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here shouldbea bigdifference
between power tools you use
for high-skill projects or tools
you
m
ke a living with and the
tools a weekend novice needs to
build a living room shelf. But
too often, what you find retools
m de to do all things for all
people. All people, that is,
except professionals and serious
craftsmen. Th t swhere Ryobi
is different.
Our 3
/4
pl ne r, for example,
offers features only a true crafts
m n can appreciate. A cog-belt
deform
drive system provides non-slip
transmissionofpower forsmooth,
quiet operation with better shock
absorption.Acarefully positioned
handle and balanced weight dis
tribution give you control and
stability. And an extra-long
re r
shoe assures you of easy cutting>
st
rts. /
The bottom line? Quality you
won
t
find every day in1ust any
power tool and .performance you
.
can use evefY day. Lookfor
Ryobi planers and
get
the tools
m de fo r more than weekends.
n weekends ~ ~
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Staff
Editorial
David Camp, Editor
Wien Chod, Managing Editor
Debra Wittenberg, ssociate Editor
Contributing Editors:
Bill Farnsworth
William H. McMaster
Ray Ternstrom
S. Reed Poverny
Hugh Foster
A lan Mark s
Consultant, Charles Harris
ont nts
Volume 6,
Number
2
August/September 1986
Issue 32
Features
Departments
On the Cover: Rough sketches
and
trial-and-error in the shop are all
part
of
Joe Petrovich s adventure in design as he tries to come up with
a way to transform a winerack
intofin
efurniture. He shares this
pro
cess
and gives instructions f or
mak
ing his wine table starting on page 22.
17 The Sound of Wood by Larry Rober ts
18 Altar for Peace by Jay E. Wright
A Tale of Two Artists
22 Adventures in Design: Building a Wine Rack by J. Petrovich
A Popular Woodworking Project
27 Marquetry Techniques
by David D. Peck
32
Martha
Thompson s Magical Mirrors by Ma ry A. Cristy
34 Rotary Power Tools by Ray Ternstrom
Comparative Product Review
37 A Power Carver s Tool Cabinet by Yosh Sugiyama
Project jor the Shop
40 Woodworkers Album by Christine Whitlock
and Patr icia Barnes-Svarney
42 Early American Wall Shelf by B. William Bigelow
A Popular Woodworking Project
45 Jig Journal by B. William Bigelow
Router Fence j or FlawlessDados
46 Template-Routed Door Pull by
Patr
ick Warn er
48 Growing Woodworkers by Deborah R. Upshaw
A Popular Woodworking ShowReview
50 Focus on Carving
by William H . McMaster
Carving the Human Head Part V
60 Termitic Sculpture by S. Reed Poverny
A rt D epartment
Don Graff,
Jr
Illustrator
Leslie Nau, Paste-up
HBK
graphics, digi-type
Advertising
Wayne Lin, A dv. Director
Gertrude Berkowitz
Ci rculation
Suzanne Eriksen
EGW Publishing Co., Publisher
Popular Woodworking (ISSN 0884-8823) is
pub lished bimonthly by EGW Publishing
Co ., 1300 Ga laxy Way , Concord, CA
94520 . Application to mai l at second-class
postage rates is pending at Concord,
California and addit ional mailing of fices.
POSTMASTER
send address changes to
Popular
Woodwo
rking,
1300 Galaxy Way,
Concor d, California 94520.
SUBSCR
IP T
IONS :
A year s subscription is 12.95; two year s
wort h is 24.95 ; outside
of
U.S.A . add
4.00/year. Send all subscriptions and cor
respondence to :
Popular Woodworking
1300 Galaxy Way
Concord CA 94520
Please allow 6 to 8 weeks for delivery.
Copyright 1986 by EGW Publishing Co.
Reproduction without prior perm ission is
prohibited .
Unsolicited manuscripts, photograp hs, art
work
an d
other materials are accept ed, but
Popu lar Woodworking can not assume
responsibility for these materials. Submis
sions must be accompan ied by a self
addressed, stamped envelope for return .
e opinions expressed by the autho rs do
not necessarily reflect the policy of Popular
Woodworking. Editorial correspo ndence is en
ouraged , and may be edited for pu blication
Direct a ll advertising inquiries to:
Advertising Directo r, Popular Wood working,
1300 Galaxy Way,
Concord, CA 94520 (415) 671-9852
ugust/ September 1986
5 Clear Cuts
6 Information Exchange
8 Wood Types
10 Book Reviews
14 Videoscene
54 News
Notes
58 Calendar
59 Classified
61 Index to Advertisers
62
Ou t
of the Woodwork
3
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Freud s new
5 piece
router bit
door
system allows you to
raised
p ne
l cabinet doors with your 2
chu
ck route
m de
with the finest carbide available
nd
sha
rpened
wi
d
i mond
wheel.
The
it
profiles are: rail nd stilern .raised
p ne
l
door
lip
D .
glue joint
. The bits
come
in
a
wood
box jointed case for ease of storage.
As a set, the 94-100listfor 248
Sale Price 1
Freud s new
5 piece
cabinet set for the
3.1 - 2 sh per
comes wit
rail
nd
stile, raised
p nel
,
door
lip
nd
glue joint cutters . A box join
wooden case is included for ease
of
storage
nd pre
vention of dama
the
cutter profiles are: rail
nd
stile
.
raised
p nel
door
lipD ,glue joint
The cutters are
m de
with the highestof manufacturing standards
nd
materials.
Ifpurch sed
individually, they
would
cost 510.00.
As a
set. the fe
-900
list for
499
SalePrice
349
Freud s new
16
piece
Forstner bit set
comes
in
a
box jo inted.
wooden storage case. These bits.
guided
by their rim, will create
a
clean flat bottom hole in
wood
. A
speci l he t
treated steel is
used
in
their production to assure
long
lasting
edges
.
The
16
bits range in size from 14
to
2
in
increments. These
bits will fit any stationary or portable drill using
a
or largerchuck.
The FB-100Forstnerbit set list for
249
Sale Price
199
Freud s new
50
piece drill bit setcomes with a heavy
duty
carrying
case
for ease of storage
nd
protection. This set consists of: A) 25
high
speed
steel bits ( I,6-
1
in l,6 increments)
B) 4
high
speed
steel
bits for use in sheetmetal
(J4 , 2) C) 6
chrome vana
di
um
steel
r d
po int bits for use in wood
( ,
2.
7)6,
J4 0/1
6, )
D) 6 est-
bide tippedmasonry bits with hex shanks ( 2,
J4 0/16
E)
1center
punch
,
2
Allen keys
nd 6
depth stops to set bits at
pre -determined depths.
