held inplace by bullet catchesslides down to revealsecret compartment.slid into place. The loose center section could now be pushedup with the fingertips, yet it could not fall through, because itrested on the dividers and the two ribs (these also kept the trap·door from warping). The panel was virtually invisible, becausethe end-grain cuts were above the dividers. And, because thepanel was only a shaving thickness narrower than the opening,the long-grain gaps were nearly impossible to see. This methodcould be used in fa lse bottoms if the cross-grain cuts were angledto keep the panel from fa lling through and if the ribs,screwed to the underside of the loose portion to resist warping,were shorter than the width of the panel.Figure 6, left, shows an example of a false bottom in a wall-hungcabinet. In this instance, I merely made the bottom portion of theface frame removable. It slides up and down with a tongue-andgroovearrangement at the ends and is held in place by bulletcatches in the bottom.Christian Bec/esvool't is a contributing editor at Fine Woodworkingand a jw-nituremaker. He lives in New Gloucester, Maine.DSecret compartmentsin built-insBuilt-in cabinets allow much greater opportunitiesfor hidden compartments thanany freestanding piece. Even something assmall as a medicine cabinet in a 4-in.-deeppartition can give access to as much ormore space than the cabinet itself by usingthe space between the studs, above andbelow the cabinet. A full-size cabinet in aknee wall can yield a secret compartmentlarge enough for a person to hide in.Most built-in bookcases, and even kitchencabinets, have toe spaces that create alarge empty space about 4-in.-deep beneaththe bottom of the cabinet. Manytimes, I've put in loose bottoms, eitherhinged in the back or merely set on ledgerstrips all the way around. Whether thecabinet sides are plywood or solid, the bottommust be the same material so woodmovement between the sides and bottomis identical, or the loose bottom may bepinched, preventing its removal. The bottommust be as tight as possible to avoidsuspicious gaps, yet loose enough to liftout. The trick is lifting this loose bottomwith no obvious knobs or finger-holds.Several ways come to mind: a small pieceof string, a sheet-metal lifter or even aknob that's screwed into place only whenneeded. I like to use the seesaw lifter illustratedin figure 7 at right. The only visibleclue to this lifting device is a %2-in.-dia.hole near the front of the bottom for insertinga l/s- in.-dia. dowel to depress thelever and lift the bottom.When remodeling older houses or addinga room in an attic, there are often largewasted spaces alongSide closets and fire-LedgerstripFig. 8: Sliding panel in knee wall of attic (top view)Wood track, 1 x2x¥. in.,above and below?tsr ( IDetail: Knee wall(side view)Slidingpanelplaces or behind attic knee walls where theroof meets the floor. This space can be partiallyused by installing built-in bookcasesor chests of drawers, but these built-inscan also be perfect for concealing access tounused space behind and alongside them.Plywood backs can be hinged and heldshut with magnets or with a turn latch attachedto a slotted wood screw. I like touse a frame-and-panel back with a flat plywoodpanel that slides out of the way. TheWood screw acts as fu lcrum.panel to open.Finger-holdBuilt-in cabinetor bookshelf areaBuilt-in cabinetpanel is held in grooves in the frame piecesas usual on three sides, while the fourthside is made so the panel can slide by ontoa simple wooden track inside the wall. Asimple finger-hold is all that is required toslide the panel, but if you want to reallyimpress, the panel can run on glides and bemoved with pulleys and cable.Be sure to think ahead though, becauseall this work needs to be done before theunit is ever installed.-CB.46 Fine Woodworking

Tbree examples of the author's sliding-lid boxes: The smallest boxhouses an antique mouth harp. The box is carved and painted-afu nctional little sculpture. 'The Illustrated Box, ' center, has chipcarving on its edges and interior. The old man's fa ce creates theillusion of depth. The domino box (7% x 2% x 1% in.), right, wasthe author's first Its lid is decorated with simple incised carving.Sliding-Lid BoxesHand carved) top to bottomby John HeatwoleImade my first carved box a number of years ago to house a setof old-bone tavern dominoes. Since d1at time, I've carved 20 to30 sliding-lid boxes. I've always worked my boxes out exclusivelywith hand tools, not because I mink this is the only way meyshould be done, but because handwork has been a tradition in myfamily for more than 200 years, and I'm very comfortable wim it.By roughing out mese boxes by hand, I feel I'm in total control,that me tools are an extension of my hands and mind. I love thesound of wood being peeled or carved, and as I work, I can hearme creative wheels turning. Besides, a beginning carver with limitedfinancial means can produce a truly unique item with a verysmall invesunent. I've sold many pieces mrough galleries duringmy career, and I'm sure me fact mat my work is done entirely byhand has not been a disadvantage.In mis article, I will describe how to make a small sliding-lidbox by hand from solid stock. I will show you how to lay out meareas to be carved away, using beveled stop cuts to help preservecriSp edges, and I'll explain how to make the beveled slide chan-, nels in the box to receive me lid's runners. If you like, you can adddecorative carvings to your boxes, but I'll leave that whole processup to you. I sometimes do figurative carvings in the interiors, aswell as on me lids, as you can see from me photos above. Onceyou've mastered the basics, only your imagination and carvingskills will limit what you can do.Wood selection and tool kit-All the techniques I discuss can beapplied to almost any wood. Inexperienced carvers should notemat more pressure needs to be applied wim harder woods andmus more caution. I recommend basswood, or linden as we call itin my part of me countty, fo r your first few boxes. It is easily,Photo this page: Michele Russell SiavinskyJanuary/February 1989 47

Fig. 1: Box-body layoutLid slide channelsBlue lines representshape of box interior.Above left: To make the beveled slide channels, turn the router atan angle and let the point cut into the base of the sidewall about% in. Push or pull the router to the front of the box, taking carenot to go too deeply and weaken the sidewall. Take the blank outof the vise and draw a line %2 in. up from the lid opening. Aboveright: With your finger as a guide, cut at a 45° angle along the lineto meet the router cut. Repeat this and the router cut until the wedgebreaks free. Cut at the rear wall to release the wedge.Fig. 2: Cutting the lid opening and slide channelsRouter-plane cutA. To create a stop cut for hollowingout the lid opening, make verticalcuts Yo in. dee p on layoutlines. Then, make 45 angle cut tomeet vertical cuts and removewedges.B. Use gouge to remove wooddown to stop cuts.C. Repeat steps A and B to withinV,6 in. of layout line. Removewaste to line and flatten bottomwith triangular blade in routerplane.D. To form the slide channel,make cuts, % in. deep, at base ofsidewalls with router plane. HoldingX-acto knife at a 45° angle,make cuts to meet router cuts,and remove wedge. (See photosabove.)Fig. 3: Lid-blank layoutPare the wood away from the lid's sides with a 20mm chisel. The beveledstop cuts reduce the chance Of tearout beyond the line. When thiswood is removed, the runners along the bottom of the lid will remain.Choke up on the chise4 as shown below, so if the chisel slips, your handwill hit the block before the chisel could cause injury.Fig. 4: Cutting the lidBeveled stop cutsprevent tea routwh'n rnmM;ng w.", ]A. Bevel top edges along layoutlines. Cut !Is in. deepalong lines on edges, cutdown to them at 45° angleand remove wedges.Flat, '116 in.J IIB. Remove waste with chisel T(see photo at right). Pare runnersat 45° angle, leaving YI6in. flat at bottom edge.

worked but will maintain a crisp, strong edge, even in the smalldimensions of the lid's runners. Basswood also takes stains andcolors well. The fo llowing are the only tools you need: miter box,pencil, X-Acto knife with a #24 blade or a 6mm skew chisel (I'vecome to prefer the X-Acto knife for scoring lines because of itsrazor-sharp blade), llmm straight gouge with a medium deepsweep, 20mm straight chisel, 8mm straight chisel, hand routerplanewith triangular blade, and ISO- and 220-grit sandpaper.I begin by having a local cabinet shop mill two pieces of basswood,each about 3 ft. long. From these, I can make half a dozenboxes. The piece for the box body is 2% in. wide and IVs in.thick. The piece fo r the lid is 2% in. wide and 13;16 in. thick. Thelid stock should be as thick as the depth of the lid opening (Y4 in.)for a flush fit, or thicker if you plan to do a high- or low-reliefcarving. The lid for the box discussed here is 13;16 in. thick toallow fo r a high-relief carving.Carving out the lid opening-Using the miter box, cut a 6-in.blank for the body from the IVs-in. stock. Lay out the lid openingby drawing lines on top of the blank (see figure 1 on the facingpage). I draw the lines freehand, using my finger as a guide alongthe edge of the blank. The shoulders should be Y4 in. thick and asdeep. The rear wall of the box should be 9/16 in. thick. I sometimesleave the rear wall even thicker, say 7/S in., so I can trim the cornersand make the box into an oval after I've fined the lid. If the front ofthe box is to be rounded, it must be done after the lid is in place,becau e the lid must also be shaped.After laying out the opening, remove all the wood to a depth of1,14 in. between the shoulders and the rear wall. Clamp the blankin a vise, and with your X-ACto knife and a steady hand, scorealong the lines to a depth of about Vs in. Holding the knife at a4So angle, make cuts Vs in. in from these lines and remove awedge the fu ll length of the cuts (see figure 2A on the facingpage). These grooves act as stop cuts when you hollow out the lidopening. Now, take the llmm gouge and make a series of cutsbetween the grooves. I usually pare the ridges left by the gougewith a 20mm flat chisel and then repeat the gouging and paring,down to a depth of about Y1 6 in. Take special care not to cut intothe shoulders and rear wall; this is why the stop cuts were made.With a triangular blade in the router plane set to a depth of Y4 in.,clean out any remaining chisel marks and take the lid opening therest of the way down so you have a flat area Y4 in. deep.Now you're ready to cut out the beveled slide channels. Withoutchanging the blade's depth, turn the router to about a 4So anglewith the Sidewalls, and gently let the point of the router blade cutinto the base of a sidewall at the back corner to a depth of aboutVB in, as shown in the top, left photo on the facing page. With alight touch, push or pull the router plane to the front of the box,taking care not to cut too deeply and weaken the sidewall. Do thison both sides. ow take the blank from the vise and draw a line%2 in. up from the bottom of the lid opening along the inside ofboth sidewalls. With the X-Acto knife at a 4So angle, cut along theselines so the blade meets the router cuts (see figure 2D on thefacing page); steady your hand by running your fingers along thebox's edges, as shown in the top, right photo on the facing page.You might have to repeat this cut and the router cut a couple timesbefore the strip will break free from the slide channels, as shownin the photo. A cut with the X-Acto knife at the back wall will helpto break the strip out. Clean up these channels by folding a squareof ISO-grit sandpaper once or twice and drawing it back and forthin each channel several times. This should be repeated with the220-grit sandpaper, to make the channels smoother and thus easierfo r the lid to slide in.The sliding lid-The lids in old sliding-lid boxes are oftenwarped, probably because these boxes were used almost exclusivelyas containers in shops and barns, where they were exposed to extremetemperature and moisture changes. Boxes used as householdcontainers or conversation pieces, however, are not likely to warp,if the wood has been kiln dried or sufficiently air dried.From the 2%-in. by 1 3/16-in. stock, cut a piece S7/1 6 in. longon the miter box. I always leave the lid about 1/1 6 in. too long, incase I need to trim a little for a better fit against the rear wall.Figure 3 on the facing page shows the layout lines for the wood tobe removed to create the two narrow, beveled runners. The lineson the top are %2 in. in from both long edges and extend downeach end. The lines on each edge are %2 in. up from the bottomand extend around the corners to meet the lines on the ends. Witl1the X-Acto knife, make a cut along the bottom line on both edgesand a 45" cut to meet these lines. Remove the wedges. Also, bevelthe top corners along the layout lines at a 4So angle, as shown infigure 4A. Pare away the waste by eye with the 20mm straight chisel,as shown in photo at the bottom of the facing page. Finally,bevel the runners with the 8mm straight chisel tilted at a 4So angleaway from the stock, leaving a scant 1,116 in. of flat on the long edge(see figure 4B). I choke up on the chisel and hold the lid blank soif the chisel slips, the heel of my hand will bump the end of theblank before I could cut myself.Now, try the lid to the lid opening on the box blank. If it won'tslide in easily, the lid is probably too wide or the runners are toothick. If the lid is too wide, sand both runners back and forth on apiece of ISO-grit sandpaper flat on the workbench until it fits. Ifthe lid fits, but is tight, fold a piece of ISO-grit sandpaper and sandthe bevels of the runners a few times, trying the lid until the runnersslide in the channels easily. The lid should not fall out by itself, butit should move without requiring much pressure. Keep in mindthat a wax finish on the boxes will make the fit a little more snug.Hollowing out the box cavity-Once you have a box blank with anicely fining lid, you can hollow out the box interior. For a standard,straight-wall box, I proceed as I did with the lid opening. I markout the area to be removed, score the lines and make stop cuts.Then I use a gouge to take away most of the waste wood and flattenthe bottom with the router, leaving the bottom about Y1 6 in. thick.Be careful not to round over the top edge of the box cavity or thelid opening by levering the back of the gouge on them as youwork. To keep the walls straight and vertical, it helps to repeat thescoring, gouging and routing process several times as you go deeper.As an alternative to hollowing the whole box, you can also layout an oval, two circles or a combination of shapes, gouge themout to a depth of 1,12 in. or % in. and smooth them with sandpaper.It may look like you don't have enough room for your jewelry,special stones or whatever with this type of depression, but tryyour object first to see if it fits before you gouge too deeply.The photos of the fm ished boxes on p. 47 reflect several variations:straight walls utilizing the whole area below the lid opening,as in the domino box; a carved recess, custom fitted for a mouthharp; and an egg-shape recess smoothed and painted in the interiorof "The Illustrated Box."Any hand-rubbed oil finish, such as Watco or Tung oil, will workfine on these boxes. I sometimes add a final coat of hard pastewax. If you want to add color to your box, refer to my article inFWW #63 for staining and painting methods. 0John Heatwole is a professional sculptor living in Bridgewater, Va.The Delaware Art Museum selected his wood sculpture "Crawdad"as the first piece for its new American Fantasy Art collection.Drawings: Roland WolfJanuary/February 1989 49

Modern scroll saws are more than just hobby machines. They cando a wide variety of sawing jobs, from cutting delicate marquetrypatterns in thin veneers to sawing fretwork in thick hardwood.The saws, from left to 1·ight, are the Hegner Multimax 2, LancasterMachine Co. 's Pro-Cut 20 in., RBI's Hawk 220 and Delta's 18-in.Electronic. The stand is optional with the Pro -Cut.The scroll saws from left to right include Excalibur's Excalibur II,Strong Tool's 2015, American Machinery Sales' Superscroll 18 andPenn State Industries' Super 15. The Strong 2015 is shown withoutits bolt-together stand, which does come with the saw.Testing Scroll SawsSmooth and precise cuts) even in thick stockby Greg Bover50 Fine Woodworking

SCROLL-SA W TESTCompany and model List Throat Cut t Motor speed Stroke Arm Drive Table Table tilt Standleft/rightprice depth thickness SPM length design method sizeAmerican MachinerySales Inc.Superscroll 18$38718 in. 1% in. 1,650 3/4 in. C Direct 8% x 17 45°/0° NoDelta International $699 18 in. 1% in. Variable % in. C Gear 16 in. dia. 30°/45° 3 leg,Delta Electronic $1,014** 40 to 2,000 boltedExcalibur Machine $579* 19 in. 1% in. 4001800/1 ,400 3,4 in. Ptt Belt 12 x 17 45°/45° No& Tool Co.Excalibur IIAMI Ltd.lHegner $995** 14 in. 1% in. 1,660Hegner Multimax 2Lancaster Machinery Co. $799 20 in. 2 in. 80019251Pro-Cut 20 in. 1,000/1 ,160Penn State Industries $129 15 in. 1% in. 1,650Super 15 in.13118 in. P Di rect 9 x 17 45°/0° 3 leg,welded1 in. P Belt & 16 in. dia. 45°/45° Opt.gear4 leg,3,4 in. boltedP Direct 7% x 17 45°/0° NoRBI Industries $799** 20 in. 13/4 in. 69511 ,1 10Hawk 220= = =Strong Tool Design $999** 20 in. 2 in. 72811 ,028Strong 201 5 Two Speed*. Without motor **. stand included t, With hold-down In placeSPM strokes per minute C C-frame P parallel armstem, powering both the upper and lower arms. Unfortunately, thisdesign makes the Excalibur subject to blade stabbing. Despite thisshortcoming, the Excalibur performed well and consistently gaveus clean cuts, though its short %-in. blade stroke didn't cut fast inthick tock. With the saw mounted to a bench, it was the quietestof all the machines tested. Although the blade clamps don't pivot,the saw wasn't particularly prone to breaking blades, and wejudged it the easiest saw to change blades on.Hegner Multimax 2-The Hegner, imported by AMI Ltd. (2McCullough Drive, Southgate Industrial Park, Box 312, New Castle,Del. 19720), has a cast-alloy frame and arms, and it was a breeze toput together-a set-up time of only 15 minutes. The saw has anextremely smooth fi nished alloy table, which we judged the best inthe test. Although the table only tilts one way, the trunnions werewell machined, and the table locked where it was put without excessivefinger pressure on dle lock knob. TIle Hegner runs at 1,660 SPM,the highest speed next to the Delta in the test, and is powered by adirect-drive 1.9-amp AEG motor, with no speed controls. (Hegnerhas a new line of variable-speed saws dlat should be on the marketby the time this article is in print.) With a #9 blade, the Hegner cut1 Y2-in.-thick maple well. Its welded tubular-steel stand is heavilybraced and stable.Besides being an all-around well-built saw, the blade clamps onthe Hegner had the best design and construction: They allow theblade to pivot freely and make blade changes easy. The Hegner'sblade clamps have 3/t6-in.-sq. head machine screws that tightenwith a large clock-winding type key, an improvement over thesmall easy-to-strip Allen screws used on the other saws. To makethe blade changes even easier, the Hegner has a blade-clamp holderon its table edge that holds and aligns the blade and clampwhile they're tightened (see the photo on the next page). An accessorycalled the "Pierce Pal" allows the blade to be aligned andclamped in the blade holder after it has passed through a hole inthe workpiece, for cutting out a pattern in the middle of a panel.Also, because the blade clamps aren't fixed on the arms, one can11A1 in. P Belt & 13% x 22 30°/45° 4 leg,gearbolted1 in. P Belt 130/4 x 22 45°112° 4 leg,boltedtt. both arms poweredbuy several extra pairs. If a blade breaks, just install a new bladealready fixed in its clamps. Overall, the Hegner machines (includingthe larger Polymax 3, which we also tried) are beautifully builtand highly favored by our woodworkers.Pro-Cut 20 in.-This machine, sold by Lancaster Machinery Co.(715 Fountain Ave., Lancaster, Penn. 17601), has cast-alloy arms,frame and table and an optional four-leg stand with braced legs.The saw has a nicely surfaced table that's stabilized by dual trunnions-asturdy arrangement. The belt-driven machine has atwo-step pulley, and changing speeds was very easy, despite thetiny, hard-to-grip thumbscrew on the belt guard. Even with fourspeeds though, the Pro-Cut's maximum speed of 1,160 SPMseemed slow; we felt the saw would have cut better at a higherspeed. The Pro-Cut, as well as the Hawk and the Strong 2015, has alarge 20-in. throat capaCity, which is useful for cutting out fretworkpatterns in large panels.Blade change is a real ordeal on the Pro-Cut, because the topblade clamp is hidden under a shroud on dle upper arm, and aspecial tool and Allen wrench are needed to set the lower bladeclamp. The Pro-Cut comes with a foot pedal on/off switch thatplugs into the cord. This feature came in handy a couple of times,but we didn't need to start and stop dle saw too often.Hawk 220-The Hawk, made by RBIndustries Inc. (1801 Vine St.,Box 369, Harrisonville, Mo. 64701), has a cast-alloy frame and tablesupported by a sheet-metal stand with four unbraced legs. Aldl0Ughdle saw arms are sturdy and appear to be milled from solidbar stock, the saw is light and wobbly, and it vibrated badly. Thetable tilts 45° both ways, but the trunnions are sloppy, and thetable was difficult to lock in place. Despite its pivoting bladeclamps, the saw broke more than its share of blades and wasprone to burning in dle kerf when we cut l%-in.-thick oak.The Hawk has two speeds and a motor that's mounted under thesaw, out of dle way. Unfortunately, making speed changes becomesdifficult, because the motor pulleys are located under theJanuary/February 1989 53

Besides providing a pivoting blade clamp that prevents blade breakage by allowing a blade to flex during cutting, the Hegner has a built-inholder that supports and aligns a blade in the clamp while it's tightened in place.saw. Two different length V-belts are required, one for each sawspeed pulley. Blade change requires a special rod and an Allenwrench to secure the pivoting top blade clamp. The blade tensioning/releaseadjustment features a convenient cam lock that takesonly a flick to engage or loosen for blade changes.Strong 2015 Two Speed-This saw, made by Strong Tool Design(20425 Benrice, Livonia, Mich. 48152), has a cast-alloy frame, an1)sand large 13%-in. by 22-in. table. The stand has four legs that aresplayed in lieu of bracing to give the saw stability, but we foundthe legs to be always in the way. The table surface was adequatelysmooth, but the single trunnion didn't lock well enough to keepthe table steady when cutting heavy work. The hold-down can bebolted on either side of the frame, making it easier for left-handers.Cuts with the 2015 were generally smootil, but the light saw vibratedconSiderably. A few times after tightening the blade-tensioningadjustment, the pivot on the end of tile bolt didn't engage correctlyand tension would suddenly release in tlle middle of the cut. Theblade clamps are designed to pivot with the blade, but unfortunately,arm design makes the blade move back on the downstroke.Blade changes were relatively easy with the provided Allen wrench.One problem, however, is that tlle lower blade clamp barely fitstilrough tlle table, so the blade needs to be bent and workedthrough the opening. Since our test, the 2015 has been supercededby a new model, the Strong Prospector, also witll a 20-in. throat.Super 15 in.-This saw is the least-expensive saw in the sample: afraction of the price of the $1,014 Delta, the most expensive sawwe tested. Manufactured in Taiwan and imported by Penn State Industries(2850 Comly Road, Philadelphia, Penn. 19154), the Super 15looks like the Hegner and is remarkably similar to Taiwanese sawssold by Grizzly and Delta. Altllough Penn State's ads claim the sawhas professional quality and precision, it simply doesn't. The overallquality of the castings and the saw's fit and finish is poor. Forinstance, the Super 15 has a dleap plastic hold-down and minisculepump bellows that are absolutely useless. Also, the blade clampsare badly machined and don't grip the blade well.Like the Pro-Cut 20 in., the Super 15 features a covered top armfor safety. But on the unit we received for testing, tlle cover hadbeen bent, and the arm hit it on every stroke, making a terriblesound until we bent it back to shape. On the positive side, the sawcan cut clean l y enough (albeit with a lot of vibration), no doubtthanks to its high 1,650 SPM. Also, the Super 15, like the Superscroll18, has a power-switch lock so it can be child-proofed.Superscroll l8-Imported by American Machinery Sales Inc. (Box5285, Marshallton, Del. 19809), this Taiwan-made saw is heftilybuilt and doesn't offer many frills. Although the table surfacingand machining are still pretty rough, this saw is a step up fromtlle Super 15, both in capaCity and performance. The Superscroll's18-in.-deep throat is enough for fairly large work, and with itshold-down in place, the saw has the same depth-cutting capaCity ofmost other, more expensive scroll saws. The saw is a hybrid design:It features direct drive, like many parallel-arm saws, but is aC-frame saw, like the Delta.The Superscroll 18 has pivoting blade clamps that allow for afair amount of blade flex. Plastic hinged covers fl ip over the bladeclamps (I can't see why), and a removable table insert makes accessingtlle lower arm for blade changes easier. The Superscroll 18produced a moderate amount of vibration during cutting, whichdecreased when we bolted tlle saw to a heavy workbench. Cuttingaction was solid and yielded smooth cuts in all but thick hardwoods.Overall, the Superscroll 18 is a lot of saw for the money.Other models-As interest in scroll saws grows, manufacturerscontinue to offer additional models, which we were unable to includein this test. Companies offering other scroll saws includeAMT, Grizzly, Sunhill, Sakura U.S.A. and Transpower. DGreg Bover is the woodshop foreman of CB. Fisk lnc., pipe-organmakers in Gloucester, Mass. Sbop members Rob Hazard and JohnSchreiner helped with the testing for this article.54 Fine Woodworking

An ordinary woodturning lathe can be used to cut and polish alabaster until it glows with translucent colors. The author's red and pinkplatter in the back is 15 in. in diameter, the largest vase in the center is 10 in. tall and the small pink vase is 2 in. in diameter.Turning rocks is tricky, but that just adds to the fun. And delicatelycolored stones like alabaster, when turned, develop apleasant translucent glow. I conduct turning workshopsacross the country and have been impressed at the popularity oalabaster work. I suppose that's not too surprising consideringturners are such an adventurous lot, eager to chuck on anythingfrom a worm-eaten tree trunk to a variety of fruits and vegetables.In addition, you don't need any special equipment for alabaster,nor any special techniques. The process is just like scraping out awood bowl, only slower, although alabaster does have a couple ofpersonality quirks. It's not so much that the material is contrary asthat it is different and takes a little getting used to.Alabaster is a crystalline form of gypsum (calcium sulfate), which isthe main ingredient in Sheetrock. Gypsum rates a #2 on one commonlyused hardness scale (talc being #1 and diamond #10). Youmight notice some variation in hardness from piece to piece, buteven though it's rock, all alabaster is soft. Impurities are responsiblefor its subtle colors, which can range from translucent whitesthrough pinks, to browns, grays and greens. The turned pieces are abit like crystal wine glasses-lovely, but if you drop one, that's that.You can rough out the alabaster blanks with any variable-speedreCiprocating saw and a large-tootl1 or bimetal blade. A bandsawrunning bimetal skip-tooth blades at slow speeds will cut alabaster.The low-tech chisel-and-mallet approach also works fine. Currently,I'm mounting the rock on the lathe and using an air chisel toknock off enough material to balance the piece, then using a narrowscraper known as a Stewart Slicer (available from DennisStewart, 2502 N.W 4th Ave., Hillsboro, Oreg. 97124; 503-640-3089).For the actual turning, I use carbide-tipped scrapers. Commerciallyavailable woodturning tools are fine, but I made my scrapers by unbraZingcarbide tips from old router bits, then rebrazing them ontosquare-stock steel (available from KBC Tools, 6300 18-Mile Road,Sterling Heights, Mich. 48078; 800-521-1740, or 800-482-1047 inMichigan). You can also order tools specially made for alabaster fromJerry Glaser, 8341 Delgamy Ave., Playa del Rey, Calif. 90293. I sharpenmy carbide tips with a 120-grit silicon carbide (greenstone) wheel.High-speed steel scrapers are best for the finishing cuts (see top,right photo on the next page). The steel edges aren't as durable ascarbide, but they produce a cleaner cut, probably because tl1ey canbe sharpened to a finer edge. I grind tl1e ends square with nobevel. This way I can use one side until it is dull, then flip it overand use the other side. These high-speed steel scrapers are availablefrom Craft Supplies USA, 1287 E. 1120 S., Provo, Utah 84601;(801) 373-0917. Craft Supplies also sells double-faced tape, thetype of pin chuck I use (the version included with combination orsix-in-one chucks) and Hot Stuff cyanoacrylate glue, which is invaluablefor holding the work together.Alabaster can be crumbly because of fractures and stresses withinthe stone, so it can break easily on the lathe. I turn each bowl asthin as I dare, usually about Vs in. to 0/16 in. My current successrate is about 80% and would be even lower if it were not for thecyanoacrylate glue. Once the outside is roughed to shape, use thin"original" Hot Stuff on anything that even looks like a fracture inthe stone. If the glue soaks into the crack, I go over it with thethicker "Super T" Hot Stuff and then spray on the Hot Stuff accelerator,which speeds glue hardening. If the glue doesn't seem toflow into the crack at all, I assume the crack just looks like a fracture.I repeat this procedure whenever I get nervous about tl1ingsbreaking, usually on the inside when the piece is about 1/4 in. thickand always just before the final thickness.Safety hazards-Be aware: There is always a chance the block willshatter. Even if everything is going well, dust is a problem. Alabasterdust is similar to Sheetrock dust, so wear a dust mask or a respirator,January/February 1989 55

A pin chuck, fit into a center hole drilled inthe rim side, holds the blank.The blank can be rough-cut round with areciprocating saw.Initial scraping with carbide-tipped tools brings the stone to rough shape. Here, the bottomof the bowl is being trimmed flat with a high-speed steel scraper.Above: To center and clamp the preturned wood base to the piece,the author uses a stub with the proper Morse taper for the tailstockon one end and threads for a fa ceplate on the other. The base is thenglued to the stone using the tai/stock as a centering clamp. Woodenrim segments are applied with cyanoacrylate glue. Below: Turningprocedures are much the same as for scraping cuts in wood.

use a dust collector, and if possible, work outside. I use a Makita 410dust collector, with its intake nozzle mounted near the tool rest.This clears the air and helps keep the dust out of the headstockbearings. In addition to breathing problems, the dust can dry outyour skin severely, so I wear latex gloves. Of course, wear a faceshield: These are rocks, not wood chips, that will be flying off thelathe. I recommend steel-toe shoes, because the rocks are quite abit heavier than wood, and if you turn enough of them, you willinevitably drop one off the lathe. The last time this happened tome, the lOS-lb. piece hit the floor and rolled off through the wall.Attaching alabaster to the lathe - I usually start with a pin chuckfrom the rim side, then proceed as shown in the photos on thefacing page. The only unusual gadget I use is a device to centerand clamp the preturned wood base to the piece. It is simply astub with the proper Morse taper for the tailstock on one end andd1reads for a faceplate on the other end. With the bowl on d1eheadstock and the base on the faceplate, I screw the base/faceplateassembly onto the stub, insert the stub into the tailstock, then windthe tailstock out until the base and bowl connect. This avoids turninga mortise and tenon to center the bowl on the base.You can also adapt other chucking systems to alabaster. You cangrind a flat on what will be the base of the piece with a belt sander,glue on a preturned wood base, glue or, for small pieces, doubletapea waste block to d1is base and screw a faceplate to the wasteblock. Or, you can grin I a flat on the rim side, tape it to a faceplate,turn the outside, then glue on a base and waste block asbefore. Use whichever method seems most comfortable to you.Turning techniques -You must rely on a fairly gentle touch asyou turn, because alabaster isn't flexible. The rotational energy ofthe lathe must be absorbed by the tool, the tool rest and yourhands, or by the scraping away of d1e stone's surface. Too muchpressure or a slip with the scraper either stops the lathe, knocksthe piece off the faceplate or breaks the stone.You will likely find two additional crystals in alabaster: quartz 'and selenite. Quartz crystals are very hard and may be as large as apencil eraser or as small as a grain of sand. You will feel them andhear them; they will take the edge right off your tool, sometimesmaking sparks as d1ey do so. If you run into quartz, stop and dig itout. My "quartz digger" is simply a concrete nail with a piece ofwood fo r a handle. Selenite is anod1er crystalline fo rm of gypsum.It usually is found on the outside of the rocks and looks similar tomica. You can cut selenite, and if it runs deep into d1e rock, it canyield spectacular results. But, selenite crystals usually separatefrom the rest of the piece, so keep fi lling with Hot Stuff as youturn, as this will sometimes keep d1e crystals in place.If you decide to permanently attach a wood base or rim to thealabaster, the Hot Stuff glue makes a good permanent bond. Wheneverone of my joints has failed, there has always been a layer ofalabaster left attached to the wood, indicating the stone, not theglue, as d1e weak link. Just remember: The wood will move as itsmoisture content changes; the stone will not. Wid1 wood pieces assmall as the rims on d1ese bowls, wood movement doesn't seem aproblem; with d1e larger bases, it can be. After the piece is turned,finish all surfaces of d1e base with a mOisture-sealing finish.Finishing alabaster-I first sand the surface with 36 grit for roughershaping, working up d1rough IS-micron sandpaper (available from111e Luthier's Mercantile, Box 774, 412 Moore Lane, Healdsburg, Calif.95448; 707-433-1823) for that final glow. I use all the sandpaperdry. My favorite finish is paste wax, but you might prefer lacqueror d1e traditional oil finishes commonly applied to wood turnings.Finding alabasterI get most of my stone from Colorado Alabaster Supply, 1507 N. College,Fort Collins, Colo. 80524; (303) 221-0723. Stan Jones, the owner,says that the company deals mostly by the ton, and small piecessuitable for turning are, in effect, waste that may or may not be availableat any given time. You may have to wait six weeks to two monthsfor delivery of a small order. Typical cost is as low as 30¢ to 35¢ perpound, with a nominal handling charge.I suggest you start with a 20-lb. to 30-lb. blOCK, which in my experience,would be large enough fo r a 6-in. by 2-in. bowl. Drill cores of2 in. to Y/2 in. in diameter are sometimes available, too. Here again, ifyou want 500 lbs. of cores, Jones will be happy to core out as manyrocks as necessary; if you want 10 Ibs. and he is out, the order mighttake a while.A speedier yet more expensive route is to order from a specialtysupplier. Sculpture House (30 E. 30th St., New York, N.Y. 10016; 212-679-7474) has alabaster (mostly imported Italian) for immediateshipment and will help you figure out what to order over the phone.Cost is S1.50 per pound, and the minimum order is S50.You might be able to obtain the rock from local sculptors or sculpture-supplyhouses as well: Alabaster is a very popular carving stone.Here in the West, you can often find alabaster at rock shops along thehighway. If they don't have it, they probably know who does.Another approach is to become a prospector, which gets you thebest prices of all, usually free. Look for places on the map with nameslike Alabaster, Gypsum or Plasterville. Gypsum, the main componentof Sheetrock, is fairly common, and where there is gypsum, there willbe alabaster. By asking around, you can usually get permission to digit. The question is whether or not it will be solid enough and largeenough to be useful. Here's how to test: You want a piece that givesoff a good ring when struck. Pick the piece up and give it a sharp tap.(My favorite tapper is a wooden-handle rigging axe, which is a framinghammer that combines a typical hammerhead with a hatchet faceinstead of a claw. ) A solid piece will have a clear clink or a ring. If youget the sound of an indistinct "thud," look for fractures and break offanything that looks loose, or try holding the piece differently, thentap again. This is pretty easy for a 20-lb. rock. With a 150-lb. rock,however, it is more of a problem; still, you can usually balance it on acorner and get a ring. With a 500-lb. rock, good luck! -MKOne final caution about finishes: Your bowls must be purelydecorative or at least reserved fo r the storage of dry goods, becausealabaster dissolves in water. How quickly ? Well, a few dropsof water on a waxed alabaster surface probably won't make marks,but I once filled a bowl wid1 water, and d1e liquid noticeablyetched the surface in half an hour. Obviously, if there is a fracturein the piece where water can seep through, things will only getworse. To avoid this kind of damage, I sometimes lacquer the insidesurface, especially on enclosed shapes. I don't especially liked1e look or feel of the lacquer, but it is hard to see inside theseenclosed vessels anyway. I also think that with enclosed shapes it ismore likely that someone down the line will put water in them. Ind10se cases, lacquering should work fine, unless a possible naturalfracture in the stone eventually causes the lacquer to check.One of the best rules when beginning to work with alabaster isthat if at first you don't succeed, keep Hying. As I mentioned earlier,about 20% of my starts are failures, but in the beginning, they weremore like 40%. Half of these are due to excessive concentrations ofquartz or structural problems with the stone, and half are just mymistakes. Have fun: After all, dut's the ultimate point of it all. 0Max Klimmel is a gUitar-maker, illustrator and tumer. He lives inBoulder, Colo. All pbotos are by tbe autbor.January/February 1989 57

Building a SBeads and crown dress up a basic cabinethaker-Style Wardrobeby Tom HagoodFig. 1: Shaker-style wardrobeCrown molding covers top of rail.Bead and corner inlays enhanceframe and raised panel doors.Sliding dovetail block and stripattaches crown molding tocarcase sides and allows solidwood sides to move.Back of cabinetBack let into rabbet, % in. wideby % in. deep, cut in top and sides.All members for back frame 2% in. wideUnderside of bottomrail is flush withbottom of cabinet.Ear pieces glued to face-frame stiles allow curved feetto be cut out. Bottom rail becomes shorter than top rail.Flat panels, % in. thick,are all the same size.58 Fine Woodworking

I've never been especially fond of period fu rniture; therefore,the commission I received to build a traditionally styled wardrobecabinet was quite a challenge. The client did not specifytile style, but the piece had to fit into an Early American bedroomdominated by a huge antique mahogany bed-a family heirloom.Because all my previous work had been with contemporary designs,I had some reservations about accepting tile commission; a contemporatywardrobe would clearly be out of place in this bedroom.Thus, I set out to find a period style that would be traditional yetallow for some creative interpretation so I could incorporate myown design details. In this article, I'll tell you how I developed mydesign, worked out the details and built the cherry wardrobe cabinetpictured at right.Before I began designing tile wardrobe, I searched through furniturereference books for a period piece to serve as a point ofdeparture. In my search, I discovered a reference book calledChests, Cupboards, Desks and Other Pieces by William C. Ketchum,Jr. (published by Random House, Wesullinster, Md. 21157). Altiloughprimarily a book for furniture collectors, I find it a valuable resourcefor furniture designers: The book includes photographs and drawingsof a dizzying number of styles, from English and French periodpieces to Shaker designs to Wendell Castle stack-laminated work.The book even includes joinelY details and dimensions for manyof the pieces.Ketchum'S book contains a photo of a simple Shaker wardrobethat seemed to fit my needs. The piece is traditional looking yetplain enough to benefit from the addition of some of my decorativedetails. I was already somewhat familiar with Shaker furnitureand crafts, having at one time manufactured Shaker-style steambentoval boxes, and I like the Shakers' straightforward, functionalapproach to fu rnituremaking. There are also modern interpretationsof the style that I like, such as the work of furnituremakerThomas Moser of Maine.It was necessary to adapt the dimensions of tile wardrobe to fittile client's room and accommodate the amount of clothing rh:ecabinet would have to hold. To help visualize how the cabinetwould relate to its surroundings, I made a perspective sketch oftile room, including a view of tile ceiling and other bedroom fu r­nishings. I chose to make the wardrobe 78 in. tall and 42 in. wideto fit harmoniously with the client's large bed, and I made thewardrobe 22 in. deep to easily handle bulky winter clothes hungon a clothing pole inside.Pleased with the proportions of the cabinet, I went back to thedrafting table to work out tile small details, such as the cutout basebeading around the door frames, tile profile of the crown moldingand tile joinety to hold the cabinet together. Because solid woodwould be used tilroughout, I had to design the cabinet to allow forexpansion and contraction. In addition to frame-and-panel doors,tilis meant making a frame-and-panel back and a sliding joint forattaching tile crown molding to the top of the carcase. The top,bottom and side of tile carcase would consist of edge-glued boardsjoined with dovetails at the top and pin tenons at tile bottom. A faceframe would be glued to the front of the carcase, and the back framewould be fitted into a rabbet in tile carcase sides. I also shaped door,base and crown molding details to give the cabinet individuality.Carcase construction-I began by building me basic carcase.After edge-gluing several narrow 4/4 boards to make the sides, topand bottom, I cut the dovetails at the top of the case by hand, usinga chisel, mallet and dovetail saw. You could also use a router anddovetail template. Next, I laid out and chopped the mortises at thebottom of tile sides to accept the multiple tenons on the carcasebottom. These mortises were cut witil a straight bit in a routerThe design of the author's cherry wardrobe cabinet, above, isbased on a traditional Shaker piece that he mOdified, adding hisown details to the doors, base and crown molding.By changing the position of the two movable rails that guide therouter, the author works his way across the bottom of the carcaseside, chopping mortises for pin tenons that will join the sides tothe bottom of his wardrobe cabinet.guided by a homemade jig, as shown in the smaller photo above.The jig is a square template made up of two rails and two adjustablefences. A plunge router is set into the square, the bit isplunged and the router is then moved around inside tile fenced area(router base bearing against the fences and rails) until the mortiseis completed. The two adjustable fences, pinned into place withremovable dowels, are repositioned for each of me seven mortisesacross the widtil of tile two carcase sides. The routed mortiseshave rounded corners that must be squared up with a chisel.Next, I cut the multiple tenons on the ends of the carcase bottom.After marking these tenons by transferring lines from tile mortises, Ibandsawed away most of the waste, then pared the tenons for a tightfit into their mortises. As an alternative, you can use a router torough-cut the shoulders, tilen pare them with a chisel. Either of theseDrawing: Mark KaraJanuary/February 1989 59

