American.,.

{i
Woodworker #141, April/May 2009

Features
34 Marble Solitaire Game Board
Create a classic in an afternoon

39 Build Your Skills

Arts & Crafts Bedside Table
Solid craftsmanship through and through

47 Four-Sided Quartersawn Table Legs

How to rout lock miters on narrow pieces

51 30 Finishing Supplies
Must-have tools for finishing all types of
woodworking projects

56 Travel Humidor
A pull-apart box with a silky smooth fit

62 Second Life for Old Pine

Antiquated grain elevators yield
millions of feet of vintage lumber

66 The Magic of White Pine

For ease of working, it hardly gets
any better than this

68 Loose Tenon Joinery

Rout 4 variations with a versatile
shop-made jig

74 Rustic Chair
Make a chair in a day, using
green wood saplings
 Departments
8 Workshop Tips
Build swinging panels for a Peg-Board wall, clamp
dowels on end for drilling, use a floor sweep as a
dust port, replace tack cloths with microfiber cloths,
make a pattern for sawing bowl blanks, use ball
valves for blast gates, support work on edge with
handscrews, make a convex pad for a random orbit
sander, and use framing squares to measure large
diameters.

12 NEW! Thrifty Woodworker

Buy the economical variety of tie wrap, use zip ties
for measuring, launder sanding belts in blade clean-
er, keep Kreg clamps handy, make wooden wing
nuts, and use Peg-Board as a bench surface.

16 Well-Equipped Shop
Oneida Dust Cobra cyclonic collectors, Bessey
adjustable spring clamp, Laguna 3000 Series 16" and
18" bandsaws, Hitachi 8-1/2" sliding compound miter
saws, Makita random orbit sander, Lee Valley anti-cor-
rosion emitters, Jet 16", 18", and 20" bandsaws, Freud
Doweling Joiner, Ridgid granite-topped 10" hybrid
saw, SawStop 10" contractor's saw, and Bosch pocket-
sized 12 volt drills.

22 A Great American Woodworker

Ernie Miller
A harpsichord builder extraordinaire

26 Turning Wood
Ice Cream Scoop
Create a soda-shop classic

31 Tool Talk
Respirators for Bearded Woodworkers
Effective alternatives to wearing a
sanding mask

82 Oops!
My microwave still smells like burnt cherry.

4 www.AmericanWoodworker.com APR I L I M A Y 2 0 0 9
 A
WA~NER"

JXI DJl@ J111sil bfB~Y ?Jl@ }JJIDf2J fJIJJ.,jJ)

 AlI1.erican.'(s
Woodworker
EDITORIAL
Editoria l Director Randy Johnson
Editor Tom Caspar
Associate Editor Tim Johnson
Contributing Editors Spike Carlsen
Brad Holden
Bill Hylton
Alan Lacer
Dave Munkittrick
Kevin Southwick
Office Administrator Shelly Jacobsen

ART & DESIGN

Creative Director Vern Johnson
Director of Photography Jason Zentner .

Category President/Publisher Carol Lasseter

Advertising Director Brian lift
Classified Advertising Manager Susan Tauster
Vice President/Production Derek W. Corson
Production Coordinator Michael J. Rueckwald
Ad Production Coordinator Kristin N. Beaudoin
Systems Engin eer Denise Donnarumma
V.P. Consu mer Marketing Denn is O'Brien
Circulation Steve Pippin
Ad rienne Roma
Susan Sidler
Domin ic M. Taormina
Director E-Media Steve Singer

ADVERTIS ING SALES

1285 Corporate Center Drive, Suite 180, Eagan, MN 55121
Brian Ziff, bziff@a mericanwoodworker.com
office (860) 41 7-2275, cell (203) 509-0125, fax (860) 417-2275
Class ifi ed Advertising Manager - Susan Tau ster,
sta u ster@americanwoodworker.com
office (630) 858-1558, cell (630) 336-0916, fax (630) 858-1510

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Issue #141. American Woodworke ~, ISSN 1074-9152, USPS 738-710

Published bimonthly by Woodworking Media, llC, 90 Sherman St.,
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Comments & Suggestions

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From the Editor's Desk

EXTRA! EXTRA!
All New Website - Check it out!
www.AmericanWoodworker.com

• Complete project stories • Classified ads - buy, sell, trade

• Project plans and ideas • Shop layout ideas
• Article downloads • Showcase your projects
• Tips, Tricks and Techniques • Post pictures of your shop
• New tool information • Learn more, grow your skills
• Buying advice • Start your own discussion group
• Woodworking videos • Get involved,join a forum

And it's all FREE - just sign up and start learning.

