0024.pdf

SEPTEMBER/OCTOBER

1980, No. 24, $3.00

7447066441

Tecnigues 2 is here.

ll 61 technical articles from issues 8 through 13

in one hardcover volume.

61 information-filled technical articles, all re

Frank, a master inisher, tells you how to work with

stains, dyes and pigments. And you'll appreciate the

selection of tips and tricks reprinted from the magazine's

Methods of Work column.

Fine Woodworking Techniques

2 is durably bound in

2 is a convenient alter

9x12inches

hardcover and printed on the same quality paper as the

magazine. It's an authoritative reference tool.

Fine Woodworking Techniques 2

208pages,hardcover

printed rom Fine Woodworking in their entirety. If your

interest is centered in the technical aspects of woodwork

ing, Fine Woodworking Techniques

310 blck andwhitephotographs

250drawings,index

native to collecting back issues of the magazine.

You'll learn Bill Keyser's steam-bending methods and

see how a master like Tage Frid uses the bowsaw to max

imum advantage. You'll benefit rom the way George

Fine Woodworking

Techniques 1

"Noting the paucity of advanced texts on woodworking, the

editors of Fine Woodworking have filled the gap by repub

lishing

1 contains all the technical

articles from the first seven issues of Fine Woodworking

magazine-information seldom found

in ordinary woodworking books. These

articles reflect the widely different

methods of

50 of the magazine's best features on various aspects of

Fine Woodworking Techniques 1

9x12 inches

192 pages, hardcover

394

blck and white photographs

the craft-wood; tools; joinery; finishing, tuning, and mar

quetry; and shaping and carving. The writers are author

itative. "

-American Library Association's

BOOKLIST March,

10 drawings, index

1979)

TO ORDER: Use the convenient order form and postage-paid en

velope in the back of this magatine or send your order with payment

to (Connecticut residents, add 7V,% sales tax);

355,

06470

Church Hill Rd., Box

Newtown, CT

of Fine Woodworking agazine are now available

In the second volume of the Fine Woodworking Techniques

series you'll find answers by

53 craftsmen to the most dif

ficult questions about harvesting and drying wood, cabi

netmaking and joinery, carving and almost every other

aspect of woodworking. This impressive volume con

tains

$15.00postpaid

Fine Woodworking Techniques

34 expert craftsmen.

$15.0 postpaid

Editor

Associate Editor

Assistant Editor

A rt Director

Copy Editor

Editoial Assistant

Senior Editor

Contn'buting Editors

John Kelsey

Rick Mastelli

John Lively

Deborah Fillion

Ruth Dobsevage

May Pringle Blaylock

Tage Frid

R. Bruce Hoadley

Simon WattS

George Frank

A. W. Marlow

Lelon Traylor

Jim Riche y

Roger Holmes

John Makepeace

Alan Marks

Rosanne Somerson

Richard Starr

Stanley N. Wellborn

Fi ne

q i

n g '

Consulting Editors

Methods 0/ Work

Correspondents/England

S E PTEMBER/ O CTOBER 1980, N UMBER

West Coast

New England

Washington, D. C.

DEPA R TMENTS

Advertising

Sales Manager Richard Mulligan

Sales Coordinator Vivian Dorman

Sales Assistant Carole Weckesser

Consultant Granville M. Fillmore

26 Questions & Answers

36 Adventures in Woodworking

38 Business Notes

40 Books

42 Events/ Connections

6 Setting Up a Small Shop: Five woodworkers tell how they'd do it

ARICLES

54 Woodworking in Seventy-Five Square Feet by}. A. Hftebeitel

It takes more time, and careul planning

56 Mobile-Home Wo od Shop by Anthony Wheeler

57 Converting to 3-Phase Power by Mac Campbell

More surges per cycle can save you money

60 Building a Walking-Beam Saw by Mark White

Poor man's band saw has almost unlimited capacity

63 Treadle Band Saw

On the cover: A view inside Andy Marlow's .

shop in York, Pa. , shows how one craftsman

has solved the problem of working in limited

spa ce. For over 40 years, Marlow has worked

here building penod reproductIons a piece at

a time and in multiple runs. Equipped with a

ZO-in. table saw, a 6-in. Jointer, an IB-in.

band saw, a jigsaw, a homemade stroke

sander and a dn/I press, his shop has proven

adequate fo r production at a commercial

pace. Beginning on p. 46, Marlow and fo ur

other veteran woodworkers oller advice on

setting up small shops. Most of the articles in

this issue also deal with the practical side of

setting up a woodworking shop, fr om choos

ing machinery and tools to selling what you

make with them.