The author makes raised panels for the wardrobe doors on therouter table. In the first step, shown above, he reduces the thicknessof each panel's edge by running the panel vertically by astraight bit. A fingerboard clamped to a spacer provides the pressureneeded to stabilize the panel as it's fed. This fingerboard alsoprevents the climb-cutting bit from self-feeding the panel.ing on p. 58. The shelf is notched so the edge of the shelf is flushwith the front of the stile.Originally, I'd planned to let the base of my wardrobe rest onthe floor, with a decorative molding at the bottom edge. However,I saw another base treatment I liked in the Ketchum book andadapted this base to fit my wardrobe. With this new base, the carcaseis cut out to make four feet, with gentle convex curves coming upfrom the floor along the insides of the feet-a pleasant visual effect.Drawing in scale, I experimented with various curves until I cameup with one I liked. I scaled up this curve on graph paper to makea full-size plywood template, which I used to mark out the cabinetsides. After roughing out the curve with a sabersaw, I clamped thesame template to the cabinet side and routed the final shapes witha piloted straight bit bearing against the template.Creating tl1e same cUlved feet on the front of the war Irobeinvolved modifying the cabinet's otherwise straightforward faceframe. I used a typical face frame, assembled witl1 mortise-andtenonjOints, on the front of the cabinet and a frame-and-panelback. But the stiles weren't wide enough for the same cLllve I hadcut on the cabinet sides, so I glued 1 Y2-in.-wide ears to tl1e insideedges of the stiles, providing stock for tl1e curved feet. I cut thebottom rail shorter than the top rail and tenoned it to the earpieces instead of the stiles. If I'd made the bottom rail extra wideto accommodate the cutout, I would have created a wood-movementproblem by joining a 6-in.-wide rail cross-grain to the faceframe's stiles.Gluing up a cabinet of this size was quite a task in my smallshop. The cabinet's size stretched every clamp in the shop to itscapacity. The carcase dovetails were tight enough that they didn'tneed clamping, but tl1e pin tenons needed to be pulled into theirmortises witl1 pipe clamps. A 2x4 I had carefully bandsawn into abow shape (convex surface toward the cabinet) was used as a caulto distribute clamping pressure across the sides. After the carcasewas dry, I glued on tl1e already assembled face frame.Though plywood is a suitable and more-often-selected choicefor the back of a large cabinet, I decided to stick to tl1e more traditionalsolid-wood frame-and-panel back. This frame consists ofthree stiles and four rails mortised and tenoned together, dividingthe back into four panels. The panels themselves are flat and only% in. thick, the same thickness as the grooves in the frame. Theentire glued-up back recesses into the rabbet cut in the back of thecarcase earlier.Hagood uses a homemade beading plane to detail the inner edgesof the door frame. The mahogany plane has two nonsymmetricalbead-profile blades, one for cutting in each direction. A piece ofquarter-round molding on the underside of the plane guides italong the frame'S inner edge fo r a straight cut.operations can be time-consuming, but I don't know a faster way tomake pin tenons or an alternative joint that has the same integrity.As with most wardrobes, mine has a high shelf for storing clothingabove the hanging garments. The -in.-thick shelf joins theinside of the carcase by sliding into a simple %-in. by %-in. dadoplowed into the cabinet sides. The dado is the same depth as therabbet cut along the back edges to accept the frame-and-panelback. I cut the dado with a %-in. straight bit in a router, using astraight board clamped across the cabinet side as a fence. Becausethe 4/4 shelf must span the width of the 42-in. cabinet, I supportedthe middle of the shelf with a lap joint on the 1 Y2-in.-wide centerstile. Dovetails at the top and bottom of the stile connect to thefront edges of the carcase top and bottom, as shown in the draw-Building frame-and-panel doors -After measuring the faceframeopening, I made a pair of door frames that fit snugly into tl1eopening. The frames are joined with haunched mortise-and-tenonjoints, and each member has a 6-in.-wide groove, cut with adado blade on the tablesaw, to hold the panel. The bottom doorrails are wider than tl1e top rails, to overcome visual foreshortening,which makes bottom rails look narrower than tl1ey are. I letthe stiles run long to prevent splitting during mortising, thentrimmed them to lengtl1 after the doors were assembled.I raised my panels with a router, homemade router table andtwo different bits. The first operation was to reduce tl1e tl1icknessat tl1e panel's edge with a Y2-in. straight bit. The panel's edges wererouted with tl1e panel on edge and held tight against the fence by afingerboard clamped directly above the bit, as shown in tl1e topphoto on this page. To produce tl1e cleanest cut pOSSible, especiallywhile shaping the panel's endgrain, I climb-cut the panels, feedingthem into the bit counter in t11e same direction it was spinning. Ifyou uy this, make sure to take several shallow passes on each edge,to prevent dangerous self-feeding, which can occur when c1imbcutting.The pressure of the fingerboard also prevents self-feeding,60 Fine Woodworking

and it shields your fingers from exposure to the whirling bit.After the panel edges were thicknessed, I cut a cove to finish thepanel raising. I used a 112-in. core-box bit in the router, shaping thepanels on the router table. I laid the stock flat on the table andshaped the cove in a few passes, raising the bit each time until itstip just contacted the flat in the panel edge cut from the previousoperation. I then sanded the panels and glued up the door frameswith the panels in place.The next step is to detail each door with a cock bead around theinner edge of the frame. I originally scratched the bead with anold scraper blade filed to the correct profile, but I was unhappywith the fuzzing and tearout. I chose instead to make my ownbeading plane, shown in the bottom photo on the facing page. Theplane is designed to cut into the corners from two directions forwork on an already assembled frame. (You can plane the bead inthe frame edges prior to assembly, but you need to stop the beadson the stiles where they meet the rails.) One of the plane's bladesis a standard cutter from a Stanley #55 Multiplane set. The othercutter, a mirror image of the first, is made by modifying a straightplane blade. Both blades are held in place with removable wedges,making it easy to lower one cutter and retract the other, dependingon the direction of the cut. A strip of molding on the undersideof the plane body acts as a fence to keep the cutter parallel tothe frame's edge as it cuts the bead.Traditionally, the corners of a beaded frame were carved so thebeads look mitered into one another. This is because the beadingplane or scratch stock can't shape the bead all the way into a corner.Instead, I glued an end-grain dowel precisely into each corner, toserve as a return for the bead detail and to give the cabinet anoriginal touch, as shown in the photo above, right. I made a drillingguide by boring a hole through a scrap and gluing a tiny triangleto the bottom to reference against the frame's inside corner.Clamped in place, the guide established the precise location of thehole and kept the bit straight as I bored each Y4-in. cornerhole with a hand drill. A tape flap stuck to the bit told me when .the hole was deep enough. The dowels for the corners were madefrom cherry scraps, using a plug cutter in the drill press. Eachdowel was glued in with epoxy, then trimmed and sanded flushwith the surface of the door frame.Crown molding-For this highly visible detail, I chose the fanciestpiece of cherry I had. To shape the crown's cove profile on thetablesaw, an improvised fence was diagonally clamped across the sawtable and a length of stock long enough for the entire crown waspassed over the blade, which is raised a little at a time. By varyingthe angle of the fence and depth of cut, you can produce manydifferent cove shapes. I experimented until I had a profile thatmimicked the curve of the feet. After coving, I angled the molding'sedges as detailed in the drawing on p. 58.The bead detail where the crown molding meets the cabinet isthe same as the bead on the doors, adding visual detail and makingany irregularity in the seam between the cabinet and moldingless obvious. To hold the molding at the correct angle for beading,I first cut some small plywood triangles and hot-glued them to thebench in a straight line. I then hot-glued the noncoved side of thecrown molding to the triangles so the molding's bottom edge wasfacing up and level. The narrow edge gives the beading plane littlesupport, so it is a bit tricky to get a straight bead. To stabilize theplane, try laying one hand on the molding alongside the plane asyou walk down the length of the molding taking the cut. It'll takeseveral passes to get the full bead profile, but in the end, thisgreat-looking detail makes it all worthwhile. After scraping thecove smooth with a curved scraper blade and sanding its showThe beaded inner edges of the door frame and inlaid corners, aswell as the cove-and-bead crown mOlding, provide the author'swardrobe with a distinguished degree of visual interest.surfaces smooth, I cut the length of crown molding into threepieces and joined the mitered corners with splines and epoxy glue.Crown molding has been traditionally nailed or glued on oldcabinets, but this can create problems. The molding, attached crossgrainon the cabinet sides, loosens over time because of expansionand contraction of the cabinet's sides. To compensate, I attachedthe assembled crown to the cabinet's side with a sliding dovetailjOint, as described in "Cross-Grain Constructions," FWW #72, p. 80.This allows the cabinet sides to move while holding the moldingsecurely to the cabinet.The crown is fastened to the cabinet sides with two 3-in.-longmale dovetail strips-one screwed to each cabinet side. Thesestrips slide in female dovetails cut into angled blocks glued to theback of the molding. After the male strips were in place, an assistantheld 1;he molding while I screwed the front molding on fromthe inside of the cabinet. Then, I applied hide glue to the femaledovetail blocks and slid them onto the dovetail strips from theback. I held the components in alignment until the glue set. Thisprocedure is not as difficult as it sounds, especially if you're goodat cutting sliding dovetails. In addition to alleviating wood-movementproblems, this method avoids difficult clamping proceduresand ensures that the molding is perfectly aligned. The wholecrown is removable: This makes finishing the cabinet sides easierand lightens the heavy wardrobe, in case it needs to be moved.After final sanding and finishing (I used Watco oil to bring outthe cherry's color, but you can use any finish you like), I attachedthe knobs, mortised in the locks on the doors and hung the doorson the cabinet. Keeping with the Shaker style, I turned two small,plain cherry knobs. Each has a dowel turned on its back that isglued and wedged into a hole drilled through the door stile. Iused standard 2Y2-in.-long butt hinges to hang the doors, three perdoor, and mortised them into the door frame and face frame for aclean fit with very little gap around the doors. Finally, I mounted aremovable clothes pole inside the cabinet just below the shelf.My client is pleased with the wardrobe, and so am I. The adaptationsI made to the design seem to mediate well between theroom's ornate furnishings and the cabinet's simple Shaker origins.While the exu-eme austerity of original Shaker designs is not alwayscompletely satisfying to me, I enjoyed reinterpreting the Shakerwardrobe design. But, I'll always acknowledge the Shakers' basicpremise: "Keep it simple."DTom Hagood is a woodworker in Birmingham, Ala.January/February 1989 61

The results obtained from a well-tuned scraper are evident here. The wide, fine shavings are indicative of the blade's sharpness. When theblade no longer produces these fine shavings, it's time to rehone its edge and form a new cutting hook.Souped-Up ScraperOld-time hand tool challenges belt sanderby Kelly MehlerWhenever I run into my former apprentices, I'm alwayscurious about whether any of the things I taught themhave turned out to be valuable tools for making a living.Invariably, I'm told that one of the best tricks is how to tune-up acabinet scraper-not the steel hand scrapers most woodworkersare familiar with, but the old metal-body ones with spokeshavelikehandles and a reputation for not working. But I've found thatonce you learn how to handle this scraper, you can take wide, fineshavings off any hardwood with ease; it's especially effective onhighly figured woods where you have cross-grain. With a welltunedblade, you can smooth a tabletop faster than you can witha belt sander.My scraper is a Stanley No. 80, pictured at the top of the facingpage. You can order it or a similar version from most woodworkingsupplyhouses. A5 with a plane though, you want to make sureyour tool has a flat, smooth bottom. The scraper, as it comes fromd1e manufacturer, is usually not flat or smooth enough to do agood job. My scraper has a sale that's 3 in. by 2% in., so it'snot much of a job to flatten and polish dle sale with a piece of finesilicone carbide paper supported by a glass plate or other flat surface.The scraper blade itself is 2% in. wide and 2% in. long. It's heldin position by a flat metal clamp and two screws. The only otherpart is a thumbscrew that bears against dle blade to keep it fromchattering and to flex it. The more dle screw flexes the blade, dleheavier the cut.I started using dlis scraper years ago when it seemed I was sandingall the time and getting sick of the dust and noise. I also don'tthink a sanded surface finishes as well as a sCl-aped one. I did a lotof reading to see how other craftsmen handle dle problem and decidedthese old cabinet scrapers, which traditionally were used forsmoothing after planing, offered a lot of possibilities. Many craftsmenare reluctant to use them, perhaps because of the perceived difficultyin tuning the tool: It's more complex than sharpening a planeblade or chisel, because it requires forming a hook, which doesthe scraping, on dle blade edge after the blade has been sharpened.At first, I couldn't get the tool to work well. It took awhile tomaster the technique of getting the correct combination of bevelangle, straight edge and hook angle.62 Fine Woodworking

The cabinet scraper used by the author is a Stanley No. 80. For a newly purchased tool, it's necessary to flatten and pOlish the sole andmodify the scraping blade to produce the best smoothing results. A carefu lly tuned tool will produce a surface ready for finish-sanding.My procedure for preparing the blade is much like the one usedwith the more familiar hand scraper, except the blade for the StanleyNo. 80 requires a beveled edge. The blade is square when it arrivesfrom the factOlY, so I shape a 45° bevel using a bastard millfile. This angle permits a fine cut with hardwoods and is critical,because unlike a hand scraper, the angle formed by the clampedblade and the work surface is not adjustable. I've never used thescraper on soft woods, but I suspect that a lower angle and ablunter bevel might work best.My vise is located near a wall. To gauge the bevel, I've penciledin a 45" line on the wall at a height where I can sight along theblade's edge as I file. The system is surprisingly accurate. You canalso double-check your work with a combination square. The importantthing when filing the bevel is to keep the bevel flat andstraight. Always check for flatness with a straightedge, or put theedge on a flat surface, such as a bandsaw table, and check wherelight comes through between the blade and table. This flatteningoperation should create just a slight burr, barely large enough tofeel with your finger.I remove tile burr by polishing the back side of the blade on a1,000-grit waterstone, but a medium or fine Carborundum stoewill work as well. It will probably take eight or nine strokes toremove tile burr. I also polish the bevel itself on the stone usingtile angle on my combination square to check my progress. A reallysmootil edge is necessalY to make tile finest cuts. Polishing thebevel again raises a small wire burr, so I finish up with a fewstrokes on the back side to remove it.The next step is to turn over a hook on the cutting edge; thehook does the actual cutting. As with a conventional scraper, Iform the hook with an oval steel burnisher. With the blade lyingon a flat surface, bevel side down, I first burnish the back side ofthe blade, keeping the burnisher flat but witil a little additionalpressure on tile edge to "draw" the metal toward the edge. Next, Iclamp the blade vertically in my vise. I start burnishing at a 45°angle, pulling the burnisher toward me using light pressure whilekeeping it in contact with the full surface of the bevel. I continueto burnish while gradually decreasing the angle and increasing thepressure. I stop when I reach a 15°'angle, which I again gauge byreferring to a line marked on the wall, as shown in the photo atright. By this pOint, I have shaped a sharp hook evenly along thelength of the blade's edge.I always put the blade into tile scraper from the bottom, with tilebevel side facing toward tile thumbscrew. I set the body on a flatsurface, such as a workbench, and push tile blade down so it iseven with tile bottom of tile scraper body. Then, I tighten thescrews (but not the thumbscrew) to secure tile blade. I hold theblade down as I tighten the screws, offsetting the blade's tendencyto be forced up.The thumbscrew is turned so it just touches the blade, exertingThe final step in tuning the scraper is to form the cutting hook onthe edge of the blade. The author is shown here burnishing thescraper's edge using a 15° line marked on the wall as a guide. Earlier,in preparation for fo rming the hook, the blade is flattened andits edge is made straight and filed to fo rm a 45° bevel.almost no pressure. I take a few practice strokes to be sure theblade is scraping evenly across its entire width and make any necessatyadjustments by tapping the blade's top edge. As scrapingproceeds, the hook gets worn. You can compensate for this bytightening the thumbscrew, which causes the blade to flex and increasesthe hook's "bite."Using the scraper is much like using a plane. Grab the scraperhandles firmly, keep the sole flat on tile surface and push. Take longstrokes with even pressure. Lift the scraper on the return stroke toprevent dragging the blade and consequently dulling it. It's also agood idea to take skewed cuts witil the scraper held at a slightangle to the cutting direction, as shown in the photo on the facingpage, because this produces a smootiler cut and prolongs the life ofthe hook. From tilen on, it just takes practice until you can produce ashaving as wide as the scraper body. When the shavings becomecrumbly, producing more dust til31l shavings, it's time to go back totile stone, rehone the blade's edge and burnish a new hook. 0Kelly Mehler builds custom fu rniture and operates the TreeFineryGallelY in Berea, Ky.January/February 1989 63

Pedestal TablesSculptural bases and veneered tops(by Jim WallaceWhen I design a table, I consider the pedestal as importantas the top. Modern manufacturers often relegate thetable base to the role of unobtrusive support, as if tosay: "Paint it black and perhaps it will disappear." However, mytables are meant to be sculptural as well as functional, so the pedestalis an integral part of the design, not merely a support for thetop, no matter how spectacular it may be.My table designs are inspired by many sources: nature, art, architeaure,fashion and graphics. The pedestal or "Post" in the bottomphoto on the facing page was influenced by d1e decorative elementsof Post-Modern architecture, hence the name "Post:Modern Table."My designs often are influenced by more practical considerations.For example, the top of the Post:Modern Table is veneered wid1 24wedge-shape segments, partly because the satinwood veneer wasavailable only in 5-in. widths and partly because I didn't have apress large enough to veneer the top as one piece.Constructing these pedestal tables, with their sculptural basesand unique veneering problems, is a challenge in any shop, butespecially so in my 300-sq.-ft. one-man shop. This small space a.lsohas forced me to limit my tool collecting. I have a 10-in. tablesaw,hand circular saw, 12-in. disc sander, belt sander, orbital sander,drill press, %-in. drill, router, clamps and a compressor for sprayinglacquer. In this article, I'll concentrate on describing someof my techniques rather than giving you plans for duplicating oneof my tables. I want to show that even though you may not have ashop stocked with expensive tools, you needn't limit the creativityof your designs. Being from the school of "whatever works," Ihave evolved some unorthodox methods for building tables andhave come up with devices to compensate for many of myshop's shortcomings.Whatever works -The multipurpose table shown in figure 1, below,simplifies many operations. It is constructed from 2x4s andplywood, with 32 casters mounted n 6-in. centers on the top. Mymother says it looks like a geriatric skateboard, but she'll have towait, because I'm still finding new u e for it around the shop. Infigure 1, the table's being used casters-down, as a stand to hold thetops while the veneer is clamped. Turned this way, I also use it asa mobile workbench for moving large in-progress pieces from mysmall garage shop to my driveway, where I work whenever possible.Cutting up d1e large 4-ft. by 8-ft. sheets of birch plywood and panicleboardneeded to construct all my tables is a real chore for oneperson. Turned casters-up, the multipurpose table becomes an outfeedtable the same height as my lO-in. Craftsman tablesaw, which isalso on wheels for moving outside. 111e sheets slide neady off thesaw and over the casters, making d1e process an easy one-man job.Because my pedestals are built with various sizes of polygons, 1devised the aajustable jig shown in the photo below. It's basically aboard wid1 a pivot pin and a wide lot for an adjustable miter gauge.The piece to be cut is drilled in d1e center so it fits snugly on thepivot pin. The miter gauge, fitted with d1e appropriately angle Ifence (for example, 45° for an octagon, 3(f for a hexagon), is set inconjunction with d1e saw's rip fence to cut d1e desired-size piece.The circumference of each tabletop is embellished with a seriesFig. 1: Veneering tabletopTabletop, particleboard substratePlywoodtriangle, 'I.-in.,with blocksfor distributingpressure onveneerMultifunctionaltable, casters down\This jig for cutting polygons has the versatility to cut variousshapes in a large range of sizes. Set up here to cut octagons, the jigcan be adapted to cut hexagons by replacing the 45° miter gaugewith one that has a 30° fence.64 Fine Woodworking

Fig. 2: Post:Modern Table Top, 52 in. dia. Top, pedestal and base are joined with Spline Bullnose edge, basswoodO/S-in.-dia. threaded rod, nuts and washers.veneered with zebrawoodT077rJ.====--==ti: TPedestal ribsVeneeredcutoutTypical edge, 60°29Turnedsphere,purpleheartBlocking,1% in. by 2% in.Bun feet, purpleheartThe pedestal of the 'Post:Modern Table'initiates an architectural style while supportingthe top. Satinwood veneer wedgesradiate from the center of the top. Thebullnose edge is cross· banded withzebrawood veneer.of facets. Each top begins as a 4-ft. square of %-in. particleboarq,on which I locate the center with diagonal lines and draw a 4-ft.-dia.circle. To cut the facets, I use a Masonite template guide based onthe number of facets desired. As an example, I'll describe how tocut d1e 24 facets on d1e Post:Modern Table. I lay out three radii atISO intervals and draw d1e chords between them at the edge of thecircle. From this layout, I make a wedge of Y4-in. Masonite thatcovers the three radial segments. Then, I glue and nail three smallstrips to the wedge to serve as guides for the circular saw whencutting the facets. I lay one edge of the template on one of the radii,locate the point of the wedge at the center of the circle and screwthe wedge to the top. I saw each facet with the circular saw baserunning against one of the little guide strips. Then, I unscrew thewedge and rotate it around the circle, overlapping one sawed facetand sawing two new ones each time I move it. Overlapping the cutsin this way will produce uniform facets. Any slight discrepancy canbe eliminated when fitting d1e veneer and edging for the last facet.Figure I on the facing page illustrates how I overcome the problemof veneering a 4-ft.-dia. tabletop without a veneer press. I divided1e top veneer into wedge-shape sections and glue down two orthree sections at a time, clamping d1em under a jig that covers Ys thof the top. 1 span the triangular jig with 2x4s and clamp their endsto evenly distribute the pressure. Corresponding 2x4s running beneaththe tabletop keep the substrate flat. Great pressure is notrequired, as long as the veneer is pressed flat while the aliphaticresin glue cures. 1 hold the veneer in place on the substrate withmasking tape and put waxed paper between the veneer and the jigto keep d1e parts from sticking. I minimize glue squeeze-out byspreading a thin coat only on the substrate. Minor squeeze-out canbe trimmed with a utility knife or carefully popped off with a chisel.When I've glued down enough sections to cover 90° of d1e circle, Iuse a square and straightedge to trim the last wedge square. I repeatthis at each 90° interval to eliminate any accumulated error asI go around the circle. I always veneer the underside of the tableright after the top and apply finish to bod1 sides to prevent warping.Building the Post:Modern Table -The pedestal of the Post:Modern Table is a hollow, hexagonal column of particleboard, reinforcedwith three internal plywood ribs (see figure 2 above).The veneered cutouts in this pedestal are an example of theunique construction problems some of my designs present. Inotched for the cutouts in the ribs and d1e sides before assemblyand made the final cut at the top of each cutout with a hand circularsaw after the hexagon was glued up. However, this requiredcareful planning. In addition, there were some dangerous stopcuts on the tablesaw where 1 had to hold d1e side piece tightly onthe saw table as I raised d1e angled blade up through the piece. InhindSight, it occurred to me that I could have assembled the pedestalas a complete hexagon and then made d1e cut uts with thecircular saw. This is a more direct method, akin to carving, andeliminates a potentially dangerous tablesaw operation.Figure 2 shows the finished pedestal and its parts. I cut out d1reeidentical ribs, using the adjustable polygon jig, and drill a I-in.-dia.hole in me center of each rib for d1e all-d1read rod that joins d1etop, pedestal and base. The pedestal's six sides are ripped to finalwidm with the tablesaw blade tilted to leave a 60° bevel on d1eedges (so they'll form a hexagon when assembled). If I were tobuild this pedestal again, instead of prenotching d1e ribs and sides,Drawings: Kmhleen CreslOn; photos: Jim W:lllace, except where notedJanuary/February 1989 65

I would assemble the hexagon at this time, gluing and screwingthe ribs in place inside the post and taking care not to put screwswhere the cutouts will be.Mark the outline of the cutouts with a pencil and straightedge.Use a circular saw running against a guide board screwed to theside of the pedestal to make the 60° cuts along the long verticallines. Relocate the guide as you work your way around the pedestal.The angled facets at the top of each cutout are cut with thecircular saw riding on a jig that straddles the corner of the postand is screwed securely to the pedestal's sides. If your circular sawdoesn't have the depth of cut for the top cutouts or where the cutsintersect the ribs, you can finish up with a handsaw. Sawkerfs thatextend too far will be filled and veneered over. Particleboardpieces are custom-fit and glued and screwed into the cutouts andany remaining gaps. After filling all screw holes, sawkerfs andrough spots with auto-body fi ller, I sand all the surfaces smooth.Auto-body fi ller is perfect here because it cures quickly to a hardsandable surface, even when it's used to fill large areas. And, it'srelatively ine>..rpensive when purchased by the gallon. I always wear adust mask when sanding it though, because the dust is an irritant.Next, I make a paper pattern for the six facets of each cutout, cutthe satinwood veneer close to the pattern's size and trim the veneerto fit into the inside corners. The veneer is glued down usingcauls cut to fit over each piece and clamped across to the otherside of the pedestal. After trimming the outside corners with autility knife, I sand the veneer flush. The pedestal's main sides areveneered with padauk, two opposite sides at a time, using plywoodand 2x4s as cauls to distribute the pressure.I borrowed a neighbor'S lathe to turn the purpleheart bun feetand the spheres at the base of this pedestal. The lacquered basesfor my tables are off-d1e-shelf white-pine architectural moldings,mitered and glued to a box made from two pieces of plywoodwith blocking in between (see figure 2 on the previous page).The tabletop is veneered wid1 satinwood wedges radiating fromthe center to a purpleheart border. The purplehean is sandwichedbetween thin strips of satinwood and black imbuya, a Brazilianhardwood. The grain of the satinwood outer rim runs parallel withthe table's edge, as shown in the top photo on the previous page.To cut d1e components for these veneer wedges, 1 clamp pieces ofveneer between a pair of -in. Masonite router templates, onepair for each of the shapes, and trim the veneer pieces to size witha flush-trim bit. Then the components of each wedge are assembledwith veneer tape. Three of the wedges are then taped toged1erand glued down using the triangular jig described earlier. Thetabletop'S underside is also veneered with satinwood, but wid1 thegrain running in one direction.The bullnose edge is basswood wrapped wid1 a cross-band veneerof zebrawood. I shaped four 4-ft.-long bullnose sections witha Yi-in.-dia. roundover router bit. To make d1e mold for veneeringthe bullnose, I resawed a 4x4 in half. I partially hollowed out themating sides, cutting out most of the waste on the tablesaw androunding d1e inside corners wid1 a Yi-in.-dia. cove bit in the router.To test d1e fit, dry-clamp the halves of the mold together and try aveneer-wrapped section of bullnose. Continue making adjustmentsPhoto: Michele Russell SlavinskyThese are a few examples of the veneers available from Alpi Of Modigliana,Italy. The fabric-like patterns, known as AlpiN-iN veneers, logs in such a way that when they are resawn into veneers, theybird's-eye sample is made from veneers that are reconstructed intocome in a wide color range and can even be made to order. The mimic nature's grain patterns.Italian veneers lend an exotic touchVeneers give me a greater variety in grainpatterns, colors and construction techniquestha I can get with solid wood. Inaddition, veneers allow more extensiveuse of rare and costly woods, helping toextend and preserve a dwindling resource.So it was with great excitement that I discoveredAlpilignum veneers made by Alpi,a manufacturer in Modigliana, Italy.These veneers are available in a widerange of patterns that simulate traditionalwood grains, such as quartersawn oak, flatsawnrosewood, bird's-eye maple and severalvarieties of burl. Alpi also offers a line of de­Signer veneers, known as AlpiN-iN veneers,in various colors and complex patternsthat suggest woven textile designs. Theseveneers can even be custom ordered toyour own designs.To construct these patterns, sheets ofveneer, sometimes precolored, are arrangedinto the desired patterns with the aid ofcomputers and glued into a new "log."This log is then sliced into %9- in.-thickpatterned veneers. Standard dimensionsare 24% in. by 133 in. and 241/2 in. by98 in. Because of strict quality control, thepatterns and colors are true throughout anentire flitch; there is almost no noticeablevariation from one sheet to the next. Becausethese veneers are made entirely ofwood, they cut, lay up, glue, sand and finishexactly as standard woods and veneers.Alpi also manufactures dimensionedlumber with inlaid vertical lines or geometricpatterns.Alpilignum veneers and other Alpiproducts are marketed in Canada and theUnited States by The Dean Co. Their mainoffice, showroom and factory are locatedat Bee Street and Stafford Drive, Box1239, Princeton, W.Va. 24740. They alsohave offices at Box 426, Gresham, Ore.97030, and at Box 1818, 2006 EnglishRoad, High Point, N.C. 2726 1. -JW66 Fine Woodworking

Fig. 3: LFI TableNut is fastened to top with auto-body filler.Bullnose molding, purpleheartTop, 52 in. dia.Auto-body filler29Threaded rod, % in. dia.29 particleboard octagons:edge angle altered 1° each stepand size changed accordinglyThe gradually flaring pedestal of the 'IFfTable' (named with the customer's initials)blends into the subtly shaped underside ofthe top. The top 's pattern is created in partby the herringbone design of the AlpiN-iNveneer (see sidebar, p. 66).Blocking, 1Y2 in. by 2Y2 in.Off-the-shelf pine moldingsLeveling guideon the mold with router and tablesaw until a tight fit is obtained.Then the mold's two halves are glued together and lined with aluminumfoil to prevent the veneer from sticking to the mold. Toapply the cross-banding, center the veneer over the mold's opening.Wet the veneer's surface with Titebond, and apply severalclamps to press the veneer into the mold with the bullnose stock.After the glue cures 24 hours, the form can be tapped loose with a .hammer. Excess veneer is trimmed with a block plane, and the4-ft. lengths of bullnose are rabbeted to lap under the tabletop. Ithen miter each segment on the tablesaw and glue them to theedge of the top.Before assembling the table, I finish its parts with several coatsof lacquer. The underside of the top gets the same number ofcoats as the top. Then the top, pedestal and base are assembled,with %-in.-dia. threaded rod running through the pedestal andthe base. I inset a nut with auto-body filler in the underside of thetop and recess a nut and washer in the underside of the base.Building the LFI Table -The pedestal of the "LFI Table" (LFl arethe customer's initials) is constructed by stack-laminating 29%-in.-thick particleboard octagons (see the lower photo above).This is where the adjustable polygon jig really comes in handy. Toform the flare in the pedestal, I decrease the edge angle of eachoctagon by 1° from the one before it and increase the width tocompensate for the 1° flare (see figure 3 above). The octagons aretacked with small finish nails, to hold them in alignment duringthe glue-up. When all the octagons are assembled, I clamp thestack by tightening nuts on the ends of a %-in.-dia. threaded rodpassing through the I-in. hole previously drilled in the center ofeach octagon. Then, I sand each curved side smooth. Cardboardtemplates are used as patterns for cutting the veneer for each side.Veneering these curved sides presents a novel problem, requiringa novel solution. I cut an auto-tire inner tube into two C-shapepieces, filled them each with sand and closed the ends with bailingwire. I sandwiched the pedestal between layers of veneer, waxedpaper, Ys-in. Masonite and rubber sandbags, then clamped themall together with bar clamps, using 2x4s laid across the sandbags ascauls. I was able to veneer all eight sides quite easily in fourclamping operations. The veneer on the edges of each side wastrimmed and then gently sanded before veneering the next twofaces. A Y4-in. by Y4-in. groove was routed the length of eachcorner to receive the bandsawn purpleheart ribs. A purpleheartbullnose mplding trims the transition from the flaring pedestal tothe underside of the top, as shown in figure 3 above.Using the same tedmiques described for the Post:Modern Table, Icut 16 facets on the edge of the top and veneer it with wedges ofherringbone AlpiN-iN veneer (see the top photo above and the sidebaron the facing page). Next, I rout YI-in. by YI-in. grooves betweeneach wedge section and around the faceted edge of the top and gluein a thin border of satinwood sandwiched between strips of blackimbuya, which I had previously laminated and sawed into YI-in. byYI6-in. su'ips. I leave these inlaid borders slightly proud of the surfaceto protect tl1e top veneer while I work on the table's underside.With the top upside down, I glue and screw two different sizeparticleboard octagons to the underside to continue the flare fromthe pedestal (see figure 3 above). The steps between these twooctagons are filled and evened out with auto-body filler, and as itis curing, I tack Ys-in. Masonite wedges over each section to formthe gentle flare. Any gaps between the Masonite wedges are filledwith auto-body filler and sanded smooth. The facets created thisway are then veneered one at a time, with the AlpiN-iN wedgesweighed down with the rubber sandbags. The bags are heavy enoughso clamping isn't neccessary, but a layer of waxed paper is neededto protect tl1e veneer from tl1e black of the inner tube. When theveneering is complete, I glue the solid purple heart bullnose to thetable's edge and sand tl1e inlaid borders flush on the top. Djim Wallace, Institute of Business Designers, is project designerwith The Bommarito Group, a commercial interior-design fil-m inAustin, Tex.January/February 1989 67

Fig. 1: Joining molding1A: CopingWood movement willnot cause jointto open, forminga crack.Fig. 2: Bisecting angles11. Draw and arc with the compasspoint at the wne'_Internal joints may be coped.18: Straight miterExternal joints must be mitered.Wood movement causes pieces toslide pass each other, not separate.2. Using the side points ascenters, drawtwo intersecting arcs...6::::::.-_____ __ .;...t

Fig. 3: Curved miterPattern doesn't line up ifmiter is a straight cut.1. Plot miter by extendinglines from patternelements onto sheetof paper./Fig_ 4: Mitering crown moldingCrown molding2. Connectintersections ofpattern lines withstraight segments.- -./' --/3. Average lines to sketch smooth curve.4. Scribe curve on molding; cut and pare to line.Holding strip to keep molding at 45°If you can cut both pieces slightly long, make a simple butt jointby springing the two pieces together. While this will keep the jointclosed, it can put a great deal of pressure on the ends of the molding,causing the joints there to fit poorly. Thus, it is better tocut the butt joint at an angle to create a straight miter, as shownin figure 1 on the facing page. If the pieces shrink, the mitereqends will slide over one another, rather than pull directly apart,exposing a gap.Joining molding at inside corners requires either mitering orcoping. Coping involves cutting one piece so it butts into the corner,then scribing the molding's profile onto the mating piece andsawing or paring the end to the exact reverse section of the piece,so it will butt into the profile. This allows the wood to move withoutbreaking the joint and means you'll only need to make onespecial cut. If it's difficult to scribe the pattern directly from theintersecting piece, you can cut a 45° inside miter on the end of onepiece and use a coping saw to cut along the curved pattern betweenthe bevel and the face of the molding. Moldings with manytiny pattern elements are often very difficult to scribe and cope.Coping also cannot be used for external corners.Mitering molding-On flat surfaces, mitering of simple profiles isa fairly straightforward matter of cutting 45° bevels. But, it can bedifficult with complicated shapes, especially when tl1e moldings intersectat angles other than 90°. The basic rule is that the angle ofthe miter must perfectly bisect the overall angle of the corner.With a 90° corner, this results in a 45° miter; if the corner of thepanel isn't 9(f, you can bisect the angle with a compass, as shownin figure 2 on the facing page, either working directly on the panelor on a sheet of paper. Using the corner as a center pOint, draw anarc that will intersect with both sides of the corner. Now, usingthese side points as centers, draw two intersecting arcs. A linebetween the intersection of the two circles and the corner willperfectly bisect the corner and indicate the miter angle. Use a bevelgauge to transfer the angle to the molding, saw proud of the lineand trim for a perfect fit.You have a slightly different problem when a curved section meetsa straight section of an identical pattern. Here the miter must becurved. To plot the line, put a piece of paper under the moldings,as shown in figure 3 above, and extend the pattern lines as shown.Connect the intersections with straight lines, then sketch in a smoothcurve, which can be scribed on the molding. Curved miters are bestcut oversize, then trimmed to the line with a knife or chisel.Straight miters may be sawn using a tablesaw or a miter box.Unless the molding will be painted, it is usually best to saw lightlyoversize and then trim to produce a perfect joint. The best way totrim the joints is with a handplane and a miter shooting board,which is just a baseboard with a step at its edge and an angledfence to support the molding. Extend the mitered end over thestep and trim it by "shooting" along the step with the plane runningon its side on the baseboard.Everything I've said about mitering so far refers to joining moldingthat fits flat against an interior surface. Crown molding, however, isoften beveled on the back so the angled molding will butt betweena wall and the ceiling or between other similar surfaces. Ifyou want to miter crown molding, you must allow for the installationangle, which is usually 45°. You can produce the needed 45°compound miter by fixing holding strips in the miter box to holdthe molding at the proper installation angle and by using regular45° slots to guide your saw. If the miter is at an odd angle, as at theend of a raking gable or an arched pediment, knock up a specialmiter box or modify your regular box by adding a guide slot angledto produce the needed compound miter angle (see figure 4above). Again, set holding strips to support the molding at theproper installation angle.DGraham Blackburn is a writer and jitrnituremaker in Soquel,Calif, and is a contn"buting editol- to Fine Woodworking.Drawings: Roland WolfJanuary/February 1989 69

