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MAy/JE 1982, No. 34,$3.00

oring

MakingShoJi'

I I

A master craftsman

shares the secrets and stories

of a lifetime

finishers d a table set just for us

in a local restaurant, because no

decent people wanted to sit near

our dirty bunch. Fifteen years

later, an ex-prince asked me to

wnor his table with my presence.

his book is about the stopovers

on the rod between those two

tables-about what I leaned, my

experiments, trials and errors,

successes and failures."

-George Frank

George Frank knows wood finishing as

few others know it. And now, ater a life

time in the trade, he reveals the secrets

he's uncovered (and discovered). It's all

here, rom the old timers' recipes for dyes

and stains to the culmination of Frank's

own search for the perfect wax, from a

mirror inish that shines to an 'antique'

finish that will fool the experts. Along

with the colorful stories that fill his book,

Frank tells you everything you need to

know to create beautiul inishes in the

old manner.

information you'll have trouble finding

anywhere else. Whether you're interested

in the art of finishing or the science of

wood technology, whether you prefer

cabinetmaking or marquetry, you'll enjoy

exploring our growing library of Fine

Woodworking Books. Write for a copy of

our free Catalog.

8R"er re

Wood

Finishing

GeorgeFronk

Adventures in Wood

or send your name, address and $10.00

to the address below (Connecticut resi

dents add 71/2% sales tax). You can also

128 pages, hardcover,

call toll-free, 1-800-243-7252, to charge

your order.

$10.00 postpaid

ISBN:

Adventures in Wood Finishing is filled with

0-918804-06-X

52 Church Hill Road, ox 355, Newtown, Connecticut 06470

"In 1924 in Paris, we wood

Adventures

To order your copy of

Finishing, use the order form in this issue,

Like all Fine Woodworking Books,

FE WOODWORKING

Editor John Kelsey

Art Director Deborah Fillion

Associate Editor Rick Mastelli

Assistant Editors Paul Bertorelli

Roger Holmes

Copy Editor Jim Cummins

At Assistant E. Marino

i ne

q i

n g ·

J E 1982, NUMBER 34

III

Editoial Assistant Linda D. Whipkey

Contibuting Editors Tage Frid

R. Bruce Hoadley

Richard Starr

Simon Warts

Consulting Editors George Frank

MAy /

In J. Kirby

DEPARTMENTS

34 Books

38 Adventures in Woodworking

Letters

Methods of Work

Comment

Questions

& Answers

42 Events

46 Connections

A. W. Marlow

Methods of Wo rk Jim Richey

ARILES

50 Japanese Sliding Doors by To sho Odate

The traditional way to make shoji

61 Using the ablesaw by Ian . Kirby

Some basic rules for safe, accurate results

64 ReflOing the Craftsman Style by David Cathers

The legacy of Havey Ellis

67 Plans for an Ellis Desk

68 Fly Rods from Split Bamboo by L.

. Beitz

74 Hoard Raybould by To ny Taylor

Ornamental caver of mirror frames and crocodiles

With a hand plane and lots of gadgets

76 Stereo Equipment Cabinets by Cal Spencer

Take the heat of your audio gear

Cover: To shio Odate explai ns how he sp aces the

moses that hold the l atticework (kumiko) in a

traditional Japanese sliding door (shoji). This

phoo was snappedduring a weekendworkshop at

the Brookfield (Conn.) Crft Center- Odate

commenced by moving a roomfulofworkbenches

out of his way andaranging his tools on a mat. To

the We sten eye, Japanese woodworking

80 On Pleasing the Eye by Alan Marks

The visual language of chair design

zs charac

84 What To Do With a Walnut Beam byJim Cummins

John Hallam's blockfront treasure

terized by a remarkable economy of tools, matei

als and energy. Th e cratsman (a 6 0ve) stives al

ways to cut directly to the line. More onp.

50.