4 The Rhinebeck Fair by John Lively

6 A SoftWood Workbench by Ted Schuldt

Leg vises keep it versatile and afordable

68 A Shoulder Vise and Clamping Dogs by R.}. Sfvestnni

Attachments make a table a workbench

69 Wooden Vise by G. Bary Ellis

70 Post-and-Spar Lumber Rack by Richard Star

70 Double-Top Workbench by Ramon Sanna

Design increases workspace and clamping capability

72 Bigfoot Tool Rack by Ted Wick

73 A Set of Carving Gouges by Fred}. Johnson

Grind the profiles you need

76 A Joiner's Tool Case by To ny Tay lor

Wooden box holds all the essentials

78 Sawhorses by Sam Allen

Basic design adapts to several workshop tasks

79 Frame-and-Foot Sawhorses by Hank Gfpin

80 Keeping Quality in Production Runs by Dean Santner

The eficient use of space, waste and technology

84 Sources of Supply: Combination machines, domestic and imported

89 The Dial Indicator by R. Buce Hoadley

90 The Woodcraft Scene: Sawdust, Ltd. by Barbara Schneider

92 Decoration vs. Desecration

THE TAUNTON PSS

Publisher, Paul Roman; associate publisher,Janice

A. Roman; director of administration, JoAnn

Muir; executive art direcror, Roger Barnes;

editor/books, Laura Cehanowicz Tringali; secre

tary to the publisher, Lois Beck.

Marketing: Jack F. Friedman, director; John M.

Grudzien, sales/ operations coordinator; Henrietta

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Art and Production Services: Cynthia Lee, mana

ger; Betsy Levine Mastelli, design and illustration;

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typesetting; Lee Hochgraf, Karen Pease, illustra

tion and paste-up.

Subscriptions: Carole E. Ando, manager; Gloria

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Kach, Nancy Schoch, Kathy Springer.

Mailroom: Viney Merrill, manager; Robert

Bruschi.

Accountin:: Irene Arfaras, manager; Madeline

Colby, Elaine Yamin.

reprodunion without permission of

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4 Letters

18 Methods of Work

Fine WoodwoOing (ISS 0361-3453) is published bimonthly. January. March. May.July. SeplOmber and ovember. by

The Taunton Press. Inc.. Newtown. CT 06470. Telephone (203) 426-8171. Second-class postage paid at cwtown. CT

etters

WW #16, cover and p. 42).

Desk by Simon Watts,

Desk by Edward Bams/ey,

WW #18, p. 44).

WattS desk: redundant and rather thick framing around the

pigeonholes. Some of this material, along with four dovetail

joints, would not be necessary if the top and bottom shelves

of the pigeonholes were housed directly in the sides of the

case, a simpler and more satisfying construction if the use of

contrasting wood is not contemplated. The top of the pigeon

holes would thus be a drawer's depth below the top of the

case, with the visible purpose of supporting something.

WattS' inversion of the divider units left and right seems

forced, a distraction from the faulty proportioning of the cen

tral file of drawers, which is much too narrow. The flow of op

posed curves when the writing surface is unfolded does,

however, seem to bound a comfortable space, and the con

cavity of the whole piece when closed is inviting.

The concave facade of the Krenov showcase ' likewise invites

you in, but intriguingly the case holds things slightly away

from you, suggesting care when entering the space. Austere it

may be, yet it is purposeful, orderly, full of dignified inten

tion, with a clear rhythm to the march of stiles and bars across

the front. There is a diferent rhythm to the facade of the

Barnsley desk, weightier, ordering an abundance of surface.

The piece is solidly there, apparently forever. Rhythmically,

the front of the WattS desk is at odds with itself: in-out,

thick-thin, straight-curved. Above are the pigeonholes,

always on view, in one realm of division and dimension, while

below, in another, are six identical pulls stifly spaced four

plus-two, further contraried by the three differently spaced

bright hinges. Here is noise but no music.

Clean lines and neat work are ordinarily necessary but they

are not sufficient. To choose our mentors we require evidence

of careful thought and conscious artistry, and a considerable

amount of perception made substantial in the work.

-Kenneth Rower, Newbury, Vt.

Showcase by James Krenov,

It's a treacherous subject, criticism. But I must comment on

the pigeonhole desk by Simon Watts and compare it with two

other cases on stands you've published recently. The Barnsley

desk and Krenov showcase are largely successful, masterly in

certain ways. The Watts desk succeeeds only in part.

How do the case and stand relate to one another in these

designs? In the Barnsley desk, they meet in an obvious transi

tion in two steps. The motif of a broad element lanked by

two narrower ones recurs regularly in the stretcher, the drawer

fronts, the fall front, and on the top of the case. Inside,

there's the same arrangement, though probably not the same

dimensions. Conceivably the motif is ovetworked, but here is

thought, great care, and life.