Fig. 1: Scale drawingThis drawing is lis-in. to 1-in. scale. Measurementsare made using the lis scale on the architect's rule.The triangle-shape architect's rule has six or moredifferent scales, for converting full-size dimensionsinto conveniently sized scaled drawings that fiton standard sheets of paper.Parts hidden behind others areindicated with a broken line./French curve isuseful fordrawing irregularcurves notpossible witha compass.A 45 ° line is used to transferdimensions from sideelevation to the plan view.Light pencil lines (in color,for clarity) are drawn up,verticallv. from chair parts, tomeet 45 ° line. Horizontal linesdrawn from 45 ° line transferdimensions to plan view.Only halfof asymetricalobject needsto be drawn.I CenterlineI Rough line indicates upholstery._---'-----'--.1.,.-I IIIII\Once the front elevation hasbeen drawn, use a T squareplaced against the side edgeof the drafting board to transferthe height dimensions priorto drawing side elevation.iTIU- ,-----II----IIFront elevationSide elevationT square, placed against edge of drawing board ortable, is used to keep all horizontal lines parallel.Drawing and the Design PTranslating ideas into furniturerocessby Peter Korn

Selections from the author's sketchbook illustrate how his chair ideas begin as crude sketches that are refined through drawings and models.At the start of my career as a self-taught furnituremaker, Ifocused on learning craftsmanship. I'd usually jot downsome rough pictures and general measurements and gostraight to the lumber pile; design was something to put up with inorder to learn technique. The pieces I built incorporated the constructiontechniques I wanted to learn, and I worked out details asI encountered them. After a few years though, I began to takecraftsmanship more for granted and found myself increasingly absorbedin the process of imagining something and then workingout a successful design.Drawing is one of the most useful tools in the design process: Ithelps the designer/craftsman capture tilat first flickering idea, thenthrough a series of refinements, translate it into a buildable piece.Drawing doesn't create tile inspiration for design, but it is a shoptool that can make tile design process more fluid and efficient.There are lots of different drawing methods available for craftsmento choose from, ranging from freehand doodling to meticulousdrafting. Choosing the right kind of drawing to develop or communicateyour furniture idea can be just as important as selecting the rignthand or power tools to build it. In this article, I will explain how Iuse drawing in my design process, and I'll take you through all thestages, from rough sketches to full-scale drawings, and even throwin a few tips on making mock-ups or models and prototypes. I'll usea chair I recentiy designed for the contract furniture industry, picturedon p. 73, to illustrate my drawing methods and design process.Sketching-When looking for a new chair design, the first thing Ido is sit down and start doodling. I'll sketch chairs, one after theother, and let my ideas flow out onto the paper. The ideas cancome from anywhere: Furniture designers can be inspired by anythingfrom Post-Modern architecture, Mayan civilization or thework of a craftsman they admire. With maturity, the individualstyles of designers/craftsmen emerge in their own design work,submerging the evidence of outside influences.You don't have to be a formally trained artist or even know howto draw to make useful sketc;hes. Rough sketching is for you alone,and as long as you know what your sketches mean, they serve theirpurpose. The first sketches I made of my contract chair, shownabove, may look childishly drawn, but they were clear enough tohelp me conceive and nurture my ideas. I try not to be too judgementalat tilis stage and let tile pencil do the thinking. As yousketch, remember that you're just trying out different ideas-nottrying to create a visual masterpiece. If you need help improvingyour freehand drawing skills, I suggest reading Drawing on theRight Side oj the Brain (see further reading on p. 73).A bound spiral sketchbook and pen or pencil are the best imple-ments for encouraging creativity in design. Further, because theirpages don't get lost, bound sketchbooks add up to a useful recordof your development as a designer. Sketches are worth saving, becauseeven if you don't know the relevance of a particular ideanow, you may come across some need for it in tile future. Occasionally,perhaps once a year, I'll thumb through my oId sketchbooks andrediscover some little drawing that surprises me with a useful idea.Sketching techniques develop with practice. The basic trick togood sketching is to draw each line cleanly and continuously ratherthan make tentative scratches. This is often difficult at first, but it'sworth the effort, because I believe we perceive through tile physicalmotion of making the line, not just through looking at it once it isdrawn. Drawing with a pen rather than a pencil encourages boldnessof line, because you can't erase. 1 may use cross-hatching to give aform dimension or darken in partS of the sketch to get a better senseof the piece's overall form and to distinguish different materials.I often sketch for short periods of time, leaving the sketches foran hour or a day so I can come back and view them with a fresh eye.Eventually one of my chair drawings will sing to me, and I enter anew phase of the design process-trying to capture the melody. Tofind out just what it is about tile sketch that resonates involvesmore sketching: playing with proportion, fiddling witil details, perhapshaving the arm of a chair meet tile legs in a different way.Scale drawings-Once I've come up with a promising set ofsketches, it's time to make scale drawings to turn the melody into asong. Measured scale drawings translate rough sketches into proportionallyaccurate views of the chair that are smaller than life-size. Thetrick is to keep the interesting aspects of your original idea alivewhile adapting it to functional proportions. Crucial considerationsfor my contract chair included arms low enough to slide under theapron of a table, legs with a large enough "footprint" to stabilizethe chair and a curve for the continuous arm that would enclosethe sitter's back comfortably. You can research chair dimensionsby measuring the furniture you live with to see what's comfortableand what isn't, and you can refer to one of the design standardsbooks listed at the end of this article.There are three views needed in a scale drawing to fully describea three-dimensional piece of furniture: the front elevation,side elevation and plan view, as shown in the drawings on thefacing page. Front and side elevations show the piece in flat,straight-on views, without any sense of perspective. The plan viewshows the furniture seen from directly above, again with no perspective.A practiced eye can look at tilese scale-drawing views andfairly clearly extrapolate the three-dimensional object.Before beginning a scale drawing, you must choose an appropriateat Photo left: Michele Russell SiavinskyJanuary/February 1989 71

=scale of conversion, where one unit of measure will represent another.For most scale drawings of furniture, I use a scale of either'Is in. 1 in. or '14 in. = 1 in. These scales allow the three views ofa furniture piece to fit on a single sheet of ll-in. by 14-in. paper.To save the trouble of mathematically converting all the dimensionsof the furniture piece into scale sizes, I use an architect'srule, which has 12 different scales printed on it, including thescales I use most often. An architect designing a building employsthe '14 -in. scale to mean Y4 in. = 1 ft., but it's more convenient for afurniture designer to use the same scale to mean '14 in. = 1 in. Forexample, using the Y4-in. scale, a line that's 1 in. long on paperrepresents a true distance of 4 in.Besides an architect's rule, there are other drafting supplies youwill need to make good scale drawings. Special paper isn't required(you can use brown-paper bags if that's all you have), but itdoes help. Although it's more expensive than plain paper, translucentvellum paper is great for scale drawings for several reasons: Ittakes lead and erases well, you can trace through it and you canrun it through a blueprint machine for copies. I prefer Admaster406R, which is available at drafting supply stores. I use unlinedpaper, but some people prefer graph paper with a grid size thatmatches the scale of the drawing. Without a ruler, you can quicklycount the squares to check a measurement, and the grid also helpsyou lay out square and parallel lines; if you use unlined paper,you'll need a T square.Instead of using a regular wooden pencil, I find it convenient touse a lead holder with removable lead. A little hand-held sharpenerkeeps the lead point sharp so it will draw a line of consistentthickness. Drafting leads and pencils come in different hardnesses,with B pencils being softer and H pencils being harder. I preferleads in the range of H to 3H, but there is no one correct hardnessto use for all scale drawings. The softer the lead, the darker theline, but the lead will need sharpening more often and the drawingwill smudge more easily. Besides an eraser (I like the Pink­Pearl brand), you'll want an eraser shield, a thin piece of shetmetal with various shape holes punched in it. A hole in the shieldis layed over a small section of the drawing you wish to erase,protecting adjacent areas from being erased. You'll also need adrafting triangle, and depending on how curvacious your design is,a circle template, a compass and a variety of french curves willcome in handy.Although they look more technical, scale drawings, like sketches,don't take any particular training to do. Some prefer to do thefront elevation first, but I like to work out all three views simultaneouslyin reference to each other. If the piece is symmetrical, asin the case of my chair, you can save time and room on the paperby drawing only half of the piece and indicating the axis of symmetrywith a dotted line labeled "CL" for centerline. Lay out thedimensions of the piece accurately, starting with the overall forms,then filling in the details later. At this stage of the design process,your scale drawings don't have to include every detail of joineryand constnlCtion, only the information needed to continue refiningyour visualization of the piece. In order to draw the irregularcurves for the arm of my chair, I lightly sketched the curves freehanduntil they looked right, then firmed up the lines with correspondingsections of a french curve. When parts are hidden behind others,such as the seat rails in the plan view, they are indicated witha dotted line.Measurements can be copied from one view to another by usingthe graph paper's grid or a T square to transfer the dimensions.Height dimensions are transferable between front and side elevations,while widths are copied from the front elevation to the planview. You can also use the 45° method, shown in the drawing onp. 70, to transfer depth dimensions from the side elevation tothe plan view.Occasionally it's necessary to draw a rear view or a side elevationfrom the opposite direction for a complex piece with detailsnot seen in the usual three views. Cutaway views, called sections,are used when there are parts of the piece that don't show up inelevation or plan views. Sections are more likely to be useful whendoing the comprehensive full-scale drawings used for constructionof the furniture piece.Full-scale drawing- If sketching encourages your creativity andscale drawings capture it, full-scale drawing is the stage whereyour idea becomes buildable. This form of drawing is impracticalfor large cabinets and unnecessary for straight-line furniturepieces that can be easily constructed using information fromscale drawings. For a complex piece like a chair though, fullscaledrawings are invaluable in several ways. Measurementsand joinery details for a piece can be checked in actual size,minimizing the possibility of mathematical errors creating misfittingor wrong-size parts. Full-scale drawings also provide aready source of tracing templates for curved or irregular parts,and they provide a complete record of your piece and all itsdetails. If a fu ll-scale blueprint drawn in America were mailed toa craftsman in Taiwan, for example, he would have all the informationneeded to build the piece.Full-scale drawings are prepared in the same manner as scaledrawings, only they are drawn to show more detail, including thejOints, the profiles of edges and corners and the orientation ofwood grain. I make the same three views as in the scale drawingsdescribed above, only I use a normal (not scale) ruler to lay outthe dimensions. I like to work on Clearprint 1000H paper, which isavailable from drafting-supply stores. I buy the paper in 42-in.-widerolls, more than wide enough for most chairs. I cut off a lengthand tape or pin it to the sheet of plywood I use for a drawingtable. The drafting tools I use are the same as for scale, but a larger,42-in. T square is helpful. After completing the three usualviews, I draw separate detail drawings and cross sections wherenecessary to illustrate hidden parts or complex joints.Rendered perspectives-Scale and full-size drawings that clarifyproportions and construction details usually provide enough informationfor me to build the piece I've designed. But these mechanicaldrawings are often difficult for a layperson to understand. A renderedperspective is like a photograph of the piece, as it would lookwere it built, and is great for communicating with a prospectiveclient or manufacturer. Though renderings can be time-consuming,t11ey're a good sales tool and prevent misunderstandingscaused by differences between what the client expects and whatthe craftsman builds.There are lots of books that explain rendering and perspectivedrawing in detail (see further reading on the facing page), buthere are the basics: In perspective drawing, the dimensions aretaken directly from the scale drawings. Before you begin drawingthe object, you must choose the angle and distance from which itwill be seen by an imaginary viewer. The viewer's eye level becomesthe horizon line on which one or two vanishing points definewhere horizontal lines (which would be parallel in an elevationdrawing) converge. It's this convergence of parallel lines on thehorizon that gives a drawing a realistic appearance, because edgesof actual objects appear to come together (converge) as they recedefrom the viewer. Rendering is the process of shading thedrawing to give it a feeling of volume and texture. You canget an idea from looking at my chair rendering (see the top, left72 Fine Woodworking

thor anticipate problems and make final changes before investingthe time and materials to build the final piece. The first finishedversion of the author's dining chair, above right, is the culminationof an idea that started as just doodles and was refinedthrough drawings and mock-ups.The author used shading and perspective to make the rendereddrawing of his chair, above left, look like the finished chair. Also,a rendered perspective is an excellent sales tool for selling a designto a prospective client, who may not know how to 'read' ascale drawing. The fu ll-size model, above center, helped the audrawingabove) of how the shaded cushion and sketched-in woodgrain give the drawing a realistic appearance.Mock-ups and prototypes-Once the full-scale drawing is done, Ihave a choice to make between building the piece or making afull-size model or mock-up first. While the drawing stages I've describedare crucial to the design process, drawings of a complexpiece are often insufficient for getting a clear image of how the .lines will interact when the actual piece is viewed from differentangles. A mock-up or model is invaluable here. Building a mockupis much like building an actual piece of furniture, and you canmeasure directly from your full-scale drawings to size the parts. Ifthe piece is symmetrical, you may build only a half model, as ofmy chair shown above (center). Early mock-ups can be made fromcardboard and scraps that are just hot-glued or nailed together.The trick is to keep things flexible so you can experiment withchanging the shape of parts or changing the way they connect toeach other. Eventually, I get to a stage where I'm ready to make abetter quality model-my prototype for tile chair. TIle prototype mayonly be screwed-together plywood, but it's built well enough so Ican sit in it to test its comfort and stability. My prototype convincedme to change the design of my chair, because tile meeting of theback splat with tile arm didn't look as good in life as in my drawings.For tables and other simple forms, there's no need for mock-ups,because me process can be time-consuming. But when it comes to aspatially complex piece, me work put into development of a modelcan help you steer clear of functional or visual problems, as me followingstory illusu-ates. A few years ago, I began showing renderedperspectives of a chair collection (not including the chair shown intilis article) to manufacturers of contract furniture. After speakingto several companies, I refined my drawings according to theirfeedback. In drawing each perspective of the chairs, I carefullychose the angle of view that would show off my chair in the mostflattering way. One manufacturer finally signed a contract for mychair collection and made three prototypes from my full-scaledrawings. Viewed from the correct angle, each chair looked asgood as the original perspective drawings. But when we walkedaround the chair, the design lost its coherency and proportionalattractiveness. I discovered that through the drawing process I hadperfected one view of the chair and ignored the others. Eventually,the manufacturer decided not to produce the collection, and I amleft wondering if it would have succeeded had I worked out thedesigns with mock-ups before submitting them. Having spent thetime to extenSively prototype the design of the chair in this article,I am confident it works, visually and in terms of comfort. DPeter Kom is director of the woodworkingljumiture design programat the Anderson Ranch Arts Center in Snowmass, Colo.,where he teaches a workshop on basic drawing for designers. Formore in/ormation, write to Anderson Ranch, Box 6194, SnowmassVillage, Colo. 81615Further reading ________ _Books on drawing basics:Drawing on the Right Side Of the Brain by Betty Edwards. J.P.Tarcher, 9110 Sunset Blvd., Suite 250, Los Angeles, CA 90069; 1979.Th inking with a Pencil by Henning Nelms. Ten Speed Press, Box7123, Berkeley, CA 94707; 1981.Books on perspective drawing and rendering:Color Drawing by Michael Doyle. Van Nostrand Reinhold Co., 135 W50th St., New York, NY 10020; 1983.Design Graphics, 2nd edition by C. Leslie Martin. MacMillan PublishingCo., Inc., 866-T 3rd Ave., New York, NY 10022; 1968.Perspective Drawing Handbook by Joseph D'Amelio. Leon Amiel,Publisher, 31 W 46th St., New York, NY 10036; 1964.Books on standard measurements for design:Humanscale 11213 by Niels Diffrient, Alvin Tilley and Joan Bardagjy.The MIT Press, Massachusetts Institute of Technology, Cambridge, MA02 142; 1974.The Measure of Man: Human Factops in Design by Henry Dreyfuss.Whitney Library of Design, 18 E. 50th St., New York, NY 10022; 1967.January/February 1989 73

Fig. 1: Kiln constructionDetail A: Securing glass on top raftersGlassAdditional raftersmay be used foradded support.Block, 1 in. by 2 in.2x4 rafterGap, % in., betweenglass panesAll studs andrafters, 2x4s96Detail B: Securing glasson bottomStraphingeCaulkingWood stringers supportwood and fo rm baffle, forcingair up through wood stack.Bottom plate, offset l4 in.,forms ledge for glass.Window stop, 1 in. by 1'12 in.,--- fastened with 2'12-in. drywall screwLevel 4x5 array of cementblocks in gravel bedto fo rm foundation.Notch and dado end piecesto receive stringers.A SolarKiln for Drying WoodDry) dejectfree wood and a place to store it) tooby John Wilson

Fig. 2: Air flowMoist air exits through gapbetween front top plateand roof.Air flowOpening at topof duct, 12 in.Soffit closes offcirculation., ..."..-:::=.-:I?-=_..J "I___....._=-;3_.-J.-,.r --c::'__ 1'--.= d.:----L...,:=!:----: .::-=----·8-Space between." boards, 1 in.-I-between- ... \1....___ II. -- . ICirculatin---- 24 -------24 ----4x4 outdoor wood stringersIf fa n not used, leave 2 in.between boards and a 6-in.gap in center of stack.CementblocksMy solar kiln holds about 1,500 bd. ft. of lumber and canproduce twO batches of uniformly dry, check-free woodeach year. The kiln can be built as a temporary or pennanentstructure by two men in a single day for about $375. My onlyoperating cost is for running a small fan to circulate air and toexhaust moisture. The kiln also doesn't require extensive monitoringor sophisticated moisture meters. Another real plus for a smallshop like mine is that the kiln can be used to store the woodindefinitely; the natural day/night drying-and-relaxation cycle preventsstress damage even after the wood is dry.The kiln will work effectively in any area of the country. I'veeven had good success near my home in south central Michigan,an area that holds the distinction of having the worst solar energyuse-potential in the country because of its combination of coldtemperatures and overcast skies.In addition to letting me conu'ol both the supply and quality of mywood, the kiln lets me work with treasured oddities of burl, crotchand spalted wood, which commercial mills consider as defects tobe graded out, left to rot or used in someone's fireplace. Also,several wood species that do not grow in sufficient amounts forconunercial operations are available from time to time in my locality.Finally, there is an abundance of green lumber available at attractiveprices to the person with the capacity to dry it.Solar-kiln anatomy-My solar kiln is 16 ft. long by 5Yz ft. deepand 8 ft. high. The photo on p. 76 shows the completed structure.Its foundation is concrete blocks laid on a level bed of gravel.These blocks support 4x4 pressure-treated stringers under a plywoodfloor. Exterior-grade plywood and standard framing lumber areused to form the back and sides. Tempered glass panels salvagedfrom scrapped sliding patio doors make up the roof and front. Becausethe tempered glass can't be cut, you may have to change thedimensions of the kiln shown here to accept your glass panels.Therefore, you should get the glass before you start construction.The roof slopes down from the back toward the south-facing front.You could experiment with various slope angles in your area ofthe country to maximize the solar-collection efficiency, but it isn'tcritical for drying wood. I've used 3Yz:12 pitch here, which workswell and arises conveniently as a result of using standard·size glasspanels for the front wall and 4x8 plywood sheets for the back wall.The slope is also adequate for keeping the glass clear of snow duringthe winter.Simplicity of solar wood drying- I've long enjoyed the advantageof direct-gain (passive) solar design in my home and shop.Direct entry of sunlight through windows provides warmth andgives needed light on the darkest of overcast days. A complex,intermediary heat-transfer system is not required as in the moreelaborate (active) solar systems. On the debit side, a passive systemrequires balancing day and night levels of energy and avoidingsummer overheating through the architectual coordination ofblinds, ventilation and thermal mass.Passive solar heating adapted for drying wood is equally effective,but simpler than for a home or shop application, becausethere is no need to be concerned about the extreme high summerand low winter temperatures. It is a system best suited fordrying small batches of wood, but it can be scaled to handlelarger quantities.The solar kiln's limitation is that it takes three or four months todry a batch of wood; a commercial kiln can do the job in a month.But, I consider the kiln's long drying time a small inconveniencefor the individual woodworker or the small woods hop in light ofthe solar kiln' low capital investment, minimal operating cost andself-regulating operation. To the individual woodworker or smallwoodshop, these advantages, plus the defect-free lumber the solarkiln produces, are much more important considerations.The kiln's size is limited only by the amount of space availableand the quantities of wood you want to dry; it can range from asmall coop to a large garage. It must, however, be located andconstructed to maximize sun entry to heat the air inside. A kilnfacing between southeast and southwest, unobstructed by trees orbuildings, works best. A modest fan system working in conjunctionwith a baffle helps circulate and funnel the warm air effectivelythroughout the stickered pile of boards. Vents to release warm,moist air and provisions for loading and unloading the wood arealso necessary.Little else is required. This may be surprising if you've heardstories about wood ruined by poor drying practices. Many woodworkersrecall the experience of cutting into honeycombed or casehardenedboards from commercial kilns. What protects solar-driedwood from a similar fate is nature's daily cycle: The sun provides thedrying warmth during the daylight hours, and the dark night hoursprovide a "rest" period-every 24 hours. This rest period allowsthe wood to normalize, permitting higher moisture level at thecore of the wood to migrate to the surface before the next dryingperiod begins. Because the sun dries in short, daily bursts, the dryingtime is extended from four weeks to four months, but there isL..'l Drawings: Bob Pointe; photo: John WilsonJanuary/February 1989 75

The simplicity of the solar-kiln construction is evident in theabove photo. The plywood panel from one end is removed to allowaccess for unloading a dry batch of lumber.Recycling glass for kilnsI use tempered glass for my solar kiln. Ordinary plate glass willwork, but it's not strong enough to withstand snow loads in thenorthern part of the United States. Plastic also lacks strength andwill rapidly succumb to strong winds and deterioration from ultravioletradiation. Fortunately, the wide use of tempered glass panelsin sliding patio doors makes them readily available at a reasonablecost. New ones cost about $80; used ones are a real steal (about$10) if purchased as scrap.Finding old patio doors may require a little effort, because mostglass companies usually dump the old ones. Try talking to thesecompanies about saving the next ones they replace. Glass thermopanes are frequently replaced because of failed (or damaged)seals, which allow moisture to enter the airspace between the twopanels. The resulting condensation etches the glass, forming amilky, translucent precipitate that fogs the panel. Usually only theoutside glass pane, the one on which condensation-occurs, will beaffected; the other pane remains clear. I haven't discovered a wayto completely remove the surface coloration, but it's not a problemfor solar-kiln application. Energy transmission through theglass is virtually unaffected.When you get the salvaged patio doors home, remove the panelsfrom the frame. A thin strip of aluminum between the glass panelsforms an airspace. This in turn is sealed by a rubber gasket betweenthe aluminum strip and each glass panel. A sharp utilityknife works well to slice through the rubber seal. Cut around bothsides of the aluminum strip to fully separate the panels. You don'thave to clean off the seal material that remains stuck to the glass,because it will be helpful in holding the glass in place when youinstall the panels in your kiln.My kiln has single-thickness tempered panels that are 46 in. by76 in. These panels are from the standard 4-ft.-wide patio slidingdoors, but you might also find 3-ft.-wide doors with 34-in. by 76-in.glass. The law now requires that glass be tempered for strengthand safety reasons, so check to make sure older panels are temperedas well. If they are tempered, the words "safety glass" will beetched in one of the corners.Two further words of caution: The process of tempering createslarge internal stress within the glass. As a result, the glass is verysensitive to pressure or shock, which causes it to shatter, just likean automobile windshield. This also is why the glass cannot be cut.So, it's important to base your detailed layout on the actual glasspanel size. Also, when handling the panels, be espeCially careful toavoid knocking the edges.-J W.great assurance that the end product will be free of drying defects.Because a natural balance is established between the drying woodand its environment within the kiln, "overdrying" isn't a problem.Kiln design-My experience with solar kilns includes the constructionand operation of five units in as many years. I alsolearned from previous experimenters. The Forest Products laboratoryhas published a report on a small solar-heated dryer (ReportFPU-7, available from Information Services, U.S. Forest Laboratory,1 Gifford Pinchot Drive, Madison, Wis. 53705-2389). That kiln, likemine, has a simple design and is easily built using readily availableconstruction materials. With a south-facing flat plate attached, ituses an overhead fan to drive the heated air down through thestack of lumber.I also read about other designs using condenser curtains to removemoisture, but I've concentrated on simplifYing kiln design.My structure costs about one-tenth that of a similar-size commercialunit, is built from readily available materials and works aseffectively as the more complex Forest Products Laboratory model.In addition, my design is virtually maintenance free.Construction-Building the kiln is straightforward, and you'll findthe necessary dimensions and details in the drawings on p. 74 andp. 75. Here I'll tell you the procedure I used to build my kiln, aswell as offer some hints to make the job easier for you. Beginconstruction by selecting a location that affords a good southernexposure, unshaded by trees or buildings. Cover the area withgravel and level a 6-ft. by 16-ft. section for the concrete block foundation.Now, cut and assemble the floor frame using the 4x4stringers. Cut dadoes in the end pieces to terminate the stringers.Next, nail ,the plywood floor in place.When building a kiln in a temporary location, I sometimes replacethe concrete blocks with sturdy hardwood pallets and fastenthe floor directly (no stringers) to them using drywall screws. Infact, I use these screws, up to 3 in. in length, to put together theentire kiln. They install easily, hold well and enable me to quicklyand conveniently disassemble the structure to relocate it later on.The kiln is framed with standard 2x4 studs covered with plywood.The south wall and roof support the recycled patio glasspanels you've scrounged up (see the sidebar at left). The kilnshown here uses tl1e most commonly available 46-in. by 76-in.glass panels. Four panels are used for the south wall and anotl1erfour make up the roof. Allow for a %-in. gap between panels.You'll need the spaces later for installing the window stops.Fabricate the back, side and front walls separately, then attachthe plywood siding. InCidentally, don't worry too much about gettingthe joints and seams tight. Air will infiltrate into the kilnthrough cracks in the same way air in your home is replaced periodically.A "leaky" kiln is deSirable, because it improves the aircirculation through the wood stack and results in more efficientmoisture removal.Access to the kiln for loading and unloading wood is accomplishedby Simply removing one of the end walls, so for convenience, use aminimum number of screws to secure this wall in place. For theinfrequent visits to the kiln to monitor drying progress, I've installeda simple, strap-hinged door in one of the end walls. Lastly,note the plate detail at the bottom of the front-wall frame (seefigure 1, detail B on p. 74). The plate extends out Y4 in. to serve asa sill for the glass panels to rest on. Because the plate is exposed,it's a good idea to make it out of pressure-treated wood.Next, you'll need to create a baffle by nailing a partial sheet ofplywood to two of the back-wall studs. The bottom opening of thebaffle will have to be custom-fit to work effectively with your circu-76 Fine Woodworking

lating fan. The idea here is to install the fan so it can draw warmedair from the top of the kiln down through the baffle and then directit up through the bottom of the stacked lumber. I used a 150cfmsquirrel-cage fan with an integral VlO-HP motor, which costs about$50. It's similar to the exhaust fans commonly used in bathroomsor kitchens, and it is sold by building-supply stores. Install a linevoltagethermostat that's adjustable in the range of 35°F to 90°F. Iused a Dayton #2EI58A, which can be purchased from heatingandcooling-equipment suppliers for about $24. The thermoswitchis wired in the same way as a commonly used single-pole switch.You'll need to adjust the switch seasonally so the blower turns offwhen temperatures drop below 55°F in the winter and 80°F in thesummer. You may also want to install a power onloff switch so youcan control the system manually. If your site is remote and electricalpower is unavailable, you can do without the fan and baffle, butyou'll need to provide more space between pieces of lumber inthe stack to improve the air circulation. Leaving a 6-in.-wide chasewayup through the center of the stack will help conSiderably. Thekiln will work this way; drying just takes longer and takes placeless uniformly within the stack. Lumber located in the "dead"areas, away from the freely circulating air, will dry more slowly.For example, I've found that after four months of drying, the topone-third of d1e stack has reached 6%MC to 8%MC, but the remainderof the stack is still a "wet" lO%MC to 12%MC.If you already have your wood, load it into the kiln now; you canuse the stack as a platform while building the roof. Notch therafters a shown in figure 2, p. 75. The notch, or bird's-mouth,which joins the top plate of the front wall, holds the front glasspanels in place. So, it needs to be cut large enough to accommodatethe thickness of the glass. Take care to maintain this space forthe glass when you install the rafters. The rafters support the glassroof panels along the edges and centerline of each panel. If youhave smaller panels than those used here, the center rafter can beeliminated. Tempered glass is strong-it's used for skylights-andd1e rafter layout used here provides ample support.When you install the glass panels, be especially careful to avoidknocking d1e edges: They shatter easily. It's a good idea to use stopblocks or a toeplate at the lower end of the rafters to hold the roofpanels in position. Cover the edges of the glass panels with I-in. by1 Y2-in. wood strips, which can be screwed to the rafters or studsthrough the %-in. space between adjacent panels. For a more permanentsetup, apply a silicone caulk bedding for the strips andcover them with an aluminum cap. One final comment: A 2-in. gapis intentionally left under the roof panels at the top of the frontwall so moist air can escape from the kiln.Using the kiln-My experience with this kiln isn't much differentthan the results reported for the more complex Forest ProductsLaboratory design. The time required for drying depends on yourparticular location, the time of year and amount of available sunshine.The species of wood also affects the drying time: High-densitywoods like oak dry slowly; low-density woods like pine dry morerapidly. In southern Michigan, a batch of I-in.-thick hardwoods canbe dried to about 8%MC in four to five months if started in March;a second batch can be dried by November. TI1e winter months aremarginal because there are too few sunny days.I'm continuing to experiment with the kiln to reduce the dryingtime. I've found that the air circulation can be improved bypositioning the 4-in. stringers (which support the wood stack),as shown in figure 1, to form a baffle, which helps force the airthrough the stack. I've also tried reducing the air gap at the topof the front wall during the final stage of drying to reduce airflow and increase temperature. The effectiveness of this finetuningremains an open question.If you decide to experiment with your kiln, you'll find a moisturemeter to be a good investment. Moisture meters are availablefrom woodworker supply houses for about $100. FWW' on Woodand How 10 Dry It describes a shop-built model. Moisture contentcan also be determined using a simple weight-loss method describedin FWW' #73, p. 20.DJohn Wilson teaches woodworking part-time at Lansing CommunityCollege in Lansing, Mich. He specializes in making andselling Shaker oval boxes, and he depends on his solar kiln forhis wood supply.Wood-drying basicsYou can dry wood simply by passing air over its surface. Left outdoorsand protected from the elements, a stack of 4/4 hardwoodwith freely circulating air will dry to about 15%MC in about a yearin the northeast United States. Further reduction isn't possible, becausethe moisture in the air, normally about 75% to 80% relativehumidity (RH), is in equilibrium with that of the wood. (Relativehumidity is a measure of the air's capacity to hold moisture and isdefined as the ratio of the amount of moisture contained in the airat a given temperature to the maximum amount of moisture the aircan hold at that same temperature.) Our home environments aremuch drier, however, typically about 40%RH to 50%RH and oftenas low as 20%RH in the winter. This difference causes problems forwoodworkers. Furniture, to remain stable, must be constructedfrom woods with a moisture content no greater than 6% to 8% tobe in equilibrium with the drier indoor air. In the very dry Southwest,the moisture content will be lower; in the more humidSouth, it will be higher. So the problem of drying wood comesdown to circulating dry-enough air to produce these lower moisturelevels within a reasonable amount of time.One way to dry the air is to dehumidify it using a compressor.This is exactly what many of us do to prevent our basementsfrom becoming too damp. Some wood kilns operate on the sameprincipal, but of course on a larger scale: They use large compressorsto remove moisture from the air inside the kiln; heatproduced as a byproduct of the compressor operation keeps thetemperature in the 120° range. This option is usually too expensivefor the home woodworker.Most often, dry air is obtained by heating it. More precisely,moisture is not removed from the air but rather the air's capacityto absorb and retain water is increased as a result of increasing itstemperature. Saturated air (100%RH) at one temperature is somethingless than 100%RH at a higher temperature. This difference,by the way, accounts for our homes feeling drier in the winter: Thecold infiltrating air is heated, making it relatively dry.When air is heated, its ability to absorb moisture is increaseddramatically. For example, air saturated at 30°F can hold threetimes as much moisture when heated to 70°F. Heating the air anadditional 40°, to 120°F, increases its capacity to hold moisture bytenfold. This is the practical working range for solar kilns. A kilncan start the day with the ambient air at 70°F and 100%RH, butafter being warmed by the sun for an hour or so, the temperaturewill be close to 120°F. The air will be very dry at this temperature-about10%RH-and able to absorb a large amount of moisturefrom the wood.For more information on the relationship between wood andair-moisture levels, see FWW on Wood and How to Dry It or BruceHoadley's book Understanding Wood, The Taunton Press, Box355, Newtown, Conn. 06470. -J W.January/February 1989 77

.Bird's-Eye MapletUTe JItIlunts her 'Midas touch'Collecting and stockpiling interesting woods for pet projectsis characteristic of woodworkers, and I'm no exception. Ihave a particular soft spot for bird's-eye maple. Once a lumberdealer steers me to d1e yard's maple staSh, I quickly find myselfout of control and reaching for my checkbook. But what is themystique about bird's-eye maple mat turns woodworkers intowood worshippers ? It may be its golden-grain beauty and rarity, orit may be mat nobody can explain how the eyes form. Like a jewelscattering light, mis unique wood provides few clues to me mysteriousprocess that forged it.The distinctive figure, named for the way each tiny swirl resemblesme eye of a bird, is usually found in me sugar or hard mapleCAcer saccharum), one of Norm America's most distinctive trees,known for its shade, cream-color lumber and sticky harvest of sap.The bird's-eye figure can be found wherever maples grow, but it'smost common in me harsh growing conditions of me north country.Occasionally it's found in omer wood species, including soft maple,yellow birch, ash and ponderosa pine. Whatever the cause ofd1e figure, it's a result that woodworkers prize. When a bird's-eyelog is split along a plane tangent to the growd1 rings, the woodseparates, exposing a bulging cone that extends inward on mebark-facing side of the wood and a matching pit on me log's omerside. When a log is sliced lengthwise or rotary-cut for veneer, theresult is me familiar bird's-eye pattern.Individual eyes can be as tiny as pinpricks or me size of a quarter.Once bird's-eyes begin to appear, they propagate, becoming largermrough succeeding outer layers of growth. Often me bird's-eyescontinue to form throughout me life of me tree. Or, they may endabruptly several inches beneath the surface of me log-happy surprisesthat lie in wait for woodworkers.Bird's-eye and other maples have figured prominently in Americanwoodworking and furniture history. I'll tell you a little about itbefore discussing what we know about bird's-eye formation andd1e practical aspects of how to work wim it.Bird's-eye history-American furnituremakers have used bird'seyeveneer for more than two centuries. Almough little has beenrecorded about its use, early furnituremakers often used maple inintricate inlays. In me late 1700s, for example, bird's-eye flourisheswere common on furniture of the Federal period.By the late 19m century, detailed handwork combined wim lavishbird's-eye touches had found its way into art-nouveau furnitureand d1e resurgent Louis XV movement. In the late 1920s, a time oftransition marked by the merging of a new linear functionalismwith ornate traditionalism, me bird's-eye pattern found its niche asa stylistic ornamentation playing counterpoint to the crisp geometryassociated wim design trends such as Art Deco.Virginia Boyd, a University of Wisconsin-Madison historian whospecializes in American interiors, says bird's-eye maple was alsoused at this time for reproduction work-Chippendale and omercolonial-revival pieces. Though seldom used in the originals,bird's-eye, to me 20th-century mind, became associated wim thenostalgic. "It was a hearkening back to an older time and style,even hough it wasn't an accurate look back," Boyd said.Today, bird's-eye maple has found favor as a highly prized speialtywood in the repertoire of many woodworkers. While Europeans,especially Germans and Italians, seem to favor bird's-eye veneer,American woodworkers employ both veneer and solid wood. It'snot unuual in the United States to find furniture made entirely ofsolid bird's-eye maple.Origins-As long as bird's-eye maple has been around, so havequestions about its origin. Why does bird's-eye occur almost exclusivelyin maple ? Why does it appear in such varied patternsmroughout a given tree ? Like random splotches from a frenziedpainter'S brush, bird's-eyes may appear over me entire lengd1 of atree, be confined to one side or scattered in irregular patches.Why, no one knows.Theories about what causes me swirling figure have been as variedas me patterns of the figure itself. Early investigators thought itwas caused by a parasitic fungus dut attacked me cambium, memin layer between bark and wood dut produces new wood cells.Omers suggested it was caused by boring insects, or that woundsinflicted by birds during the tree's early growd1 resulted in pits orgrooves, which over time were fi lled in wim fresh layers of woodgrowm. But these explanations don't make sense, because wounds78 Fine Woodworking