These bits will fit any stationary or portable drill using
a
or larger
chuck. The DB-050 drill bit set listfor 89 SalePrice
69
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le r uts
I want to talk to you about one of my favorite woodworking topics:
projects.Most of the things I have time to build are simplehousehold neces
sities, likeshelvesand drawerdividers to keepMyBelovedhappy. Recently,
I'vehad the opportunity to be really creative when I made a bifolding
door
with raised panels to keep the cats out of the kitchen whileM.B.iscooking. .
Occasionally I get the chance to make some of the beautiful furniture
that
reminds me why I like woodworking so much.
I t
is then I indulge in
the challenge
of
doing goodwork, fitting parts together in interestingways,
bringing beauty to functional pieces.
We've been gradually squeezing more and more project articles into the
pages
of
PW just in case you have the time to make something more
than
drawerdividers. These articles are intendedtogiveyou ideas and sometimes
to add a new technique to your repertoire. True, we provide cutting lists
and plans so you can duplicate the projects as they appear in the photos,
but what we really hope is that you'll use them only as a starting point.
Go ahead and change the dimensions, add a drawer or two, shape the legs
a little differently. Make it your own design.
The article about the wine table featured on the cover not only gives the
instructions forbuildingthe piece,it alsodiscussesthe author's design pro ess
Perhaps this will give you some ideas for creat ing your own variations.
Wine not?
Even a household necessity like shelving can be an opportunity for
creativity. Take a look at our Early American Wall Shelf project on
page 42 for an idea.
A new department, Project for the Shop, makes its entrance in this
issue. This feature will include plans for sawhorses, roller stands, work
benchesand shop-built tools and equipment, alongwith other nifty necessities
for the shop . This time the project is A
Power Carver's Tool
Cabinet.
Besides providing storage for the rotary motor tool and its accessories, this
little item also has a post on which to hang the tool while you re working
with it. (By the way, these wonderfully useful machines are the subject
of
Comparative Product Review. )
Recently a fellow by the name of Don Graff, Jr . , jo ined our staff, but
I neglected to mention him inthe last issue. Anyway, i
t s
more appropriate
that I introduce him now while I m discussing projects, because he's the
one drawing the plans and illustrations that accompanythe project articles .
Now that Don has relieved me of
that
burden, you'l l be noticing more
comprehensive, detailed drawings.
Welcome also to LeslieNau . Leslie takes care of the perennial paste-up
chores, always with good humor despite last-minute deadlines.
But getting back to the topic of projects, I want to mention again that
wereally want to publish articles about thingsy have made so that other
readers can make it - or use it as an idea for designing something like it.
Just send me a photo of something you have built, and I'll do mydarnedest
to help you get it into print.
1238 Bardfie ld
Box
7 7 9
Garland, Texas 75047
382 Schiff
Drlva
as Vag as Navada 89 3
8 ~ D ~ : ~ ~ 2
=
TONG O
with
UR TH N
for
greater
dur bility
a
Use
our
specially designed guides to
layout
letters
numbers
to be cut
from wood or other materials.
a Made from a durable plastic material.
a Several styles sizes.
Sen
d 3.00 (Refundable with first
order)
for descriptive brochure prices to:
t
SCROLL
SAW
OWNERS-
Lettenn ~ o u t
Guides
Deft Inc.. Irvi ne CA 92714. Alliance OH44601.
CraI Ie
d k by ft l on Ine Jolnltry.
A
ugust/September
1986
5
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nform tion xch nge
nf
ormation Exchange is a place to ex-
change ideas, ask questions nd dis-
cuss techniques.
If
you have a clever
procedure to share or
if
youare looking
for a solution , this is thepl ce to get in
touch with other woodworkers. When-
ever a question is posed, we will pub-
lish th e writer s ddres s (unl ess
otherwise requested) so that readers
may contact each other directly.
Saw Guide Extension
There are times when I want to rip a nar
row width from a piece of plywood that is
too large to cut on my table saw. Some
times this smidgen is so narrow that the
metal guide for my p
or t
able ci rcular saw
cannot be set in close enough to the blade .
To solve this problem I drilled two holes
in the metal guide and screwed on a %
x
2 x lO
p
iece of scrapwood. Now I can
set the guide for cuts from 0 to the maxi
mum length of the guide rod, and the wood
insert makes for a longe r fence giving
more control .
Will iam G. Glenn, Ph .D.
San Antonio, TX
Drop-Front Hardware
I'm looking for a source of the metal
hardware that was used in old
drop-f
ront
desks to automatically slide outthe lid sup
ports as the lid was opened.
Dave Newell
1379 East 3rd St.
Benici a, CA 94510
Victorian Screens
I make Victorian-style screen doors, and
would like to get in touch with other peo
ple making them so that we mayexchange
door designs and assembl y techn iques.
Please write to me.
Geo. W. Gunderson
1759 Linco ln Rd .
Yuba Cit y, CA 95991
Cushion the Edges
Polyst
yr
ene insulation in IW' or 2
thicknesses workgreat for tool holders and
blade prote
ctor
s. Just jab your chisels,
knives, pencils or whatever into a piece,
and it wi ll hold them upright and protect
the sharp edge or point. Small chun ks can
be slipped over the cutting end of individual
tools that are loose in a tool box,or you can
I
Wri te
fo r brochure
and
r
ce
list I
REVERSIBLE
COMBINATION
RAIL and STILE BIT
(For mak ing matching rails and stiles in
raIsed panel doors.
Works wi th stock from
11/16 10 7/S thick
RAIL
PANEL
CARBIDE TIPPED - TWO FLUTE
1/2 SHANK
supplied with Ball Bearing
PERSPECTIVE VIEW OF
P NEl
DOOR
(WITH ONE RA IL REMOVED )
RAISED PANEL BIT
SUPPLIED WITH
BALL BEARING
1/2 SHANK
3-1/
4 Large iamet
er
To order by Mas te r Charge or Visa Toll Free
7 Day -
24
Hour Order Servi ce, Call
1-800·523-2445, Ext. 56 (in PA 1-800
346 7511
, Ext. 56)
or
send check to MLCS ,
Ltd
., P.O. Box
53P,
Rydal ,
PA 19046
ORDER ITEM 154 (Includes al l tnts shown)
1/2 Shank
MAKE BEAUTIFUL
RAISED
PANEL
RS .
WITH YOUR
ROUTER
Professional production quality bit makes it quick and easy
to produce matching rails and stiles - the panel raising bit
with ball bearing guide makes the raised panel perfect every
time .
Regular value over $180.
00
SALE PRICE 79 FOR COMPLETE SET
Call
toll
free 800·227·2105
Free brochu res on line of
moisture meters (range
4-30% , 4
w
%) and acces
series to monitor air and
kiln drying availabl e.
• Moisture range 6·20%, indicates 1
steps
• Batter y safe on/off switch between pins
• Portable with protective cap over pins
• Rugged case in high impact plastic
• Handy shape far convenient use
• For lumber, veneer, Iiberbrds.