See you there,

Randy Johnson

APR I L I M A Y 2 009 www.AmericanWoodworker.com 7

 Worlamop Tips Clever Ideas From Our Readers

Swingin' Storage extend through both rings of the

tool holder to keep the panel from
I LIKE TO STORE hardware in its falling out. Each pair of tool holders
original package on a Peg-Board holds up to six panels.
wall in my shop. I've devised some I also cut a 1/8" wide slot in a 12"
swinging panels for the wall that length of 2x4 to use as a base for
give me a lot more usable space. To the panels so I can remove a panel
make the panels, you'll need 1/ 8" from the tool rack and set it on my
Peg-Board, a 3/ 4" dia. dowel rod and workbench .
Peg-Board tool holders. -Mark Thiel
Make the panels by cutting 12"x
12" pieces from the Peg-Board. For
each panel, cut one dowel 2-1/ 2" '1erri6.c 'lips Win '1er.ri6.c '!bois!
long and one 5" long. Cut a 1/8" We'll give you $100 for every original workshop tip
wide groove in one end of both
~~"~ ,1 we publish. One Terrific Tip is featured in each issue.
dowels and slide the dowels onto
The Terrific Tip winner receives a 12" Leigh Super Jig
the panels. Fasten the dowels with
screws (see insert, above). with VRS (Vacuum and Router Support), a $239 value.
To install a panel, insert the longer E-ma il your tip t o workshoptips@ameri ca nwoodworker.com or send it to America n Woodworker
dowel in the top tool holder until the Worksh op Tips, 1285 Corporate Center Drive, Suite l BO, Eagan, MN 55121. Submissions can't be
returned and become our property upon acceptance and payment. We may ed it submissions and use
bottom dowel slips into the bottom them in ali print and electronic m edia.
tool holder. The long top dowel must

8 wwwAmericanWoodworker.com APR 1 L I M A V 2 0 0 9
Floor Sweep Dust Port
MY ROUTER TABLE is probably the When I got home, I traced the
most used tool in my shop. Its fence floor sweep's profile on a piece of
has a dust port, but it's not very particleboard and cut it out on the
effective when routing with a bear- bandsaw.1 screwed the floor sweep
ing-guided bit. I went to my local to the particle board, and clamped
woodworking store one day looking the whole thing to my router table.
for a better dust port, but got The floor sweep's gaping mouth gob-
inspired and purchased a floor bles up all the dust I can produce.
sweep instead. -Mitch Palmer

•••••••••••••••••••••••••••••••••••••••••••• • e·e ••••••••••••••••••••••••••••••••

Marking Dark Wood

I OFTEN USE DARK, exotic wood
for turning pens. It's difficult to see
center marks on these species, so I
paint the ends of my pen blanks
with liquid paper. After it dries in a
few seconds, I can easily mark the
center with a pencil.
-John Woods

APR I L I M A Y 2009 wwwAmericanWoodworker.com 9

 Workshop 'lips continued

Bowl Blank
Guide Disc
HERE'S AN EASY WAY to cut bowl
blanks from half log sections. Cut a
round guide disc from 1/4" thick
material the size you want your blank
to be, then countersink a hole in the
center. Saw the log in half down its
length on your bandsaw, then screw
the guide disc to the flat side of the
log, making sure the screw's head
does not sta nd proud of the su rface.
Next, make a 1/4" thick fence as
long as your saw's table. Clamp the
fence so that it just touches the left
side of the blade and is parallel to
the table's slot. Saw into the log
using the disc as a guide against
the fence.
-Dick Ayers

Handy Handscrews
IT'S FAR EASIER TO edgeband a
panel if it's standing up rather than
lying flat. Since I don't have a work-
bench with a face vise, I clamp a
handscrew on the end of the panel
and use another handscrew to
clamp the first one to a sturdy
worktable.
-KenDembny

1 0 www.AmericanWoodworker.com APR I LIM A Y 2009

 Giant Caliper
HERE'S AN EASY WAY to measure
the exact diameter of a large part.
This method uses two framing
squares and doesn't require any
math. Place the squares in opposite
directions and slide them together,
keeping their blades (wide part)
flush, until the tongues (narrow part)
are tight against the sides of the
object. Read its diameter from the
inside edge of a square's blade.
-Larry Lundholm

For current promotions, complete

product info and a list of dealers near you:

WWW.GENERAL.CA
 Thrifty Woodworlter HandyTips for Saving Money

Garden Variety Wrap

HOOK AND LOOP tie wrap is noth- the other side, comes in a 1/2" wide
ing new, but you may not be aware by 45' roll that only costs about 3
that it comes in two different vari- bucks! It really is made for gardeners,
eties. The two-piece kind sells for but I've found dozens of uses for it
about a dollar per foot. One piece has around the shop, such as binding
hooks; the other has loops. The one- cords, securing box lids, and
piece "garden variety" kind, which bundling wood scraps or dowels.
has hooks on one side and loops on -Peter N. Williams