Long prized by woodworkers for its distlnctl figured pattern,bird's-eye maple reqwf;xes sharp tools and (#. defttouch t() shape and smooth successfulh'.in live parts of a tree normally heal over and disappear as newlayers of growth are added. In bird's-eye maple, the eyes grow radially,like spokes on a wheel, and they usually increase in size.Another theory attributed the eyes to undeveloped buds that remaindormant in the inner bark. If this explanation were valid, youwould expect the bird's-eyes to have dark cores and project in anoutward direction. But the cores are clear and the eyes grow asconical indentations pOinting inward, toward the tree's pith, asshown in the drawing at right.In the wake of this speculation, wood scientists began to system- .atically sort out clues to the bird's-eye mystery. First, they notedthat bird's-eye logs characteristically had dark stains or rottenheartwood. They also observed that figured trees were usuallyfound in a dense portion of even-aged stands; they were oftenunhealthy and deformed. Researchers determined that mapleswith the bird's-eye pattern took an average of 60 years longer toreach an IS-in. dia. d1an the normal, unfigured trees growing inopen stands. Regardless of how vigorous d1e trees' later growti1,old bird's-eye maples had narrow early-growth rings, typical ofyoung trees in a crowded stand that must fight fo r available light.Whatever the direct cause of bird's-eyes, suppression of the tree isprobably linked to their development.In the most recent effort to unravel the bird's-eye mystery, aresearcher at d1e U.S. Forest Service's Northeastern Forest ExperimentStation observed that a viral agent fit d1e known facts ofbird's-eye formation better than any hypothesis so far. However, todate, the experimental work has been inconclusive: Nature continuesto guard her secret well.Finding bird's-eye maple -The value and popularity of bird's-eyemaple, especially during the 1930s, prompted researchers to attemptto mass produce it using graftings of tissue from highly figuredtrees-without success. So bird's-eye aficionados cling to d1e fewavailable clues to guide them in their search. Bird's-eye has beenfound in trees as small as 2 in. in diameter, and tiny depressionsfound on I-in. maple saplings may be a sign of its beginning. Asthe tree adds layers of growth, these small depressions grow insize,ometimes extending through the bark. When present, andBird's-eye configurationBif:eJ's-e'fJ-es cause local distelifien in annual flings,aPleafting like spokes in a wheel.Bird's-eyes generallygrow larger from pointof erigin; distortedali/li/ual "ings createcOli/e-like structures.fJ?:Indentations incambium may ormay not extendtht'eugh and belie.v,ealed in bark.I>holo: Michele RussellI;winsk)': drawing: I.ee Ho\'January/February 1989 79

often they're not, these depressions are advertisements for aburied treasure.If you're in the woods looking for bird's-eye maples, checkalong hollows and gullies or on the northwest slopes of hills.These are areas where young trees have to tough it out, and consequently,are ideal environments fo r bird's-eye fo rmation. It alsohelps to know if bird's-eye maples are apt to grow in your region.In southern Wisconsin, which is not prime bird's-eye maple country,foresters say you might find one tree out of 10,000 with goodbird's-eye figure. But loggers say that 300 miles north, in Michigan'supper peninsula-bird's-eye maple heaven-you'll find approximatelyone maple in 400 with the figure.Characteristics-Structurally, bird's-eye maple isn't much differentfrom normal hard maple. Because figured maples grow slower,you might expect the wood to be a bit denser. Air-dried bird's-eyemaple weighs 47 Ibs. per cubic foot and has a specific gravity of.68, a bit higher than the .63 fo r normal air-dried maple.Bird's-eye maple is a hard, tough wood. It has a uniform texture,glues well and takes a good finish. Its creamy white wood is oftenstreaked amber to brown, usually the result of defects or diseasein the tree. Technologists at the Forest Products Laboratory saygrain deviation in mildly figured bird's-eye maple won't affectstrength, but they caution that highly figured wood won't be asstrong as straight-grained wood fo r spindle support members,such as chair legs.Bird's-eye maple seasons slowly, and because of its wild grain,has a higher shrinkage factor than ordinary hard maple. This cancause buckling as it dries. In fact, careful drying of the wood iscritical. Air-drying or the use of a solar kiln with a slow dryingschedule are best. Rapidly kiln-dried bird's-eye maple can result intwisted lumber with eyes eager to chip out. Hairline cracks aroundthe eyes are a sure sign the wood has been dried improperly. Becauseof the way the eyes grow, most bird's-eye lumber is plainsawnto reveal the full figure; if quartersawn, the figure will be masked.Prices for bird's-eye lumber vary widely depending on meamount of figure. Strangely enough, through a quirk in the NationalHardwood Association's rules, bird's-eyes, like so many knots, arecounted as defects. Consequendy, bird's-eye maple that's not sortedfor specialty markets at the sawmill may be graded low. This, nodoubt, accounts for a lot of 2-in.-wide bird's-eye maple strips I'veseen ignominiously gracing gymnaSium floors. Fortunately, loggersare a pretty shrewd bunch: Before maple logs are run through thesawmill, the obvious bird's-eye logs are sorted out. Good bird'seyecan bring a sharp-eyed logger an extra $100 per 1,000 bd. ft.European veneer buyers also have a warm spot for bird's-eyelogs. According to one veneer exporter, the Europeans have theirown grading system for bird's-eye veneer logs. He says they lookfor white wood, large eyes and a lot of curl. They examine a log byscooping out small portions of wood with a knife and by checkingfor the spoke-like pattern of bird's-eye on the ends of a log. Mostwoodworkers, however, aren't so particular: Some prefer bird'seyemaple that has rich streaks of brown in it, feeling that it givesthe wood more character.Working with bird's-eye- Despite my affection for bird's-eye maple,I use it sparingly. Because it's 0 "busy" visually, I think itrequires a well-developed design eye to make it work effectively.But with some thought, dlis extravagantly figured wood can transformnice work into special work. The deviating grain around theeyes gives the wood a chatoyant quality: It gathers light in ripples,providing a luster as changeable as that of a fire opal.The very qualities that make this wood so appealing to the eyealso make it a nightmare to work. The swirling grain is notoriousfor chipping out, so planing it can be an exasperating experience.The dense wood will burn on a belt sander if you aren't careful, somake sure your belts are reasonably new, and keep the work movingto avoid burn marks.I've had good luck using a hand scraper for finishing touches.Hone the scraper and then put a light burr on it by running aburnisher over the edge once or twice. Use a shallow angle, andpull the scraper lightly across the wood's surface.To find out how others approach the surly stuff, I talked to somewoodworkers who use bird's-eye maple regularly. Some of them,especially the ones that require precise dimensions for jOinery,don't like to mess with thicknessing it themselves. They prefer tobuy it to thickness or glue it up and take it to someone who has aheavy-duty thicknessing sander. The dollars spent, they claim, arewell worth the time saved and the avoided aggravation.Those who do plane it themselves use varying techniques seasonedwith a lot of common sense. Planing only the side of theboard closest to the pith is a logical approach to bringing it to thedesired thickness (the other side is just thickness-sanded). Becausebird's-eye grows as a series of cones pointing toward the tree'spith, the planer blades, in theory, slice off the protruding cones,leaving a smooth surface. Another woodworker takes a similar approachwith an added twist: He sharpens his planer blades andthen gives them a l(f back bevel. In effect, the blades act as scrapers,so he can't remove much-sometimes as little as Y64 in. on a pass,depending on the wood's figure. But, he ends up with a satinsmoothsurface on bird's-eye maple and other troublesomewoods, like quartersawn cherry.Machining bird's-eye wood on a jointer is straightforward, butcommon sense should prevail. Examine the grain to determinewhich way to run the plank through. A reliable method is to run yourthumb along the edge to feel the srubble of the opposing grain soyou can tell which direction is the path of least resistance and therebyminimize tearout. Make sure your blades are razor sharp, thenrun the wood through slowly, taking off Y32 in. or less on each pass.The cross forces exerted by the wild grain in bird's-eye woodprobably help to stabilize it. Once flat, bird's-eye lumber will generallystay dut way. However, like other woods, bird's-eye lumbercan cup if it dries unevenly. If you have the time, it's a good idea tolet it adjust to conditions in your shop after preliminary machining.After a couple of weeks, you can true it up.Bird's-eye maple turns nicely, and I haven't run into any problemswith chipping: I keep my gouges and scrapers sharp and usea light touch. The orientation of the bowl blank on the lathe is amatter of preference, not utility.Working with bird's-eye maple veneer isn't much different thanworking widl other veneers, but according to furniture designerDick Wickman of Verona, Wisc., bird's-eye veneer tends to crackalong parallel lines that can break dlroUgh the finish.Bird's-eye maple can be finished like most other woods, but here'show profeSSional woodfinisher Rob Ray of Madison, Wisc., finishesbird's-eye solid wood and veneer: First, he applies one coat of lacquer,diluted 3:1 with lacquer thinner, and allows it to dry. Thisfi lls the pinholes and makes loose fibers stand up. Then, he scuffsthe surface lightly with 320-grit sandpaper, being careful not tosand through the lacquer surface. Now he applies a color-matchedpaste wood filler, thinned with naptha. He let's this just barely dry,then wipes the surface with burlap and rags. He applies the surfacefinish of his choice, and completes the job by hand-rubbing. 0Bill Keenan, fOI-merly a forester, is now a writer, editor and woodworker.He lives in Madison, Wise.80 Fine Woodworking

A Chinese woodworker assembles an elaborately caroed hall table at a furniture factory near Shanghai. During a tour Of China, the authorsvisited large and small shops, factories and museums, and found centuries-old woodworking traditions coexisting with modern technology.Woodworkers' Tour of CAncient ways persist in the age of automationhinaby John Kriegshauser and Nancy LindquistOur 16-day woodworking tour of China revealed a countryin transition-married to centuries of tradition whileplunging into the future. We saw wayfaring carpenters vyingwith automated factories, while the genius of Chinese woodworkinglured us with its unique sense of design, bewildering complexjoinery and mysterious lacquer finishes. Our purpose was to learnabout Chinese woodworking by participating in shop and museumtours and by simply nosing about. Traveling extensively, we madestops in Guangzhou (Canton), Beijing, Shanghai, Hangzhou, Xi'anand Hong Kong.Despite the availability of factory-made furniture, we saw itinerantcarpenters plying their trade on sidewalks next to high-riseapartments. When a couple marries, furniture is traditionally providedby the husband's family. Frugal families will buy lumber andhire the carpenters to build traditional but crudely carved furniture.The family provides these journeymen with room and board plus agood wage by Chinese standards. And, the couple has their homefurnished for about one-third of what it would cost retail. In theolder neighborhoods of Single-story houses, we saw several smallshops equipped with crude machinery that produced old-styledoors, gates and window sashes that keep the houses in repair(see the top photo on the next page).Even though we came to see traditional Chinese woodworking,we started the trip touring several factories, most as automated astheir Western counterparts. But, many operations are more dependenton the country's vast labor pool than on machinery. The averageChinese factory employs 10 times as many workers as an Americanfactory. Material handling, for instance, is a sanctioned form of"busy" work. The largest factory we saw, located in downtownShanghai, is equipped with the latest veneer slicers, a plywood-seatmold and automated finishing equipment, but it has no conveyancesystem save for workers hustling hand trucks piled withplanks and furniture parts. The factory employs 1,600 men andwomen, some in their late teens to early 20s; older workers areabsent, having been driven from the craft by the social disruptionof the last 30 years.Our hosts proudly ushered us into their showroom: Chinese stylesare out, clumsy looking French provincial and Scandinavian designsare in. Western styles are popular, because they are "modern," butthey are reminiscent of the humble 1920s- and 1930s-style piecesJanuary/February 1989 81

joinery shops, such as this one in Beijing (above), supply the oldstylegates, doors and window sashes needed to repair houses inolder neighborhoods. Safety standards in these shops would makemany Western woodworkers shudder: Note the jointer in the foregroundwithout a safety guard or fence and the shopmade tablesawin the background. Finishers line the windowless, dimly lit room(below) with damp straw mats to provide the high humidity environmentnecessary to properly cure their lacquer finishes. In theurban factories, burlap is sometimes used in place of the mats.that clutter our secondhand fu rniture stores. Our guide had difficultyfinding hand-crafted furniture to show us, but eventually helocated the rural Shanghai Art Carving and Engraving Factory, wherea fellow guide had taken President Jimmy Carter some years ago.S hanghai fuctory-This rural factory is like a vision from the earlydays of the industrial revolution in the West. There are rows ofworkbenches lining a long wall of windows. Elsewhere, electricityis used mainly to power scattered fluorescent lights. Nonetheless,the showroom is filled with beautifully made lacquered reproductionfurniture. The company's entire product line is exported. The 250factory employees produce about 100 different designs in Brazilianmahogany, but they also rely on a variety of hardwoods from Thailand.82 Fine WoodworkingPower tools are used for sizing lumber and for roughing outsimple work, but the carving, joinery and finish-planing are doneexclusively with hand tools. We watched a worker deftly fit a doorwith a mitered frame to a cabinet slightly out of square. He sawedbetween the mitered shoulders, down to the tenon, on one faceand repeated this on the opposite face. He brought the joint together,producing a door that was out of square just enough tomatch the cabinet. Chinese planes and saws, unlike Japanese tools,are pushed; the planes are equipped with a crossbar handgrip.Lack of machinelY, however, doesn't prevent Chinese woodworkersfrom accomplishing their tasks quickly and efficiently. They havecreated many homemade tools especially fo r their style of woodworking,such as the "maya cuo" and "pang bao" scrapers, which arediscussed in the sidebar and shown in the photo on the facing page.Most of us knew of the natural lacquer used by the Chinese byits Japanese name "urushi," but we learned that the incrediblytough finish originated in China as "qishu" (pronounced: Cheeshoo). The lacquer is the sap of the Rbus vemicijera, a relative ofpoison sumac. Finishers wear gloves and sleeves to prevent theirsweat and body oils from ruining the finish, but they do nothingadditional to protect themselves. Instead, workers who are allergicto the sap, which causes an irritating rash, are transferred to otherjobs. Several of our group suffered from qishu rashes during ourtrip and took cortisone pills at the first itch, but we still had tocontend with rashes, some pretty nasty, over the next two weeks.Qishu is a major commodity in China, and more than 100,000metric tons are exported annually to Japan. Domestic demand forqishu is high, but not just for its use as a furniture lacquer. TraditionalChinese ceremonial buildings are coated with gesso, coveredwith coarse cloth, then lacquered inside and out-a monumental taskconsidering qishu's finicky curing requirements. Pigments have tobe compatible with qishu's cross-linking chemical bonds or thefinish loses its toughness. The pigments that work best are red cinnabarand malachite, but the first is poisonous and the second isprecious. Chinese finish experts don't consider qishu an effectiveexterior finish, but the 60-year-old lacquer finish we examined onone building showed few signs of cracking or peeling.The workers at the factOlY brush at least four coats of qishu oneach piece of furniture. After each coat, the piece is left in a wetroom to cure overnight. Damp straw mats lining the room maintainthe moisture level necessary for the finish to cure properly.The first coat, a mixture of qishu and a chalky white powder,serves as a paste filler. Between coats, bamboo shoots, which containsilica from the soil, are used to smooth tight corners; ordinarysandpaper smooths the flat surfaces. After the final coat, largebumps are removed with a chisel, and smoothing is done with wetleaves from tile Chinese elm, appropriately referred to as the"sandpaper tree." A thin, final coat is padded on like French polishand then the piece is waxed. These finishers claim that only elmleaves will produce an acceptable finish, but the urban factoriesseem to do fine with wet-or-dry sandpaper.Fish glue in the Forbidden City-In the center of Beijing is thecolossal walled palace of the Ming and Qing dynasties (1368-1644and 1680-1911 respectively), once known as the Forbidden City.This complex housed the imperial family, the bureaucracy and theemperor's eunuchs and concubines. It is now the Palace Museum,housing an unmatched collection of fine Chinese furniture. In themuseum's restoration shops, we found one worker regluing a finewood chair with locking tenon joints. He had disassembled thechair, be ause tile fish glue holding the joints was failing. He wassurprise that we thought such interlocking joints didn't requireglue. After tile repair, tilin layers of hot wax are applied and buffed

Chinese shaping toolsThroughout China, we saw woodworkersusing two tools new to us: the maya cuoand the pang bao. The maya cuo (pronounced:mai-YA tswo) is used primarilyto contour surfaces. It has a wooden bodyup to 15 in. long, with a handgrip fore andaft. A row of 10 to 32 scraper blades aremounted in grooves cut into the undersideof the body. Because of the simultaneousaction of the multiple blades, the maya cuopossesses the advantages of both a planeand a scraper: It cuts aggressively, yet leavesa clean surface on the contrary grain ofcommonly used "ho mu," a red-color wood.Workers often own several of thesetools, usually of varying lengths and differingin the number and spacing of blades.Store-bought maya cuos are not as popularas homemade ones, which the workmenfashion from old sawblades.The blades are held in place on the toolby compression alone. The stock is kerfedusing a handsaw with all the set removed,which makes the kerf an exact match forthe thickness of the steel. The extendedprojections of short grain between thekerfs are flexible enough to allow all theblades to slip into place, except for the lastone. This one must be forced in, and thisprocess tightens up the entire row. Aftermounting, the blades are filed into perfectTwo Chinese tools that are unfamiliar to Western woodworkers, the maya cuo (top) andthe pang baos (bottom), are used for surface shaping and smoothing; the pang baos areused most often on end grain. The cutting teeth of the pang bao on the left are formed ona flat surface, while that of the one on the right are fo rmed on a convex surface.alignment, and the back side of each cuttingedge is beveled to about 60°.A workman showed us how the maya cuois used to form the bead on the edge of agently rounded leg. Using his extended forefingeras a guide, he rapidly forms a V-groovedefining the bead. With the tool tilted at progressivelysmaller angles, he rolls the beadover in just a few more strokes.The pang bao (pronounced: pahng bau )resembles a coarsely cut planemaker's floatfile with straight teeth. The pang bao isabout 6 in. long and mounted to an offsethandle. It is exclusively a store-boughttool. On the mainland, we encounteredcoarse-cut, flat-bottom models that theworkmen sharpened by scraping the face ofthe teeth. The pang baos shown above arefrom Hong Kong; they are cut finer, andone has a curved bottom.Even though we saw these tools used as afo llow-up to maya cuos, their principalapplication is for contouring and smoothingendgrain. -JK and NL.to a rich luster. The finer woods were traditionally waxed, nor lacquered,to highlight the beaury of the wood. We met anodler workerrestoring diao tian (pronounced: [iao t'ien) or carved lacquer. Often200 coats of colored lacquer are required before it is thick enoughto calve. The results are amazingly intricate and beautiful, but repairingit takes an incredible amount of patience: If a piece ischipped, the patch is dabbed on a coat at a time. The lidded bowldlis worker was repairing would take three months to complete.A visit with Wang Shixiang-Recognized as China's preeminentfu rniture historian, Wang Shixiang (pronounced: Wahng Sheeshahng)wasn't always held in such high regard. During the culturalrevolution, his obsession with the past earned him a "pOSition"tending pigs on a commune. Wang was later reinstated as seniorresearch fellow at the Palace Museum.We met with him in a room furnished widl antiques and stuffedsofas, where the vigorous 73-year-old Wang showed us the platesfo r his next book on Chinese joinery, which his wife, Yuan ChuanYu, illustrated. When asked how to disassemble complex lockingjOints, Wang replied, "Well, you soak them in a pan of water andhit them with a hammer, but if you don't know what they look likeinside, they might be ruined."Wang views the work of dle last century and a half as degenerate.In his book Classical Chinese Fumitw'e, he explains that artisans"in their efforts to please their patrons, tried their utmost to outdotheir competitors in producing furniture of original, curious andornate designs. In doing so, dley abandoned the strict principlesdlat governed furniture design in Ming and early Qing, thus bringingthe golden age of classical furniture to a close." Gauging ourinterest in his work, he invited us to see his personal collection offurniture and artworks.His home is a dlree-room house in picturesque decline, withtufts of grass growing from the tiles in the sagging roof. The interioris as humble as the exterior except for the spectacular pieces ofclassical furniture. He and his wife sleep on a Qing Dynasry rosewoodplatform bed; his desk is a 17th-century antique. The remainderof his house, save for a few narrow corridors, is stacked withbooks, tables, chairs and armoires he has collected over the past40 years, not to mention bronzes, porcelains, scrolls and musicalinstruments. Even though the furniture would be worth a fortune inthe West, selling dlese pieces is out of dle question: Not only wouldWang refuse to part widl them, but they are considered culturaltreasures and may nor be taken out of the counuy. The national governmentplans to include his collection in a museum after he dies.Our visit with Wang was the peak of our holiday. If you take asimilar trip, make time to explore more than China's woodworking:Stroll down Shanghai's sycamore-lined streets; gasp as drivers ofciry buses plow through the bicycling throngs and the riders dartfrom disaster at the last moment. China's teeming streets turn quiet atdusk, and nighdy sidewalk excursions reveal nodling frightening,only couples sparking under trees as boys on bicycles ride pastsinging Italian operas. You may be itching to see China, but avoidthe qishu or you'll be itching even after you return home. DJohn Kriegsbauser and Nancy Lindquist operate Kansas City Woodworkingin Kansas City, Mo. Pbotos by autbors except wbere noted.January/February 1989 83

The Inte rnationalT urned Objects ShowNew signs of the turning tideby Michael PodmaniczkyWhen Fine Woodworking reviewed the first TurnedObjects Exhibition seven years ago, former editor JohnKelsey said that one of dle exhibitors, Robert Leung, "is atthe beginning of a journey, and it will be fascinating to see where hegoes." Now that we are well into that journey, not only one individual'swork, but the entire craft of woodrurning has exploded intosomething that could only have been a dream at dlat first exhibition.There is no better evidence of dle ascension of woodturning inthe last decade than dle 1988 International Turned Objects Show(ITOS) at the Port of History Museum in Philadelphia, Penn. Theexhibition is organized by Albert LeCoff and the Wood TurningCenter, of which he is chairman. The ITOS is a rich smorgasbordof turned innovations and an important update of what has beengoing on in the world of turning. The show, which opened concurrentlywilli the American Association of Woodturners Conferencein Philadelphia (see p. 116), is scheduled to tour the UnitedStates and several countries through 1992.The ITOS features the work of 39 turners from around theworld who were invited by LeCoff, with selection assistance fromAmerican turners David Ellsworth and Rude Osolnik. These wellknownturners (many of whom appeared in the first show) arejoined by another 68 exhibitors who had their work juried byOsolnik, Jonathan Fairbanks, the curator from the Museum of FineArts in Boston, Mass., and Lloyd Herman, the founding director ofthe Renwick Gallery in Washington D.C.Containing more than 300 pieces, the ITOS exhibit displays aneclectic variery of what the lathe has to offer, bodl as a primaryfabrication tool and as an incidental technique for turning objectsmade from wood, alabaster, ivory, plastiC, metal and other materials.There is a staggering array of different kinds of turned pieces inevidence: vessels of all sorts, tables, stools, pens, boxes, instruments,jewelry, games and objects d'art.Bowl turning remains the touchstone of the turner's craft in thisshow, and as far as materials go, burls still seem to command theinterest of most turners. Turner Robyn Horn of Little Rock, Ark.,emphasize material over form with her "Redwood Geode,"above, by contrasting a rich and lusciously finished interior vesselwith surfaces that become coarser in texture and blander in coloras the eye moves from the core to the outside.Box turning has always allowed a lot of design and craftsmanshipto be packed into a pint-size object, and dlere are few disappointmentshere. A collection of exquisite boxes by M. Dale Chase, adecorative turner from Chico, Calif., are shown above. These boxesare turned from exotic woods and ivory, and their decorative elementsare machined on an antique Holtzapffel ladle. Chase's workreminds me of the simply turned, carved and lacquered boxes ofthe late Japanese master wood craftsman Tatsuaki Kuroda; hiswork was highly decorative, yet not overdone.The turned furniture in the show includes Bob Ingram's diningtable, above on the facing page, which is made of bird's-eye maple,bubinga and wenge. Ingram, a Philadelphia, Penn., furnituremakerwho only does occasional turning, joined the wishbone-shaperurned-and-cut-apart brackets to the tapered legs with a jig he designed10 years ago while building a Shaker-sryle table.84 Fine Woodworking

Using a Holtzapffel ornamental lathe tocut the fa ceted designs, M. Dale Chasemakes small boxes from many exotic materials,including these, left made of Hondurasrosewood, pink ivory wood, African blackwoodand ivory. Robyn Horn's 'RedwoodGeode, ' below left, allows the exterior ofthe burl to remain naturally rough, incounterpoint to the finished vessel turnedon the inside. Bob Ingram turned a 48-in. ­dia. disc Of bird's-eye maple for the topof his post-and-bracket-style dining table,below. The tapered legs are turned bubinga.After turning a simple ebony vessel, right,Frank E. Cummings III inlaid two bands ofivory with 14K-gold accents. He thencarved a delicate openwork pattern aroundthe top, allowing it to distort and create alace-like effect.One of the loveliest objects in the exhibition is by Frank E.Cummings III of Long Beach, Calif., who produced a cup of arrestingbeauty he calls "Ebony Lace," shown above, right. This is a stemlesscup that flows into a remarkable band of wavy, lacy carvingaround the lip. Around the base and lip, Cummings applied bandsof ivory, overlaid by a balustrade of fine gold rods. The bandsbreak up the flow of figure within the Macassar ebony, but thecoloration is so strong that the eye cannot help being drawn upfrom the solid turning into the delicately carved fretwork.Despite the kaleidoscopic range of styles and aesthetics in theITOS, one turner's work appeals directly to my tastes. The architecturalturnings of Gail Redman, right, embody all the truths of theturners u-ade: the simplicity and beauty of wood are unadulterated bya finish of any kind. 111e results of cutting edge on wood are leftnaked for inspection. And, the spongy, truculent redwood the SanFrancisco, Calif., turner chose maintains sharp, crisp corners and surfaces,and it bears not me slightest blemish of catch or tearout or anyhint of an unsure hand. What is on display is noming less man completemastery of a craft:. To me, mis is what turning is all about. DArchitectural turner Gail Redman 's turned balustradeand newel post, below, shows the criSpand clear tool marks of a deft touch, difficult inthe soft redwood she used to make the turnings.Michael Podmaniczky is a contributing editor to FWW and a furnitureconservator at The Winterthur Museum in Winterthur, Del.For ITOS schedule information, contact the International SculptureCenter, 1050 Potomac St. NW, Washington, D.c. 20007. TheITOS catalog, with pictures of all the exhibit pieces, is availablefrom the Wood Turning Center, Box 25706, Philadelphia, Penn.19144, /01' $32 ppd. (sojtcover) or $43 ppd. (hardcover).Photos: (>1988 Eric MitchellJanuary/February 1989 85

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111,"11SIOPm'EI.I,lu it ....IS • fir _ Cit u.".Shophelper'\ unique double wheel conllglJf.tlonIhlnlbdlty required lo,irtuillyelimin­Ite klckb.ck ,nd enll.nee .. lety. The inleedwheel holdl thl m.teri.1 down to lI.bilile Ihecut. The oultetld wheel conlroll ripping nar-;-:I1.·t!r%;o:sc:ro h :r. ::i l e l t.like....shophelpet ®.and ..Til ... ditf ...AIIWIIltcanIMSoId..lndl,lcknllylrrt .. lIbIt on A"'"' d _"-I ... dflltnl.•;ndudirogtirogleaf'ldm ulll'illrtoC!lonti.Wide ,. ,... of thOPUM.PrO'lide' I ,lnuIIlY lCCiden!·"".n,iron n!- $69.95•C;!III For Nuresl DulerC;!III Toll Free: 800-344-7455 In California Cali: 800-828-8833WESTERN COMMERCIAL PRODUCTS . P.O. Box 238, Tul,He,CA 93275Thin HARDWOOD -Priced RightClear - Kiln Dried - 2 Sides Surfaced3" to 10" widths -3' to 7' lengths20 sq. ft. packs - Random widths and lengths1/8" + 3/16" is 18" to 42"l 1/8" 3/16" 1/4" 3/8" 1/2" 3/4"Red Oak $32 S33 $34 $38 $42 $62Pecan 28 30 32White Oak 32 33 38 42 66Walnut 34 Cherry 36 38 46 50 68Hard Maple 32 33 34 40 44 56Sasswood 30 31 32 38 42 52Poplar 29 30 31 32 36 40Hand. Mahogany 39 41Teak 62 64 67 72 100 130Arc. Red Cedar#1 32 33 40 42 46com.-tight knotsPrice includes UPS delivery in Contintental U.S.A.To Send order, with circle check dollar or money amount order above to:3437HARDWOODS OF ILLINOISR.R. 4 -Box 618 • Mt. Vernon, IL 62864293434523457 71'.t" .---IISHAKER PEGS CANDLE CUPS MUG PEGS$17.95 per 100, prepaid .Wide selection of otherwood products .Catalog $2.00 or free with order.Benny's WoodworksP.O. Box 840, Dept. FWIShelbyville, TN 37160 615-331-8384Out of State 1-800-255-1335Shaker PegMug PegWOLCC.2833•Perry St., Madison, WI 53713Powermatic SpecialsrlEl#66 3 hp, 1 phase w/#50 Beismeyer lence .. .. $1 ,499.00NEW * 5 hp, 1 phase saw w/#50 Beismeyer lence . 1,623.00#26#100#60#180#115OA#225Shaper 3 hp, 1 phase ............. 1,475.CO12' Planer 3 hp, 1 phase . 1,775.008" Jointer 1'12 hp, 1 phase 1,299.0018" Planer 5 hp, 1 phase 4,150.0015" V.S. Drill Press 34 hp, 1 phase . 1,125.0024" Planer 15 hp, 3 phase . 9,800.00POWERAfArJC "FOB MADISON OR Me MINNVlllE1-800-533-9282608-273-0148•• nEST .\.....\1..\(:111.\:-; II.\KJ)W()()J)dried to 8% moistureall widths & thicknesses:;"':I;:':;::;;;;' BEECHBUTTERNUT. BIRCH 0MAHOGANY.(hard or light,MAPLE•(medium or heavy 6\Iacurl) . OAK '¥.'REDWHITEOAK.PINEWHITE OAKYELWWWIDE WALNUTPOPLARAND. TEAKCHERRYNEWP.O. BoxOXFORD,323 • EASTPA 17350GOLDEN LANE(717) 624-4323 OR (717) 334-9301CALL TOLL FREETO ORDER YOUR BRANDMARK1-800-323-2570ERS ONL1 8 00.5 00 EA"'7IMEYo ur Satisfaction GuaranteedConvenient torch · 2nd line-19 lellersJheatingspaces max.• •• Solid Brass-114"•letterslasts yearsdistinctiveSpecial wording borderavailable Add $2.501st line as shipping &•handling Electric model3hown_ Order by mail irom lEE...:=. BrandMark462 Carthage Dr .• . PNWI Beavercreek, OH 453853426-6843OH res. add $1 .44 tx available: $41 .95EMGLOAM39-HC4V3/4 HP TWIN TANK $268AM7e-HC4Vl-1/2 HP TWIN TANK 298HITACHIC-8FB a-112- COMPOUND MITER $484SAWC-15F8 15 MITER SAW 369TR-12 3HP PLUNGE ROUTER 165W/ACCES. VALUE AT $6096[).10DD 9 6V 2 SPEEO CORDLESS 89F-20A 3-1/4- HAND PLANER92 Fine Woodworking

AdvertisementUpgrade Kit for PortableSurface PlanerAvailable to EliminatePotential Safety HazardRyobi America Corporation,Itasca, Illinois, today announcedit is making availablea free upgrade kit to owners ofthe Ryobi 1985 Model PortableAP-10 Planer and SearsCraftsman Portable 10" ThicknessPlaner, Model No.351.23372. The upgrade kitconsists of a supplemental instructionsheet and outfeedtable to eliminate the space betweenthe main body of theplaner and the rear outfeedsupport roller. Use of the outfeedtable whenever operatingthe planer will prevent theuser's fingers from beingcrushed between the emergingboard and the rear support roller,which could result in seriouspersonal injury.The subject Ryobi planersbear serial numbers lower thanand including 064155. Planerswith serial numbers higher than064155 include outfeed tables.The majority of units have beensold under the Ryobi brand name.However, some units were alsosold under the Sears/Craftsmanlabel through the Sears, Roebuckand Co. catalog. All owners ofthe Sears/Craftsman Portable10" Thickness Planer, ModelNo. 351.23372, may order theupgrade kit by calling 1-800-525-2579 or by contacting theirnearest Sears Service Centerfor further information.Until owners receive andinstall the outfeed table, if theplaner is used, caution must betaken to prevent finger entrapment.Wood must never begrasped until it has passed therear outfeed support roller.The upgrade kits for boththe Ryobi and Sears models arealso available from any of RyobiAmerica Corporation's 265authorized service centers. Forthe name of the nearest servicecenter, contact Ryobi AmericaCorporation at 1433 HamiltonParkway, Itasca, Illinois 60143,or call 1-800-525-2579.ToolhauzCORPORATION TOOMAIL& PHONE ORDERS · C.O.D.S800·533·6135 800·282·0170CMA only)P.O. Box 1288 Middleboro, MA 02346·1288Orders under $35 add $3 shipping.CHISEL SETS4 Pc Footprint Beechwood - $1 24 Pc Beechwood · Made in China -$66 Pc Mifer Plastic Handle - $296 Pc Sandvik Beech Handle - $394 Pc Buck Bros. Plastic with Tang - $196 Pc Buck Bros. Plastic with Tang - $25_MelaboEP451 Single Speed Jig Saw·4AMP -$69EP455 VariSpeedl Orbital Jig Saw;':M -8382 31/4" Planer · 7.5 AMP - $149•• PNUEMATIC FINISH•GUNSBostitch N60FN $299Senco SFN1 - $269Senco SFN2B $389Paslode MU212F $299for Nal/s al/ In finish stock guns -1" to 2112"All major brands · Call for discount prices.• .• .•ASHMAN TECHNICAL LTD.Machinery . Tools . Shop Equipment351 Nash Rd N Harililton. Ont Can. L8H 7P4(41 6) 560·2400CALL COLLECTGENERALModel 350·1 ................................ $1340.with Biesemeyer ........................ $1470.with EXCALIBUR ........................ $1565.160·2 VS Lathe, 1 HP ................. $1100.260·1 VS lathe, 1 HP ................. $1980.1180·1 6" Jointer, 1 HP ............... $ 740.480 8" Jointer, 1 1/2 HP ............ $1530.490·1 15" Bandsaw, 1 HP .......... $ 885..·. OELTA3 Hp·10"· Tilting Arbor Unisaw$1199.3 Hp·10" ·Unifence Model .. ...... $1350.RT31 10" Scoring Saw .............. $2875.- SPECIALS -Mobile Bases From .............20"$69.Delta Planer-5 HP· .. $4300.•New Excalibur Fence ........ $329U.S. FUNDS FREIGHT COLLECT__ -BankruptcyLiquidation!Recent Bankruptcy of amajor mail order toolcompany left this importer(est. 1953) large inventoriesof quality woodworking tools.Offer GoodOnly WhileStock Remains25-pc Brad Point Drill SetThe complete set in a steel index that puts everydrill at your fingertips. All sizes included from 1/8'to 112'. Every size will fit any 3/8' or larger drill ordrill press.For driling wood, particularly hard wood, only abrad point cfri ll will do. Itpro";des a clean entry hole- no spintering or tearing · and does so WIthoutskating, dancing or running. If you are doweling,brad point drills are even more important becausethey put the holes exactly where you want them.Having all the sizes in your tool room will let you d.rillholes '! .0156' to accommodate commeraaldoweling sizing.Brad Point Drill Set1()'()100 2:5-pcIn Metal Index $29.95. Order 2 .... to oneadd.... $26.95 eech.Di·We're Not Tool Snobs, But .... Laminated Steel Chisels are just not loreveryone.As with much of ife, owning and using the very bestappeals to only a small select gl'Ol4' of people,even when, as with chisels, the cost is clearlyaffordable.For hundreds of years, traditional Japanesechisels have been forged by Masters and theirjourneymen. The blades, of high carbon steel,an uppe r layer of iron that absorbs the shock ofhardened to Rockwell C 64-66, are supported bymallet blows. The very hard steel takes an exceedinglysharp edge and holds it far longer than anyWe stern chisel. These are ffetime tools.Combination Tang and Socket construction foradded strength. g' Overall, 2-1/4' long Blades.Sizes: 1/8', 1/4', 3/8', 1/2', 5{8', 314', 7/8', 1",1-1/4', 1-1/2'.•.Were it not for the bankruplcy of a well knownhigh quaHty woodworKing tool company we couldnot offer this set of 10 chisels for less than $125.00.Their loss, your gain. While our stock lasts, theycan be yours for only $89.95, postpaid. ORDEr!1 .. t 10 urnnetad Steel Chi .. $89.95VISA I MC I AMEX02 -1173Add $3.00 SIH for any 1 sel, $5.00 for 2 or more.Michigan Residents add 4% Sales Tax; CT 7·1/2%TOLL FREE: 800·447·7770 •Dollar Trading Corp.Dept. FW01P.O. Box 8433· Grand Rapids, MI49518MONEYNO HASSLEBACK GUARANTEE30 DAYJanuary/February 1989 93

CARBIDE TIPPED ROUTER BITSPRCAL PRODUCTION QUALITY1000's SOLD TO I'lFAnFI'l OF FINE vvuuuvvlJRKINGBEST CUTBEST PRICEg,.#01rR#05#07,Jl.#11ICl#15011&#056#13a ;I;• 1ITEMNO.#02#03#04#06#OB#09#10#12#35#36#37#16#BO#17#1B#19#20#21#24#25#26#27#2B#14DESCRIPTIONRADIUSCOVE1/4" R 114"3/B" R 3/B"1/2" R 112"ROUND OVER1/4" R 1/4"3/B" R3/B"1/2" R 1/2"ROMAN OGEE5/32" R 5/32"1/4" R 1/4"DeepRABBETING 3/B"1/8" (KERF) SLOT CUTTER114" (KERF) SLOT CUTTER3/B"45° 45°ChamferAngleRaised 20°PanelAngle1/4" V Groove 90°3/B" V Groove 90°1/2" V Groove 90°3/B" Dovetail 9°1/2" Dovetail BO(For Leigh Jigs)1/2" Dovetail 14°3/4" Dovetail 14°CORE BOX (ROUND NOSE)3/B" Core BOX1 3/16"1/2" Core Box 1/4"3/4" Core Box 3/B"FROM 112" to tOO)5/16" Straight Bit3/B" Straight Bit1/2" Straight Bit3/4" Straight Bit1/2" FLUSH TRIMLARGEDIAM.1" 1/2"CUTTINGLENGTH1-1/4" 9/16"1-1/2" 5/B"1" 1/2"1-1/4" 5/B"1-1/2" 3/4"1-114" 15132"1-112"3/4"1-1/4" 1/2"1-114" 1/B"1-1/4" 1/4"1-1/2" 5/B"1-5/B" 1/2"1/4" 1/4"3/B"3/B"1/2" 1/2"3/B"3/B"1/2" 13/16"1/2" 1/2"3/4"3/B"7/B"3/B"1/2" 11/32"3/4" 5/B"Tongue & Groove 1-5/B" 1"(FOR WOOD THICKNESS1/4" Straight Bit 1/4" 3/4"3/B" KEY HOLE(This Bit Only HSS)5/16" 1"3/B" 1"112" 1"3/4" 1"112" 1"CUTS 318" KEY HOLEFOR FLUSH MOUNTINGPICTURE FRAMES, ETC.PRICE$1 3.0014.0015.00$15.0016.0019.00$1B.0020.00$14.0014.0014.00$1 5.00$25.00$ B.OO9.0011.00$ 7.5012.00B.5010.50$1 1 .0014.001B.00$30.00$ 7.007.007.007.0010.50$ B.50$ B.50•14" Diameter Shanks x 1-114" Long · One Piece ConstructionTwo flute Thick High Quality Tungsten Carbide TipsWHEN ORDERING ANY THREE OR MORE DEDUCT $1.00 EACHALL PRICES POSTAGE PAIDProfessional Production Quality . 112" Bali Bearing PilotTo order by MasterCard or Visa Toll Free7 Day -24 Hour Order Service Call1-800-533-9298or send check to:MLCS, Ltd., P.O. Box 4053F1, Rydal, PA 19046NOW LEASING AVAILABLE! TO BUYNow Ready For DeliveryKolle and Casadei - The Finest Namesin German and Italian EquipmentKOLLE:CASADEI:The finest in German Heavy Duty Classical Machinery. Shapers:Spindle sizes up to 1'h", Sliding Table Models, Tilt Spindle Models.Jointers: Up to 25" wide, available with Disposable Knife TersaCutterhead, Adjustable Pitch Outfeed Table. Planers: Up to 30" wide,available with Disposable Knife Cutterhead. Sliding Table Saws: Moreunique features available than we've seen on any other saw. SlotMortising & Boring Machine. Single End Tenoning Machine. PanelEdge Trimming Machine for Plastic Faced Material, Plywood, and SolidWood.Combination Surfacer. Planers. Numerous Table Saws and SlidingTable Saws. including available scoring. Many varieties of Standard,Tilt Spindle. Sliding Table Shapers. Planers through 25" width availablewith Helicoidal Cutterhead. Jointers through 20" width available withHelicoidal Cutterhead. Slot Mortising Machine. Panel Saws withElectronic Programming & Automatic Panel Pushers. Pin Rotuersincluding Semi·Automatic Models. Complete range of Automatic PanelPushers. Pin routers including Semi·Automatic Models. Completerange of Automatic Moulders from 4·7 Spindles, plus Universal Spindleat a reasonable price.CALL OR WRITE FOR MORE INFORMATIONAND lNTRODUCTORY PRICES ON THESE MACHlNESOODSHOP SPECIALTIESCold River Industrial Park Quality Lane P.O. Box 70 Rutland, Vermont 05701 (802) 773-3240ONSALEFREEBORNSHAPERCUTTERSA. NEW 8 PC. SETS FOR 1 3/8 & 1 1/2" DOORS (3 STYLES)FOR 314" SPINDLE SHAPERSIN CARBIDE $325 (LIST $498); IN TANTUNG - $350(LIST $527)FOR 1 1/4" SPINDLE SHAPERSIN CARBIDE $425 (LIST $688); IN TANTUNG - $450(LIST $729)B. 6 PC. CABINET DOOR SETS (3 STYLES)FOR 112" OR 314" SPINDLE SHAPERSIN CARBIDE $225 (LIST $329); IN TANTUNG - $250(LIST $359)FOR 1 1/4" SPINDLE SHAPERSIN CARBIDE $325 (LIST $435); IN TANTUNG $350(LIST $460)C. RAISED PANEL CUTTERS (9 STYLES)FOR 1/2" OR 314" SPINDLE SHAPERSIN CARBIDE $99; IN TANTUNG $109FOR 1 1/4" SPINDLE SHAPERSIN CARBIDE $145; IN TANTUNG $155To order call 1-800-243-0713; Inquiries 606-255-5444MANNY'S WOODWORKER'S PLACE602 South Broadway, Lexington, Kentucky 40508Hours Mon.-Sat. 9-5:30IVisa, MC, Checks, add $3 for COD94 Fine Woodworking