• Pocket-size : 1 x2 x5 '12
NEW,
SELF-FEEDING
Model B-12 Brush Head
replaces
hand
sanding
on all types of shaped
surfaces
Ulcluding
mouldings ,
furniture,
and
carvings
.
MFG. COMPANY
1611 NORTH SHEFFIELD AVENUE ' CHICAGO , ILL. 60614 ' 3 2
/642 -7287
6
Popular Woodworking
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Vollie Tripp ofSan Jacinto California is a collector
of
clever tips
to
make woo
wor
king smoot
h r
than ever
utting Drawer Fronts from an pron
olli r pp
My client had a beautiful, expensive mahogany buffet with four large drawers at
the bottom and good- sized cupboards above. She wanted still more storage space,
however,and hadcome to me to ask if I could put four drawers inthe apron that skirted
the top.
The apron was 6 wide p lenty of room for 4 deep drawers. The challenge was
going to be cutting the openings in such a way as to be able to use the cutouts for the
drawer fronts.
My firs t concern was to avoid any tearout of the veneer or of the f ine glossy fin
ish whilemaking the cuts. I decided to protect the surfaces by applying I masking
tape to the areas where I would be making my kerfs. I d id my laying out directly on
top of the masking tape.
Next I needed to figure out how to cut out the drawer fronts with a minimum of
waste so that , when they were made into drawers, they'd have a nice tight fit. Begin
ning with a sharp awl, I madea series of small punch marks over an area of abou t I
on the four sides of each drawer outline. Then I used my smallest drill bit l ss than
diameter nd bored holes through the apron , using a square guide block next
to the dri ll to make su re it went in straight. After this first drilling, I til ted the drill
along the cut lines, making sure to keep it at a right angle to the apron surface in the
other direction. Thi s angled drillin g connected the series of holes so that I soon had
a small I slit at each corner of the drawe r fronts to-be .
With masking tape wrapped around one end of a hack saw blade to act as a han
dle, I worked the other end into the slits and began cutting . Soon I was able to get a
12-point finish saw into the k
er f
and completed the cuts with that, using my squared
guide block all the while to make sure I was cutting into the apron at
Then I sanded all the edges and removed the masking tape. It worked There was
no tearout at all. When I made the drawers and installed them, each one fit into place
beautifully withjust a skoshe over
X6
clearance all around . •
make a chise l rack with the polystyrene
and it will conform to the shape of the
chise l. Harry 1. Ashman
Blackwood, NJ
Nailing Tip
Here 's a
way
to hide finishing nails
without using putty. Beforedrivingeach
nail,
carefully
lift a sliver
of
wood
from
the s
urface
witha
raz
or-s
ha
rp chisel,
makingsu re not to d
eta
ch it completely.
H old the sliver back
and
drive the nail
in t
o place underneat h . Use a nail set to
ta p
it below the surface, then glue the
sliverback in place. If you
san
d
the
area
briskly, the friction will set the glue
and
the
dust will
act
as filler. B. Beck
New York, NY
Gallery hange
The
on
ly constant ischange, theysay,
and th i
s is
the
case in
this year s
Gallery
Gui
de.
Seems The American Craft
Museum in
New
York
City
has
mo
ved .
The new address is: 45West45th Street.
Their
phone
#
isst ill (212) 869-9422. We
reg
re t
an y inc
onvenience
.
Shelf Support Guide
you 're making book or display cases,
here 's a dandy jig that's sure to save time
and add tremendous accuracy to position
ing adjustable shelf supports.
Once the case is assembled (whether
free-standing or built-in), rip a piece of
standard pegboard to about 6 in width
and cut to fit loosely inside the case .
Conveniently enough, shelfsupports are
made with quart er- inch shafts, and peg
board comes wi th
quart
er- inch holes
spaced one inch apart, both vertic ally and
Popular Woodworking welcomes your
comments pro or con about articles
and
in f
ormation we publish Send your
l tt ers to : Editor Popul ar Wood
working, 1300 Galaxy
z
y Concord
C 94520 Letters may be edited for
publication
hor izontally.
Set the stop collar on your quarter-inch
bit for a depth to accommodate the thick
ness of the pegboard and the depth of the
shelf support shaft. Hold the strip of peg
board against one side of the case and snug
against the back corner. Beginning with
the second row of holes from the back (2
from the back) and the 10th or 12th hole
from the bottom of the case, drill at every
third or fourth hole until you are about 10
or 12 inches from the top.
Fl ip the pegboard over, hold it against
the front edge of the case. and repeat the
pattern as described above . The n hold the
pegboard against the oppos ite side of the
case , both front and back, and repeat the
pattern again. Make sure to set the same
edge on the bottom of the cabi net each
time .
When done, you have four vertical rows
of neatly drill ed holes , all parallel and
equidistant. Pop inthe shelf supports, drop
in your shelves, and they should lay flat
and stable. Kingsley Hammett
Santa Fe, NM
August
/September
1986
7
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Wood yp s
eetle Kill
Pi
n
Not So Plain Pine abi ts
y
Jeff
Taylor
My clients were the perfect customers:
reaso nable, sensible, flexible. So as their
kitchen addition prog ressed on schedule,
wasn t worried that they still hadn t se lect
ed a style for the cabinets. We were adding
on to an old farmhouse, and they seemed
to favor a traditional look. But though they
8
were satisfied with the cabinet detail I d
shown them , they couldn t decide on the
wood. The keyword for this project was
o r
ganic. Let it grow, they said.
They
see some recycledoak flooring
from a nearby Victorian d
emolition
however, and decided they wanted that.
After installation, it made an odd striped
pattern on the kitchen floor. When I sug
gested it could be sanded to one shade ,
perhaps to match oak cabinets, they threw
me their first curve: Could
somehow
match the cabinets to the vibrant stripes of
the floor?
Patiently pointed out that oak comes in
two flavors: vanilla and light strawberry.
could stain different sections in random
shades, but the result would surely leave a
bad taste in their mouth.
Since myclients were retired artists, no
idea seemed too outrageous.
Now
was
worried . tried to pin them down on what
they wanted their cabinets to feel like when
they first saw them in the morning . Well ,
we d like them to be active, colorful and
cheery- almost loud but not gari sh. u
know nodded wisely and left.
When my soul is deeply troubled, 1find
solace in walking through lumberyards,
smellingand touching the wood. As I wan
dered through the warehouses, mulling
over themillings that didn t exist (Dagobah
Tigerwood , Psychedelic Pstripewood ,
ff
Taylor is a woodworker/writer in Corvallis
Oregon His clients are more impressed with his
cabinets than the beetles are
Popular Woodworking
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Marketing eetle Kill Pine
Variegated Koala), I felt drawn toward
the pine shed. I like pine fine, usually, and
I tru st my subconsc ious dowsing instinct;
by ff ylor
The pine beetle outbreak has been
described by fores ters as severe, but
that's good news in terms of supply for
woodworkers.
