0078.pdf

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1989

DEPRTMENTS

=scptcmbcr/Octobcr

Methods ofWork

Questions & Answers

Super rasp; squaring a carcase; dowel-center marker

Evens

NotesandComment

A rocking chair is a wondeful addition to any

114

RTICLES

69).

home. Brian Boggs tells how to build one on p.

World-record funiture; product review; akashima's work destroyed

Cover: Mark Duginske aligns the sawblade and

miter gauge as part of his complete tablesaw tune

up (see article on p.

40 Building a Bent-Back Rocker by Brian Boggs

Soft rock from hardwoods

Editor Dick Burrows

Art Director Roland Wolf

Associ"te Editor Sandor Nagyszalanczy

Assist"nt Editors Jim Boesel, Alan Platt,

Charley Robinson

Copy Editor Carolyn Kovachik

Associ"te Art Director Kathleen Creston

Editori"' Secret"y Claire Warner

Contributing Editors Tage Frid, R. Bruce Hoadley,

Christian Becksvoort, Michael Dresdner

Consu'ting Editors George Frank, Richard

46 Comparing Dovetail Jigs by Alan Platt

Versatile fixtures for cutting classic joints

E. Preiss,

51 Painting Funiture by Douglas Redmond

Protecting brushed latex colors with a clear spray topcoat

54 A Contemporary Trestle Table by Dm'id Lloyd Murphy

Building with laminated mortises and tenons

orman Vandal

Methos of Work Jim Richey

Indexer Harriet Hodges

58 Bacyard Timber, Tabletop Treasure by Joseph Herrmann

Turning natural-edge wooden bowls

o se Joinery With the Router by Claude GrahamIII

Pub'isher John Lively

M"rketing M"n"ger James P. Chiavelli

Circu'"tion Assist"nt Lynn Mefert

61 Turning bottoms by Betty]. Scarpino

A joint-cutting fixture that opeates in three planes

N"tion"' Accounts M"n"gers Don Schroder,

Dick West

Assist"nt Accounts M"n"ger Ben Warner

Senior S"'es Coordin"tor Carole Weckesser

62 ll-

ss"t Adv i ng C r di r Ka n Simonds

Advertising Secret"y Sherry Duhigg

Tel.

(800)243-7252

(203)426-3434

64 Form in Furniture by Seth Stem

Six rules for creating better designs

FineWoodworking is a reader-written magazine. We welcome

Fax.

69 Tuning-Up Your Tablesaw by Mark Duginske

Basic adjustments for accuacy and safety

Fine(loodworking, Box 355,N e wt O \ '�1 , Conn, 470,

those we can't publish, Send your contributions to

proposals, manuscrip5, phOtographs and ideas from our read

ers, amateur or professional. We'll acknowledge all submissions

and retun

FineWoodworking magazine remains in the authors, photog

FineIoodworking

74 Handling Large Commissions by Douglas Schroeder

Overcoming the limitations of a small shop

Title to the copyrights in the contribution appearing in

raphers and artists, unless Otherwise indicated, They have

granted publication rights

80 Using a Portable Belt Sander by C.H. Becksvoort

An abrasive approach to flat surfaces and smooth curves

Fine Wf/working (lSSN 0361·3453) is published bimonthly, January_ March. May.

July, Seplember and November, b' he Taunton Press. Inc .. Newtown, CT

06470.

Telephone (203) 426-8171. Second-class pos(agc paid at Newtown, CT 06470. and

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U.S. and possessions, S5.95. Send to Subscription Dcpl., : Taunton Pr.Ss.

regiS

82 Making Shoji by Machine by Ben Erickson

Taditional joinery with drill press and tablesaw

tered trademark of 'n'e Taunton Press, Inc.

T 06470. Address all correspondence to the appropriate

department (SubscriptioR Editorial, or Advertising), he Taunton Press. 63 outh

Main Street. PO Box 355. Ne"10wn,

outside

PO Box 355. NewtOwn,

CT 64-0. U.S. newsstand distribution b" East-

86 Constructing a Walnut Chest by Ronald Layport

A "keep-all" scaled down to fit any room

Postmaster: Send address changes to The Taunton Press, Inc., PO Box 355, Newtown, CT 06470,

. . J 130 Cleveland Road. Sandus', OH 44870.

ern News Distributors. Inc

Letters

Adjusting jointer tables; inishes for outdoor funiture; strip inlay

116

Letters

Ct s. t debate con n u es - ter reading Woody Pistrich's

WW #77, p. 4, I was reminded of ceramic art/crat trade

letter in

the June 5, 1989 issue of ime magazine and read the following:

"Elliott Abrams, former Reagan Administration point man for lat

in America, and retired General Paul Gorman are pushing a

scheme to use cargo-carrying blimps to extract mahogany logs

from orherwise unreachable forests in Honduras. Abrams also

arranged a logging deal in Brazil that will expedite timber sales

to Japan. Says he: 'I'm making lots of money. It's great.' " Perhaps

it would be prudent for those who care about the environment

to be a little more vigilant. -Sls Kopf, Northampton, Mss.

journals during the '70s and '80s that were filled with letters de

bating "funky vs. unctional." Pistrich states (I would say errone

ously) that contemporary forms of furniture design "emphasize

originality, [and] they certainly don't emphasize utility," and that

exhibiting contemporary forms at high-end galleries is at the

"expense of more traditional work." I'd like to point out that

there are many contemporary furniture designers like me who

use non-traditional materials. and finishes, but who are very con

cerned with function. When I design and construct a cabinet, it

has to function as a cabinet and be durable as well.