II7511 3/8" VSR Drill 100.7514 1 /2" VSR drill 115.666 3/8" T·Handle drill 119.7556 2·Spd. rt. angle drill 185.303 Pro 7" paint remover 149.304 Pro 7" disc sander 125.305 Pro 7" disc polisher 125.320 Abrasive plane 95.367 3'14" plane 135.9118 Porta'plane kit 209.9652 Versa·plane kit 285.309 Laminate trimmer 89.310 Laminate trimmer 120.312 Offset base lam. trimmer 129.319 Tilt base lam. trimmer 144.399 Drywall cutout unit100 7/8 HP router518 3 HP mlcroprocssr, Sspd.536 1 HP speedmatlc537 1V2 HP spdmatlc,830 1 HP router890 11/2 HPPlJlMR+[ABLESpeed·BlocFinishing SanderModel 330 _Ibr 54.891 lV2 HP router, 134.555 NEW! plate joining machine 165.505 1/2 Sheet pad sander 105.352 3"x21" dustless belt sander 125.360 3"x24" dustless belt sander 195.362 4"x24" dustless belt sander 205.503 3"x24" wormdrlve belt314315·15487546764896279629752375427545sander with bag 349.41/2" Trim saw 125.7'14 " Top handle saw 105.Heavy duty bayonet saw 165.VS, var. olblt, d·handle jigsaw 134.VS, var. orbit jigsaw 134.2-5pd. TI ger saw w/case 130.Var, spd Tiger saw w/case 136.Pos. clutch screwdriver 139.TEKS Driver 119.VSR Drywall driver 109.SI(I 12 V. VSRCordlessDrill Kit2735:04 119.77 7'1, " worm drive saw 135.5825 61/2" Womn drive saw 139.5510 51/2" Trim saw 83.5790 10'14 " Circular saw 225.5865 81,4" Wonn drive circular saw 149.FREUD90·100 15 pc. router bit set 159.94·100 5 pc. router cabinet set 179.CS1 12 12 pc. carving set 109.OB·050 50 pc. comb. drill bit/bradpt. set 49.OS·306 6" dado 92.OS·308 8" dado 105.EC· 900 5 pc. door making shapercutter set 319.FB·100 1 6 pc. Forstner bit set 169.LM72M008 8"x24T rip 32.LM72M010 10"x24"T rip 36.LU73M010 10"x60"T ATB 42.LU78M008 8"x64T TCG gen. purpose 59.LU82M010 10"x60"T TCG 42.LU84MOO8 8"x40" 4&R Combination 42.LU84M011 10"x50T 4&R combination 37.LU85MOO8 8"x64T ATB fine cut-off 49.LU85M010 10"xT ATB fine cut-off 59.LU85M014 14"xlOBT ATB fine cut-off 98.LU85M015 15"xtOBT ATB fine cut-off 105.PS203 7V."x24T ATB gen. purpose 18.PS303 7V. "x40T ATB gen purpose 23.WC106 6 chisel set 34.0224·10234·10375·10379·11676-13002·13102·15397·189755880592559356012601482156226624662563/8" Magnum holeshooter1/2" Magnum holeshooter3/8" close-quarter drill1/2" close·quarter drillHole·hawg kitElectricians rt. ang. drill kitPlumbers rt. ang. drill kit3/8" VS hammer drill kitHeat gun2 hp router3"x24" dustless belt sander4"x24" dustless belt snader113 Sheet pad sander1/2 Sheet pad sander16" Electric chalnsaw2 speed bandsaw w/caseSingle speed jigsawVariable speed jigsaw2 SDeed SawzallMode' 65111196507 Var. sp. sawzall w/case 16365 7V." top handle Circular saw6377 7v." wormdrlve saw6405 8V." circular saw6539·1 Cordless screwdriver6543·1eHITACHIVSR Screwshooter6750·1 VSR Drywall driver6754·1 VSR Magnaum drywall driver6798·1 Adj. clutch screwshooter.112" PlungeRouterModel TR12 169 •F20A 3'14 " Plane w/caseTR6 Laminate trimmerTR8 v." Plunge routerCR10V VS, Var. orbit recipro sawORC10 3/8" Cordless drywall screwgun0100 3/8" 9.6 v. cordless driver/drillW6Vl ().4Q()() drywall screwgun@HITACHI•NEW! 8W' Coundd- Miter Saw 29Model C8FBFREIGHT INCLUDEDCl0FA Deluxe 10" miter saw 289.C15FB Deluxe 15" miter saw 379.'F1000A 12" Planer/6" jointer combo 1399.'CB75A Band saw 1549.'Rl00Y Dust collector 559. 'PlOOF 12" Planer 1059.'Ieft·ml&10"PortablePlaner359.Model AP10FREIGHT INCLUDEDRA200 8" portable radial arm sawL 120UK 3-518" Planer kitR500 21,4" HP plunge routerR150K 1 HP plunge router kitTR30U laminate trimmerB7075K 3"x21 " Belt sander kitS500A Finishing sander, 116 sheetTS251U 10" Miter sawTS380 14" Miter saw3/4 HPTwin TankHand·CarryAirCompressorModelAM39·HC4cordless driver/drill kitDrill, heavy duty7" Electronic sander/polisher3612BR 1/2",."C"3HP Plunge router 17h.aJcittL7"•Framers Saww/hypoid gearsModel 139 ,.,5077BLE2708.8" Table saw/carbide blade9401 4"x24" Dustless belt sander9900B 3"x21" Dustless belt sanderi;l&aw1DECKER•JHP Plunge JRouter159 , J '.Model 3303 !.;.1608Tlhp electric plunge router4023 3x21 belt sanderCall for Elu products not listed1----1275David Instruments WhiteSight Level249 . Package99.179. LP6·20109. I79. ;n.11'''n'on'I ..119.36.185.345.f§£. BlACK&DECKERTM.. 7V4"SuperSaw CatMode1 3047'()9165.1582VS VS, Var orbit jigsaw3236VS VS, Var. orlllt std. duty jigsaw1654 7V4" Builders circular saw1500 16 guage shears1942 Heavy duty heat gun3268 Std. duty heat gun3256 3V4" Power plane1600 2V2 HP, D-Handle router1604 1314 HP Router1608 1314 HP, D-Handle router90300 3V. HP Production router1609K Laminate trimmer Installes kit1609 Off set base laminate trimmer91084 3/8" Mighty Midget VSR drillanther reclpro sawPlunge RouterModel 1611Tilt base laminate trimmer195. 1832VSK VS, Var. orbit Panther 19Cipro saw195. 1530 14 auge nibbler91086 112' M rghty Midget VSR drill1158VSR 3/8" VSR drill1196VSR 3/8" HDmet II hammer drill 109.1198VSR 112" VSR hammer drill 125.11203 1 V2" Rotary hammer 409.11212VSR5I8" VSR bulldog SDS rotaryhammer11304 Brute breaker hammer11305 Demolition hammer"12720 3'x24" dustless belt sander12730 4"x24" dustless belt sander1273DVS 4"x24" VS, dustless belt7v." Builder's saw cat 112.sander7V." Worm drive saw 139.3270 3"x21" dustless belt sander12" DeWalt cont. radial1347 4V2" mini grinderarm saw879.'7770·10 10" DeWalt.·.OELTAIEI"'icont radialarm saw689.'10"DrywallScrewdriver0·4000 rpmModel SCR2E·29 5 • 1['Unlsaw11h HP *•34·761F99.HBSE75S34-782F 10" Unlsaw, w/unifence 13711.'3x21 VS Belt Sander 155EZ502 Cordless screwdriver 59' 34-783F 10" Unlsaw, w/unifence 3HPl380.'43-375F 2 Spd. wood shaper 1379.'EZ506 3/8" Cordless drill33screwdriver 120. - 150 Sawbuck ·'509.&?"..J(I?tOFSSO 1 HP plunge router 169.33-990 10" Radial arm saw11·950489 . '8" bench drill press 109.'Multi-17·900 16.5" Drill press 259.'28·283FeOilstoneModel85960·999.ADJUSTABLE CLAMP COMPANYEA. BOXl12'50 'PONY' clamp fixture 7.50 80.00'52 'PONY' clamp fixture 6.00 65.00EA. BOXl6310 6" JORGENSEN h/screw 8.35 47.60210 7" JORGENSEN h/screw 8.95 51.00#10 8" JORGENSEN h/screw 9.95 58.70#1 10" JORGENSEN h/screw 11.40 64.9512"'2 JORGENSEN h/screw 13.00 74.003712 Steel bar clamp 5.95 32.503724 24" Steel Bar 7.35 40.00-.- -. "..."..",--14" Wood band saw w/314 H Pmotor steel std 589 .•January/February 1989 95

FS Tool CorporationP.o. Box 510, 210 Eighth StreetLewiston, NY 140921-800-387-9723SVSTIAfATICContactinformationus forandmorenome of your localforauthorizedFS TooltheDealer.Over 3,000 Stock Items at Affordable Prices.Unlike other manufacturers, two commitmentshave earned us a reputationas an industry leader and wo rld-classmanufacturer;1. Our attitude: to use the finest materialsavailable, develop and use thelatest in advanced machinery, takepride in our work and care about thesafety and productivity of our customers.NEW YORK • TORONTO •2. Our product offering: to build andstock the entire ra nge of industrialwoodworking cutting tools includingsaw blades, cutters, insert tooling,disposable knives, router bits, boringbits and diamond tools.FS Tool . . . your completeindustrial woodworking cutting toolATLANTA • lOS ANGELESmanufacturer.J A PAN ESE SAW SThe :;:,onalSCLEANER, MORE ACCURATEWORK IN LESS TIMEJapanese saws are designed tocut on the pull stroke. This meansthe blades can be razor thin andthe teeth much sharper, giving youa cleaner, more accurate cut in halfthe time.LONG LIFE AND VERSATILITYThese professional carpenterssaws are manufactured from highcarbonsteel plate and have& Acton Moulding andWisnoms HardwareDiversified Equipment Supply Lehman HardwareOlde Milt Cabinet ShoppeSupply, Inc.Corner 151 & DelawareRd'3 Box 547·A11223 Blair Road4779 Kidron Rd.6140 County Ad. 17 San Mateo, CA 94401Camp Belly Washington Ad.Charlotte, NC 28212Helena, Al 35080 415·3'8-1 08251. &Kldron, OH 44636York, PA 1740270'-5'5-5198216-857·5'41717-755·888'1-800-228-0474Schlosser Tool & Machinery205-663·0130Woodworking Machinery301 Bryant Moll Master Power Tools Cherokee lumber CompanySupplies1410 Sevierville PikeDenver, CO 802195228 Market StreetAU Wholesale Tool and294 Beaty Dr.Maryville, TN 37802303·922·8244SupplyBelmont, NC 28012Youngstown, OH 44512&615-982·825017309 Roscoe Boulevard Brian's Tool Sales70'-827·3190216·783·2130Northridge, CA 913259 Moody RoadWoodWotld818-996-1800 En1ield,ffo!scr 06082Quality Saw Tool, Inc. bI; Fi

a professional production qualitybit makes better edge and endgrain joints by increasingthe glue surface areaI deal for joining particle andcomposition board, as wellas solid woodMakes super strong mitre t.joints•Replaces mortise and tenon inmany casesQuick andaccurateset upsJoins 1/2" -Three 3-wing carbidecutters on arbor3/8" Vllllbil Splld No. 2647•Cordi ... Drill KIIHigh Torqu •. Am"lbl.HI,h IDrqltl ",rfor llncllor hlgh-puMhKllwtty durlngICrIMrlvlnt ·ppliceIlDnl.Speed continuously variablefrom 0-800 RPMBall bearing construction lorefliciency and long lile1942 Cordless Drill with 98003 Energy Pack.Phillips Bit#2647 +ActualSizeBit #1611/2"Shank• The 3 cuttershave '/2" boreand can beused on ashaper with• 1f2" spindle.AnTo order by MasterCard or Visa Toll Free7 Day-24 Hour Order Service Call1-800-533-9298 or send check to :MLCS, Ltd., P.O. Box 4053F4, Rydal, PA 19046Lis1259.29 Exira Energy PackSplclal 129.00 compille ppd.INDUSTRIAL•HI.VY Duty Power Toolsdrllll",.r.rlrint acr,wl.Very•powerful l0Q-watt DCmolor and 9.6-voll Energy PackBall•additionalcutter can alsobe added to thearbor for use ona routerIndividualcutterscost $20.00 eachOrder H161-C forcutter only3/8" Vllllbil Splld ConUm Scrudrlll®Adlulllbil Clulch Smwdrlvar/orlll Kit No. 2687HII! Torqu •. A"",lbl.•"I, I"'" ,.rforlftlllCllor ",,-,"""'I'lty w"'n+and sleeve bearing constructionfor efficiency and long lifeSmooth speed control in variablespeed range Irom o-aoo RPM1982 Scrudrill with 98003 Energy Pack. Phillips Bit#2687Lis1267.29 Exira Energy Packij Both No. 2647 & No. 26B7 Incl':" n. Following'I01 Special 139.00 completl ppd. +Heavy-duly Sleel98038 I-hour Fast Charger Carrymg Case Elttra Energy Pack+PERFECT PARTNERS FOR YOUR CORDLESS DRILL13-Piece Bullel'· Pliol Polnl'· Bilek Oxldl-Coilid Drill BII SII#14753•Idlll lor Cordll" Drill UnlllFinally,•the perlect drill bit lorcordless drill units.EfficientConlains 1 /16'. 5/64'. 3/32'. 7164'.1/8. 9/64. 5/32. 11/64. 3116. 13/64.7132. 15/64, 114. bits in metal index case.Bullet'· bitdesign yields more hotesper charge - up to 3limes more hotes per charge.*t4753 LIST 34.68SPECIAL 19.99 ppd.Otlltr SlllAWllllbl1IndlvldUll lullll'· Drllll AWllllbl1PHILIPPS aNi J Supplia 2525BROS. SUPPLY, INC.KENSINGTON AVE. · BUFFALO. N.Y. 14226 . 716/839-4800CALL TOLL FREE 1-800/544-4466FAX: -IN N.Y.S. 1-800/238-4466716-839-4051THE UNI KIT #96000Sturdy PIIIUc Slor,,1 luCont.'nl",: 26 1" .. rt 1111(Phillips 0. 1.2.3; Siolled4-5. 6-8. 8'10. 10-12. 12'14; Square Recess O.1. 2.3; Torx" 10. 15. 20. 25.30. 40; ClulCh 118. 5/32;Sockel Head 5/64. 3/32.118. 5132. 3/16)I POWIr hckel AIII,IIr1 MI,Mllc III NOlr1 MI,Mllc·Tlp ScrIMrIVlrw" SI", .. H.",I.SPECIAL $25.00 ppd,MASTERCARD •CICCHECK MONEY DRORDERVISASTATEMENT OF OWNERSHIP, MANAGEMENTAND CIRCUlATION(Required by 39 U.S.c. 3685)lao Title: Fine Woodworking. lb_ Publication no. 036 t 3453 2. Dare of filing: September29, 1988. 3. Frequency of issue: Bimonthly. 3a. No. of issues published annually: 6. 3b.Annual subscription price: S22.00. 4. Location of office of public.,ion: 63 So. Main treet,PO Box 355, Newtown, CT 06470. 5. Location of the headquarters of the publishers: 63So. Main Street, PO Box 355, Newtown, CT 06470. 6_ Publisher: Paul Roman, 63 O. MainStreet, PO Box 355, Newtown, CT 06470; Managing editor: Dick Burrows, 63 So. MainStreet, PO Box 355, Newtown, CT 06470. 7. Owner: The Taunton Press, Inc., 63 So. MainStreet, PO Box 355, Newtown, CT 06470. Stockholders owning or holding I percent ormore of the lotal amount of stock: Pau l Roman, 63 So. Main Street, PO Box 355, Newtown,CT 06470; Janice A. Roman, 63 So. Main Street, PO Box 355, ewtown, CT 06470. 8_Known bondholders, mortgagees and other security holders owning or holding L percentor morc of total amounr of bonds, mortgages or other securities: None. 9. Nor applicable.10. Extent and nature of circulation:A. Total no. copies(nel press run) ....................... ..B. Paid aneVor requestedcirculationI. Sales throughdealers andcarriers, streetvendors andcounter sales ...2. Mail subscription ..C. Total paid aneVorrequested circulation ..D. Free distribution bymail, carrier or othermeans, samples,complimentary, andother free copies ..................... .E_ Total distribution ............................. .F. Copies not distributedI. Office use, left over,11. Iunaccounted,spoiled afterprinting ..2. Return fromnews agents.G. Total(sum of E, FI and 2) ..rd., CEI lvfl1EAverage no. copieseach issue duringpreceding12 monthsActual no. copiesof single issuepublished nearestto filing dateSept_ 29, 1988314,581 317,80058,740 60,975227,376 228,356286, 116 289,3312,895 1,380289,01 1 290,7 116,276 6,76419,294 20,325314,58t 317,800certify that the statements made by me above are correct and complete. Signature:Paul Roman, Publisher.Fre Freight . . > K'-:

... !Ij*;::""' eMore NTS 14-5614" Ha ndsawe Blade size up to3/4" wide1Cast ironconstructionel80 lbs.$259.00e3A-hp(ships freight collect)6" Long SedL -3,4Jointerhp. IlOv- Fence tilts 45"both ways .- Fully adjustableel90 lbs.---------------------,A BETTER SCREW.Square drive Assortment or bulk. Ideal forWon't cam out.hardwoods.Less slippage eliminateschewed-up heads.Self starting insoft wood.For catalog & full information call or write. Add $3.00 for postage andhandling and we will include samples with a power driver bit.SQUAREDRIVE SCREW co.10440 Brunswick Circle Dept FW, Bloomington, MN 55438 1-800-544-9460L _____________________ FROM RELIABLE GRINDING• ALLOWSYOURYOUROUTERTO EASILYINTO• ATRANSFORMSHAPERI,/( AIRCRAFT GRADE PRECISION MACHINEDALUMINUMFOR ACCURACYHARDWARE FOR FLEXIBLE VACUUMROUTER MOUNTING DUCT#12850 STK. $69.95ms for '89TS 15-6 PlanerellOv(owner convertibleto 220v)-Optional stand &Dust CollectorAVailable-IS" x 6" BoardCapacity$795.00(ships freight collect)$1195.00(ships freight collect)20" Planerhp, • 2 1I0vIndustrialDust CollectorTwo 4" inlets• 1185 CFMe 12S lb$.$499."" $339'(ShipsViilue • 00freight ,ollect)r----------------1 Hour Video lofal..shopeI Brochure POo• .I ... ________ YESI Please send me urrree 24________ _pag catalogo YESI Please send me your City1 hour VIdeo broer-we( Enclose 10 refund ledeposit - SpeC Ify90tal VHS 01 State/ZipPhoneName ________ _Address _______Box 2542 e eville. SC 29616World1s Best Machinery ValueSimplyNot thetheCheapest.Most for YourNotMoneythe Most-Guaranteed.Expensive10" Table Saw V.S. Lathe Slot Mortiser1-HP Band Saw Duplicator Combinations3-Speed Shaper Jointer/Planer Accessories- - - Blue Springs. MD 6401 51 800 USA KITY • 2315 Keystone DriveDistributedIn the US.Exclusively byARRISACHINERV1/2" SHANK 12 PIECECARBIDE ROUTERBIT SET WITH SOLIDBLACK WALNUT WOOD CASECONTACT US OR YOUR DEALER FOR A FREECATALOG OF BITS. CUTTERS. & EQUIPMENT.VCR TAPES AVAILABLE.#202·5120CALL FOR THE PARTICIPATINGDEALER NEAREST YOU800·722·5447January/February 1989 99

CLASSIFIEDThe ClASSIFIED rate is S5.25 per word, minimum ad 15 words. All payments mustaccompany orders; all are noncommissionable. Tile WOOD & TOOL EXCHANGE andSITIJATIONS WANTED are for private use by individuals only; the rate is S7.25 per line.Minimum 3 lines, maximum 6 lines, limit 2 insertions per year. DISPlAY ClASSIFIEDrates on request. Send to: Fine Woodworking, Advertising Dept., Box 355, Newtown,CT 06470. Deadline for the March/April issue is December 27.Help WantedCUSTOM CABINET SHOP doing eA1Temelyhigh-end worl< looking for expeIienoedmaker. Salruy rommensurate with experience.cabinetPari< Slope, Brooklyn, NY. (718) 237-2592.FURNITIJRE AND CABINET SHOP IN NYC,looking for talented woodworker/installer.Partnership potential. High salary, goodbenefits, very good future. Call Gregory(718) 729-7734.11iE HYMILLER SCHOOL OF FINE WOODFINlSHING AND HAND WOODWORKINGoffers courses in FINE FINISHING & REPAIRone-week intensive in-shop training. Willgive you all the necessary knowledge to stallyour own business. And HAND JOINERY -one-week intensive training. Send $5 forcomplete information package. 3rd-generationmaster craftsman. 912 Lakeshire Dr.,Fairfield Glade, TN 38555 (615) 484-9309.FURNlTIJRE FINISHER. $8-$14/hour, benefits,bonuses, pay rate dependent on qualifications.Shrawder Restorations, Inc.,Phoenixville, PA. (215) 935-8737.APPRENTICE VIOLIN MAKERS and reStorers:Positions available with finest rare violinshop in the country. Good salary andbenefits, excellent training program. ProfeSSionalwoodworking experience required.Must be willing and able to learn.Bein & Fushi Inc., 410 S. Michigan Ave.,Chicago, IL 60605.RESTORATION CABINETMAKER, 18th-centuryfumirure, also fumiruremaker's apprenticewith strong interest in woodtuming, willtrain both positions. Box 663, ?-doli, PA 19301.WOODWORKER/RESTORER - PremierWashington studio. 1101 Duke, Alexandria,VA 22314 (703) 548-4604CUSTOM WOODSHOP SEEKS ANTIQUERESTORATlONlST. Interesting work, goodpay, benefits for responsible, experiencedcraftsman. Dover, NJ. (201) 366-6080.SKILLED WOODWORKERS AND FINISH­ERS needed fo r established high-end customcontract furniture manufacturer. Competitivewages, comprehensive benefits,free shop use. Fully-equipped 14,000 sq. n.facility. Affordable housing, good schools,safe clean environment, 4-season activities.EOE. Women and minorities encouragedto apply. Wall/Goldfinger, Inc., 7 BelknapSt., Northfiled, VT 05663. (802) 485-626l.ACCOMPUSHED CABINETMAKER/FURNl­TIJRE BUILDER needed in downtown Manhallancustom shop. Broome St. Woodworking,Inc. (212) 431-9175.FURNITIJRE RESTORER: English, fo rmallytrained, antique fu rniture restorer/conservatorseeks skilled craftsmen. Museumqualityrestorations done in our small NJstudio. Salary commensurate with experience.(609) 298-0716.MASTER FINISHER - Department supervisor.Production woodworking plant locatedcentral Kansas. Minimum 10 years experience.Salary 31K to 41 K, benefits. Detailedresume, photos of recent work to PO Box1007, Hutchinson, KS 67504.Well-known French maker ofspecialty wood finishing suppliesis looking for salesman to takeline to antique shows and woodworkingshows nationwide.Arrangements are negotiable.Contact G. W. Chinnat 212-807- 1155.Busn. OpportunitiesINQUIRIES DEALER INVITED ..r:::::l-!.. I.tJCjWe aft a direct Importer stocklllc allIt, hand tools needed for a woodworldnCtoel stoft or spedalty department.Resalt onl, -no endasef .ales..okrt Larson COmpany, Inc.n Dorman AvenaeSan FrandseD, CA 94114(415) 821-l011Situations WantedEnglish craftsman experienoed in rele-dtheringdesk tops etc., and gold tooling work seeksemploynlem in U.SA, own tools. Please write,G. Curd, 43 Talbot Road, Sudbury, Suffolk, U.KInstruction"SUCCESSRJL HARDWOOD MARKETING"Audio cassene program guaranteed to addprofitability to retail hardwood sales. 532 (539Canadian). Write: Educational Marketing Con·suhants, 625 2nd Street, Helena, MT 59601.LEARN TO TIJRN. Two-day concentratedcourse in all aspects of lathe. Workshop locatedin converted 18th-century springhouse. Individualized instruction. Readingand Lancaster nearby. Send for free bro·chure. james L. Cox Woodworking School,R.D. 2, Box 126, Honey Brook, PA 19344.(215) 273-3840.APPRENTICESHIP IN PROFESSIONAL FINEFURNITIJRE MAKING with the prominentjeffrey Greene Design Studio--realisticpreparation for an uncompromisingly vitalcareer as an independent artisan designing,making, marketing the very finest furniturein solid walnut/rosewoods. Tuition.New Hope, PA. (215) 862-5530. Call, don'twrite. Monday thru Friday, 9:30·4:00.CRAFTS CLASSES YEAR· ROUND, woodworking,woodcarving, woodturning. Callor write Campbell Folk School, Brasstown,NC 28902. (704) 837-2775 or 837-7329.GENOA is a unique professional educationalprogram offering studies in the fineart of fu rnituremaking with emphasis ondesign, techniques, structures, and materials.Students enjoy a close working relationshipwith studio artists. GENOA, Box250, Academy St., Genoa, NY 13017. (315)497-3000 or 889-729l.HAVE YOU EVER WANTED TO BUILD AWOODEN BOAl? Come to Maine and takeour six week course. Rockport Apprentice·shop, Box 539F, Sea St., Rockport, ME04856. (207) 236·6071.APPRENTICE WITH MASTER CRAFfSMEN.Unique in·shop experience. Woodworkingand other crafts. Flexible tuition. BaulinesCransman's Guild-f\'(!, Schoonmaker POint,Sausalito, CA 94965. (415) 331·8520.LEARN FINE FURNITUREMAKING withmaster craftsmen. Meml er of British CraftsCouncil Index. Long established teachingworkshop. Situated in beautiful, historic S.Devon, London 3 hours. Apply for prospec·tus to Christopher Faulkner, AshridgeWorkshops, Dartington, Totnes, DevonTQ9 6EW England.LEARN WOODEN BOATBUILOING ANDDESIGN. Two full-time residential progr

FI:\ISHI:\G SLPPLIESIf you have been looking for professionalfinishing supplies, you willappreciate our new catalog. Selectfrom a complete line of OFillersOSealers OTouch up itemsOLacquers OVarnishes OJapanColors OShellacs OFrench PolishOAniline Dyes OGold Leaf OGumsand Resins OAbrasives OBrushesOBrass Hardware & more.Wood Finishing Supply Co., Inc.To order your catalog, scnd $2.50 to:Dept.126766Mary DriveMacedon, NY 14502COMPLETE LINE OF FINISHING SUPPLIESincluding natural

,PENNSYLVANlA HARDWOODS. J2 speciesof quality KD. Thicknesses fr m Yo-in. lO 2-in.Priced right. No minimums. Free cmalog.Croffwood Mills, lill #1, Box 14F, Driftwood,PA 15832GILMER503-274-1271 WOOD CO_Rare & Exotic Woods,in logs, planks & squaresover 50 species in stock• also cutlery, turning &musical instrument woods221 1 NW 51. Helens Ad., Portland, OA 97210CaJibnIa \\bodWlriln-ResImnYour source for: exotic veneers,hardw oods, inlays, tools, hardware,moldings, craft lJooks, finishes, cane,etc. EXclusive supplier of CooatantIDes01 New Yeri, quality products.5318 W_ ermtJlltlnes 1441h St., \\bod , Products, CA. 90260 Inc_(LA. _) 21S-&tS-9484-r. . TIGEA and BIADSEYE: Maple Specialistand other NativeFigured Hardwoods 'AuuI ."c'4YourCHAIS S. POND921-A Lancaster Pike, Quarryville, PA 17566(7171 284-5030ATIENTIONFLORIDA WOODWORKERSVENEER*HIGHe5TQUALllY* LARGE SELECTION*fULLLENGTH"Let us show* LOWESTyou whyPRICESAmerica-s fastest growing we're Northveneer supplier."TAlLORWHOLI:SALr:1175 Write IBig Tree Road. tast Aurora.(716) 6-o206 N.Y. 14052UNICORN_ ..UNIVERSAL WOODS ltdOVER 90 SPECIES IN OUR LARGEINVENTORY OF QUALITY MATERIALEXOTICS - DOMESTICS - MILL WORKVENEER-MAIL ORDER-FREE CATALOG4190 Steeles Ave. West. WoodbridgeOntario Canada L4L 3S8CALL US AT (416) 8S1 2308•Wheels . SpindlesBalls. Shaker pegs · And more!TOY. ( FURNITURE, CRAn & GAME, _.. KnobsDJIC.. If) . 'fllWSJnce\YOm19211 s.rtdP.II.GIDlJ'CT$S1.OO b, C •• log.P.O. Box 00.8246'FW, Northfield, Ill . -60093- (312)'446-5200WESTERN PENNSYLVANIAWOODWORKERS50 Domestic & Imponed WoodsVeneers • Finishes • Mouldings • HardwareCarving Stock • Inlays & BandingsPlans • Books • Magazines • Quality ToolsCall or Visit Our StoreWOODCRAFTERS' SUPPLY7703 Peny Hwy. (At. 19)Pittsburgh, Pa. 15237 (412) 367-4330FREE CATALOGLowest prices on a full-line of wood workingsupplies. Craft, hobby & toy parts. Superbquality, smooth-ready to finish. Customimprinting designs available.The WOOD SHOP4619 Vanessa Lane DepJ. 8 Erie, PA 16506SUPCASES FOR YOUR BACK ISSUES. Boundin dark blue and embossed in gold, lese durablecases will prOlecl your back issues ofFine IVooc!wOl'killg mld help you lO keep orderon your bookshelf(or in your shop). Eachcase holels at least 6 issues of le magazine-­more of our earlier, thinner issues. TIle cost is87.95 e'dch, $21.95 I' 3, 39.95 for 6. Pleaseadd 1.00 for p mld h, outside le U.s., add2.50 each (U.S. currency only please). PA residentsadd 6% sales laX. JESSE JONES LNDUS­TRIES, Dept. FWW, 499 E. Erie Ave., Philadelphia,PA 19134. Charge orders: Min. S1 5.00 callloll free (800) 972- 19'14. 7 Days, 24 hours.WOOD & TOOL EXCHANGELimited to use by individuals onlyFor Sale300 bd./ft. exolic hardwood planks, '/,-inCocobolo, ',I., Crislobal, ',I., Guapinol, all for$1000 OBO, Gulfporl, FL. (813) 323- 1 348Inca 10-in. lablesaw, sliding rabie, 59-in.rails, I';' HP, Lenon device. Hardly used.Over $2,000 value, asking $1,500. M. Nizioi,11 Cooper Dr., Apabchin, NY 13732. (607)625-5072.Solstrum 8·sl.mion carving machine withhundreds of patlerns. 32-in. Cresem bandsaw.Tom Kult (712) 464-8065. u,ke City, LARed oak lumber - 6/4 lhickness and some 814, random width and grading; air·dried inshed 4 years. Slickered, ends paimed. Approx10,000 ft . available. Call (601) 226-0001 or wrile j.c. Goudelock, 965 AventDr., Ste. 105, Grenada, MS 38901.Workbench, left-handed, like p.40, FW\'U #4.S750 firm. Zane Brill, 4605 S. MaLanzas Ave.,Tampa, FL 33611. (813) 83J-3331.Maple bench screw, complete, shaker stylel%-in. by 21-in., "V" threads $45. Olhersavailable. Tom B'mch, 9611 Ollewell Road,Edmonton, AB, Canada T6B 2E3.Inca IO'/. -in. jointer/planer, moclel 550, 2HP-22Ov, extra kn ives, slllnd, exc. cond., $1,100.G. Curry, Union, ME 04862. (207) 785-4633.16-in. joiner, $1,400; J-in. shaper, $1,100;Sperber 34-in. chainsaw mill, $1,100; Belsaw12-in. planer, $650; Makilll res"w wlreal 2HPmOlor, $900; 20-in. Powermalic woocVmellilbanclsaw, $1,800; Rockwell 18-in. planer wigrinder, 2,000. Kerfool (301) 939-4667.Powermmic Model 45 gapbed lalhe. Likenewcondilion, $845. PhOlOS and spec sheet.Geltysburg, PA. (717) 642-8160.80 Belsaw knives. Extensive colleclion of Vic­LOrian patlern knives available indiVidually oras a set. Priced at less lhatl 1', COSt, $2,200.Conlllcl George Crane, Box 2987, Durango,CO 81433 (303) 259-5915.Dan Am stile-and-rail interior door cutter set,5300. FesLO universal profiling machine (forbox jOints, or single end lennoner) $5,000.ConlllCl George C'1I1le" Box 2987, Durango,CO 81433. (303) 259-59 15.I CA; llIblesaw #259, deluxe wilh mo,tising,$950 joiner/phmer #510, 51,150. Banclsaw#710, $ 1,150, or S3,000 for the complete set.E. Gulacsy, 52 Pine Hill Dr., Alfred, NY 14802.Wanted to BuyWanted: Disston Abraders, nos; 401C, 402C,400F, 401F, 402F, 403F, and 404F. jmnes CReeder, 702 E. ummel', PaxLOn, IL 60957.(217) 379-2251.( TRANSPOWER ) A COMMITMENT TO EXCELLENCE • ORDER TOLL FREE 1·800·654·7702IS" AUTO PLANER3HP 1 PH motor.IS" max cut width.1/8"·6" cut range.3/16" max cut depth.2 feeders. 20 FPM.3 pc cutter head,15300 cuts.Milled table 20"xI5"Weight 520 Ibs.12" AUTO PLANERSealed ball bearing.2HP, 115V. motor.12.5" max cut width.0.2"·6" cut range.I/S" max cut depth.2 feeders, 26 FMP.16000 cuts. 8000 RPM.Stand height 2S"Portable 65 Ibs.3HP SHAPER1", 3/4" & 1/2" spindle,3 HP reversible speed,9000/12000 RPM.Router bit chuck.Side & top hold-down.Steel (ence& dovetailedmiter gauge.Dead collar (orirregular surface.20"x20" milled table.2·1/2" spindle travel.Weight 395 Ibs.3/4 bore 1/2bushingMULTI·CUTTER SET$169 Your Choice21 Cabinet SetSALE $645.00 ONLYFree standSALE $328.00 ONLYINDUSTRIAL CARBIDE SHAPER CUTTERS'I. bore 3 WING CUTTERSSALE $645.00 ONLY$45$29 Your Choice Your Choice$ 29 Your Choice 'I. bore 'j: bushing'j:bushing'• PANEL RAISING22 Cove Bead$139 Your Choice;,-:;::;''i" IJJ (J] E Fl1J LJl ;";V:;-;:hi" " ", . I311: ::4"(J]"' j , ---.u -=340 5' Face1-1/2" 306 I" 301 1"C:;:: : ;::32803/4" 323 Round 333 Door 337 Lock Itre ::::L-=J23 Concave Set:! :::: :: ; :: Lfl UI.L] £I U 1]. fTr D£ nJ 336Bevel 332 Sash 331 Sash 317 Round 320 Cove 329 0gee 335 Vertical LW 24::: ;:: :: ;:: U D C [J] 41 =---3283 1/2" 323 0gee 324 Cove 319 Drawer 325 Round 321 Glue 330 Vee G327 Ogee Bead344 ConvexTRANSPOWER • (714) 794-0780 .322 Paseo Sunrisa . Walnut, CA 91789Ogee Set:, ""Li25 Convex Set102 Fine Woodworking

T\UNTONPUBliCATIONS... by fellow endwsiastsMgR cabinets"""Paul LevineIntroducing a foolproof system formaking Eurostyle kitchen cabinets.No matter what the size of your shop or level of yourexpertise, you ean now make Eurostyle kitchen cabines thatare better-and less expensive-than anything you can buy.Paul Levine's new book and video will show you how. Adaptedfrom the 32mm system used in Germany, Levine's methoddoesn't call for elaborate tools, special machines or finickyjoinery. All you need are a table saw, a router and a few handtools.These Eurostyle cabinets are designed to fit the needs andstyle of any kitchen. Strong enough to take whatever abuseyou and your family dish out, they share features with someof todais most attractive, high-quality furniture:• dovetailed hardwood drawers that slide all the way outwithout drooping• doors that close flush and swing completelyopen on hidden hingesfully adjustable shelvescolorful laminated surfaces that are easy to clean• warm wood trim that ages gracefullyThe video is keyed to the book, with page references on thescreen. Together, the book and video offer a complete way tolearn this foolproof system.Boolc Sof'tcolfer, color, 192 pages, 100 illustrations, $1 7.95#67Video: 60 minutes, $29.95 (Rentfli $14. 95)#633 (VHS). #634 (Beta)ave 16% on the set: $3 9. 95#A 100 (VHS). #A101 (Beta)Learn woodworlring from theinside out.If you're like most woodworkers, you're likely to regard fi.xingold or broken furniture as a tedious chore. But in reality,repairing and refinishing furniture represents the height ofour craft. After all, it can require every skill originally used tomake many of the fine pieces that have deteriorated with ageor have been mined by wrong-headed repairs.In a little more than two hours, these two video workshopswill teach you more about wood, furniture construction, periodstyles, adhesives, finishing materials and decorative tricksthan you ever dreamed possible. FleXller cuts through a forest ofrepairing and refinishing myths, giving you a full understandingof what we should-and shouldn't-do to furniture.In Rep:tiriJ1g Funu ture you'll see:how practical hide glue really iswhy furniture can never be fixed "for the last time"• how to build out a loose joint with a hand plane1987 A VC Award Winner for Best Craft VideoAnd in Remus/ung Funu ture you'll get the rest of the story:how to revive a finish without stripping it• how to change the color of stain after it's on the wood• how to recognize different finishes and usethem appropriately1988 A VC Alwlrd Winner for Best Home improvement VideoRepairing Ftmuture widl Bob F/exner: 70 minutes, $29. 95(Rental: ;;'14.95), #61 9 (VHS). #620 (Beta)Remusmng Ftmuture with Bob FIe_'mer: 60 minutes, $29. 95(Rental: $14.95), #623 (HiS). #624 (Beta)January/February 1989 103