So much pine has been damaged
that lumberyards inthe Midwestare mix
ing beetle
kill pin
e and c lear pin e
together in the ir stacks. This means that
you pay standard prices for an exotic
looking wood that is easy towork, just by
looking for the distinctive blue-and-grey
streaks and culling them from the pile.
My clients' neighbors were the first to
req
ues
t buggy
blue
pro
j
ec t
s . A
paneled wall, a medicine cabinet, book
cases and several boxes were my next
sales in the area. Natural ly I took pic
tures, and so should you if you decide to
tackle a project using this unique wood.
was my photos of the cabinets, in fact ,
that netted me a commi ssion to build a
computer table/desk of beetle-kill.
Beetle-kill pine boards are complete
ly bug-free. Thi s is because the insect
lives in the bark , and the fungus which
stains the wood is inert. You can there
fore reassure your clients, as Ihadto, that
Aug
ust/Se
ptember 1986
but this wood's boring whiteness could in
no way fit my clients' weird requirements.
There was no way, so typically disregard-
their other woodwork is safe and that the
project will not turn bluer over the years.
The first step in doing business with
this wood is locating a supplier ofpine to
see i
fhe
has beetle-kill mixed inwith his
regular stock. If not , ask him to contact
his vendors andorder a pallet or two. The
infestation is so widespread that most
vendors are glad to sell the
ruined
wood to a new outlet.
Next, test the market in your area by
making some small projects. Parson's ta
bles are a good start since they tend to be
used for coffee table s. The wood is so
striking that no one can overlook it, and
such items become conversation pieces .
If you haveyour printed stickerwith bus
iness name and telephone number on the
bottomor back of your work, you'll soon
find out if the public is interested.
Finally, contact local homebuilders to
learn if th
eir
client s are looking for un
usual cabinetry.The sanitized lines of the
new European-style cabinets lend them
selves particularly well to the wild hues
ofthis wood, especially if the countertop
laminate color is a cool pastel such as
blue or grey. •
ing logic.. stepped inside.
Hello, Dali A huge st ack of rainbow
colored wood was palleted ju st inside the
door. Orange, red , blue, gray and black
stains swirled through the unmistakable
cream-colored pine.
They explained it to me at the lumber
counter. Bugs.
Apparently Eastern Oregon, and many
pine forests around the country, had been
attacked by an infestation of pine beetles.
The artistic little devils bore into the bark
and make channels, laying thou sands of
eggs within . The newly hatched grubs
deepen the channels, disrupting the tree's
internal water- supply system and eventu
ally killing it. Finally a fungus spreads
through the grain , coloring as it goes.
The good news is that the infestation is
a national epidemic.
eetlem ni
My clients were ecstatic about my dis
covery, especially after the stiles and rails
of the cabinet frame were applied. Gray
streaks swirled like cloud s and blended
into reddish sunset hues, encased knots
breaking up the verticals. I used enough
clear white pine to provide a background
for the doors and tried to vary the place
ment of colors for balance .
Since they wanted lots
of
d
oor
s, we
minimized the time involved on each by
simplifying their design. Stiles and rails
were rabbeted on the back side and mi
tered together to make a frame ; panels
weremade with rounded arrises and fitted
to each frame.
Wecompromised on the countertops. I
felt that pine would be too soft over the
long haul , but they liked it for a surface.
When it finally begins denting unaccepta
bly, we'll cover the tops with laminate and
use a router to ogee the edges. Blue-gray
laminate has already been set aside.
Feedback on these cabinets came im
mediately. Neighbors, stumbling in from
the Oregon winter rain that makes death
seem like an all-expense-paid month in the
Bahamas, remarked that the kitchen al
ways cheered them up instantl y.The cabi
nets and floor complement each other, as
specified, and everyone agrees that the ef
fect is reminiscent of flames in a fireplac e,
warm and alive. •
9
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10/66
ook
eviews
y Hugh Foster
Making Wood Boxes w
ith
a Ba
nd
Saw
by Tom Crabb, Sterl ing 1985, 128 pp. ,
pap
erb
ack , 5.95
I have read a couple of art icles lately
about bandsawn boxes that might have kept
me from picking up Tom
Cr
abb's rather
fine little book , and that would definitely
have been my loss.
The
notion h
er
e is that
by now most c raftsmen have
enough
skill
tomake a nice square little box , so let's ad
vance to
more
entertaining pie ces. Thi s
book illustrates the
manufacturin
g tech
nique for boxes made from more different
wooden items than I would have dared to
imagine. There are small log boxes, limb
boxes, and boxes in the shape of animals
and alphabet letters. A couple of key band
sawing techniques make all thi s variety
Hugh Foster lives in Manitowoc Wisconsin
where he is a woodworker and English teacher
possible , but I won't outline that technique
in this short review; learning them is the
main rea son to buy the book.
Like the other books in Sterling'sseries
of new title s, this is clearly written and
well-illustrated. Unlike some of the titles,
this one skips the often superfluous basic
woodworking lesson and gets right into the
business of bandsawing boxes. Nearly all
the contents are specific but adaptable
plans. Making Wood Boxes with a B
and
Saw
represent s a good value for the
money, especially if you know a bunch of
people who need small pre sen ts. I com-
mend it to your attention .
Making Woodwork ids
and
Devices
(Revised Edition) by Rober t Wearing,
Sterling 1985, 223pp. , paperback, 8.95
In
98
I bought the first edition of
Woodwork ids
and
Devices for 6.95
and knew I had a t reasure. Another wood
worker I showed the book to said , There
are so many good ideas in this book, you
could spend the rest of your life just build
ing gadgets to make building things easi
er. We had a good laugh over that , and I
put the book away without building many
of the devices described .
However, in the years since, I have
referred to it often when I needed to know
how to
make
various
no
nstandard
pieces. The book includes 43 holding
devices, 34 marking aids, 60 tools, 8 lathe
acces
sorie
s, 10 drill ing accessories, 21
aids for the table saw, and another couple
dozen that space won't allow me to catego
rize here other than miscellaneous. I
couldn't imag ine how this book cou ld be
better.
Now that I have this revision, Making
Woodwork Aids a nd Devices , I see that
they were able to improve it. The illustra-
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Popular Woodworking
-
8/17/2019 Popular Woodworking - 032 -1986.pdf
11/66
tions are clearer ; the language has been
somewhat Americanized; and there are
even more ideas here than in the original
edition. Even the page size, general layout
and cover are more attractive. There is cer
tainly
room for this new edition in my
shop.
The
sma ll rise in the price of the
book over the past five years seems like
fair payment for the additional informa
tion.
Don
't miss this one.
Making Action Toysin Wood by An
thony and
Judy
Peduzzi , Sterling 1985,
120 pp. ,
paperback
$8.95
Thi s attractively written and illustrated
book pre sents plans and instructions for
making 15 wooden action toys, many of
which look as thou gh they would be enter
taining to play
with.