85 Routing Wide Moldings by John Halam

92 Repairing Finishes: Two Ways

1. Bum-in resins hide deep scratches by Rick Bitz

2. Knife technique makes the difference by John Revele

si ate publisher;

THE ATON PRSS

Paul Roman, p ublisher; Janice A. Roman,

95 Plate Joinery by Paul Bertoreli

We test two machines that make fast, tight joints

JoAnn Muir, director of administration; Lois Beck, businss co

ordinator; Claire M. Gamble, administrative secretar y . Karl

Ackerman, direct sales coordinator; Mary Galpin, production

coordinator;Jon Miller, assistant to the publisher; Barbara Bahr,

secretary. Acounting: Irene Arfars, mana g er; Madeline Colby,

Elaine Yamin. Advercising: Ann Starr Wells, director; Richard

Mullisan, sales manager; Vivian Dorman and Carole Weckesser,

cordtnators. Arc: Roger Bames, executive

98 The Woodcraft Scene

Woodtuming on a Metal Lathe by Richard Star

100 Horgos' Gambit by Lili Heart Horgos

rr director; Jeanne

Criscola, Kathryn Olsen. Boks: Laura Cehanowicz Tringali,

editor; Lee Hov, associate

Fine Woodworking (ISSN 0361-3453) is published bimo nthl y , January, March, May, July, eptember and

06470. Telephnne (203) 426-8171. Second-clss

rr director; Deborah Cannarella,

editorial ssistant. Fulfillment: Thomas P. Luxeder, manager;

Carole E. Ando, subscri p tion manager; JoAnn Canning, Gloria

Carson, Dorochy Dreher, Mary Glazman, Marie Johnson,

Denise Pascal, Cathy Sakolsky, Nancy Schoch, Catherine Sulli

van, Terry Thomas,joAnn Traficanti; Robert Bruschi, mailroom

supervisor; Marchelle Sperling, David Wss. Marketing: Ellen

McGuire, sales manager; Kimberly Mithun, secretary, Kathy

Springer. Prduction ervics: Cynthia Lee Nyitray, manager;

Annene Hilty, assistant; Nancy-Lou Knapp, typsetter; Gary

Mancini, cordinator; Deborah Mson, ssistant.

Inc. No reproduction without permission of The Taunton Press, Inc. Fme Wodworking' is a registered

trademark of The Taunton Press, Inc. Subription ats: United States and possessions,

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$4.0. Send to Subscription De p t., The Taunton Press, O Box 355, Newtown, CT 06470. Ad

52 Church Hill Road, O Box 355, Newtown, CT 06470. United Stats newsstand dJStribution by

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possessions,

dress all corresondence to the appropriate department (Subcription, Editorial, or Adverusins), The Taun

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Eastern News Distributors, Inc.,

Postmaster: Send address ch anges to The Taunton Press , Inc., PO Box

59 Powderpost Beetles by To m Parker

Controlling the bugs that dine on your wood

86 Period Funiture Hardare by Simon Wa tts

How it's made and where to get it

November, by The Taunton Press, Inc., Newtown, CT

Letters

Over the past several years I have

encountered a number of boards

that were very striking in appear

ance due to the defects they con

tained. Ordinarily these boards, or

the defective sections, would be

discarded as ueless for any uni

ture or cabinet work. But I found

myelf putting them aside, usually

standing them against a wall where

I could look at them frequently.

After a while the defective section

would deine itelf as a design area

and I would square up the board

accordingly. I have made a few of

these into decorative panels which

can be hung on the wall like paint

mgs.

The idea of simply mounting a

board as a wall decoration origi

nated with a poplar board that ar

rived with lumber for my school

shop classes. This 9-in. board was

marked almost its entire 8-ft.

length with a wide band of stain.

The colors were mostly greenish,

yellowish and reddish streaks, but

with a bright, teal-blue sweep re

sembling a bird's open wing. I

stood the board aside and soon

realized that I would not be able to

cut it up. The board looked like an

abstract painting so I decided to

treat it as such. To set of the de

sign I used a backing of plwood

painted lat black. The result is

very dramatic and gratiying.

With time and inishing, the

colors have become primarily tones of brown with a hint of

the original green, and the teal blue has become black. The

panel does not sufer from the loss of the original colors since

the shadings and the dramatic sweep of the design are still

present. The piece retains its strong visual impact.