DON'T WORRYl34-782 3hp unisaw w/Bies34-763 3hp 1 ph unisaw34-761 1-1I2hp lph unisaw43-375 3hp 1 ph shaper34-897 DELTA unifence_A::C35-606 9X40 ATB&R35-61 1 10X18 FT(rip)35-617 10X50 ATB&R35-593 8X48 TC&F35-616 10X60 ATB35-619 10X60 TC&F35-625 10X80 TC&F35-550 6' CT Dado set35-560 8' CT Dado setV.S. Plunge Router -...;j='"$195R500 2-1/4hp plunge routerR501 2-1/4hp plunge router 158BE321 3X21 VS elect belt sander 118JP-155 6-1/8' joint planer 348AP1010" PortablePlaner$338RA200 8-114' port radial saw 238&'TS200 8-1/4' comp. miter saw 148TS251 U 10' miter saw w/FREEaccessory kit and ct blade 198BDI 025VRK 3/8' VSR cdls kit 118BS360NR12-1/2" ResawBandsaw$1299BS50N 9' resaw band saw , 899AHl 15 12-1/2' planer/6' jointer 1499AP 125 12-1/2' planer wlknives 1199Finish Nailer$268SN-4 6d-16d frame nailer 478SFN-11 1-1/2 to 2-112 finish nailer 398M-1I 1-3/8' to 2' HD stapler 348LS-2 5/8' to I' brad tacker 258LS-4 1'to 1-114' brad tacker 268PW roofing stapler 258Nails and Priced to Sell!L3507M 3/4hplph 1725 TEFC 110L3506 3/4hplph 3450 TEFC 115L3510M lhplph 1725 TEFC 125L3509M lhplph 3540 TEFC 140L3514M 1-1l2hplph 1725 TEFC 165L3513M l-ll2hplph 3450 TEFC 185L3516TM 2hplph 1725 TEFC 180L3515M 2hplph 3450 220N12B-l coil roofing nailerN80S-1 16d stick nailerN60FN 1-1/4' to 2-1/2' fin. nailerT28-5 1-3/16' finish staplerT31-1 5/8' to I' brad tackerCWC100 lhp 4gal. compressorNails and Staples Priced to Sell!Resaw Bandsaw$1 599Fl000A planer/jointerC15FB15' Miter sawCl0FA 10' Miter sawTR-12 3hp plunge routerC8FB compound miter sawrr= .... -?!Iii,;:;;r3337 2-1/4hp plunge router 2493304 1 hp elec. plunge router 1893303 1 hp plunge router 1793375 3-1/8' universal planer 1993380 jointerlspliner 3294023 3X21 belt sander 1994024 3X21 elect VS belt sander 2094029 4X24 belt sander 32940900 1 hp router acces. kit 139JBS-14MW 14'meVwd band sawJBS-18 18' wood band sawDC-610 lhp dust collectorl DC-1182 2hp dust collectorJWp-15H 15' planer w/standJJ-6 6' long·bed jointerJJ-8 8' long·bed jointerJTS-l0 10' l-112hp table sawJPF-3-1 1hplph 3 wheel feederJWS-34-1 2hp spindle shaperWSS-3-1 3hp spindle shaperOVS-l0 oscill. spindle sanderJWB-25P 25' wide belt sanderJWB-37P 37' wide belt sanderOrders over $2000 Prepaid Freight1-800-358-3096CAll TOll FREE FOR MIKE OR TOMBox 1716. Grand Forks, NO • 58206Send $2 ,00 For 120 Page Catalog1582VS barrel grip jig1632VSK VS recip saw w/case1654 7-1/4' saw w/ct blade 9911212VSR 3/4' rotary hammer kit 1993258 3-1/4' poweripane 1391611_3HPPlunge Router$1 95, tI1604 1-3/4 HP router 1191606 1-314 HP D-handle router 1491609K 3 in 1 trimmer kit 169920VSRK 9.6V cordless w/case 129921VSRK 9.6V cordless w/clutch 139JS100 «JointingSystemWith Case $1 54EC-900 5pc shaper cabinet set 27994-100 5pc router cabinet set 15991-100 13pc 1/2' router bit set 19992-10026pc router bit set 29990-100 15pc router bit set 14988-100 9pc router bit set 99FB-l00 16pc Forstner bit set 1496093DW 3/8 VSR cd Is drill kit 1383612BR 3hp rd base router 199LS1020 10' miter saw 249410 dust collector 2692708W 8-1/4' table saw w/ct blade279LS1430 14' miter saw 4292040 15-5/8' planer 13992030N 12' planer/6' jointer 1499555Plate JOint rWith Case$159-Q352 3X21 sander w/bag 119360 3X24 sander w/bag 179362 4X24 sander w/bag 189503 3X24 wormdrive w/bag 335504 3X24 wormdrive sander 325330 Speed bloc finish sander 59505 1/2 sheet finish sander 1095 1p speed.RouterIiiIiiI$31 9 -- \\jn690 1-1/2hp router 119691 1-1/2hp D-handle router 129537 1-112hp Speedmatic router 199309 laminate trimmer 89696 router shaper table 109695 router table w/router 1996" Saw Boss$959315-1 7-1/4' saw w/case,ct blade1299617 7-1/4' saw w/case,ct blade 1299627 sp tiger saw w/case 1299647 NEW tiger cub w/case 1197548 VS top-handle jig saw 1197648 VS barrel grip jig saw 11991 18 Porta-plane kit w/ct cutter 1895116 NEW Omnl-Jig9629V.S. Tiger SawWith Case$135S"Handscrew .! ,$1 1 . .' :1 10' handscrew1299 2 12' handscrew 143 14' handscrew 184 16' handscrew 232/0 7' handscrew 93/0 6' handscrew 84/0 5' handscrew 87 5/0 4' handscrew 89 7224 24' I-Bar clamp 1616 7236 36' I-Bar clamp· '.1710 7248 48' I·Bar clamp 1925 7260 60' I·Bar clamp 2119 3524 24' Alum. bar clamp 1640 3536 36' Alum. bar clamp 173548 48' Alum. bar clamp 19TOOL CRIB OF THE NORTH SINCE 1948

PmeWqqQWorkingIndex to issues 66 through 73 'This alphabetized index to Fine Woodworking covers departments and articles published between September 1987 and December1988. We will publish an index once each year in our January issue. These indexes supplement, but do not replace, our cumulativeindexes to issues 1 through 50 and to issues 51 through 65, which were published as separate booklets and are still available forpurchase. Each reference consists of an issue number, a colon and page numbers for that issue. A hyphen between the page numbersmeans the discussion of the topic is unbroken on the named page; commas between page numbers indicate an intermittent discussion.The index to issues 66 through 73 and the previOUS booklets were prepared by Harriet Hodges of New Castle, Va.AAbrasive pads, for finish rub· out, 66:47, 72:63Acetone, eye danger from, 72:7 1· 72Accuride drawer slides, source for, 68:39,72:83Adirondack furniture:about, 66:38-39, 43See also Rustic furniture.AEG:belt sander HBSE75S, reviewed, 69:72, 75drill EZ·506, reViewed, 72:53, 54, 55·56AGET Manufacturing Co., dust collectors,reviewed, 67:74, 75Aircraft, cabinetry for, 68:78·80Albertson, jon, match joinery by, 67: 130Alcohol, forms of, 71:58Alley, jon, teaches, 73: 130Almond (fumus dulcis), drying of, 71:14Aluminum channel, about, 70: 18 (addenda,72:20)Ambasz, Emilio, Deyan Sudjic, and HilaryMore, International Design Yearbook Two,The, reViewed, 67: 1 22American Association of Woodturners,conventions of, 68: 116· 18American CraJt, publishes Guide, 67: 128American Craft Enterprises, wholesaJe showsof, 70:48American Crafts Council, Young Americanscompetition, 68: I 18Anderson Ranch Arts Center (CO), 1988seminar at, 70: 108Angelique. See Basralocus.Angles:right, with trammel, 70:78· 79for staves, table of, 70: 16Apple (Malus spp.), mentioned, 69:89Apricot (Pnlnus anneniaca), mentioned,69:89Arts and Crafts Style, at Timberline Lodge,66:1 14-16Ash, black (Fraxlnus nlgm), for baskets, 67:89Ash, white (Fraxinus cmzericafltl):bending, 67:18identification of, 73:77for rustic furniture, 66:40Aspell, joseph, chair by, 68: 120Augers. See Bits. Hollow augers.Augustana College, classes of, 69:87Automotive rubbing compound, on finishes,72:63, 64Azobe. See Ekki.BBaCigalupi, jim, chair by, 68: 120Balusters, turning, 68:48· 51Bandsaw lumbermills, hard woods with, 68: 14Bandsaws:bimetal blades with, cautions fo r, 73:20blades for, 67:6dovetails on, with setless blade, 68:57duplicates on, jig for, 66:8dust· collectors for, 67:72, 69: 10metal· cutting on, 68:46miter jig fo r, 68: I 0rehabilitation of, 69: 114·16, 73:6speed convertor for, 66:4·6stave· angle table for, 70: 16veneer on, fence setup for, 71:8wheel balancing for, 71:10See also Rip fences.Banks, bulldog, 66: 1 18· 20Barnsley, Edward, tribute to, 69: 1 18Baseball bats, steady rest for, 66: 12Baskets, weaving, 67:89,91Basralocus (Dicorynia guianensis), forbridges, 67: 128Basswood (Tilia americana), identification of,73:76Bay wood (Umbellularla califomlca),qualities of, 72:4, 73:6Beardsley, Matthew, lamp by, 71:80Bearings, discussed, 67:6Beaute wax, tested, 70:67·68Beds:headboard cracks in, correcting, 73: 14rustiC, 66:4 1upholstered day·, 68:52-53Behlen Bros., waxes, tested, 70:67·68Belt sanders:brands of, compared, 69:70· 75as stationary sanders, 69:73, 74, 75Beiter, john Henry, furniture by, 71 :65·67Benches:Arts and Crafts Style, 66: 1 14Chinese·motif, 73:52kachina, 72:90slantable, 73:43Southwestern, 72:93Benchstones:end-grain stone holders for, 66: 10slip, using, 66:49· 51Bending. See Boxes, bentwood. Heat·blanketbending. Hot·pipe bending. Steam bending.Bennett, Scotty, boxes by, 71:16Beverly, Anthony, lamp by, 71:81Biesemeyer, T-Square saw-fence system,reviewed, 68:4 1-42, 45Birch (Betula spp.), roots of, for lacing, 69:86·87Birch, black (Betula nigra), identification of,73:78Birch, white (Belula papyrifera), bed of,66:43Birch, yellow (Betula allegbaniensis),furniture of, 66:42Bird, Philip, wall system by, 72:45Birds:carving of, 72:128carving of, reviewed books on, 69: 1 10,72:1 18Bits:auger, for endgrain, 71:48auger pump' log, 68: 14brad· point, advantage of, 70:69· 70for brass, modifying, 71: 10Bullet, reviewed, 71: I 08drill·press storage cabinet for, 72:8expansion, using, 71 :49multi·spur, sharpening, 70:12self- centering, 72:65sharpening, 70:70tiny, microchuck for, 71:6Black & Decker:belt sanders, reviewed, 69:7 1, 72, 75Bullet bits from, reviewed, 71: 108drill 1985, reviewed, 72:53, 55·56Elu plunge routers, reviewed, 66:58, 59radial·arm saw 1712, reviewed, 73:61·62Blanchard, Terry, chest by, 69: 112, 114Bleaching:eye danger from, 72:70·72process of, 66:20, 70: 1 10· 12Bluegum (Eucalyptus globuIUS), described,69:89,90Blunt, Peter, lap desk by, 69:54·57Boats:books on, 68: 1 10river, 72:122·24See also Canoes.Boesel, Jim, work by, 68:85Boice Crane, 1700·lathes, parts for, 72: 16Bolivian rosewood. See Morado.Bone:for guitars, 67:49· 50working, 66:61Bookcases:Chinese· motif, 73:55of matchstiCks, 67: 132rustic, 66:43trim system for, 72:47See also Wall systems.Bosch:belt sanders, reviewed, 69:72, 73, 75drill 92IVSR, reviewed, 72:53, 55-56plate joiner 1607, 66:22Bowls, turned:"Art," discussed, 67:92,95bleached wood, 70: 1 16carved, making, 66:44-47gigantic, 71:110overlapped steambent, 70:64·65Bows, hunting, finish for, 71:14Boxes:bentwood, making, 69:84·87hairpin, 69: 1 12, 114multiples of, 70:46· 50spice, making, 72:76· 79Box joints. See Finger joints.Bracelets:laminated, 68: 18mosaic, veneer source for, 66:22Braces:about, 71:47·49joist, source for, 71:47Bracket feet. See Legs: bracket feet.Branding irons, registering, 71:8Brandt, Frederick R., Late Nineteenth andEarly Twentieth Century Decorative Arts,reViewed, 66: I 10Brass:finish for, tarniSh-free, 68: 16source for, 70:50Brazilwood. See Pernambuco.Bridges, wood for, 67: 128Bridgewater, Alan and Gill:Award- Winning Designs/or Woodturning,reViewed, 68: 1 10Making Wood Toys That Move, reviewed,70: 104' 106Step by Step Woodcarvillg, reviewed,67:122Brien, Robert F., Model Sailing Ships,reviewed, 66: I 12British Woodturning Seminar, 1988, discussed,70: 110Briwax Int., waxes, tested, 70:67·68Bubinga (Guibourtia demeusei), quaJities of,67:49, 69: 12Buffers, rubber wheel, using, 66:5 1Buffets. See Sideboards.Buffing, system for, 72:8-\0Bureaus:mahogany contemporary, 69:1 12, 11468:36·4019·drawer, 73:49Shaker· style, making, 68:36·40with through dovetails, 73:4920·drawer, 73:42See also Drawers.Burke, jeff, Ron Fuller, Dik Garrood, and FionaNevile, Weekend WOOlI Projects Jo rToymakers, reviewed, 70: 104· 1006Business:costs in, figuring, 71 :4·6ecological responSibility in, 70:81·85of multiples, 70:46·48seminar on, 70: I 08stationery for, 71:6See also Liability. Insurance.Butcher Polishing Co., TIle, waxes, tested,70:67·68Butler, joseph T., Field Guide to AmericanAntique Fu nliture, reviewed, 71:104Butternut (JuglallS c;l1erea), bellows of, 72:66Buyer's Guide 10 Meellng Product Scifety andQuality Standards III Toys and Children 'SArllcles (U. S. Testing Company), addressfor, 70:114CCabinet scraper, smaJl, improvised, 71: 1 0Cabinets:for aircraft, 68:78·80china, 70:70cleat mounts racks for, 73: 12freestanding tmstero, 72:91, 92handles for, making, 72:46opaque· lacquered, 73:56, 57showcase, making, 70:69showcase, maple· ebony, 69: 1 18See also Credenzas. Hardware. Kitchencabinets. Wall systems.Cabriole knees. See Legs: cabriole knees for.Calipers, wall, homemade, 69:8Cameras, kit for, 68: 1 18Candle screen, miniature, 66:86Canoes:book on, 69: 118cedar lightweight, early, 71:6ultra· light plywood, 69: 1 16· 18workshops on, 69: 1 18Cao, jorge, cabinet by, 73:56, 57Capotosto, RosariO, Two Hundred OriginalShop Aids and jigs Jor Woodworkers,reViewed, 73: 128Carbide. See Circular· saw blades, carbide.Carbon tetrachloride, toXicity of, 72: 14Carcases:assembly squares for, 73: 10backs for, types of, 68:39, 40bases for, 68:38' 39making, 68:39·40, 71:42·44, 72:76'77,73:73'74for prefitted drawers, 73:50Carving:books on, reViewed, 67: 122, 69: 1 10, 72: 1 18of bowls, jigs for, 66:46of cabriole knees, 72:57·61finish for, 73:92flexible· shaft carver for, 66:44-47of large door, 73: 134Navajo·inspired, 73:91·93shellacing, 71 :59tools for, sharpening, 66:48, 51vise for, making, 69: I 0See also specific tool.Casehardening, de.fined, 68:61Catalpa (Catalpa blgnol1loldes or speclosa),qualities of, 72:74-75Catechu (Acacia catechu), mentioned, asdyewood, 66:52Cedar, Eastern red (Junipenis virginiana),bed of, 66:4 ICedar, incense (Libocedrus decurrens), forpencils, 70: \08· 10Cedar, red. See Red cedar.Cedar, western red (Thuja pllcata), forguitars, 67:48Cedar, white (Thuja occlden/alis), qualities of,71:6Cereus Inc., waxes, tested, 70:67·68Chair Loc, using, 70: 12, 71:6Chairs:January/February 1989 105

ChairsFortuneBelter, 71,65birch-burl, 66' 116box side-, 73,45and Chair Loc, 70,12, 71,6Chinese, of glueless joints, 68,66-69Chippendale, making, 73,86-87corner, 71,38de Stijl, drawings source for, 66,4dining, upholstered, 68:8518th-Cent., design problems in, 67,55-56English contemporary, 67,124glue for, 70,12leg-tenon jig for, 67,10maple and leather, 68:52miniature, 66:86nylon-cord seated, 68,84Olympic shell, 72,122opaque- lacquered, 73:56papal, 68: I 20Queen Anne, arms for, 71:12rung-hole boring for, 69,43, 46-47rungs for, fitting, 71,6rung tenons for, 64, 12 (errata, 66:4)rustic, 66:40, 41sculpt-backed, 68,84Southwestern priest's, 72,90spindles for, making, 69:45-46steam bent, 73,45trapezoidal plywood, 73,130upholstered desk, 68,52, 55upholstered dining, 68:53upholstery process fo r, 68:53-55Windsor-Nakashima, 68:85and wood movement, 67:53See also Windsor chairs.Chalklines, using, 70,78Chambers, Robert, makes chairs, 71,36-37(erratum, 72:4)Chamfers,belt-sander jig for, 72,10on dowels, pencil sharpener for, 72,12Cherry, black (Prunus serofina),Colonial attitude toward, 67:4described, 66,64-66lye darkening of, discussed, 66,20, 67,6steam bending, 67, 18Vinegar bleaching of, 66,20Chest of drawers. See Bureaus.Chests,cherry dowel-hinged, 70,112of matchsticks, 67,132Southwestern, 72,9 1, 93Children,in workshOps, fiats against, 71,6, 73,6Chinaberry (Melia azedarach), described,69,89Chinese design:joinery in, 68,66-69books on, 73:53, 54motifs of, incorporating, 73:52-55Chippendale, design problems in, 67:55-56Chisels,mortise, described, 66,67-69mortise, making, 66,7 1sharpening, 66,48sheaths for, leather, 66,6sheaths for, Plastic-Dip, 66:8- 10See also Sharpening. Slicks. Stropping.Chopsticks, pictured, 70:46Christmas ornaments, making, 73,68-70Cimarron Collection, The, table by, 72,90Cincinnati Fan & Ventilator Co., Inc., dustcollectors, reviewed, 67,74, 75Circles:compass cutter for, 67,12jigsaw trammel for, 72,8Circular-saw blades:"buzzing " correcting 72'16noisy, qu'jeting, 68: 12 ' .stabilizers for, 68: 12, 70,6, 72,16thin-kerf, for smoother cut, 71:4Circular-saw blades, carbide:about, 70,36-41for smoother cut, 71,4Clamp 'N Tool, source for, 67, 14Clamps,aligning eelge-gluing, 70,8cam, making, 71,71for extension tables, 67,14picture-framing, making, 73,8pipe, bench vise from, 71, 10pipe, foam pipe insulation for, 72:8welders' locking pliers as, 68,8See also Sash clamps. Vacuum clamps.Clocks, miniature, 66:86eNc. See specific machine, computerizedCocobolo (Dalbergia retusa), bleeding With,69, 12Coffee tables,Chinese-style, with glueless jOinery, 68:68-69curved-dovetail, making, 71,75opaque-lacquered, 73:56oval pedastal, making, 71:72-74ribbon-benCh, making, 71,74-75rustic, 66,4 ISouthwestern Mimbres, 72:90See also Tabletops.Coloring. See Lacquer: coloring with.Compasses, large, improvised, 70,78-79Computers, cabinetry by, 67,60Contact cement:540-psi spray, 67,77for marquetry, 67,77for veneer, industrial-strength, 68:80Containers, geometriC, 73:46Cope joints, making, 71:63Corian, for guitars, 67:49Corner cupboards, wormy mahogany, 73, 132CounterSink, quiCk-Change, 67,8Coutts, Joe, carving by, 72,128Covington, Ben, chair by, 68, 120Cow Brand carpet-and-room deodorizer,source for, 68:6Cowman, Sophie, carving by, 69,1 12Cracks,glue for, 67,10- 12repairing, 66, 14- 16, 72,88See also Fillers.Craft Alliance (St. Louis),exhibition by, 1987, 67,92-95information from, 68:4Craft Students 1.eague (New York City), classesof, 67, 18Craftsmanship, and machinery, 72,1 24-26Crane, Richard, tool auction by, 68,1 12-14Credenzas, making, 71,42-45Cumpiano, William, and Jonathan D. Natelson,Guitar Making, reViewed, 69,110Cupboards, rustiC, 66,39Curves:large, compass for, 70,78-79large, jig for, 73:4marking gauge with, 70,75-76spline-and-weigllts layout for, 71,45, 72,18,73,4Cut-off saws, 1.ED-equipped, 67,64Cyanoacrylate glue,eye danger from, 72,71-72source for, 70:50Cypress (Cupressus spp.),finish for, 68, 12for gUitars, 67:48Cypress, Monterey (Cupressus macrocarpa),described, 69,88, 91DDabrowski, Richard Adam, Classic Designs Jo rWoodcarving, reviewed, 67: 122Dadoes,router jigs for, 68:40, 73:8T-slot, 72,81Daphne Furniture Award, ceases, 66,116-18Darkes, Jeff, table by, 73,130De Cristoforo, R. j.,Complete Book oj Stationary Power ToolTeclllliques} Tile, reViewed, 72:118Dean, Peter, chair by, 73,56Decimals. See Measuring.Dehos, Bill, and Patrick Spielman, CarvingLarge Birds, reviewed, 69, I 10Delta International Machinery Corp.,Deltagram, The, from, 72, 1 20-22dust-collection-system design aid from, 69:4dust collectors, reviewed, 67 ,74, 75radial-arm saw retrofit by, 68,118radial-arm saw 10, reviewed, 73,62-63Unifence rip fences, reviewed, 68:41,43-44, 45Dergins, Cheryl, furniture by, 72,91Oem, Larry, wall system by, 72:42Design,books for, 68,37of bureaus, 68,36-40international Yearbook of, 67: 122for large cabinets, 72,46See also Chinese design. Craftsmanship.Design Cooperative, TI"lc (Toronto), discussed,73,45-47Desks,Arts and Crafts Style, 66, 1 14curved-front, 71,50, 54-55German modern, 67,63miniature, 66:86pedastal contempordry, 68,82-83post-office, making, 73:72-74rustic, 66,40, 41, 42See also Lap desks. Tambours.DeWalt, radial-arm saw 7770- 10, reviewed,73,63Dexter-Hysol Hot-melt glue, source for, 66,47Dial indicators, using, 70,62-63Dichloroethane, toxicity of, 72, 14Dieboard, for jigs, 66,75Diemert, Robert, furniture by, 73,47Disston handsaws, about, 68,76Dodd, John, jewelry case by, 68,85Doolings of Santa Fe, furniture by, 72,92-93Doolings, Rob, furniture by, 72,92-93Doors:barred-glass, guide to, 72,48-51ballen, making, 69, 12cabinct, bumpers for, 71:10carved entrance, 73,134curved showcase, making, 70,71-72finish fo r, 68, 12frame-and-panel, cracks in, 67:56frame-and-panel, making, 71,60-64sliding dovetail for, 69,12steel, wood overlay for, 68, 12See also Handles. Pulls.Dorr, Alan, turns wood, 71: 110Doubtfire, Stanley, Make Your Own ClassicalGuitar, 67:49Douglas fir (Pseudotsuga menziesii), bending,67, 18Dovetails:angled, making, 71,53for glueless jOinery, 68:67-69half-blind vs. throUgll, 72,77jig for, adjustable, 68,56-57mock, with router, 70,49, 50production sequence for, 73,50-51sliding, movement-allowing construction of,72,80-81sliding, router jig for, 67,8sliding tapered, jig for, 69,62for tripod table, 67,82-83See also Marking gauges.Dowel Crafter, reviewed, 67: 128Dowel joints:angled, 69:41for carcases, 70,69-73for credenza top, 71,43-44drilling sequence for, 70,8jigs for, commercial reviewed, 67, 128-30jigs for, making, 68,8, 70,70Dowel pOinter, using, 71 :49Dowels,automatic inserter for, 67:64chamfering, pencil sharpener for, 72,12by chisel, jig for, 69,45with containerized glue, reviewed, 70: 1 12-14drilling out, 6754, 69:4end-drilling, 67,10, 70,50hardwood, source for, 70,57long, with router, 66: 10maple fancy, source for, 72,16types of, 70,70and wood movement, 67,52Drawers:books on, 71,50both-sides finishing of, discussed, 66, 18curved-front, making, 71 :50-55design of, 68,37, 72,83dovetailed, production sequence for, 73:48-51fasteners for, knockdown, 67:58-59, 61glue squeeze-out avoidance for, 73:8making, 73,72-74marking, 70,74, 75mounting, 68,39one-piece laminated, 71 :66pivoting, 71:52production, router setup for, 72,82-85runners for, commerCial, 67,58-59, 61secret, 72,76-79slides for, metal, 68,39, 72,83slides for, positioning jig for, 72,82sliding-dovetail jig for, 67,8stops for, 68:40in 32-mm cabinetry system, 67,58-61velvet lining for, 67,8- 10, 73,8- 10See also Handles. Hardware. Pulls.Drill presses,compound angles with, 69,44endgrain boring set-up for, 69,41foot switch for, source of, 70: 18foot-hand switch for, 72:20hole-enlarging devices for, 73,12jigs for, 73,88-89line-boring attachments for, 67,61mortises with, 69,42, 71,6, 63multi-spindle heads for, source of, 68, 18post storage-cabinel for, 72:8safety cautions for, 68,18self-centering drilling with, 67, 10sharpening with, 71,8sliding table for, 69:4 1, 42threaded inserts with, 73,80turning with, 67,68-69valve sander for, 70: 10Drills, hand,cordless, by brand, 72,52-56microchuck for, lemporary, 71:8See also Bits.Drying. See Wood drying.Dunbar, Michael, chairs by, 71,33, 34- 35Dunham, John, chest by, 70, I 12Dust-collection systems:bag security for, 72, 10- 12book for, reference, 67:72for cut-offs, 69, 10for each machine, 70:4gate valves for, making, 68:64-65 (errata,70,16-18), 72,8grounding, 67,71PVC pipe in, bending, 66,6reviewed, 67,70- 75setting up, 67,70-75sources for, 68, 18switches for, 69,16, 70, 16-18switches for, electronic sensin g , 68,62-64switches for, radio-wave, 69, 16, 7l:16values for, establishing, 69,4venturi-box collector for, 70: 1 0Dustking, dust collectors, reviewed, 67,74, 75Dyes,applying, 66,52-55, 68,6early, supply sources for, 68, 12eye danger from, 72,70-72fabric, on wood, 66,40, 4 1vs. slains, 66:52supplies for, 66,54in-the-tree, 66:55using, 73:46See also Lacquer: coloring with. Stains,EEbony, Ceylon (Diospyros ebellum spp.) forguitars, 67:49Ebony (Diospyros spp.), substitute for,commercial, 70: 14Ekki (Lopbira alata var. procera), for bridges,67, 128Elecktra Beckum USA Corp., dust collectors,reviewed, 67,74, 75Elements Gallery, The (Greenwich, CT),exhibition by, 1987, 67,92-95Elkan, Michael, work by, 68,85Ellsworth, David,at seminar, 70: 110work by, discussed, 67,93-94Elm, American (Ulmus americana),identification of, 73,77Elm, Chinese (Ulmus parvifolia), described,69,90E1.U. See Black and Decker.Elvrum, Jon, consultant, 67,61End grain,bit for, 71 ,48veneer application to, 72: 1 0See also Dowels. Wood: identification of.Environmental Defense Fund, address for,70:83Epoxy,fastening pins for, 68,79for lamination, 66, 16as nontoxic alcohol-proof finish, 67,16for oily woods, 72, 14Epp, Paul, furniture by, 73:4 3, 44Erickson, Robert, chair by, 68,84Excalibur T-Slot saw fence, reviewed, 68:4 1,44, 45Eyes,emergency care for, 72,72-73protection for, guide to, 72,70-72FFader Photo Works, camera kit, reviewed,68,118Faux finishes, classes in, 67, 18Featherboards. See Hold-ins.Feathers, peacock, source for, 69,86Figureheads, pictured, 67,126Files,on cabriole legs, 73,85-86ceramiC, 72,20diamond, 72,20saw, 68,73-74Fillers:acrylic paste for, 67, 10automotive, and lacquer, 73:58finish as, 68:14-16sawdust and sanding sealer for, 69: 10silex, using, 66,6solvent-shrinkage problems with, 66,6using, 72,64vinyl sealer with, 66,6Finger joints:errorless system for, 72: 12on tablesaw, 69,55-56Finishes:aged, 66,6alcohol-proof, 67, 16books on, 67, 122cleaning, 70, 14coloring, 68,70-71, 69,8color-protective, 67,14, 72,89, 73,90containers for, plastiC, 72:20Danish, reviving, 71: 12faux, classes in, 67: 18indoor-outdoor, 71,14metallic powders for, 68,71mixing, cautions against, 73: 18nontoxic, 66:45, 47, 67,16with PEG, 73,14pigment-bleeding problems with, 69, 12pigments for, 68:70-71production runs of, 73,90removal of, 73, 12, 18repair of, video on, 73,16rubbing out, 72,62-64See also Fillers. Sealers. specific Jinish.Surfacing. Turning.Fir, balsam (Abies balsamea), identification of,73,76Fire prevention, room for, 73:4Fireplace bellows, making, 72,66-69Fireplaces. See Mantels.Fish eye. See Lacquer.Fish Eye and Silicone Stop, reviewed, 67,80Fleming, Peter, furniture by, 73:46Flutes (grooves),with router, 70,44with tablesaw, 67,8, 71,10Flutes (instruments),cane, making, 71 ,69-70See also Whistles_Forde, Terry, Fun-fo-Make Wooden Toys,reviewed, 66,110- 12Forest Products Laboratory, Wood Handbook:Wood as an Engineering Material, reviewed,70,104Forests:organizations for, 70:83responSibility toward, 67,6, 71,4, 72,4temperate, 70:82tropical, destruction of, 70,80-85Formby's, finish packaging by, 72,20Forms:for boxes, 69:84-85Formica for, 71:18for guitars, 675 1universal bending, 68, 10Fortune, Michael, as teacher-craftsman,73,44-45106 Fine Woodworking

FowlerFowler, Brian, chair by, 67,124Frame and pane.l:for backs, 71 ,44-4 5shaper tenon-and-coping jig for, 69A9tenons for, movable, 72,81and wood movement, 6752, 56See also Doors. Raised panels.Frank, George, water-wax by, tested, 70,67-68Franklin International, liquid hjde glue of,discussed, 6755Franklin, Peter, makes chairS, 71,37,38French Buffing Wax, tested, 70,67-68French polishing,process of, 7 L59See also Shellac.Freud Inc.'belt sanders, reViewed, 69,7 1, 72, 75plate joiner jS100, 66,4sawblades, 70,36, 37, 40, 41Friends of the Earth, address for, 70,83Frink, LeRoy, dyed-in' the-tree wood by, 66,55Furniture:books on, 69, 11018th-Cent., design problems of, 6755·56field guides to, reviewed, 7 U 04repair book on, reviewed, 73,128repair of, video on, 73,16See also Chinese design. Rustic furniture.GGaboon (Aucoumea klaineana), for guitars,67A9Gallery Fair (Mendocino, CA, 1987) show,about, 68,8 1-85GaJlo, Frank L, music stand plans from,69, 14Gardner, Greg, work van by, 6R I 14General, tablesaws of, and blades, 70,37Genevesse, Mario, dovetail jig by, 68,56-57George School (Newtown, PA), exhibition at,73,130Germany, woodworking in, 67,62Gilson, Giles, work by, discussed, 67,92-93Glasse"double bifocal, 66,10safety, guide to, 72,71-72See also Eye protection.Glazing. See Lacquer: coloring with.Glues:for chairs, 7 L6fluorescence of, 66, 10fluorescence of, lamp for, 67Afor lamination, 66: 16mason-jar pot for, 70,10for musical instruments, 67:51removing, 66, 10, 67,53,54spreaders for, 73Btolerances for, 6754for turning, 66A7and wood movement, 6753-54See also Contact cement. Cyanoacrylateglue. Epoxy. Hide glue. Hot-melt glue.Polyvinyl acetate glue (white).Gluing up,assembly squares for, 73,10of carcases, 71 A4of oily woods, 72,14sawhorse clamp-rack for, 68,8squeeze-out prevention for, 73:8Goblets, finish for, 73,14Goddard family, book on, 6R 110Goddard's wax, source for, 70,73Goggles, safety, guide to, 72,71-72Golden mean, discussed, 66,78, 68:36Gougeon Brothers. See WEST SYSTEM epoxy.Gouges, carving:sharpening, 66:48-51sheaths for, 66:6, 66:8- 10See also Chisels.Gouges, lathe:bent-shank undercutting, 70:65bevels for, 68:49fingernail, grinding jig for, 68: 10half-round, using, 68:50Graphite cloth, source for, 71 :77, 72: 18Green wood:book on, reviewed, 72: 118check inhibitors for, 67: 16Gregson, Barry, work by, 66:38-39, 43Grinding wheels:fingernail-shapes on, jig for, 68: 10waterwheel fo r, 66:48, 50Grizzly Imports, Inc.:dust-collectors from, 67:70, 74, 75, 69:16miter trimmer, reviewed, 71:39·41Grommets, source for, 72:47Grooves:with plow plane, 7L62, 63Y-, angle block for, 72:78Guide to Craft Galleries USA, publication of,67:128Guild of American Luthiers, guitar-makinginformation from, 67:49Guild, The, as sales aid, 67:4·6Guitars:books on, 68: 18, 69: 110bridge lifting in, repair of, 66: 16- 18glue for, 67:51making, 66:4, 67:46-48, 68:18,69:58-62purfling for, 69:62-63steel·string, making, 67:46-51supplies for, 67:49, 68: 18woods for, 67:48-49, 70: 12-14HHall, David, furniture by, 72:91Halogenated hydrocarbons, toxicity of, 72: 14Hambridge Ctr. for Creative Arts and Sciences(Rabun Gap, GA), grants from, 70: 114Hammers, Warrington, 66:6, 67:4, 69:4Handles:brass, making, 66: 7 Icontoured, fitting, 71 :55designing, 73:49door, making, 71:45for drawers, 73:74See also Pulls.Handsaws:anti-rust coating on, removing, 68:77back, rip teeth for, 68:77lubricating, wick for, 69:8sharpening, 68:72-76, 77using, 68:76-77Hannover Fairs U.S.A., Inc., Ligna fairinformation from, 67:64Hardware:birdcage catCh, 67:84cabinetry-assembly, 67:58-59, 61drawer, 67:58-59, 61, 68:39, 40, 72:83grommets, 72A7jOint connector bolts, 72:47knockdown drawer fasteners, 67:58-59, 61leveling, 67:58-59, 61, 72:47suppliers for, 67:61suspension fitting, 67:58,59, 6132-mm cabinetry system, 67:58, 61wall-hanger, homemade, 72: 10 See also Hinges. Locks.HarriS, Stephen, furniture by, 73:43, 44Heat-blanket bending, for guitars, 69:61Heitz, Ken, work by, 66:39-40Hemlock (Tsuga spp.), bending, 67: 18Heuer, Otto H., eulogy to, 70: 1 12Hickory, shagbark (Carya ooota),identification of, 73:77Hide glue:bulk, source for, 70: 16liquid, disadvantages of, 67:55loosening, 66: 16, 69: 12qualities of, 67:54, 55removing, 67:53Hill, Tom:canoes by, 69:1 16' 18Hillman, Anthony, Painting Shorebird Decoys,reviewed, 72: 1 18Hinges:butt, installing, 72:65concealed compound-action, 67:58-59, 60,61dowel, 70:49, 50wooden dowel, 70: I 12Hitachi:belt sanders, reViewed, 69:70, 75drill DRC- IO, reviewed, 72:53, 55·56plunge routers, reviewed, 66:56-60Hogbin, Stephen, furniture by, 73:43, 44Hold-downs,shaped, 73,69sliding-table, 70:8wheeled commercial, 68:42, 43, 44Hold-fasts, iron handmade, source for,66:20Hold-ins, wooden spring, 73: 10Holes:boring, with brace, 71:48-49drill-press jigs for, 73:88·89enlarging, methods for, 73: 12large, method for, 68:14undersize, enlarging, 71 :49Hollow augers, using, 71 :49Holz Machinery Corp.:dust collectors, reViewed, 67:74, 7567:61Holzapfel, David, chair by, 66: 1 16Honing:of carving tools, 66:49- 51ceramic files for, 72:20diamond files for, 72:20rubber wheels for, 66:5 1Hood Products:800-number for, 70:4finish cleaners, reviewed, 67:80Hophornbeam (Ostrya virginiana), for rusticfurniture, 66:40Hot Stuff glue. See Cyanoacrylate glue.Hot-melt glue, for turning, 66:47Hot-pipe bending, for guitars, 69:59-61Hutchinson, james, stool by, 69:46Hydrocote lacquer:reviewed, 69:80workshops and kits fo r, 70:4IInca:bandsaws, blade position for, 67:6dust collectors, reViewed, 67:74, 75mortiser, sliding dovetails on, 68: 12·14radial-arm saw 810, reviewed, 73:63-64Incra jig, reviewed, 72: 126Indian laurel (Tenninalia alata), described,69:90Inlay:line-and-berry, 72:79sculptural, 72:69Instruction:in bentwood boxes, 69:87in canoebuilding, 69: I 18in fa ux finishes, 67: 18German, 67:62in minjatures, 70: 114in water-based lacquer, 70:4Insurance:coverage of, needed, 69:67-69and incorporation, 70:4tax deductability of, 70:4See also Liability.Interiors de Mexico, (castero by, 72:91international Design Yearbook Two, The (ed.Ambasz, Sudjic, and More), reViewed, 67: 122International Guild of Miniature Artisans,school of, 70: 114International Luthier's Supply, guitar supplies,67:49International Wood Collectors SoCiety,described, 67:16, 73:79Ireland, john, furniture by, 73:46-47Ironwood. See Hophornbeam. Mesquite.Ivory, for guitars, 67:49-50JJ. Philip Humphrey International Inc.:Excalibur rip fence by, 68:44, 45jackson, Albert, and David Day, Better ThanNew, reviewed, 73: 128jacques, Gilbert, work by, 66:42-43japanese woodworking:book on, reviewed, 73: 128influence of, 68:83jenks (W. S.) & Son, 800-number for, 66:22jet Equipment & Tools, dust collectors,reViewed, 67:74, 75jewelry boxes:maple-rosewood, 70:48pedastaled, 68:85jigs:books on, reviewed, 72: 1 18, 73: 128materials for, 66:75multi-tool, reviewed, 72: 126See also specifiC operation, tool.jigsaws, circle trammel for, 72:8johnson, Roy, lamp by, 71 :80johnson (S. C.) and Son, Inc., waxes, tested,70:67-68johnson, Skip, work by, discussed, 67:94joinery:and wood movement, 67:52,55g1ueless, 68:66-69See also specific jOints.Jointers:dust-collector capacity for, 67:72saw, 68:74-75tablesaw·motor power for, 66:8Jones, Peter, Shelves, Closets and Cabinets,reViewed, 70: 106joyce, Ernest, Encyclopedia of FurnitureMaking, The (rev., Peters), reviewed, 66: 110KKaufman's Dowel jig, reviewed, 67: 128Kawalski, Robert, table by, 73:56Kirk, David, bank by, 66: I 18- 20Kitchen cabinets:book on, Cited, 73:8332-mm system for, 67:57-61See also Cabinets. Hardware,Knobs. See Pulls.Knudsen, Mark A., gigantiC turnings by, 71:1 10Kochman, Bill and jim, cabinetry shop of,67:60Korn, Peter, judges show, 69: 112-14Kraemer Tool and Mfg. Co. Ltd., dustcollectors, reviewed, 67:74, 75Krause, Bob, work by, discussed, 67:94Kutchma, joseph, boxes by, 71:16LLacing, birch-root, 69:86-87Lacquer:catalyzed, reviving, 71: 12colorants with, 68:70-71, 70:16, 73:59fillers for, 73:58fish-eye prevention fo r, 67,80over lye-treated wood, cautions for, 66:20for marquetry, 67: 14masking tape for use with, 73:57metallic powders for, 68:71opaque, using, 73:56-59padding, nature of, 71:58pigment bleed-through prevention for,69: 12pre-catalyzed, discussed, 68: 14-16primers for, 73:57-58retarders with, and rub-out, 72:64rubbing out, 72:62-64safety with, 73:58and steel WOOl, problems from, 69: 12vinyl sealers witll, 66:20water-based, 69:80, 70:4, 70:4using, 73:18Lacquer thinner:eye danger from, 72:7 1-72toxicity of, 72: 14Ladders, showroom, 73:44Lamello, plate joiner of, vs. Freud's, 66:4Lamination:books on, 71 :50for bracelets, 68: 18compound-curve, early patent for, 71:66Makitafor curved doors, 70:7 1, 72, 73for drawers, 7 L50-51with foam corc, 68:80glue for, 66: 16pigment bleeding With, preventing, 69: 12procedure for, 66: 16See also Belter, john Henry: furniture by.Lamps:exanlples of, 71 :80-81making, 71:78-80 (addenda, 73A)Langsner, Drew, Green \Voodworking,reviewed, 72: 118Lap desks, making, 69:54-57Lathe centers:live, defined, 72:4mini, source foc, 70:50Lathe chucks:English, Canadian source for, 67:6three-jaw, muzzle for, 67:18wooden collet, threaded, 73:8Lathes:Boice Crane, parts for, 72:16duplicator for, making, 68: 14dust-collection for, 67:72, 73faceplate, for large vessels, 72:86-87finish guards for, 67: 10layout tool for, 69:10oval, 72: 18speeds for, 68:49vacuum clamp for, 66:75See also Gouges, lathe. Parting tools, lathe.Sanding. Steady rests. Turning.Lau.n mahogany (Shorea spp.), identificationof, 73:78Law, Gene, furniture by, 72:91Leach, Noel johnson, Woodworker Guide toWood Finisbing, reviewed, 67:122Lead casting:backyard, 72:18danger of, 73:4Leatller:source fo r, 72:68See also Shagreen.LeCoff, Albert, exhibition by, discussed,67,92·95Lee, jeng, joinery style of, 68,66-69Lee, john, tests routers, 66:60Leeds Design Workshops, student tables from,71:72-75Legs:bracket· feet, and wood movement, 67:52cabriole knees for, carved, 7257-61cabriole, making, 73:84-86levelers for, commerCial, 67:58-59marking gauge for, 70:75tapered, making, 70:55-56tripod, spider for, 67:82Leonard, joe, carousel animals by, 69: 120Liability:books on, 69:69woodworker's, extent of, 69:69See also Insurance.Liberon Supplies, wax from, tested, 70:67-68Liftig, Rick:Frugal Woodworker, The, reviewed, 71:104moisture meter by, updates on, 66:20-22Lighting:for wall systems, 72:47See also Lamps.Lindsley, E. F., Metalworking in the HomeShOp, reviewed, 72:1 18Lindsley, Monte, work by, 66:40-41Linseed oil:applying, 72:89and V'J.rnish mixture, 70:65Lion miter trimmer, reviewed, 71 :39-41Livos PlantChemistry, waxes, tested, 70:67-68Locks, cabinet, making, 70:73Locust, black (Robinia pseudoacacia):qualities of, 68: 14sawing, 68:14, 69:16Logwood (Haematoxylum campechianum) asdyewood, 66:52-53Lopbira alata. See Ekki.Lory, David, work by, mentioned, 67:92-93Lye, and finish problems, 66:20, 67:6MMachinery:auto-based, 70: 114bearing replacement for, 66:60belt tightener for, 69:8- 10book on, reviewed, 72: 118foot switch for, source of, 70: 18German fair of, 67:62-64leveling, appliance feet for, 6R8motors for, source for, 66:51rehabilitation of, 69:1 14·16, 73,6sealed bearings in, lubricating, 66: 10-12supply sources for, 70:53surfaces of, trueing, 70: 14See also Eye protection.Mack, Daniel, work by, 66:43Mahogany (Swietellia spp. ):finish for, aged, 66:6for guitars, 67:48identification of, 73:78See also Lauan mahogany.Mahogany Masterpieces Inc., claims against,73:6Major, Robert, claims against, 73,6Makita USA, Inc.:belt sanders, reviewed, 69:7 1, 75drill 6093D, reviewed, 72:53, 55-56January/February 1989 107