The Krenov showcase sits irmly across its stand, the appar

ent weight carried down the sides. Where the pans meet

there is a slight swelling in the breadth of the stand. At the

sides a polished band of end grain deines the bottom of the

case, then a cove carries the eye outward onto the rail of the

stand. At the front the concave facade of the case determines

the curve of the stretcher (which plays a change with an addi

tional curve in the vertical plane), as well as the most interest

ing inward rotation of the legs. A calculated space separates

the stretcher from the bottom of the case, there being no

pretense of support. Again we find a theme of threes: the

glazing, the shelving, the door stiles, the stretcher divisions.

The WattS desk, while attractive in some generally modern

way, puzzles the eye. The case appears to have been partly cut

away and sits improbably on a stand about an inch smaller all

around than itself. The fotward part of the case, under the

writing surface, has no visible support and looks as if it might

snap off. This is a serious fault. There is not much relation

ship between the case and its stand, which might formerly

have seen service under an oval or rectangular tabletop. The

front rail looks unreasonably slender to support a thick mass

of wood comprising the folded surface, the drawer fronts, and

the bottom of the case. On the other hand, the curves on the

front of the case, together with the cleverly stopped curve of

the folding writing surface, look pleasant indeed, and the

sweep of the rail does something to relate stand and case.

What, I wonder, is the logic of the folding surface? It

makes the desk compact, but to operate the system one needs

to clear everything off the surface back to the shallow space

under the pigeonholes, and all the clutter remains visible.

Without making the desk any bigger, one could have had a

slant-top or fall-front, with their desirable abilities to cover

the mess and lock away the private or the valuable. Or if the

curves are the essence of the piece, then I wonder at the miss

ing tambour door that would normally complete the idea.

The interior of the Barnsley desk is rich in conscious ar

rangement. Thin oak lightens the whole, and there is play

with color, shadow and bright points. The space under the

pigeonholes is generous, and the three drawers at the top in

tegrate them with the case. Notice the alternative in the

WATS REPLIES: I am flattered that Ken Rower should com

SIMO

pare my work with Edward Barnsley's. Barnsley had established his

reputation long before I was born , and I consider him to be the

fo remost fu rniture maker in England. I am less than flattered to have

my desk compared to James Krenov's showcase , fo r I have done

enough repair work to know how fragile that base really is.

My objectives are different from either Barnsley 's or Krenov's. I

want to make handsome, durable pieces that ordinary people can af

fo rd. I don't want to work fo r museums or fo r the very rich. I also

like to use the shop to train young people, which necessitates

straightforward designs that can be made by apprentices. This is why

most of my work has a simplicity of design and construction that

Rower fa ults, but which my clients enjoy.

73) came at a

78 in.) with an elliptical base. Such a table wouldn't be

perfect time. At the custom shop I work at, we were doing

some furnirure for a Saudi Arabian client, and one of the

pieces I had to construct was an elliptical dining table (48 in.

dificult if the top were a solid lamination. However, since

the bosses were worried about the wood (white oak) moving

and possibly checking en route to Saudi Arabia, it was de

cided to make the top out of %-in. white oak plywood with

solid banding 1� in. thick by 1� in wide. The top was to be

rabbeted to receive the banding ....

I decided to try to hook up a router to the jig described in

the article. By using combinations of template guides, with

straight and rabbeting bits, I hoped to swing the ellipse with

the attached router (and a %-in. straight bit) and use the in

ner ellipse as my tabletop guide and the waste Masonite as

templates for freehand shaping of the solid banding.

The router ran smoothly except where one of the guide

dowels in the jig moved through the intersection of the

tracks. I had a fellow worker position a piece of wood as a Stop

WW #20, p. 75).

"Drawing the Ellipse" (FWW /22, May '80, p.

lurem CO MBINAT IONS!

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of combination power woodworking machines and

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machines provide maximum capability in basic

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which occupy a minimum of spae. The LUREM

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Model C.210B illustrated

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Combination

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Occupying

MINIMUM

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and will sustain hard and continuous operation with

a minimum of maintenance. The following models

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C.21 0B-Features 8" thickness planer/jointer and 10" circular saw.

C.260N-Features 10" thickness planer/jointer and 10" circular saw.

STANDARD FEATURES ON ALL MODELS

-Tilting Arbor Circular Saw

-Automatic Feed Thickness Planer

-Jointer

-Horizontal Drill-Mortiser

-Shaper-Spindle Moulder

-Sliding Carriage for Tenoning and Cross Cutting

-Knife Grinder and Setter for Planer Blades

-Heavy Duty Motor-1-phase 120/220 V. or 3-phase 220/40 V.