This country has a diversity of tastes and markets and Pistrich

will not lose the sale of a dovetail, tung-oil oak hope chest be

cause I sell a bisquit-joined, painted plywood chest. As in any

business, you have to decide what your market is and gear your

work toward that market. -Richard Kooyman, Benzonia, Mich.

n problems-As an entomologist, I was in

WW #76, p. 20. I'd like to remind Arno that

terested in Jon A-no's response to a question on blue stain in

spruce pine in

without insects, wood would rot only from the surface or cut

ends inward. Blue stain is caused by an early-stage rot fungus,

Ceratocystus. Thousands of species of insects, largely beetles, in

troduce fungal spores deep into the wood as a normal part of

their life cycle (as well as the fungus'). In our nordlern latitudes,

the chief insects are the bark and wood miners of the families

Scolytidae and Platypodidae. Many of these beetles have evolved

special pockets called mycangia in which they carry fungal

spores from their tree of birth to their adult host tree. There, the

fungal spores are introduced into the cambium or deep into tun

nels bored into the tree.

1ost of these symbiotic insect-ungus relationships are not in

cidental and have probably evolved to mutually benefit both par

ties: The growing ungus "conditions" the wood so the beetles

can consume it. In the case of the ambrosia beetles, the adults

even harvest fungal material and feed it to their larvae. The fungi

introduced by ambrosia and platypodid beetles soon grow

throughout the tree's vascular system and, ater the wood is pro

cessed by the beetle, shows up as blue stain, or spalting.

The best way to prevent blue stain problems is to process

lumber quickly or to debark logs immediately ater the tree is

cut. Most of the insects described above are attracted to recently

dead or dying trees and are part of the rich and complex insect

community that initiates tree decay.

-Dr. Walter R. Tschinkel, Talahassee. Fla.

... In answer to Woody Pistrich's letter, I too have been watching

furnituremakers, especially in the past two years, fall off the end

of the vast spectrum encompasSing functional furniture to pro

duce work of a non-functional character and enter their cre

ations into the realm of objects characterized as art.

I do not

agree with Pistrich's theory that functional objects cannot be art.

Submitted to the test of time, objects are either art or they

are not art-regardless of whether or not they are functional.

Pistrich's theory, "function negates art," promotes the very con

dition he complains about: "fine-art objects taking over the place

of fine crat at galleries."

I do not understand Pistrich's comments in some ways. In my

opinion, most uniture

s overwhelmingly traditional. In the

commercial field, tradition holds sway on the consumer market.

Even the "decorative crafts" that he condemns are of a tradition

al origin because they draw heavily from modern art. The flood

of how-to books in the last two years reiterates the continuing

fascination with traditional ways of building functional furniture.

e rimental woodworkers, on the other hand, are willing tG pur

sue and advance our knowledge of materials, techniques and de

sign concepts of funiture. It requires courage to depart from the

farniliar and deal wil dle uncertainty of experimentation, and the

unituremakers that do this are rarely compensated monetarily.

In answer to Pistrich's complaint about galleries, the wood

worker/furniture artists I know who have developed superior

skills in their work and continue to use conservative techniques

with conventional material are all busy and most of them exhibit

in "high-end" galleries. -John Marcoux, Providence, R.I.

n g sfey-Regarding Bill Hayman's letter in WW #76

recommending that Fine Woodworking devote a regular space

to safety: In my estimation, on p. 49 of

WW #75, Dunham said a

whole lot in just 33 words about safety. I also read into those 33

words the admonition: If you don't feel comfortable with an op

eration, it ain't safe and you shouldn't be doing it. If I were do

ing the operation pictured, I might use two fences with some

method of keeping the edge of the stock from being lited by the

cutter and my maximum cut would be 's in. Dunham apparently

felt safe with his single fence and a '4-in. maximum cut-so for

him the operation wasn't any more dangerous than using the

molding cutter in a conventional manner. What is dangerous to

one person is routine or commonplace to another.

Every operator's manual furnished with every power tool has

cautions and warnings in them, as do the multitude of wood

working books written by our com padres, but none of these can

k tropil deforestation-Some of your readers may

WW #70, p. 83. To quote from the article, "Environ

have taken solace in Lucinda Leech's article on tropical defores

tation in

mentalists oten give the impression dlat tropical forests will be

logged out tomorrow. Ater visiting Guadalcanal in the Solomon

Islands, I learned dut much of the forested terrain in tropical

countries is too steep or swampy to log economically."

Our relief has been short-lived, as it was disturbing to open

d ucrs; n: Deorah Fillion. managr; Steven Hunter.

d ucr/director, James Hall, >m s Me ,

t dictors; Cathy ss idy, t ssstant; lliana

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