MakitaScrewdriverdust collectors, reviewed, 67:74, 75plunge routers, reviewed, 66:56-60sander B0451O, clamp trick for, 66:6Maloof, Sam, judges show, 68:82Malthie, Thorn, lamp by, 71 :81Manhattan Supply Coo, 800-number for, 71: 16Manning, Sam; illustrations by, 68: I 10Mantels, making, 70:42-45Manzanita (Arctostaphylos spp.), described,69:90Maple (Acer spp_), for guitars, 67:48, 49Maple, sugar (Acer saccharum), identificationof, 73:78Marcoux, John, chair by, 68:84Marking:of larger timbers, methods for, 70:78-79with pencil, 70:76See also Marking gauges_Marking gauges:about, 70:74-78locking device for, 73:10-12mortise, 66:67, 68Marquetry:finish for, 67:14patch-pad, process of, 67:77- 79small tabletop in, 66:82-84Masking tape, plastiC, source for, 73:57Mastalir, Harv, table by, 69: 112, 114MCintosh, David c., How to Build a lVoodenBoat, reviewed, 68: 110MCKinley, Donald Uoyd:furniture by, 73:43as teacher, 73:43-44Measuring, decimal conversion of, frommetric, 68:18Measuring tapes, adhesive-backed steel, sourcefor, 68:46Medium-densiry fiberboard (MDF):as jig material, 66:75machining, cautions for, 66:75Meilach, Dona Z_, Creating Small 1V00dObjects as Functional Sculpture, reviewed,70:104Meranti (Shorea spp.), mentioned, 67:16Mesquite (Prosopis spp.):book on, 72: 18organization for, 69: 14, 72:18qualities of, 69:88, 90, 72: 18Metabo, drill D8-2VSR, reviewed, 72:53_ 54,55-56Metal:finishes for, 68: 16powders of, source for, 68:71sawing, 68:46See also specific metal_Melric system. See Measuring.Micarta, for guitars, 67:49Milling machines, computerized, 67:60Milwaukee:belt sanders, reviewed, 369:70, 71, 75drill 021 2-1, reviewed, 72:53, 55-56Miniatures:instruction in, 70: 114making, 66:85-87organizations for, 69:16Minwax Co. Inc.:Antique Oil Finish, using, 66:63waxes, tested, 70:67-68Mirrors, Oriental art-deco, 68:82-83Mitchell, Bruce, work by, discussed, 67:95Miter boxes, for tiny stock, 72:50Miter gauges, stave-angle table for, 70: 16Miters:bandsaw jig for, 68: 1 0compound, 69:41epoxied, 72:49-51splined, Chinese, 68:68, 69tape clamping of, 70:50and wood movement, 67:53Miter trimmers:by brand, compared, 71:39-41foot-operated, sources for, 71 :39knives of, sharpening, 71 :41using, 71 :40-41Mochel, Chip, lamp by, 71:81Mode, Michael 0_, work by, discussed, 67:94Models, ship, book on, 66: 1 12Moisture meters:Liftig homemade, updates for, 66:20- 22Radio Shack part substitutions for, 66:20- 22Molder-planers, knives for, custom, 71: 16Moldings:bits for, making, 70:44fingernail, with router, 70: I 0gluing, 72:79with hollow and round planes, 69:82for mailtels, 70:44miniature, making, 66:86-87movement-allowing attachment of,72:80-81on tablesaw, 70:44rypes of, 66:79, 80uses of, 68:37-38See also Mantels.Moldow, dust collectors, reviewed, 67:74, 75Morado (Machearium scleroxylon):finish for, 73:18See also Purpleheart. Rosewood.MorriS, Graham, tables by, 67: 124Mortise-and-tcnon joints:angled, 69:4 1-43free-moving, 72 :81gauge for, 70:74,76glueless interlocking, 68:67-69making, 66:67-71, 71:64on tablesaw, 70:56- 5 7wedged, 69:40-44, 71:6 1, 64and wood movement, 67:52, 72:81See also Cope joints. Mortises.Mortises:on drill press, 71 :63by hand, 66:67-69methods for, debated, 68:4with milling cutter, 71:6with plunge router, 71 :42-44Moses, Michael, Master CraJtsmen oJ Newport,reviewed, 68: 1 10Moulthrop, Ed:at seminar, 70: 110work by, discussed, 67:94Moulthrop, Philip, bowl by 67:94, 68:4Mousetraps, miniature, 66:86Murphy- Rodgers, Inc., dust collectors,reviewed, 67:74, 75Music stands, plans for, 69: 14Mussey, Robert, dovetail jig by, 68:56-57Myrtle wood. See Bay (Umbellulariacalifomica).NNails, break-away, 70:44Nakashima, George, design after, 68:85Naptha, for cleaning, 70: 14, 67National Hardwood Lumber Association,literature from, 68:61Neufer, Ray, furniture by, 66:114-16Newman, Richard ScOtt, table by, 68:8 1, 83-84Newport (RJ), furniture from, book on, 68: 1 1 0Nielsen, Karl, cabinet by, 69: 1 18Norwegian American Museum, classes of,69:87oOak (Quercus spp.):ammonia fuming of, 66:52-53oil finish for, 66: 16Oak, blackjack (Quercus marilandica),described, 69:89Oak, red (Quercus nlbra), identification of,73:78Oak, white (Quercus alba):identification of, 73:78stearn bending, 67: 18Odors, in wood, removing, 66: 14, 68:6Olde Mill Cabinet Shoppe, waxes, tested,70:67-68Osage orange (Maclura pomifera), described,69:90Oysterwood, Cuban (Gymnanthes lucida),described, 69:91Oz wax, tested, 70:67-68pPacific yew, debate over, 68: 1 18Padauk (Pterocarpus spp.), substitutes for,nonbleeding, 69: 12Paneling, aluminum honeycomb, workingwith, 68:78-80Paralok saw fence, reViewed, 68:4 1, 44-45Parting tools, lathe, beads with, 68:50Partridgc,Jim, at seminar, 70: 110Patterson, Lance, music stand by, look-alikeplans for, 69: 14Pau marfin (Ba/fourodendron riedelianum),qualities of, 73: 16- 18Peach (Amygdalus perslca), workabiIiry of,69:89Pear (Pyrus communis), mentioned, 69:89Peduzzi, Anthony and Judy, Making ActionToys in 1V00d, reViewed, 66: I 10-\2PEG. See Polyethylene glycol.Pencils:manufacture of, 70: I 08- 10mechanical, making, 69:66Penetrating-oil finishes:applying, 71:45fast-setting, 73:90indoor-outdoor use of, 71: 14on oak, 66: 16Penland School of Crafts, writer· in-residenceprogram, 68: I 18Pens, ballpoint, making, 69:64-66Pepper mills, making, in multiple, 73:88-90Pernambuco (Guilandina echinata):bleeding with, 69: 12as dyewood, 66:52-53Peschke, Norm, hold-fasts from 66:20Peteran, Gord, furniture by, 73:42, 45Peters, Alan, rev" Encyclopedia of Fun'l,;tureMaking, The Ooyce), reviewed, 66: 1 10Peterson, Michael, bowls by, 70:116Phillips, Tom, work by, 66:4 1-42Picture frames:clamp for, making, 73:8lacquer finishes for, 68:71Piecrust tables. See Tables: tripod.Pierce, Sharon:Making Folk Toys and lVeather Vanes,reviewed, 66: I 10Making Old-Time Folk Toys, reviewed,66:1 1 0Pine (Phws spp.), staining, 66: 14Pine, white (Pinus strobus), identification of,73:77Planers:about, 70:58-63dust-collector capaciry for, 67:72Planes:brass shoulder, making, 69: 16chisel-nose, making, 69:8coachmakers' rabbet, making, 66:6 1·63with disposable irons, 67:64for drop-leaf table, 69:83hollow and round, 69:8 1-83irons of, suction-cup hold for, 69:8lubricating, wick for, 69:8old, auction prices for, 68: 1 12plow, using, 71:62, 63rabbet, for raised panels, 67:66-67shoulder, 67:67side, 69:83skew block, 67:67soles of, beveling, 68:6water-pump, 68: 14Plastic Dip, source for, 66: 10Plate jOinery:in carcase work, 71 :44and Chinese-motif, 73:55machines for, 66:4, 22Pledge wax, tested, 70:67-68Pliers, welders' locking, 68:8Plum, greengage (Prtmus domestica),mentioned, 69:89Plywood:furniture from, book on, 71: I 04for jigs, source for, 66:75ripping, problems with, 66: 14stack keepers for, 69: 10 (addenda, 72:18)Polyethylene glycol (PEG):as finish, 73: 14using, 71:14Polyvinyl acetate glue (white), heat-activated,68:8· 10Polyvinylchloride pipe (PVC), bending, 66:6Porta Yu II camera, source for, 68: 118Porter Cable, belt sanders, reviewed, 69:70,71, 75Powell, David, work by, 68:85, 71 :72-75Powlesland, Greg, figurehead by, 67: 126Proctor, Stephen, stool by, 69:47Puksta, Fred, stool by, 69:46Pulls:installer for, non-marring, 69: 10making, 66:6, 73:49, 80-83threaded inserts for, 73:80tum-button, 73:73, 74See also Handles.Purge-All, reViewed, 67:80Purpleheart (Peltogyne spp_), mentioned,67: 16PVC. See Polyvinylchloride pipe.QQueen Anne, design problems in, 67:55-56Quimec Mfg., Paralok saw fence, reviewed,68:4 1, 44-45RRabbets, with router, 7l:44Radial-arm saws:about, by brand, 73:60-66blade stabilizers for, conSidered, 68: 1 2books on, 73:65, 66cut-smoothing blades for, 71:4Delta, retrofits for, 68: 1 18dust-collecting for, 67:72, 73ripping with, 71: 12salery with, 73:65See also Circular-saw blades. Rip fences.Raffan, Richard, debated, 68: I 14 - 16Rain Forest Action Network, address for, 70:83Raised panels:edge treatments for, 66:78by hand tools, 67:65-67with plywood, 73: 10profiles for, 71:60with router, 68:8, 70: 18tablesaw jig for, 68:8walls in, 66:76-81Rali, planes, 67:64Rasps, on cabriole legs, 73:85-86Raynaud's disease, aVOiding, 71: I 06Red cedar (Juniperus virginiana), oily oozefrom, 69: 12-14Redwood (Sequoia sempervirens), for guitars,67:48Rees-Memphis, Inc., dust collectors, reviewed,67:74, 75Reid, John, From One Sheet oJ Plywood,reviewed, 71: 104Renaissance wax, tested, 70:67-68Respirators, cartridges for, organic-vapor,66:54Rieff, Pete, boxes by, 71: 16Rietveld, Gerrit, furniture of, plans for, 66:4,69:16Rip fences:aluminum channel for, 70: 18alignment for, 66: 14brands of, reviewed, 68:4 1-45lever-action lock for, 70:18making, 68:46-47, 70:6stock creep-prevention for, 73:8Robertson, William, miniatures by, 66:85-87Robson, Joel, furniture by, 73:45-46Rocking chairs:rustic, 66:39Windsor, 71 :36Rockwell scales, discussed, 71:14, 73:20Rockwell-Delta, tablesaws of, and blades,70:36-37Rodriquez, Dan, aid to, 69:4Roller stands, heigl,,-adjustment mechanismfor, 66: 10Rosewood (Dalbergia or latifolia spp.):for guitars, 67:48-49finish for, 73: 18substitutes for, nonbleeding, 69:12Routers:bits for, custom, 71:16bit speed formula for, 66: 16bits of, in shapers, 66: 16clamps for, vacuum, 66:72-73computerized, 66:72-73, 67:63, 64corners with, radiused, 73: 12dado jigs for, 68:40, 73:8dovetail jigs for, 68:56-57, 70:49dovetails with, sliding, 67:8, 69:62dowels with, 66: 10edge molding with, 70: 10German replaceable-bit, 67:64grooving setup for, 69:65for miniature work, 66:86-87mortises with, 71:42-44multiple-station setup for, 72:83-85pattern routing with, 73:82-83plunge, by brand, 66:56-60plunge, lubricating, 70:6plunge, makeshift, 70: 1 0production runs with, 72:83-85, 73:89purfling jig for, 69:62-63rabbets with, 69:62, 71 :44raised-panel jig for, 68:8 (addendum, 70: 18)subbases for, Plexiglas, 66:8switch shield for, 66:60for tabletop, Circular, 67:84tenons with, 64: 12 (errata, 66:4)See also Shapers.Royal College of Art (England), furniture from,67: 124Rudolf Kaiser, plate joiner Mini 3D "Yario,"source for, 66:22Rules, fOlding, uses of, 67:6Rushton, John Henry, canoe pioneering of,71:6Russian olive (ElaeagmtS angustifolia),described, 69:90-91Rustic furniture, contemporary, 66:38-43, 68:6Rycotewood College (England), furniturefrom, 67:124Ryobi:belt sanders, reViewed, 69:7 1, 73, 75plunge routers, reViewed, 66:56-60radial-arm saw RA200, reviewed, 73:64-65SSaber saws, protective skids for, 67: 10Sadolin Paint Products, lacquer finish of,discussed, 68: 14-16Safery. See Children. Eye protection.Salas, Victor, chair by, 68: 120Saltshakers, making, in multiple, 73:88-90Sanders:bullnose edge, making, 71:76-77graphite cloth for, 71 :77sticky foam-pad system for, reviewed,73:134Sanders, belt:dust-collector capaciry for, 67:72German profiled, 67:64tire cleanup for, 69: I 0Sanders, disc, dust-collection for, 67:72Sanders, drum, making, 67:68-69, 71:16, 77Sanding:with engine-valve chucked, 70:10 (cautionsfor, 71:4)fingertip protection for, 67: 12foam blocks for, 71:8- 10of lathe work, 66:45, 68: 18, 50, 51, 70:8production runs of, 73:89-90vacuum holding device for, 73:69, 70Sanding sealers:aerosol, 73:90and sawdust, as filler, 69: 10See also Sealers.Sandpaper:cleaning, 68: 18cords of, making, 70:8resin-bonded cloth-backed, 68:51Scotch-Brite pads for, 66:47, 72:62storage for, 67: 10Santore, Charles, lVindsor Style in America,The (vol. 2), reviewed, 71:104Santos rosewood. See Morado.Sash clamps, making, 64:46-47 (addendum,66:4)Sato, Hideo,]apanese Woodworking,reviewed, 73: 128Saw blades. See Circular sawblades.Saw sets, about, 68:74, 75Sawhorses, clamp-rack from, 68:8Sawm ills, about, 68:58-60Sawyer, Dave, makes chairs, 71 :35- 36Scheppach America, dust collectors, reviewed,67:74, 75Schiwall, Linda, tables by, 71: 106Schnute, Ronda and William, door by, 73: 134Schroeder, Douglas, dovetail jig by, 68:56-57Schuette, Lee, tables by, 71: 106Scrapers, blades of, suction' cup hold for, 69:8Screwdriver, paint-removing Y-notch for,73: 12108 Fine Woodworking

ScrewsZimmerScrews:brace driving of, 71 :49drywall, countersink for, 67:8in furniture, discussed, 67: 14- 16paint-filled, driver for, 73: 12threaded inserts for, 68:79, 73:80Scribers, for lathe, 69: 10Scroll saws:air stream for, 70:53duplicates with, jig for, 66:8for marquetry, 67:78maldng, 70:5 1-53Sculpture:of carousel animals by, 69: 120fo und-wood, 69: 1 12Sealers:using, 73:18vinyl, against bleedin g , 69: 12vinyl, and lacquer, 6 6 :20vinyl, for marquetry, 67: 14vinyl, for metals, 68: 16vinyl, using, 70: 14wood-hardening, source for, 66:75Sears, Roebuck:bandsaw speed convertor from, 66:4-6belt sanders, reviewed, 69:7 1, 75molding head 9HT32 18, 70:44radial-arm saw 19825, reviewed, 73:65-66sawblades of, 70:39, 41tablesaw, power fOf, 66: 14tablesaws of, and blades, 70:36Selling:aids for, 70:48design-trades book for, 67:4-6by mail, 70:48in multiples, 70:46-48Sen Kong, dust collectors, reViewed, 67:74, 75Seuees:rustic, 66:38- 39, 41, 42Windsor, 71:38Sfirri, Mark, teaches, 73: 130Shagreen, discussed, 71: 12-14Shaker, stools, 69:47Shapers:about, 69:48-53bit speed formula fo r, 66: 16bits for, 69:5 1-53, 71:16dust-collection for, 67:72, 73feed methods for, 69:50fences for, 69:49-50, 51router-bit adapter spindles in, 66: 16safery with, 67:6, 69:48-50table for, auxiliary, 69:50templates for, 69:51tenon and coping jig for, 69:49Sharpening:with drill press, 71:8multi-wheel system for, 66:51See also Benchstones. Buffers. Grindingwheels. Honing. specific rool. Stropping.Shellac:about, 71:56-59books on, 71:59Shelves, assembly squares for, 73: 10Sheridan College School of Crafts and Design,about, 73:43-44Sheriff, john, desk by, 68:82-83Shipworms, described, 73: 132Shopsmith Inc.:dust cOUectors, reviewed, 67:74, 75lathe shore-up for, 70:64-65Shuler, Mike, work by, discussed, 67:95Sideboards, Chinese-motif, 73:54Silicone, removing, 67:80Simonds, Timothy, mirror by, 68:82, 83Simoniz II wax, tested, 70:67-68Sio, Carter, teaches, 73: 130Skew chisels, lathe:bevels for, 68:49lIsing, 68:49- 50Skil, belt sanders, reviewed, 69:71, 75Slicks, about, 73:75Sloane, Bill, stool by, 69:47Small Parts Inc., address for, 70:50, 53(erratum, 72:20)Smeja, Stefan, teaches, 73:44Smith, Margery Hoffman, creates TimberlineLodge, 66: 1 14-16Smith, Michael, corner cupboard by, 73:132Sofas:Belter, 71 :65upholstered, 68:52Sonday, Robert, stool by, 69:47Southern California Woodworking Conference,discussed, 71: 1 10Spline weights, maldng, 72: 18 (addenda, 73:4)Springs, small, maldng, 69:64Square It electronic square, reviewed, 66: 116Squares:assembly, maldng, 73: 10electronic, reviewed, 66: I 16wooden large, maldng, 70:79Stains:vs. dyes, 66:52early, 68:12lightening, 66: 14from lye, 66:20, 67:6preseal for, 66: 14See also Dyes. Lacquer: coloring with.Stanley Tool Co.:chisel-nose plane 97, duplicating, 69:8rabbet plane 78, 67:66, 67routers of, Bosch parts for, 67: 16StasiO, james T_, Making Woodell Toys,reViewed, 66: 1 10Steady rests, skateboard wheels in, 66: 12Steam bending:of bowls, turned, 70:64-65dimension limits for, 66:16equipment for, 67:18, 68:6, 71:16- 18wood expansion in, 71: 18See (liso Forms. Heat-blanket bending. Hotpipebending. Lamination.Steel:bent, straightening, 68:76fo r guitars, 67:49Oil-hardening, using, 66:71Rockwell scale for, 71:14sources for, 66:71, 68:46, 71:16from swords, 67:10tapping fluid for, 66:10tempering, 66:6Steel wool. See Abrasive pads.Srep by Slep lVoodcarving (Bridgewater),reViewed, 67: I 22Sterba, Rob, work by, discussed, 67:92-93Steward, Robert M., Boatbuilding Manual,reviewed, 68: I I 0Stikit sanding systems, reviewed, 73: 134Stirt, Alan, work by, discussed, 67:94-95Stools:gallery of, 69:46-47maldng, 69:4 1-47Stowe, Ernest, cupboard by, 66:39Straightedges, wooden, maldng, 70:78Strobe lights, source for, 73:71Stropping:of carving tools, 66:50- 51with drill press, 71:8Studley, H. 0., tool chest by, 71:112Sumac, laurel (Rhus laurilla), described,69:89Sumner, Jean, sawing advice from, 69: 16Sushi sets, pictured, 70:46Swanson, Charlie, stool by, 69:47Switches:electronic sensing, maldng, 68:62-64remote radiO, 71:16wiring for, 67:18TTables:alignment pins for, 70:57brandy, maldng, 66:82-!l4centipede, 73:46Chinese-motif, 73:52console wood-travertine, 73:47corner blocks fo r, 70:56-57demilune pear-ebony, 68:8 1, 83-84drop-leaf, hollow and round planes for,69:83extenSion, removable leg for, 70:18extenSion, reversable-rabbet, 70:8extension, round, 70:54-57finish fo r, 70:57locks fo r, 70:57maple-purpleheart-ebony, 73:47maple round, with lazy susan, 68:85of matchsticks, 67:132rustic, 66:4 1, 42segmented, English contemporary, 67: 1 24serpentine-top Victorian, 71:66shedua occasional, 69: I 12, I 14slides for, installing, 70:56, 57tilt-top, whimsical, 71:106tripod, maldng, 67:81 -87, 69:76-79walnut hall, 73: 130walnut trestle, 68:85See also Coffee tables. Tabletops.Tablesaws:accessories for, 68:44angles on, compound, 69:41, 70: 16blade-arbor run-out check for, 70:37, 39blades fo r, 66: 14blade warp with, 66: 14crosscutting jig for, 69:55cutoffs from, vacuum removal of, 69: 1 0dust-collection for, 67:72extension table for, maldng, 67: 14finger joints on, 69:55-56fluted panels on, 67:8, 71: I 0metal-cutting on, 68:46for miniatures, 66:86, 87moldings on, 70:44mortise and tenon on, 70:56-57motor of, shared, 66:8power for, 66: 14power of, raising, 67:16raised-panel jig for, 68:8riving knife for, 67: 14sliding-carriage for, wheel source for, 66:6sliding-cradle jig for, 73:88, 89small-piece jig for, 70:8switch fo r. auxiliary, 71:10taper jigs fo r, 69:57, 70:55tenons on, 66:70, 71, 71:44, 62-63tenons on, angled, 66:84top of, trueing, 70: 14turning blanks with, 66:8See also Circular-saw blades. Circular-sawblades, carbide. Hold-downs. Hold-ins. Ripfe nces.Tabletops:attachment methods for, 71:42, 43, 73:72both-sides finishing of, 66: 18radiused corners for, 73: 1 2sliding-dovetail crossbrace for, 68:68twisted, straightening, 73: 16and wood movement, 67:52Tambours, counterbalancing, 70: 14Tapers:compound-angled, table for, 70: 16cutting, 69:57, 70:55-56Taylor, C. Scott, box by, 69: 112, 114Teak (Tecrona grandis):bending, 67: 18color restoration for, 73:6Templates, aluminum printing plates for, 68: 10Tenons:angled, maldng, 66:84by hand, 66:69- 71, 69:45on lathe, cutter fo r, 67: 12repairing, 67:54round, with hollow auger, 71 :49round, with router 64: 12 (errata, 66:4)round, squeeze-jig for, 67:10on tablesaw, 66:70, 71, 71:62-63wedged, 71 :43, 44Thickness planers. See Planers.3-M Company, Stikit sanding systems of,reviewed, 73: 134Tinuvin ultraviolet inhibitor, using, 67:14Tongue-and-rabbet joint, on tablesaw, 69:57Toning_ See Lacquer: coloring with.Tool chests, magnificent, 71: 112Tool rests, discussed, 68:49, 70: 10Tools:cord-loop storage for, 70:8old, auction of, 68: 1 12- 14Raynaud's disease from, aVOiding, 71: I 06Rockwell scales for, 71:14, 73:20Torit, dust collectors, reViewed, 67:73, 74, 75Toronto, woodworking in, 73:42-47Townsend family, book on, 68:110Toyon (Hereromeles arburifolia), described,69:9 1Toys:books on, reviewed, 66: I 00-1 12, 70: I 04- 106eyes for, brass-wood, 66: 12safery information for, 69:69, 70:1 14Tracor Aviation, about, 68:78-80Trammels, maldng, 70:78-79Traver, Hutch, work by, 66:40-41Trees:chemical circulation in, 66:55See also Forests.Trewax Co., waxes, tested, 70:67-68Tru-Grip Chimps, source for, 67: 14TTAC dowel system, reViewed, 70:112-14Turino, Steve, cabinet by, 73:56, 57Turning:architectural, about, 68:48-51"Art," discussed, 67:92-95, 68:1 14-16of baseball bats, 66: 12blanks for, 66:8books on, 68: I 10conferences on, 70:110, 71:110of cylinders, tiny hollow, 69:64-65, 66diameter-measuring for, 68:48on drill press, 67:68-69exhibitions of, 67:92-95heatgun for, 66:45hand positions for, 68:50, 51of hollow stock, 71: 16of greenwood, 66:44-45from the left, 70: I 0microwave drying fo r, 66:44, 45mounting for, 66:45, 47museum for, 70: I 14patterns for, 68:49, 50pharmacists' jackets for, 68:49of pummels, 68:49- 50segment-rin g method for, 73:6speeds for, 6 8:49of spheres, 67:8, 71:18of spheres, hollow, 73:70stock for, 68:49strobe lighting for, 73:71of tabletop, large, 67:84-85tenon cutter for, 67: 12with valve live-center, 70:8- 10 (caucionsfor, 71:4)See also Bowls, turned. Lathe centers.Lathe chucks. Lathes. Sanding. specific lools.Tool rests.uu. S. Consumer Product Safety CommiSSion,toy safety information, 69:69U. S. Department of Agriculture. See ForestProducts Laboratory.U. S. Government Printing Office, lumberdryingmanuals from, 68:61U. S. Testing Company, Buyer's Guide roMeeting ProduCI Safety and Quality Srandardsin Toys and Chi/dren's Articles, 70: 114Ulmia, dust collectors, reviewed, 67:74, 75Underwriters Laboratories Inc., publicationsfrom, 71:80Unifence rip fence, reviewed, 68:4 1, 43-44, 45Upholstery, design for, 68:53-55Urine, smell from, treating, 66: 14vVacuum clamps:maldng, 66:72- 75safety with, tipS for, 67:4venturi systems for, 67: 18Vacuums, floor, dust-collection for, 67:72Valves, as drive centers, cautions against, 71:4Varnish, and oil mixture, 70:65Vases, overlapped steam bent, 70:64-65Vega Enterprises Inc., Saw Fence, reviewed,68:4 1, 42-43, 45Veneer:on bandsaw, fence serup for, 71:8contact cement for, industrial, 68:80dyed, orientation for, 68: 18dyeing, 66:22, 67:77edging strips of, gluing, 68:8- 10hammer applying, 69:77-79hammers for, 69:4pattern method for, 69:76-79repairing, 67:54-55, 73: I 0, 14-16scorch-shading, 66:83, 84sources for, 66:22, 83substrate for, 69:77thickness for, 70: 12wild-grained, taming solution for, 73:16and wood movement, 67:53, 56Victorian furniture. See Belter, John Henry:furniture by.Vises:bench, from pipe clamps, 71: 10saw, maldng, 68:73woodcarver's, maldng, 69: 10V-parting tools, sharpening, 66:48-50WWahl, Wendy, upholstery fabric by, 68:55Wainscoting. See Raised panels.Wall paneling. See Raised panels.Walnut, black (Juglans nigra ):dye from, 66: 5 2identification of, 73:77Warner, Geoffrey, work by, 68:60, 71:81Waxes:properties of, 70:66-68source for, 70:50Waxter, Peter, tests routers, 66:60Webb, Alex, Making COUllrry Fumiture,reviewed, 69: 1 10West System epoxy, source for, 66: 16Wheels, sources for, 66:6, 12Whistles, maldng, 71 :68-69, 70Whitehead, john, work by, discussed, 67:92Wilkie, Ian, plane by, 69: 16Willow (Salix spp.), for rustic furniture, 66:40-41, 42, 68:6Windsor chairs:book on, reviewed, 71: I 04maldng, 71:32-38Wiring. See Lamps: wiring.Wood:books on, sources for, 67:49, 73:79exotiC, ecological implications of, 70:82-83,84-85exotiC, native, 69:88-91exotiC, sociery for, 67:16, 73:79exotic, sources for, 67:49, 68: 18identification of, 73:76-79imports of, by country, 70:81movement of, addressing, 67:52-55, 73:14oily, sealer for, 67: 14quartersawing, 68:58, 60sapwood of, coloring, 68:70- 71roey, 71:18spalted, producing, 71: 108- 110tropical, boycotting, 67:6See also Forests. Green wood.Wood bending. See Steam bending.Wood drying:of difficult woods, 71: 14by kiln, book on, 68:60-61method for, 68:59-61in microwave, 71:18of poles, 66:40testing for, 71:18, 73:20Wood Turning Center, The (Philadelphia),programs of, 70: 1 14Wood-Mizer, saws black locust, 69: 16Woodworker Gllide ro Wood Finishing(Leach), reViewed, 67: 122Woodworking. See Business. Instruction.Insurance. Liability.Workbenches:carpet-underlay holdfast for, 68:10See also Hold-fasts. Vises.Workshops:child safery in, 71 :6, 73:6chip deflectors for, movable, 67: 10cleat-system racks fo r, 73:12cord-loop storage for, 70:8fireproof storage room for, 73:4plywood stack keepers for, 69: 10 (addenda,72:18)soup-can storage for, 73:10sweat guard for, 69:8truck-camper sryle, 68: I 14yYellow poplar (Liriodendren ru/ipifera ):identification of, 73:77as veneer, 70: 12Yellowwood (Cladraslis IlIlea), as dyewood,66:52Your Country Auctioneer, Inc., tool auctionby, 68:112-14ZZaroff, Tamara, chair by, 73: 130Zimmer, Bill and Lynette, show by, 68:8 1-85January/February 1989 109