Mr. Nosey the
Clown , The Rope Climber, The Pol
ly Parrot Tumbler
Pecking
Birds and
The Ladderrnan are but a fewof the en
gaging proj ects presented here .
Despite the many
attr
acti on s of the
book, I worry that the satisfactory comple
tion of the projects prob ably demands a
higher level of skill than most purchasers
of the book possess. Thi s, I
fear, will lead
to fru strations that will convince many
aspiring woodworkers that woodworking
is not for them. As I look at these brightly
painted toys, I know I could not dupli cate
them. Maybe it's just a bad attitude on my
part that will keep me from sharing thejoy
some of these proj ects would no doubt
bring, but the thought of
fi
nishing most
of them is frightening. I'd like the book
better if it werej ust a little less prett y- if
it contai ned one or two color photos of
some less professionally painted toys.
Lest this sound overly negative, the book
is attractive; and
if
could talk my wife or
one of my daughters into doing the paint -
ing, I would build several of these
toys for
my own mus m nt
as much as for the
grandchildren
I
don 't yet have.
Making Birdhouses
&
Feeders by
Charles R. Self , Sterling 1985, 128 pp.,
paperback , $8.95
The first 48 pages of this book are devot
ed to elementary tool use.
Thereafter
, it is
a discussion of simple procedures that will
produce a variety of birdho use types.
While I have absolutely no interest inmak
ing birdhouses and find the tool use infor
mation at the front to be so simplistic as to
be unusable by me, I am sure that
after
I
donate this book to the Manitowoc Pub lic
Library, it will be checked out absolutely
all the time. When I wanted a birdhouse, I
drew a picture and built it. Lots of folks
will go to the library. The editors at Ster
ling have undoubtedly done their home-
7k ~
titt de
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8/17/2019 Popular Woodworking - 032 -1986.pdf
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Book Reviews
-----------------------------------------------
ontinued
work .
Chapters about bird foods and size re
quirements for different kinds of birds will
help broaden the audience for the book . If
I wanted a birdhouse, this book and a few
hours of shoptime would be less expensive
than buying the cheaply made birdhouses
available in the stores.
The Antique Tool Collector's
Guide
to
Value byRonald S. Barlow, Windmill Pub
lishing Co. , 1985, 229 pp., paperback ,
\2 .95
When I first saw this
book
, I wasn't
much interested in it. I m a user, not a col
lector. Well, that 's what I'd like to think.
But as I checked the contents, I began to
discover much of interest to me. This book
is full of illustrations from old catalogs and
descriptions of the uses
of many tools no
longer in production. Barlow has done an
admirable job ofcataloging the tools of the
past century and ofgiving us a feelfor their
uses. As I perused the section on planes for
the third time, I began to real ize that my
collection of working plane s is less com
plete than I thought. Many of the planes
that are no longer available would be
desirable ina shop like mine, where much
ofthe work is still done with hand tools . If
you add this book to your collection, you
will be sure to refer to it aga in and again.
Carpent
ry fo r
Children by Les ter
Walker, The Overlook Press 1985, 208
pp., paperback, 9.95
The American Library Association gave
this its Notable Children's Book award.
There are many photos and drawings, but
the text is printed so fine that Icannot im-
agine the book holding a child 's attention.
On the other hand , the projects are rather
fine, too. Itstarts with a section on Using
Your Tools, which treats the hammer,
cros scut saw, bit and brace, square, meas
uring tape , adjustable wrench, screw
driver and pliers each adequately and in
sufficiently elementary style. Next are
sections on Building Your Workshop
(which has the young woodworker start
out by build ing a workbench, a toolbox
and some sawhorses), One Day Projects
(including a tugboat , a set of blocks, a
birdhouse and a chandelier), Weekend
Projects (including a doll cradle, stilts, a
puppet thea ter and an easel) and One
Week
Project
s (including a raft , a
lemonade stand and a coaster car) .
This book is recommended not for what
it will teach you but for what it can help
you teach your kids. •
SWINGING CRADLE
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Popular Woodworking
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13/66
J. hilip umfrey Ltd.
SEND FOR THIS CATALOG.
IT DE
SCRIBES
OUR OTHER
FINE
WOODWORKING MACHINES
GENERAL
10 Tilting
Arbor Table
Saw
c/w 3 HP TEFC 3600 RPM Motor
10 TiltingArbor TableSaw Specifications
Maximumdepthofcut 3\\
Diameer ofarbor . . Diameter of saw blade .. 10
Saw
tilts
totight
5°
Maximumdepth ofcut at 5° 2\\
Maximumcut to tight of saw 25
Maximumwidthofcut-off
0
stock) 14%
Maximumcut to leftof blade 15Y
Maximumwidthofdado I
Distance infrontofblade maximumcut 12y'''
Maximum length of cut with ex t ra long guide bars
SO
Table height 34 Table size 28 x 36
Overalldimensions withguide bars andrip fence:
Width
5
Length . . . . 40
T·slot mitre gauge groove . . . . . . . . . . . . . . . . . .
X Y.
Ripfence Locksbothends
Speed ofsawblade 4000 Rpm
Motor TEF'C3600 Rpm 3 HP
Shippingweight. 385 Ibs
Shippedfreight collect • Noother charges
Note: Callthe HumfreyOrder Phone
immediately. We willprovide a Galt Micro
Cut 10 x 50 T combination blade - retail
value $82 to the first 25buyers .
Guard
T
he General 10 Table Saw completely
encloses allmoving parts within the
cabinet stand for maximum saf
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by a swing-away splitter/guard complete
with anti-kickback fingers (standard with
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Name _
3241 Kennedy Road . Unit 7
Department PW 8
/9
Scar borough, Onta r io MIV 2J9
o I enclose $1.00 (refundable against first
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Mitre Gauge
T
he T-roller de sign mitre gauge is adjusta
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and left. Its cast body is pre-drilled for ins
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tion of optional stop rods which permit
accurate repetitive cuts.
Arbor
T
he arbor is mounted on widely
spaced trunnions . It' s fully adjustable,
and tilts from 90° to 45° with a single lock
wheel through a rack and worm gea r. It
lowers so the 10 blade is safely below the
table when not in us e , or raise s to cut s
when vertical or 2Ys at 45°. The blade tilts
to the right , away from the operator's hands
when cutting bevels - with a single front
mounted lock-wheel control. Raising, tilting,
or lowering the blade is swift and accurate.
T
he rip fence is se lf-aligning as it
locks to front and rea r guide rails
using a single control handle. A built
inmicro-adjust knob moves the ~ . . . . . . . -
with precision. The box s
tee
l welded fence
body is pre-drilled to accept a variety of aux
iliary wooden fences. The ed
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of the General saw are machined parallel to
receive an optionalfence ofthe T-Square type.