-Floor Stand with Castors

For dealer information and

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There is a LUREM model and optional accessory package suited for

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92708

INDEX TO ADVERTISERS

11,38 Renner Studios

XOTIC AND

7,18 RestorationBuilders, Inc.

AdvantageMachineryCo., Inc. 8 Fusillo's Exotic Hardwood 14 RimaMfg.Co.

AdjustableClampCo.

14 GardenWay Research

9 Rochester Institute ofTechnology 45

Allen Specialty Hardware 4 3 Garrett WadeCo.

23.26 Rollingswood

22,27

PECIOUS

A.L.1.

& TolCo. 16 GastonWood Finishes, Inc. 10 RussZimmerman

& MotorCo. 15 General FinishesCorp.

45 Sand·RiteMfg.Co.

AmericanMachine

6 GeneralWoodcraft

43 The Sawmill

WOODS

ROSEWOODS

EBONIES

COCOBOLO

ZEBRA

BUBINGA

PADAUK

KOA-BOCOTE

Logs, lumbe r, sawn veneer and

musical instrument com ponents.

Wholesale inquiries only.

Wood is our bUSiness,

SO make it your business

to call or write:

�ll

AmericanMachinery

37 GilliomMfg., Inc.

17 Sculpture House, Inc.

AppalachianCenterforCraftS 33 GlennWing PowerTools 32 Shopsmirh Inc.

AmericanWoodcrafters

Anson Industries, Inc.

15.22 H. DeCovnick & Son

23 Singley Specialty Co.

2 3

& Ball

18 HeldClck Kits, Inc.

34 SprungerCorp.

Attistry in Veneers

41 Hepp Industries, Inc.

17 Stewatt·MacDonald

45 Heritage Design

Ball

43 TheTaunton Press 2,7,20.32,39

29 Highland Hardware

34 Tech Plywood & Hardwood 17

Belsaw PowerTolsCo.

& CottonMfg.Co. 30 HotTools, Inc.

Bimex, Inc.

33 TheToolWorks

39 Industrial AbrasivesCo.

3 3 ToolmarkCo.

Boston University

23 International Woodworking

TheBrink

TurncraftClck ImportSCo. 3 0

Buck Bros. Inc.

TheConnecticutClckCo. 25 John Harra Wood &

Chem·Tech

TheToolroom

ConoverWoodcraft Specialties 33 SupplyCo.

ChosterB. Stem, Inc.

8 EquipmentCorp.

31,41 Unicorn UniversalWods Ltd. 24

28 KaymarWood Products, Inc. 45 Van Nostrand Reinhold

Twin Oaks

33 KuempelChime & ClockWorks 10 VikingClocks

Constantine

45 Leichtung, Inc.

17 Watco·DennisCorp.

Craft ProductsCo.

17 Leonard LumberCo.

23 WeirdWood

Craftmark Products, Inc.

43 Love-BuiltToys & CraftS, Inc. 45 WetzlerClampCo., Inc.

Croy-Marietta Hardwoods, Inc. 19 Mason & Sullivan

13 WillardBrothers

TheCraneCreekCo.

38 Maurice L.CondonCo., Inc. 34 Williams & Hussey

16 TheMechanick'sWorkbench 14 MachineCorp.

The Decorative Hardware Studio 29 Merchantmen, U.S.A., Ltd. 20 WinchesterCarbide Saw, Inc. 12

Deft, Inc.

The Cutting Edge

24 Merit Abrasive Products, Inc. 27 WisnerTools

David A. Keller

DelmhorstInstrumentCo. 25 Mity-Tite Systems

23 Wood Is GodCo.

15 MorrisWoodToolCo., Inc. 19 WoodbutcherTols

10 WodWorld

Dorsett Publications, Inc. 15 Native American Hardwods 17 Woodcraft SupplyCorp.

29 The Nutty Co., Inc.

43 Woodline/TheJapan

The Designery, Inc.

Educational LumberCo., Inc. 27 ParksWoodworkingMachineCo. 23 Woodworker

Dupli-Carver

15 Paxron Hardware

23 Wood Shed

Excellence inWodworking 30 PeterChild

43 Woodshop Specialties

PO. B o x 329

EmperorClockCo.

35 PotatuckCorp.

10 TheWoodworkers' Store

THE CF MARTIN ORGANISATION

The Foredom ElectricCo. 15 Prakto, Inc.

32 World ofMusicBoxes

The FineTol Shops Inc.

34 The PrincetonCompany

6 Zimmerman'sChair Shop 10

Nazareth, Pennsylvania 1804

215-759-2837

15 R.A.K. Products

Frank Hubbard, Inc.

FrankMittermeier, Inc.

4 3 FrogToolCo. Ltd.

10 Furniture Designs

About Time Plans

Craftplans

23 Morgan Veneers

Design Group

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