I've made a number of these panels with various woods. All

the panels were sanded and inished with two coats of lat

polyurethane. This eliminates any interference from relected

light yet leaves the wood with a natural appearance, though

urethane does impan a deinite yellowish hue. For hanging I

prefer

(WW #32,Jan.'82) I

get a rather uneasy feeling as to what the results might be.

It seems like the judges as well as the author are technical

peers who look for technical characteristics instead of the

beauty or useulness of the object. Who cares if the wall

thicknes is uniform-who would know unless the item was

segmented or careully measured-and who cares if there is

no obvious means of holding the item as it is being made?

As for felt bottoms, put down in the anicle, I think felt

bottoms are an exquisite inish to an object of an. Not only

does felt look good and feel good, it sets well on a display sur

face. The beauty of the wood, the beauty of the shape, pos

sibly its useulness, and its inish should be requisites in the

judging. Objects made from rotten wood and that have miss

ing pans have little value except as curiosities and have no

place in a display of ine an.

-jack Gardner, Anaheim, Calf.

W #32,Jan.'82), I'm a machinist and I

saw this anicle when a customer came in asking me for an es

timate on the conversion. I advised him not to do it, because

you suggest welding onto a high-speed spindle. The heat of

welding might change the strength propenies of the steel, so

I wouldn't risk welding onto any arbor running faster than

about 100

RPM. It's too dangerous. Instead I'd tun a new

shaft in one piece.

I got interested in the poblem and found a used Ham

mond Glider, but out here in L.A. it cost about $750, not

$300. By the time you inished the conversion you'd have

spent a lot more than $1,000. On the other hand, a stock

Hammond Glider without any modiications would be valu

able in any shop, it's a real nice machine.

-Gene

0 'Ne/I, Canoga Park, Cat!

WW #32, Jan. '82, p. 71) was most in

teresting and descriptive. In his discussion of dovetail mor

tises, he suggests tilting the saw to cut the monises and the

need to "make the cut in one pass." If, however, he uses the

tenon jig (Fig. 3, p.75) rotated 90· clockwise and readily

modiied to suppon the stile, the monises can be precisely

cut in multiple passes just like he cuts the tenons, with the

saw blade parallel to the saw table.

-Ross G. Roepke, Tulahoma, enn.

o use two crew eyes along the top edge of the backing

piece and clear ishing line. If the panel design is attractive in

more than one position, it can be centered on the backing

piece and a lexible hanging arrangement can be had by using

more screw eyes. - Conela Orentlicher, New York, N.

& Level o., you were right o suggest the Early

American Industries Association, as they can provide detailed

information. There's also a book, however, entitled The

Stanley Plane, by Alvin Sellens, published by the EAIA in

1975 and obtainable through The Iron Hore, Star Route,

Bomoseen, Vt. 05732. It is the most comprehensive study of

just about every plane that Stanley made, giving illustrations,

physical descriptions, and period of manufacture. In addition

to the catalog reprints available through Roger Smith, Ken

Roberts Publishing

I've just been to a two-day workshop onJapanese tools. The

use of these special tools was o easy on the arms that my ar

thritic pain in my hand muscles did not act up. Now, would

it not be wise to tell disabled and retired people more about

these tools? I know a couple of people who are interested in

woodwork, but the conventional tools are not as controllable

and can cause pain when pressure has to be applied. Not so

with these Japanese tools....

-Albert B. Gtlbert, Camel, N. Y.

Regarding source information on planes manufactured by the

Stanley Rule

o., P.O. Box 151, Fitzwilliam, N.H.

03447, has been poducing Stanley Catalog reprints for at

Almost every time I look into a magazine that advettises

tools, machinery, materials or a service, I wonder how much

of each advertisement I must read before I fmd the line that

tells me to please send for their catalog, brochure or descrip

tive folder at $1.00 per copy (reundable with the irst order).

least the past 10 years and his are the inest I've seen.

-D.H. Osbone, jr., Rye, N.H.

Being an amateur woodturner I m interested in submitting

some of my work for evaluation by others, but after reading

the comments in "The Tuned Bowl"

RegardingJim Haber's anicle about convening a printer's saw

for woodworking (F

I thought the anicle on "SlipJoints on the Radial Arm Saw"

by Cunis Erpelding (

ANE TOOL 'I r Oy"

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