THE GENERAL
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A
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weight. For the dedicated woodworking
craftsman this saw's got it all Accuracy.
Rugged dura bility. Day-in, day-out dependa
bility. And traditional design, incorporating
all the manufacturing know-how General
has accumul ated since its first
saw built in 1945. Small
wonder this is the very
saw around which industry
has built its woodworking
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for years .
Rugged Construction
T
he factory use s the Mehanite proc
ess under license in making all
castings . Then a combination of natural
and artificial aging gives ass urance that
raw castings for every saw are perfect.
Engineered ribbing and precision
machining yield a sup erior product in
both appearance and performance.
Table
T
he General 10 saw has a heavy all
cast
table . After the casting is aged,
its enti re surface is precision-ground to
close tolerances. This accuracy is ap
parent when the mitre gauge is inserted
and it glides effortlessly forward or back,
with no side-play in the
deep
T-slot grooves .
Finally, the large size of the table is noted. It
is both impressive and functional . . . as it pro
vides a fulleleven inches infront ofthe blade
where it counts the most.
Base
A
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style base has a hinged vented clean-out
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the base for use together with a dust
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•
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Scarborough, Ontario, Canada MIV 2J9
H
UMFR
EY'S ORDER PHONES
U.S.A. TollFree 1-800-387-9789
Canada Call Collect (416) 293-8624
State _
-
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Videoscene
by
AlanMarks
Frami
ng
Joints
with Donn Fahnestock,
1985 Fahnestock Studios, marketed by
Fine Tools Inc . , Po Box 1262, Danbury,
CT 06810, 60 minutes .
Carcase Jo
ints with Donn Fahnestock ,
1985 Fahnestock Studios , marketed by
Fine Tools Inc. , PO . Box 1262, Danbury,
CT 068
10
60 minutes .
The firs t of these tapes opens with a
taci t warning.We view the backofabum
bling Donn Fahnestock as he tr ies to
coerce pieces of a frame to fi t together.
Failing, he turns to the camera with a
lan Marks is a cabinetmakerf rom Pa ific
Grove California
sheepish smile and informs us that he has
just illustrated what cou ld happen when
one attempts cabinetry without mastering
the techniques to be illustrated in these two
tapes on jo inery. He identifies joints as
consisting of two types, framing and car
case , and proceeds to demonstrate a fewof
the former.
It distur bed me that the titles of these
tapes imply a broad coverage of the field of
joinery, when in fact they present nothing
of the kind. The tape on framing joints , for
example, covers fourjo ints only: doweled,
half-lap, open mortise and tenon , and
closed mortise and tenon . In spite ofhis at
tempts to condense his demonstrations,
Fahnestock comes across as inappropri
ate ly wordy.
I understood quite well what Fahnestock
was trying to convey,because I have made
the handmade joints he demonstrates; but
at a certain point I wondered if I weren't
fill ing in for him with myown experience.
Someone exposed to joinery for the first
time may have a hard time following these
procedures .
In some cases Fahnestock appeared
vague. This was not helped by the lack of
adeq uate closeup shots. Tapes like this
one, in which work is done at a bench ,
could improve if made with a bird 's-eye
camera stationed overhead and directed
down at the bench , such as they use in
cooking shows. Th is is the only waymany
operations can be properly seen.
It was interesting to observe the three
methods of doweling demonstrated . All in
volved mechanical aids dowel centers
DO
S2
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August - December 1986
WOODWORKER I Radial Saw
WAS NOW 50% OFF
10 60T $162
581
9 60T 156 79
8 60T 150 75
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30T 135 68
9 40T 146 73
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T
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8 Dado 24T 299 13/ 16
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Inquire for Larger Indusrial Stzes
• Can beremoved instantly i f need requires for deep cuts . • One aga inst the
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in slot of steel table insert. · 6 damp ener on
10 blade gives 2 cutdepth. Use 5 dampener if always in
1 1/2-2
deep cuts.
Remove
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use 4
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• Holds blad e rigid
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m otor and be lt vib rations from being transmitted up to the rim of the teeth
causing scratchy cuts. • Greally reduces cutt ing noise . ' Helps kill saw
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istle
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W OODWORKER I
(For the Radial Saw) This is my originalWoodworker blade most des ired by the American
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Perfect
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as long as you'lI cut wood or plastics . Designed
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use pnmanly on your radial saw. thin kerf gIves
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WO
ODWORKER II
(For the Table Saw) My
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soft
and
hardwoods and PLY VENEERS NO SPUNTERING. Generally I recommend 40 teeth . However. if your
npplng Include s a lot of heavy 1Y, to 2 hardwoods. specify 30 teeth . See dampener information. STOP CHANGING
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Muititooth Dado Set cuts 1/2 -13/1 6 flat bottom grooves WITHor CROSSGRAINall woods and VENEER
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14
Popular Woodworking
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15/66
and doweling jigs. I have used centers
when there was no other way, but it
WdS
the
first time I had seen doweling jigs in use.
I found them ingenious, though limited in
application. Then I found myself reflecting
upon
how
s
pecialty tool inten
sive
cabinetmaking has become contrasted to
the technique intensive approach taught
me, where one tool was made to do as
many things as possible.
I was not much impressed by this first
tape, either by its scope or by the manner
of presentation.
The
matter of gluing up
these joints was not even addre ssed. Fur
ther, judging from the occasional back
ground noise, Fahnestock seems to have
located his studio next to an airport or a
large construction project.
The tape on carcase jo ints had much
better closeup work, despite the annoying
color shift that takes place as the camera
zooms in. In this tape Donn Fahnestock
grooves a frame with a combination plane,
chamfers a raised panel to fit it, and makes
a through dovetail jo int. Thi s, of course,
barely scratches the surface of the subject
of carcase joints. I was appalled by the
raspy, scraping noise s made by his saws
and planes and by his unstable bench . Un
properly sharpened tool s and rickety
benches are a curse to the cabinetmaker;
his made me cringe.
I wish I could be more enthusiastic
about these particular tapes , but I question
their value. In the earlier tapes in this ser
ies (reviewed in the June/July 1986issue),
Fahnestock promised information on shar
pening, but neither of these takes up the
matter.
In my next column, I plan to review a
series of videos on routers produced by
Video Manuals International. •
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BEST CUT ITEM
LARGE CUTTING
BEST PRICE
NO.