Listings of gallery shows, major craft fa irs, lectures,workshops and exhibitions are free, but restrictedto happenings of direct interest to woodworkers.We'll list events (including entry deadlines for fu ­ture juried shows) that are cu rrentwith the monthsprinted on the cover of the magazine, with a littleoverlap when space p ermits. We go to press twomonths before the issue date of the magazine andmust be notified well in advance. For example, thec/.ealline for events to be held in M arch or April isJanuary l;for July and Augus it's May 1, and so onALASKA: Exhibit-"Design '89," an exhibit of furnitureand jewelry, Jan. 6-29. Civic Center Gallery, A1askaland,Fairbanks. For more info., contact Frances Brann Woodworking,Box 298, Delta Junction, 99737. (907) 895-4281.Seminars/workshops-Yearly seminars and workshops.Contact the Alaska Creative Woodworkers Assoc.,Box 201796, Anchorage, 99520· 1 796. (907) 345-3077.ARIZONA: Classeslworkshops- I-yr. woodworkingprogram, 4-mo. guitar-building course, various workshops,Jan. thru Dec. Write Roberto-Venn School of Luthiery,40 11 S. 16th St., Phoenix, 85040. (602) 243· \ 179.CALIFORNIA: Show-California Art Buyers CaravanShow, Jan.13-15. Long Beach Convention Ctr., LongBeach. Show's open to buyers from the trade only. Forinfo., call Paul Karel at (314) 42 1-5445, or write him atArt Buyers Caravan, 408 Olive St., St. Lou is, MO 63102.Workshop-A Day With Sam Maloof, master woodworker,Feb. 25 & Apr. 29. Contact Barbara Moore, Univ. of CA,Univ. Extension, Riverside, 92521-0122. (714) 787-4102.Class-Building the 10·ft. Herreschoff pram, with SimonWatts, Jan. 28-Feb. 4. Contact Crissy Field, National MaritimeMuseum Assoc., Bldg. 275, San Francisco, 94 1 29.(415) 929-0202.COLORADO: Workshops-I-& 2-week workshops infurnituremaking and design. Contact Anderson Ranch ArtsCtr., Box 5598, Snowmass Village, 81615. (303) 923·3181.CONNECTICUT: Juried exhibit-32nd annual craftsexpo, July 13- 15. Historic Guilford Green, Guilford. ApplicatiOnsdue: Mar. 10. Write 32nd Annual Guilford HandcraftsExpo, Box 589, 411 Church St., GuiJdford, 06437, orcall Ferno Hubbard or Joyce Wright at (203) 453·5947-Exhibit-An exhibit of turned wood, Feb. I-Mar. 18.The Elements, Gallery of Fine Contemporary Crafts, 14 LiberryWay, Greenwich, 06830. (203) 661-0014.Workshops-Router techniques, Feb. 4; European cabinetmaking,with Paul Levine, author of "Making KitchenCabinets," Feb. 25--26; 18th-century chairmaking, Mar. 4-5;woodfinishing techniques, Mar. 18.-19. For more info.,contact the Brookfield Craft Center, Box 122, Brookfield,06804, or call (203) 775-4526 or 853-6 155.DISTlUCT OF COLUMBIA: Show-6th annual WoodworkingWorld Show, Feb. 18-20. The DC Armory. ContactWANA, Box 706, Plymouth, NH 03264; or call (800)521-7623 or (603) 536-3768 Mon. thru Thurs.Fellowships-2nd annual fellowship program for scholarlyresearch in the modern American craft movement.Applications due: Jan. 15; appointments on or after June 1.Write the Office of Fellowships & Grants, Smithsonian institute,Ste. 7300 L'Enfunt Plaza, 20560. (202) 287-3271.FLOlUDA: Show-Orlando Art Buyers Caravan Show,Feb. 11-13. Expo Centre, Orlando. Show's open to buyersfrom the trade only. For more info., call Paul Karel at(314) 42 1-5445, or write him at Art Buyers Caravan, 408Olive St., St. Louis, MO 63102.Shows-"A11 About Wood," presentation of woodworking,forestry, tools, crafts, furniture. Located at variousmalls throughout FL between Jan. 19 & Apr. 16. For moreinfo., contact The Micropolis, Inc., 251 Rolling Oaks, St.Augustine, 32086. (904) 797-2600.GEORGIA: Show-Nat'l Assoc. of Home Builders 45thAnnual Convention and Exposition, Jan. 20-23. WorldCongress Center, Atlanta. For registration info., contactBetry Chrisry, Public Affairs Division, NAHB, 15th and MStreets, N.W., Washington, DC 20005. (202) 822-0200.Juried Exhibit-36th Arts Festival of Atlanta, Sept. 16-24.Piedmont Park, Atlanta. Application deadline: Jan. 25. Forprospectus, write Arts Festival of Atlanta, 50 I PeachtreeSt. N.E., Atlanta, 30308, or call (404) 885- 1125.ILLINOIS: Show-"Artists in Wood," carving show, Feb.18-19. Contact Rock River Valley Carvers, Box 204, Sterling,61081, or call Steve Majewski at (815) 625-8531 or625-3203 (evenings).IOWA: Show-16th annual "Iowa State WoodcarversShow-'89," Apr. 22-23. Waterloo Arts & Rec. Center, 225Cedar St., Waterloo. For info., contact Roger Seehusen, RRI, Parkersburg, 50665, (309) 346- 1319 or Gary Loshman,317 Oak Park Circle, Waterloo, 50701, (309) 232-6198.KANSAS: Juried exhibit-Topeka Competition 13,Apr. 2-May 1. Slides due Jan. 9. Open to KS, NB, MO & OKresidents. 815 for up to 3 entries; include SASE; clay, glass,metalwork/jewelry, fiber, wood or a combination. ContactGallery of Fine Arts, Topeka Public Library, 1515 W. 10th,Topeka, 66604- 1374. (913) 233-2040.MARYLAND: Exhibit-The Winter Market of AmericanCrafts (ACC Craft Fair), Feb. 14- 16 (trade), 17-19(public). Baltimore Convention Center, Pratt & CharlesSt., Baltimore. Contact ACC Craft Fair, Box 10, 256 MainSt., New Paltz, NY 1256 1. (914) 255-0039.Show/sale-9th annual Harford Day School WaterfowlShow and Sale, Feb. 18. Harford Day School, 715 MooresMill Road, Bel Air, 21014. (301) 879-2350 or 838-4848.MASSACHUSETTS: Exhibit-"Specific Spaces: UniqueFurniture," Jan. 3-27. Clark Gallery, Box 339, Lincoln Station,Lincoln, 01 773. (617) 259-8303.Juried fair- 19th annual craft fair, May 19-2 1. Groundsof the Worcester Center For Crafts. Application fee S 15;deadline Feb. 14. Write Craft Fair Registrar, WCFC, 25Sagamore Road, Worcester, 01605. (508) 753-8183.Workshop-lOth annual Wood Identification Workshop,Jan 3-6. Univ. of Mass. at Amherst. Introductory workshopby Dr. Bruce Hoadley; 8285 fee. Contact Alice SzIosek orTrudie Goodchild, Div. of Continuing Ed., Room 608, GoodellBldg., Univ. of MA, Amherst, 01003. (413) 545-2484.MICHIGAN: Juried fair-30th annual Ann Arbor StreetArt Fair, July 19-22. S. & E. Univ. Avenues, Ann Arbor.Application deadline: Feb. 15. Write Ann Arbor Street ArtFair, Box 1352, Ann Arbor, 48 106. (313) 994-5260.MINNESOTA: Classes/seminars-Forinformation,write Woodcarving School, 3056 Excelsior Blvd., Minneapolis,55416. (612) 927-749 1.MONTANA: Class-Building the Chamberlin Dory-Skiff,with Simon Watts, Feb. 25-Mar. 4. Contact Scott Lohmuller,3681 Sawmill Road, Kelly Canyon, Boseman,59715. (406) 587-3003.NEW YORK: Workshops-Japanese tools, sharpeningtechniques, joinery, furnituremaking, instrumentmaking,Jan. 7-8, 21-22 & Feb. 4-5, 18-19. The Luthierie, 2449W. Saugerties Road, Saugerties, 12477. (914) 246-5207.Juried show -13th annual American Crafts Festival, July1-2, 8-9, 15-16. Lincoln Center, Fordham Univ. Plaza,NYc. Application deadline: Jan. 28. Contact BrendaBrigham, American Concern for Artistry & Craftsmanship,Box 650, Montclair, NJ 07042. (201) 746-009 1.Classes-Woodworking (3 levels) wi Maurice Fraser;bowl turning wi Bill Gundling; finishing wi Susan Perry,all beginning week of Feb. 6. Free dovetailing and bowlturning demo, Jan. 30, 6 P.M The Craft Studenls League,610 Lexington Ave. & 53rd, NYC, 1002 1. (212) 735-9732.Juried show-4th annual Lilac Art Show, May 13-14.Highland Park, Rochester. Entry deadline: Feb. 10. ContactArts for Greater Rochester, 335 E. Main St., Ste. 200,Rochester, 14604. (716) 546,5602.Exhibit-Kamakura-Bori: 500 years of traditional Japaneselacquered woodcarving, Jan. 17 thru Feb. 5. Japan SocieryGallery, 333 E. 47th St., NYC, 10017. (212) 832- 1155.Revival-Clearwater's 1989 Great Hudson River Revival,June 17-18. Westchester Communiry College, Valhalla.Application deadline: Feb. 25. Contact Clearwater's GreatHudson River Revival Crafts Committee, do Joan Silberberg,RFD #2, Pudding St., Carmel, 10512. (914) 454-7951.Juried show-New Paltz Art & Crafts Fairs, May 27-29and Sept. 2-4. Ulster Counry Fairgrounds, New Paltz.Application deadline: Feb. 1. Contact Scott & Neil Rubinstein,Quail Hollow Events, Box 825, Woodstock, 12498.(914) 679-8087 or 246- 3414.NORTH CAROLINA: Juried show- 10th annual"Winterfest Art & Craft Show," Feb. 9-12. Asheville Mall.Contact Gail Gomez, High Country Crafters, 46 HaywoodSt., Asheville, 2880 I. (704) 254-7547 or 253-6893.Workshop-Ladderback chairmaking, Jan. 23-27; Windsorchairmaking, Feb. 6-10 or 20-24. Country Workshops, 90Mill Creek Road, Marshall, 28753. (704) 656-2280.Exhibit-"Showcase of Woodcarvings," Mar. 4-5. GradyCole Center, 310 N. Kings Drive, Charlotte. Deadline:Feb. 10. Contact Showcase of Woodcarvings, 1418 ArmoryDrive, Charlotte, 28204. (704) 336-2584.Exhibit-American Wildfowl Decoys, Jan. 22-Mar. 18.Shorebird and duck decoys carved between 1870-1960.Hickory Museum of Art, Hickory. Contact Susan Flamm,444 Park Ave. S., New York, NY 10016. (212) 48 1-3080.OHIO: Show- 4th annual Columbus WoodworkingWorld Show, Jan. 13- 15. Veterans Memorial Hall, Columbus.Contact WANA, Box 706, Plymouth, NH 03264; orcall (800) 521-7623 or (603) 536-3768 Mon. thru Thurs.OKLAHOMA: Workshop-Woodturning: berween centers,Feb. 11; woodtuming/bowl turning, Feb. 18 by AlanLacer. Contact Deanna at Moore-Norman Vo-Tech School,4701 12th Ave. N.W., Norman, 73069. (405) 364-5763.OREGON: Workshops-Gilding workshop with FranStrom, Jan. 28; opening of "Backwoods Whittier," Feb. 2;Japanese Ainu carving workshop with Masamichi Nitani,Feb. 26; art furniture: surface treatments workshop withBeth Yoe, Mar. 5. Contact Oregon School of Arts & Crafts,8245 S.W. Barnes Road, Portland, 97225. (503) 297-5544.PENNSYLVANIA: Expo-Northeast Wood ProductsExpo '89, Mar. 2-4. The Hershey Lodge and ConventionCtr., Hershey. Intended for small- to medium-size manufacturersof primary and secondary wood products. ContactNEWPEX, Inc., Frank Netherwood, Dame Associates,Inc., 51 Church St., Boston, MA 02 1 16. (617) 482-3596.Workshops-Beginning bird carving with Bill & GraceWhite, Feb. 17-19; intermediate bird carving, Feb. 24-26.Chambersburg. 3-legged Windsor stool with Kai Pederson,Mar. I I. Lititz. Contact The PA Guild of Craftsmen,Box 820, Richboro, 18954. (215) 860-073 1.Workshop- 33rd annual Hardwood Lumber Grading andInspection workshop, Feb. 20-24. Penn. State Univ., Univ.Park. Contact AgriculturaI Conference Coordinator, 410).0.Keller Conf Ctr., Univ. Park, 16802. (814) 865-9547.TENNESSEE: Workshops-Woodturning: intermediateto advanced with Del Stubbs, Feb. 27-Mar. 3 or Mar.6-10; hollow vessels-beginning to advanced with DavidEllsworth, Mar. 13-17; tools & techniques with ErnieConover, Mar. 20-24. Contact Arrowmont School of Arts& Crafts, Box 567, Gatlinburg, 37738. (615) 436-5860.TEXAS: Show-4th annual Houston WoodworkingWorld Show, Mar. 3-5. Pasadena Convention Ctr., Pasadena.Contact WANA, Box 706, Plymouth, NH 03264; or call(800) 52 1 -7623 or (603) 536-3768 Mon. thru Thurs.Show-Dallas Art Buyers Caravan Show, Mar. 11-12. Hyatt-Regency,DallaslFt. Worth Airport. Open to buyersfrom the trade only. Contact Paul Karel, Art Buyers Caravan,408 Olive St., St. Lou is, MO 63102. (314) 421-5445.UTAH: Juried exhibit-"Exhibition '48," Cedar Ciry's48th annual multi-media art exhibit, Apr. 6-28. Slidedeadline: Jan. 30. For prospectus, send SASE (letter size) toCedar Ciry Art Committee, clo Braithwaite Gallery, SouthernUtah State College, 351 W. Center, Cedar Ciry, 84720.VERMONT: Workshop-Shaker basketmaker JohnMcGuire, Mar. 18-19. Contact the Vermont State Craft Centerat Frog Hollow, Middlebury, 05753. (802) 388-3177.VIRGINIA: Show- 2nd annual VA Woodworking WorldShow, Jan. 6-8. The Norfolk Scope, Norfolk. For moreinfo., contact WANA, Box 706, Plymouth, NH 03264; orcall (800) 521-7623 or (603) 536- 3768 Mon. thru Thurs.Exhibit-"Works in Wood," Mar. 3-Apr. 14. Furnituresculpture, boxes and vessels by contemporary Southeastwoodworkers. Hand Workshop, 1812 W. Main St., Richmond,23220. (804) 353-0094.WASHINGTON: Class-Timber framing with Tedd Benson,Feb. 6-1 I. Contact Timbercraft Homes, 85 MartinRoad, Port Townsend, 98368. (206) 385-3051.Show-"For The Office," Jan. 5-29. Decorative woodartwork for the offi ce by Northwest woodworkers."Hands On Furniture," Feb. 2-22. Inlay as "hand" imageryas decoration for simple and elegant forms. NorthwestGallery, 202 First Ave. S., Seattle, 98104. (206) 625-0542.Class-Building Sea Urchin, a 10-ft. traditional Nova Scotiarowing shell, Mar. 18-25. Contact Center for WoodenBoats, 1010 Valley St., Seattle, 98109. (206) 382-2628.Workshops-Steam bending, Jan. 7; marine engine installation,Jan. 21; oar making, Feb. 11; pattern making andkeels, Feb. 25. Northwest School of Wooden Boatbuilding,251 Otto St., Port Townsend, 98368. (206) 385-4948.WEST VIRGINIA: Exhibit-"Catch a Brass Ring: CarouselArt From The Charlotte Dinger Collection," Jan.29-Mar. 25. Huntington Museum of Art, Huntington. Formore info., contact Susan Flamm, 444 Park Ave. S., NewYork, NY 10016. (212) 48 1-3080.WISCONSIN: Competition-DremellDucks UnlimitedMASTERS Carving Competition, Feb. 25-26. Racine's FestivalPark, 5 Fifth Ave., Racine. Contact Dremel, MASTERSCarving Competition, 4915 21st St., Racine, 53406-9989.CANADA: Show-The Forest Ciry Wood Show, Feb. 17-19. Western Fairgrounds, London, Ontario. Contact londonShow Productions, 565 3rd St., London, Onto N5V2C1. (519) 455-5888.Juried exhibit-"Knock on Wood," Jan. 15-Feb. 12.Langley Centennial Museum and National Exhibition Centre,9135 King St., Fort Langley, B.C. Furniture, sculpture,musical instruments, toys, boats, turnings and marquetry.Contact Diane Thorpe, assistant curator, at (604) 888-3922.Show-The Canadian Workshop Show (formerly WoodworkingWorld), Feb. 3-5. Exhibition Place, Toronto. Exhibits,demos, seminars, sales. For info., call (416) 475-8440 or write 130 Spy Court, Markham, Onto L3R 5H6.Show-Toronto Woodworking World Show, Feb. 17-19.The Skyline Toronto. For more info., contact COl Productions,Box 796, Rt. 3 & Cummings Hill Rd., Plymouth, NH03264. (603) 536-3768.CHINA: Study tour-Visits to famous woodworkingfactories, Imperial Palace Museum, the Shanghai FurnitureFactory, Xian Raw Lacquer Research Institute, June 3-19,1989. S3,505 includes air fare. Contact Eva Frank, 3504Beneva Road, Sarasota, FL 34232. (813) 923-3377.IRELAND: Tour-Guided tour by Liam O'Neill forwoodworkers, turners and carvers, May 9-23. Departurepoints: Boston or New York. Deadline: Feb. 28. Call theWoodworking Assoc. of N. America at (603) 536- 3876.11 0 Fine Woodworking

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BooksTreasury of Woodcarving Designs by Alan & Gi llBridgewater. Sterling Publishing Co., Inc., 2 Park Ave., NewYork, N.y. 100.16; 1988. $12. 95, paperback, 192 pp.I've been waiting for a book like this for 20 years. The authorsclaim, "This book is primarily a pattern source manual thatdraws its inspiration from worldwide woodcarving designs. Tothose who are searching for vigorous culture-related patternand ornamentation, this book is essential and indispensable."I agree.Treasury of Woodcarving Designs contains a wealth of materialon nonEuropean carving, which provides a fresh source ofinspiration for woodworkers tired of classical Western styles.The introductory chapters give a comprehensive but brief historyof carving, concentrating on the traditions of several culturesfrom around the world and of medieval Europe. The authorsstop short of describing the "decadent and debased" deSigns ofbaroque and later styles of carving popular on the continent.The numerous line drawings of carving motifs that make upthe bulk of the book are well done and cover a broad range ofmaterial. Unfortunately, the accompanying photos are poorly litand too small to show detail clearly.This book's greatest strength is its organization, which groupsdesigns by artistic themes, such as lines, circles and plant fo rms,rather than historically or geographically. This makes it mucheasier to find examples of any given type of design.One omission is the lack of an authors' note. I would haveliked to know more about Alan and Gill Bridgewater and howthey came to put together such an exu-aordinary collection ofdesigns. I strongly recommend their book as a source of historiccarving styles.-Richard ButzFine Tuning Your Radial Arm Saw by Jon Eakes. Lee ValleyTools Ltd., 10.80. Morrison Drive, Ottawa, Onto K2H 8K7;1987. $9.95 ($14.95 Canada), hardcover; 112 pp.An entire book on just adjusting the radial-arm saw ? Well, yes.There's nothing superfluous here, and much more could besaid, though a reader's patience might limit what's actually read.But then, if you don't have the patience to read this book, youcertainly won't have the patience to coax fine results from a radialarmsaw. By revealing how much adjustment and step-by-steptuning and checking is required to get the saw to perform well,the book won't convince anyone to buy a radial-arm saw. But ifyou're already a proud albeit perplexed owner, the book will beinvaluable in troubleshooting and tuning up your saw. As someonewho uses the saw routinely for cutting joinery and doingother precision work, the book gave me a refresher on the basics,as well as new insights on tuning the saw.The author, Jon Eakes, has appeared on Canadian televisionwoodworking and home-renovation programs and has writtenseveral books on the same subjects. In addition, he has givenseminars all across Canada. This experience shows throughoutthe book. His style is straightforward and easy to read, the stepby-stepprocedures are logical and the photos and diagrams areclear and pertinent to the text. But more important, the bookproves Eakes has used the radial-arm saw extenSively in actualwork situations and is not just turning a fast buck by rewritingthe owner's manual. He goes far beyond the "how to" of a standardmanual by laying out a practical philosophy of precision. Thefo llowing, in his own words, are his "principles of precision":l. Snug movement: Things that move must move smoothlyand fi rmly.2. Positive clamping: Things that should not move, must notmove.3. Use of the end point of slack: Slack always has an endpOint-let's use it.4. Squaring to actual work surfaces: Align a machine at its productionend.5. Verification on cut wood: Rough static alignment is donewith instruments on the machine; dynamic fine-tuning isdone with a blade cutting wood.6. Definition of entry before cutting: Know where the bladewill cut before cutting.Even without elaboration, anyone who has spent time workingwith power tools can recognize a wealth of wisdom here that noamount of instruction, drawings or pictures can adequately convey.I particularly like numbers 3, 4 and 5-principles owner'smanuals seldom acknowledge.In the book, Eakes covers three major brands of radial-armsaws: Craftsman, DeWalt and Delta, with photos explaining therequired adjustments on each tool. If you have a different-brandsaw or even an older model of the "big three," the particulars ofnut, bolt and lever placement probably won't apply, but the generalprinciples will. There is also a brief rehashing of the argumentover the merits of the radial-arm saw versus the tablesaw. As anapologist myself for the radial-arm saw, it's an argument I'vebeen in many times. After all is said and done, however, eachworker will use the tool that feels comfortable and suits hisneeds. In a sense, the radial-arm saw is like a handplane: Noargument will convince you of d1e tool's usefulness until youactually learn how to use it and see the advantages fo r yourself.-Curtis ElpeldingMaking Spectacular Furniture for Kids by Peter Sylvester.Sterling Publishing Co., Inc., 2 Park Ave., New York, N. Y.100.16; 1987. $12.95, paperback; 128 pp.Very rarely are titles with words like "spectacular" accurate.This one is.The projects in Sylvester's book are of simple, straightforwardconstruction: plywood fastened with battens and screws. Eachproject is well designed to make the best use of a sheet of plywood,and all the furniture makes very efficient use of all theenclosed space. The step-by-step instructions are good, and theexploded drawings are clear, with accurate, easy-to-locate measurements.Sylvester even warns you away from likely errors,such as the location of the original drill holes in certain cutouts.Sylvester gives us 14 projects in all, including a Winnebagotypecamper bunk bed, with one bed in the camper and one ontop; an elephant (or hippo) slide with a built-in playhouse; twoclosets; two playhouses; a bench; a table; and several beds. Colorphotographs of each project, along with painting patterns, areprovided. The colors and patterns are clear, delightful and detailedwithout being tedious.I like these projects: They tickle my fancy, and a certain twoyear-oldI know loves the pictures and cries when we take thebook away. If you're thinking about making furniture for yourchild, look for this book in one of the tool catalogs. Most of thetool catalogs (for example, Garrett Wade and Woodcraft Supply)show the front covers of the books they sell. Take a good look atthe British double-decker bed on the front of this book, and it'llgive you a firm idea of the style of d1e other projects. If you likethe bed, then buy with confidence: You're sure to like everythingelse Sylvester has to offer.-Richard GriffinCurtis apelding makes fumiture in Seattle, Wash. He is featuredin the Videotape ''Radial-Arm-Saw joinery, " by The TauntonPress, 63 S. Main St., Box 355, Newtown, Conn. 0.6470. RichardButz of Blue Mountain Lake, N. Y, is a professional woodcarverand host of the nationwide Public Broadcasting System series''Woodcarving with Rick Butz. " Richard Griffin is an amateUl'woodworker, a minister and a former librarian. He lives inSumner, Neb.112 Fine Woodworking

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Notes £Iud COl1l1UeutPhoto: Cll988 The Rathbun GaUery/shaker; courtesy of Bernice $tc:inbaum Galleryl( ,A exhibit of work by prominent women designersand fu rnituremakers included the70-in. -high curly maple, Swiss pear and hollychest of drawers, above, by Wendy Stayman;a 33x50x14-in. wenge-and-holly windowseat, top right, by Kristina Madsen; a Lucite,wood and upholstery side chair, near right,designed in 1939 by Elsie de Wo lfe; andtwo tape-seat chairs, fa r right, by EldressSarah J Collins and Sister Lillian Barlow.Women furniture designers and makersWoodworking may still be a male-dominatedfield, but some of the nicest and most innovativework being done today is by women.According to Nina Stritzler, curator of anexhibit entitled "Pioneer & Pioneering: 20th­Century Women Furniture Designers andFurniture Designers/Makers," women beganto play a substantial part in the design andmaking of furniture for the first time in Westernhistory during the 20th century. Previously,women were sharply inhibited intheir development as artisans, she said."They entered tl1e male-dominated Europeandesign world at the beginning of thecentUly, and by d1e outbreak of World War II,they were firmly established as importantfigures in the development of modernism.During the past 10 years, a new generationof American women have moved beyond therole of designer to pioneer a professionalplace for themselves as furnituremakers,"Stritzler said.In a catalog detailing the exhibit, which wasshown last summer at d1e Bernice SteinbaumGallery at 132 Greene St., New York, N.Y.,Stritzler cited d1e Shakers as one of the firstgroups to end d1e sexual division of labor d1athad so long made it virtually impossible forwomen to develop as independent artisans inmale-dominated fields such as woodworking.Stritzler's research indicated that by theturn of the century, Shaker women were anessential part of the communal-sects furnitureindustry. This is not too surprising ina community that credited the deity withfeminine as well as masculine attributes andenjoyed songs with lines SUd1 as, "My motheris a carpenter."At the Mount Lebanon, N.Y., Shaker community,for example, chairmaking operationswere directed for 60 years by Eldress Sarah J.Collins, who died in 1947. She and Sister LillianBarlow are credited with tape-seat chairs,shown in d1e bottom, right photo above.The first half of the 20th century saw the114 Fine Woodworking

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Notes and Comment (COUIiIlIll'ti)rise of the architect-designer in the furnitureworld, said Stritzler, an assistant curator atthe American Craft Museum in New YorkCity. Represented in the show were twoprominent figures in tllis development: EileenGray and Charlotte Perriand, botl1 of whomstudied in Paris and London. Gray, considereda visionaty, integrated furniture designs intotile concept of "new architecture"; Perri andis now recognized as an innovator in the useof metal for furniture design.As tile center of design shifted from Europeto tile United States, Florence Knoll contributedto me development of a distinctly Americanvision of modern furniture, SU-itzler said. Ashead of tile planning unit of Knoll Associates,which later becan1e Knoll International, shedesigned complete interiors to complementInternational-Style architecture.Also prominent in the exhibit was work bypioneering women makers and designerwho emerged in tile aftermam of me women'smovement in the late 1960s and early 1970sand moved from the role of designer intome more traditionally male role of maker.Included were Kristina Madsen, Gail Fredellmith, Rosanne S merson, Wendy Maruyama,Judy Kensley McKie and Wendy Stayman."Their work, although highly individual innature, shares a mastety of technique, materialsand methods of construction," she said.In discussing the two modern piecesshown on the previous page, Stritzler saidboth Madsen and Stayman design and createfu rniture that demonstrates an allegianceto tradition. She praised Madsen's windowseat as one of her most distinctive pieces,which is "decorated with inlay in the mostsubtle manner and executed with elegentlydefined proportions." She described Stayman'schest of drawers as "richly embellishedwith delicately textured veneers. Thispiece possesses a unique grace and distinctrefinement of form .... "-Terrie Noll, San Francisco, Calif.Photo: ElaineEldredeDavid Eldridge is shown here measuring a piece of wood on the workbench made by hisfa ther. His younger brother, Michae tries out his hammer.A bench for childrenOur son David made it clear that he had his4-year-old heart set on receiving a workbench,"just like yours, Dad," for Christmas. Ihad built mine several years ago followingTage Frid's plans for a European model (seeFWW on the Small Workshop), but of course,it is too big for David.I decided to scale the Frid bench down totwo-thirds its original size. At 4 ft. long, 2 ft.high and 1 ft. wide, it would be a good fit forthe little man. And, I figured I could alwaysadd blocks under the legs to keep the benchuseful as David grew.Construction proceeded fairly quickly,following the Frid game plan, until I got tothe vise. None of the commercially availablehardware was small enough, so Imade a vise screw from 3/4-in. threaded rodand nuts. For brackets, I welded the nuts toa Ik in.-thick steel plate and drilled a holein the center for the mreaded rod. I completedtlle job by drilling and countersinkingscrew holes in tlle corners and attaching thebrackets to the bench. I made me benchdogsfrom hardwood.The bench was completed in time forChristmas, and David and his brother reallyenj yed it. They quickly discovered an innovativeuse for it: The bench's end vise is theideal tool for cracking open tlle nuts theyreceive in their Christmas tockings.-Bradley Eldredge, Idaho Falls, IdahoF urniture conservationtra ining programThe Smithsonian Institution's ConsetvationAnalytical Laboratoty is accepting applicationsfor its furniture conservation program,which is scheduled to begin in August 1989.The program is intended for experiencedand skilled woodworkers interested in thepreservation and restoration of historic furnitureand otller artifacts in museums andprivate laboratories. The program can istsof 12 two-week-Iong courses, which are offered sequentially at three-month intervals.tudents can maintain their current jobswhile enrolled in the program.The application deadline is Feb. 1, 1989.For more information, write FCTP Application,CAL/MSC, Smithsonian Institution,Washington, D.C. 20560AA W Symposium '88Philadelphia, Penn., was tlle place to be forwoodturners last fall. The City featured theopening of the International Turned ObjectsShow (ITOS), a major traveling exhibit, turningshows at two local galleries-the Swanand the Snyderman-and tlle American Associationof Wooclturners' (MW) second annualsymposium. The MW's theme at the mid­September show was "Form, Function andFantasy," and tlle show drew an impressivelist of turners and enmusiasts to a packedschedule of exhibits and demonstrations.The symposium's location at the PhiladelphiaHoliday Inn was ideal, providing comfortablefacilities for the inevitable off-hourcamaraderie and a cluster of rooms for thewide range of exhibits and demonstrations.At me hub of it all was the "trade show,"where tons of wood, tools and equipmentwere offered for sale. The demos ran thegamut, from Dennis Stewart's demonstrationof his innovative line of turning tools to themore esoteric, such as Michael Mode's use ofstrobe lights to provide stop action whileturning (see FWW #73, p. 71 ).There were several conference rooms,each equipped with a lathe, near the tradeshowarea. Scheduled demonstrations weregiven by such turning luminaries as Ray Key,Dale ish, Robert StOcksdale and DelStubbs. With demonstrations, slide showsand exhibitions happening continuously andconcurrently, mere was more going on thanan individual could reasonably absorb.One large room was set up with tables andbecame an "instant gallety," a nonjuried displayarea where symposium partiCipantscould show off their latest work. The scope116 Fine Woodworking

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USA.Elli33382-1/4 HP Router$2693337 2-114 hp router 2493304 1 hp V.S. plunge router 18917078-1/2" CompoundCrosscutter Saw$4683375 3-1/8" univeral planer 1993380 jointerlspliner 329 7770-10 3.5 hp 10" radial saw 7294024 3 X 21 V.S. belt sander 209(_7790 3.5 hp 12" radial saw 92940900 1 hp router access. kit 139 3590 10" planer/jointer 899e CALL TOll FREEI a 222m. '7 ,a .. >v FOR MIKE OR TOM:TOOL CRIB OF THE NORTH SINCE 1948P.O. Box 1716, Grand Forks, ND 58206 1 -800-358-3096.Back Issue SlipcasesBound in dark blue and embossed in gold, each case holds atleast six issues of Fine Woodworking (a year's worth), and costs$7.95 ($21.95 for 3, $39.95 for 6). Add $1.00 per case forpostage and handling. Outside the U.S., add $2.50 per case (U.S.funds only). PA residents add 6% sales tax.Send your order and payment to:Jesse Jones IndustriesDept. FW, 499 E. Erie AvenuePhiladelphia, PA 191341-800-972-58582 5"Heavy Duty ConstructionCombination Heads37" Model - 20 Hp • 25" Model - 15 HpVariable speed conveyers&37"Wide BeltSanderHeavy Duty ShaperReversible 2-speedYo" spindle("-1"-1Y." spindle available)Shipping Wt-53 IbsWE'll BEAT ANYONE'S PRICE! CAll NOW.§imiJY§YJhg§Q9t@im9hiMN.. ( 1·q·:Jaql.WWFpl. .• .fi9IriWt*cfMAlltech U.S.A.P.O. Box 65,U.S.TOllN.C.Tyner, N.C. 27980FREE--1-800-426-2732Acme ElectricAdams Wood ProductsAddkison HardwareAdjustable Clamp CompanyAdvanced Machinery ImportsAlltech, U.s.A.Amazon LumberAmerican ClampAmerican WoodcraftersAndreou IndustriesAshman TechnicalAviationlIndustriai SupplyBall & BallBartley CollectionBenny's WoodworksBerea HardwoodsBlack & DeckerBoulter PlywoodBrandMarkBridge City Tool WorksByrom Inti.Calculated IndustriesCane & BasketCascade Precision ToolClassifiedClayton EnterprisesCollege of the RedwoodsCompu-CompassMaurice 1. CondonConstantineCraft Supplies USADelmhorst InstrumentDeltaDollar Trading Co.Ebac Lumber DryersEcon-AbrasivesEverlast SawExact CutsExcalibur Machine & ToolF. S. ToolFarris MachineryFisher Hill ProduqsFloral Glass & MirrorFoley-Belsaw Co.Forrest ManufacturingFreudFrog Tool Co. Ltd.Furniture DesignsG.M.S. DistributingGarrett WadeINDEX TO ADVERTISERS104, 117 Gilliom Mfg. 1824 Grizzly Imports 7.88,11330 Hardwood Design Tools 5115 Hardwoods of Illinois 9226 Harper Hardware 22117 Hartwood 9232 Hida Japanese TooLs 18III Highland Hardware 1327 Home Lumber 8826.90 Horton Brasses 91HTC Products 319 Hubbard Harpsichords25 Imported European Hardware 526 Incra Jig 9092 J. Philip Humfrey 3288 JDL 182 Jesse Jones Ind. 11724 K&S SpeCialty Lumber 2792 Bob Kaune 309 Keen Edge9327RBI IndustriesReliable GrindingRITRobert LarsonRobert Sorby Ltd.ROCkingham Comm. cou.Rudolf Bass, Inc.RyobiSanta Rosa ToolThe SawmillSeven CornersShaker WorkshopsShophelperSilverton Victorian MillworksSingley SpecialtySisco SupplyThe SourceSquare Drive ScrewSteve H. Wall Lumber18Sunhill 20,11924,88,99 Knecht Home Center 31 Symtec America 1923Kodansha IntI. II Systi-Matic 9634 Kuster Mfg. 30 Tarheel Filing Co. 9229 Laguna Tools 9 The Taunton Press 33. 103100·102 Robert Larson 96 Toolhauz91 Leeds Design Workshops II Toolmax 5II Leigh Industries 13 Tools Etc. 2527 LeNeave Supply 20 Total Shop 995 Lignomat USA 24 Transpower 10122 Lobo Power Tools 34 Uniquest Corp. 17115 Manny's Woodworker's PlaceVega 117909491 Manufacturers Service 24 Waverly Woodworks 591 Mason & Sullivan 91 Whole Earth Access 9593 McFeely Hardwoods 89 Wilke Machinery 8722 Mini Max 86 Williams & Hussey 2622 MLCS 23.94,98 Williams Tool III13 Northland Woodworking Supply 91 Wood-Mizer 9122 Northwood Industrial Machines 30 Wood World 3413 Nova Tool 22 Woodcraft 8696 Onsrud 32 Woodenboat 893499 Paxton HardwareWoodfinisher Industries 1925 Penn State Industries 31 Woodmaster Tools 19. III117 Perfonnax Products 90 Woodshop SpeCialties32 Philipps Bros. Supply 98 Woodworkers' Store 3217 Pootatuck 89 Woodworker's Supply 3497 Porta-Nails 7,86 The Woodworking Shows 1722 Porter Cable 15 Woodworking World Shows 522 Powermatic 28 Worcester Craft Center 2722 Pro Tools 115 Workbench Tool 9.9221 Projects In Metal II Xylophile's 892799II96241979351835349227183298999394January/February 1989 117

Notes and Comment (colltillued)and quality of the displayed work made thegallery an impressive rival to the moreheraldedITOS across town-not surprisingsince 75% of the ITOS exhibitors are alsoMW members. The intimidation factor washigh; rumor had it that some pieces earmarkedfor the "instant gallery" neveremerged from their maker's car trunks.The highlight and culmination of the symposiumwas an auction of donated tools,wood and turned pieces for the benefit ofthe Daphne Osolnik Memorial Fund, an armof the MW's education fund. Mrs. Osolnik,wife of Kentucky turner Rude Osolnik and astrong supporter of the turning renaissancein the United States, died last spring. Biddingwas brisk, and the proceedings were hilariousthanks to West Virginian auctioneer BobFlemming, himself a woodturner. There wassomething for every pocketbook, from amodest $5 for a gavel to $900 for a Macassarebony hollow form turned by David Ellsworth.It was an ideal opportunity to pickup "collectibles" donated by some of MW'sbetter-known members: Stocksdale, Nish,Osolnik, Alan Stirt and Michael Shuler, toname just a few. Best of all, when the dusthad settled, the auction had added nearly$8,000 t the memorial fund.This year's symposium will be in Septemberin Seattle, Wash. For more information onthe MW and the number of the regionalchapter nearest you, contact the AmericanAssociation of Woodtumers, Box 1059, Eastsound,Wash. 98245; (206) 376-5390.-Michael DresdnerProduct reviewBosch 1611 plunge router, Boscb PowerTool CO/p., Box 221 7, New Bern, Ne.28560; (9 19) 633-4133.To my knowledge, d1e Bosch 1611 is the fi rst220v plunge router available in this coumry.It's a big machine, with a powerful motorthat draws 7 amps at 220v and a 12-lb. heftthat make it feel similar to other 3-HP plungerouters I've tried.The handles are comfortable, and d1e controlsare laid out so the user's right handcan operate the locking trigger switch whilethe left hand releases and engages thespring-loaded carriage lock, allowing therouter to plunge-cut. A revolving depth stopallows plunging to three preset depths, butit had a bit of play in d1e machine I tested.The depth scale on the 1611 is only dividedinto 16ths, much too coarse a scale for precisionwork.The construction of the 1611 is velY solidd1roughout. The fan is a casting and movesair well wid10ut screaming like routers withcheaper stamped-metal fans. The 1611 hasan armature lock that allows one-wrench bitchanges, a nice feature. Other Bosch colletshave multiple splits for a uniform grip on thebits. Unfortunately, d1e 1611 collet has onlyone split. The router base is a ribbed aluminumcasting with projections to receiveadapter plates, for template work. But, theseprojections make it difficult to fit homemadesubbases, something I do often. The edge_1IIIr'""----.-. ..Photo: Patrick WarnerThe industrial-strength Bosch 1611 plungerouter has a lot Of power for the money.guide and hardware (not included) are substantial,and the router's instruction manualis better than average.Because they carry their weight high, mostplunge routers can be tippy when routingedges. The 1611 is no different. With theswitched right handle more than 5 in. awayfrom the cutter centerline, both handlesmust be grasped firmly at all times to preventirregular cuts or burning the work.Overall, the Bosch 1611 has good performanceand handling, and wid1 a mail-orderdiscount price between $200 and $240, thisindustrial-strength machine seems to pack alot of power for the price.-Pat Warner, Escondido, Calif.The teacher with thetwisted backJulius Kaesz was his name, and had you evermet him, you would always remember him.The truth was that my long-ago professor ofwoodworking technology had a twisted backd1at shortened his stance to under five feetand a deeply lined face d1at's hard to forget.Despite his rough outward appearance,Dr. Kaesz was a gentle man and an exceptionallygood teacher. Apprentice woodworkerswere eager to attend his courses atthe woodworking institute in HungalY d1atnow bears his name, and there were threetimes as many applicants as could be accepted.The prospective student had to pass a threephaseexam for admission by producing aflawless blind dovetail jOint , a complextechnical drawing and a freehand artisticdrawing. For months, I prepared for thisexam, but despite my deftness wid1 dovetailsand drafting, my freehand drawing was as farfrom my competence as belly dancing. I followedevelY bit of advice I could get, butthen help came from an unexpected source.I got to know a lady who lived in my buildingafter helping haul coal upstairs for herstove. She needed my youth and strengd1and compensated me wid1 a hug and somemuch-welcome pocket money. Gentle Mrs.Forbad1 treated me as her own son. Her realson, Joseph, had gone off to fight the Russiansin 1918 and never returned. Befored1e war,joseph's ambition was to become anartist/painter. His mod1er proudly showedme many of his canvases, and I found scoresof pencil drawings in a closet-just the kind Icouldn't draw. The temptation was too great,and I borrowed one of d1e drawings-a lovelyscene with four people playing cards at around table-and submitted it as my own forDr. Kaesz's exam.There are few people in my life I rememberwith more love or gratitude d1an Dr.Kaesz, and leaming woodworking from himwas my greatest pleasure. I tried my best toplease him, and as the mond1s passed, Imade good progress in my studies, includingfreehand drawing. And then it happened:One day Dr. Kaesz took a glass of milk andposed it on the table in front of the class."Your aSSignment today," he said, "is to drawthis glass of milk so realistically that I'll betempted to drink it." Two hours later, he collectedour handiwork.The next day, Dr. Kaesz told us that wehad all done better than he'd expected. Butthen he put his hand on my shoulder and said,"But this little fellow made the milk look soreal, I was scared I would spill it as I took d1edrawing to my office." Then he whisperedthat he wanted to see me after class.My heart had stopped beating as I openedthe door to his office. Dr. Kaesz looked mein d1e eyes and said, "My son, I am proud ofthe progress you are making, but I think it'stime we return your exam drawing to d1emother of my good friend Joseph Forbath,"as he handed me the drawing with d1e fourcardplayers. And then, pOinting his finger tothe cardplayer with only his back showing,he asked, "Do you know who this little fellowwith d1e twisted back is '" I knew!-George Frank, Soutb Venice, Fla.Notes and CommentDo you /maw something we don't aboutthe woodwork ing scene in your area?Please take a moment to fill us In Notesanti Comment pays for stories, tidbits,commentary and reports on exhibitsanti events. Send manuscripts anti colorslides (or, black·antI·white photos-preferably with negatives) to Notes andComment, Fine Woodworking, Box 355,Ne wtoum, Conn 06470.118 Fine Woodworking

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