DESCRIPTION RADIUS DIAM . LENGTH PRICE
COVE
01
1/4 R
1/4
1
1/2
$13 .00
02
3/8 R 3/8
l V,
9/16
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15/32
16.00
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1/4
1
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3/4
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Q
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Deep
l V,
112
14.00
RABBETING 3/8
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l V,
1/6
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l V,
1/4
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45°
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45 °
1'/2
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Angle
15
RAISED PANEL 20°
1 5/6
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0
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90°
114 1/4
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112
1/2 11.00
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14° 1/2 1/2
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19
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Grooving a gee
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UILD YOUR SKILLS IN WOODWORKING
Whether you re an expert woodworker or just a beginner
for challenging projects and skill-building techniques
turn to the pages Popular Woodworking
Every issue features:
• Original Projects and Plans
• Shop Tips
• Marketing Ideas
• Unique Techniques
• Comparative Product Review
• Jig Journal
• Information Exchange
• Calendar National Woodworking Events
PopularWoodworking
. .
let it bring out the best in you.
SU SCRI E TOD Yl
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he magazine packed with woodworking projects and resources
Popular oodworking
13
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The
ound of
Wood
y arry o erts
Have you heard? Have you heard? You
mean, when building a cabinet you ha-
ven t sometimes been aware of a ping
here, a plunk there? No, it s not the heater
expanding. It s your wood .
Wood is se nsuous. We gaze on its
beauty; we relish its aroma; wedelight in
its texture . Taste is not important, unless
you happen to be a termite; but soundcan
have its place though that is certainly
not the fi rs t consideration in selecting
lumber. Listen up .
Good Vibrations
From resonant redwood to tinkling teak,
the sound ofwood begins with cells . Their
length , the direction in which they grow
relative tothe vertical axis of the tree, and
the ratio of the different thicknesses of
their walls comprise the wood s elasticity.
Thi s causes vibrations when the wood is
hit. It works like this :
When wood is struck by an object (for
example, a
hammer
missing a nail) , that
section of wood becomes deformed. Its
elasticity, however, will cau se it to try
returning to its original shape. But because
of excess energy from the blow, the wood
will continue to
bend
up
and down
(vib ra te) until all the energy is lost. While
vibrating, the wood is transferring energy
into the air. This air energy takes the form
of sound waves, which reach our ears as
rr
y Roberts received a degree cum laude in
Industrial ngineeringfrom astern
f
shington
University He anti cipates teaching woodshop
August /September 1986
sound, or pitch . Due to
their individual cellular makeup
and elasticity, therefore, different
woods have different sounds.
So
Familiarity with the different pitches of
woods can benefit you in your woodwork-
ing. Say a customer wants a good solid
sound when he closes a cupboard. Or a
whisper for a bedroom door. Becoming at-
tuned to the various pitches of wood will
help you know which to select. Other ap-
plications include door knockers , drawers,
wood chimes, gavels, toys, special effects,
dance floors and musical instruments.
Anywhere one piece of wood is hit by
another piece of wood or object.
uilding a Pitch Detector
Tohear the ocean, listen toa seashell. To
hear the pitch of wood, build a xylophone.
( Xylon isGreek for wood ; phone is
Greek for a sound . ) Tobuild this detec-
tor ofwood sounds: cut
x
X 9 sec-
tions of the diffe rent species you want to
chart. The sections should be quartersawn
and clear of any knots.
Next cut four lengths of dowel
sized so that your samples can lay
across them with about s in be-
tween . Figure in at each end of the
dowels so that they can be fit ted into the
uprights that will serve as legs for the
xylophone.
Drill holes inone end
of
each section for
a screw to mount them
on top of the
dowels . Make the holes oversize and don t
tighten the screws all the way so they won t
dampen the vibration. Glue a layer of felt
a long the dowel s before attaching the
samples.
Rank the spec ies in order from the
lowest to highest pitch by using a small ,
round , wooden mallet. Hit the bar directly
in the middle and chart the pitch numeri-
cally with I being the
lowest (l
have found
willow to be I; cherry 2; oak and maple 3;
pine and walnut 6; alder 10.)
Sound good? With your xylophone and
your knowledge of wood pitch, you and
your maple will soon be making beautiful
music together. •
17
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lt r for e ce
le
wo
rt sts
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21/66
y
ight
The summers of Cali fornia s upper
Sacramento Valley are hard on horses.
Crops thrive but animals thirst. To allevi
ate this problem , early settlers of Chico
planted walnut trees to shade the wide
streets as a protection for both the horses
and their masters. Thi s leafy coo ling sys
tem worked sowell, they also planted trees
in th
eir yards and unculti vated areas .
Many of these trees are now past th
eir
prime. Others must be removed for rea
sons of town growth, interference with
sewers, etc. Th is has all worked to the
ben efi t
of
Scot Wineland , wh ose
knowledge of Junglans Hindsil (Claro wal
nut) is second to none.
Whil e a student at Chi co College, Scot
worked with a tree trimmer who taught
him how to take down a walnut tree and
save the lumber. It was then he noted that
most of the local walnut was either shipped
away to make veneer
s
me as far as
Italy- or was cut up into gunstock blanks.
S urely he thought , there must be some
way to cut a log into blocks for turning and
into wide boards that could be used for fur-
E niture. And surely there was a way to cut it
to take full advantage of the beautiful
figure in the grain. That is just what Scot
s set out to do.
l
8
The winters in Pennsylvania are rugged ,
z
o
but less so than in George Nakashima s na-
Jay E Wright is a woodworker from hico
C4.
tive Japan. That s why
this
foremost wood
worker and author
of
the ce lebrated
le
Soul a Tree
(see PW, Jun e/July 1984,
Book Reviews ) built a barn in which to
house exotic wood, much of it walnut.
In 1983, George Nakashima purchased
what was considered one of the largest
walnut logs in the worl d.
It
came from a
300-year-old tree on Long Island . 12 long,
it tapered in diamete r from 5 - . , .
For years, the 80-year-old Nakashima
had dreamt of building an alta r a s a shrine
to peace. Thi s would be a place set aside
where people of all religions could come
and worship th
ei r God
and pray for a
peaceful world .
It
would encompass two
bookmatched slabs so that the altar will be
12
long and
14
wide at one end , tapering
to 10 at the other. The free-form shape
would denote this artist s touch.
Back in Ca lifornia , Scot Wineland had
become an expert in the art of cutting wal
nut, taking full advantage of the gra in. He
had realized his goals. Chico walnut
, he
claimed, has the best co lor and figure of
any walnut in the world. And Sco t knew
how to attai n it.
It was only naturalthat these two lovers
of walnut would come to hear of each
other. Scot has one custo
mer in Pennsylva-
19
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8/17/2019 Popular Woodworking - 032 -1986.pdf
22/66
nia who had purchased some cro tches
from someprime walnut trees inDelaware
and asked Wineland to fly back and cut
them. While on this trip, Scot , who had
memorized much of Nakashima's book
The
Soul of a Tree
made an appointment
to meet the author, a man he had so long
admired . He took some wood samples
with him, and the meeting, which had
been scheduled for 20 minutes, stretched
into lunch and beyond. Now, with the Al
tar
for Peace project , Mr. Nakashima
needed the precious 300-year-old log cut.
He telephoned Scot. Would he do it?
Yes he agreed . But after hanging up
he wonder ed , What have I gotten mys
elf
into?
After considerable thought, he designed
and built a special mill. He also ordered an
8' chain saw bar from Canon
of
Canada
and used two Partner chain saw engines.
The unit' s frame was welded and the saw
specifically designed for this special
jo
b,
as Nakashima had spe
cif
ied it mustcut an
8
'
log.
ltar for eace
ontinue
Nakashima watches as Wine/and and his crew make the first cut.
f t r every other cut the chain on the eight fo ot saw has to be sharpened.
No other deal
er
handleswalnut the way
Scot does. Mill s usually cut a log in half
lengthwi se, then cut it into boards. Scot ,
on othe other hand, may studya log for two
days, turning it over again and again before
making the first cut. When he finally does,
he begins his cut at the top of the log and
cuts downeach layer in tum. In all regards,
Altar for Peacewill be a professional job.
was now Mr. Nakashima's turn to
visit, and he came to witness the new saw
at work. Then Scot went to Pennsylvania to
do the job.
was mid-winter 1984. There
was snowon theground; the logwasstored
outside. Newspapers sent rep
or t
ers and
cameramen, and the National Geograph-
ic Society had a video film crew on hand
to get footage for
Nickelodeon
on cable
TV. After all, this was a monumental oc-
.c
s
casion.
At last the log was cut , but not without
20
Popular Woodworking
-
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23/66
f t r
the first slab
is
cut Wineland
washes off the
sawdust to show
the grain pattern.
This center-cut slab is worth about one thousand dollars.
August September 1986
some diffi culty. First, it was frozen . Se-
cond, they hit a pipe that had become
embedded in the log many yea rs before.
Nonetheless, this special walnut proved to
have spectacular grain, even better than
Nakashima had hoped. At his direction it
was cut into
3
slabs. With every second
CU , Scot had to stop to s
har
pen the chain.
In two days it was done .
Altar for Peace, cut by Scot Wineland to
be
masterfully f
orm
ed byGeorge Nakashi -
ma, will bea magnificent dedication to the
so ul ofa tree and the soul of huma nity.
May peace be with us. and so may our
trees . •
you would like to contribute
to
the Altar for
Peace project . they are accepting donation s
of
not more than 10.00per person
to
allow
all types ofpeople to participate.
Contributions should be sent
to :
Altar for
Peace. Box 66New Hope . PA 18938.
21
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24/66
opular
oodworking roject
dventures
in
Design
Building ine Rack
How
to
vo
id Making Just nother Wine Rack
Petrov
ich
There are probably as many wine racks
on the market as there are grapes on the
vine. Some are of wood, some of metal ,
others of plastic, ceramic and even ma-
crame. Therefore, when I was commis-
sioned to make one , I was less than
enthusiastic. I wanted to make something
different, something that wouldn t gather
dust ina crepuscular corner and look like
just another wine rack. My client s sole
requirement was that it look nice .
Now that I was going to build a wine
rack , looking at them became an obses-
sion.
They
were everywhere Mo st
looked nice in proportion to the degree
they were filled. An empty wine rack
looks like an empty wine rack , but a par-
tially filled racklooks impoverished . Most
racks sit on a counter, hang from the wall
or ceiling, or are made to sit on a shelf.
They must fit their location.
It
always
seemed that no serious attempt had been
J.
Petrovich has been designing and building
furniture fo r over 10years. He also builds and
designs tools and reaches toolmaking on the
college level.
his spare rime he manages a
hardwood lumberyard and mill.
22
Popular Woodworking
o
s:
;
>-
.c
-
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25/66
made to give the rack form
.. .
aesthetic
form. After all, a wine rack is a wine rack .
I I t ·
IITT\
bit shorter but the same width) across the
top. Though it resembled an
altar
tabl e, I
thought about that space
under
the wings
as an opportuni ty to hang some wine
glasses and an opener. As it was the third
and final call for dinner, I left the wine al
tar table and went inside, fullof mysel
f
and
confidence.
After a dinner of properly maintained
humility, I dragged my wife to the shop.
All of us who pretend to aspire to the art s
should havepartners who not only love us
(despite our aspirations), but have some
sense of logic and ta ste about them.
Though mywife liked the grid effect of the
rack, she pointed out that it was difficult to
see buried in the uprights. Adjusting the
rack forward did not lessen the probl em .
and the whole thing began to resembl e an
5
.
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26/66
uilding a Wine ack ontinue
but didn t pursue it. When I did return toit,
I knew what to do .
I wanted as much of the grid to show as
possible. Legs rather than solid sides made
more sense.
The
grid ought to be forward
within the legs , but the legs ought to be
deep enough to provide a stable base. For
the top there should be a usable surfac
an area large enough for a bottle of wine
and perhaps a few glasses . A solid piece
seemed too blocky and would havenone of
the relieved qualities of the understructure.
A frame and panel top with the field
reiieved but snug against and flush with the
frame seemed right, a balance ofdetail and
usability.
onstruction otes
Given the basic design and measure-
ments, this table seems to lend itselfto
experimentation and discovery. Since
that fir st wine table I have done several
more. For one from doussie (amuch dar
ker and richer wood), I used bridle joints
for the leg structure and top and left the
end grain proud and rounded . I also used
square ebony plugs on the top to lock the
frame and on the legs to cover the screws
that se
cure
the grids to the legs. The in
tent was to match the table to some other
Craft sman style pieces.
The sh ift in emphasis to exposed
joinery se
emed
to work . While the bas
ic design is light and airy, a darker wood
and a scant increase inmaterial thick
ness lent the weight and probity neces
sary tothe Craftsman style. Other woods
and modifications could as easily result
in different styles. All are variations on a
theme variations on what does not have
to be ju st another wine rack .
The Gr id: Not only is the gr id the
functional
center
of the wine rack , it is
also its structural center. holds the
wine as well as tying the leg structure
together, so it should be strong. The
stock should be no less than wide by
thick. Cutting bridle joints on this thin
stock is difficult unless you havea tenon
ingj ig. use an auxiliary board attached
to the rip fence similar to the one
de
scribed
in
J i
g Journal in
the
a
April/May 1986 issue.) While the tenon s
we
pur
sue them too aggress ively. Thi s is
not superstition. I ve simply found that if
I leave a piece alone for awhi le, I ofte n
return to it with a clearer sense of intent.
Thus, I let the wine rack sit in a corner of
the shop for several days. Occasionally I d
catch a glimpse of it from different angles,
alta r table. Maybe it would be better if it
seemed more open so that light could hit
all those lovely labels (and so one could
read all those lovely labels) . A little less
full of mysel f, but wiser, I closed the shop
for the night.
It is my belief that ideas can disappear if
24
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uilding a Wine ack
ontinue
of the corner jo ints are cut in the sa