Launder Your Sanding Belts

WHEN I'M SAN DIN G wood with lots of pitch or removing old finish, my sand-
paper gums up so much that I can't get it clean with a rubber eraser-type
cleaner. I used to throwaway the sandpaper and buy more. Now, I pour some
resin cleaner (for cleaning saw blades) in a glass jar and soak the sandpaper
overnight. You can get a quart of Pitch and Resin Remover from Rockier for $10
(item #64956). Add water and it makes a gallon. After soaking the sandpaper, I
clamp it to a board and rinse it off with a garden hose or, if needed, a pressure
washer. After the belt dries, it's ready to use again. I've washed about ten belts
with the same jar of cleaner, and it's got plenty of life left.
-Chuck Rudkin

12 www.AmericanWoodworker.com. APR I L / MAY 2 009

Straight Bit

Freud's Unique French Door Router Bit System Allows you to Build Truly
Customized French Doors without Spending a Fortune!
These custom doors are not only beautiful; their mortise and tenon construction can produce
doors that will hold up in the toughest conditions. Thanks to Freud's unique system, you
can create door joints with precisely fit tenons at any length to produce doors that will last
a lifetime. The French Door Router Bit System is the only router bit set that produces French
Doors with either True Divided Light or Simulated Divided Light grills.

• Roundover Profile (#98-3 17) • Roundover Profile (#98-307)

• Ogee Profile (#98-318) • Ogee Profile (#98-308)
• Cove & Bead Profile (#98-319) • Cove & Bead Profile (#98-309)
1·800·334·4107
Red router bits are a regi stered trademark of Freud America, Inc.
 Pocket Joints Plus
KREG'S VISE CLAMPS are perfectly suited for clamping pocket hole joints
because their large, flat faces hold the parts flush without marring the wood.
I like to get extra mileage out of everything, so instead of storing my Kreg
clamps in the case for use only when making pocket hole joints, I keep them
with the rest of my clamps, ready for use at all times. They're faster than
C-clamps, and thanks to their large, round faces, they don't leave their signa-
ture on my work.
-Serge Duclos

Shop-Made Wing Nuts

WOODEN WING NUTS are easier on threads with a Q-tip, then apply
your hands than metal ones. Making epoxy around the holes' shoulders
them is a great way to use up shop and insert the nuts. The petroleum
sc raps and leftover hex nuts. When jelly keeps the epoxy from sticking to
you need a wing nut, you won't the threads. To make sure each nut is
have to go to t he hardware store. level, thread in a bolt. It should stand
Start with a strip of wood that's straight up. When the epoxy has
about 3/ 4" thick, at least 1/4" wider cured, cut and shape the wing nuts
than the hex nuts, and long enough for a comfortable grip.
to work with safely. Using a Forstner -Mark Young
bit, drill holes the exact depth of the
hex nuts. Size the holes so that the E-mail your tip to thriftywoodworker@americanwoodw orker.com or send it to Am eri can Woodworker,
Thrifty Wood worker, 1285 Corporat e Cent er Drive, Suite 180, Eagan, MN 5512 1. Submissions can't be
nuts fit snug. Drill a hole sized for a
return ed and become our property upon accept ance and payment. We may edit submissions and use
bolt the rest of the way through . Dab them in all print and elect ro nic media.
some petroleum jelly on the nuts'

14 www.AmericanWoodworker.com APR I LI M A Y 2009

 The Well-Equipped Shop Our Pick of the Latest Tools

Small Cyclonic Collectors

ONEIDA'S NEW Dust Cobra is designed to work
with portable woodworking tools,
especially those with 2-1/2"
and smaller dust ports. Half
dust collector and half shop
vacuum, the Cobra features
high~efficiency cyclonic separa-

tion and three times the air per-

formance of most shop vacuums (260 cfm vs.
70 cfm, according to Oneida). Oneida also says
that the Cobra's HEPA filtration media collects
99.97% of test material from 0.3 microns. The
Cobra requires no filter bag and its 12-gal
collection barrel is easy to remove and rein-
stall.lt occupies only 2 sq. ft. of floor space,
stands only 62" tall and comes with built-
in mobility and 10' of 2-1/2" dia. industri-
al-grade flexible hose.
Oneida's Mini Gorilla is designed for
dust collection in small shops where you
can hook up dust collection to one machine at a time. Like the Dust
Cobra, the Mini Gorilla features cyclonic separation, stands just
under 62" high and features built-in mobility. The Gorilla provides
600 cfm and comes with high efficiency filtration that captures
99.97% of test material from 0.2 to 2.0 microns. It's equipped with a
5" dia. inlet, a Baldor industrial quality dual voltage 1-1/2 hp motor,
and a 17-gal collection barrel. A remote starter and true HEPA filter
media (99.97% capture @ 0.3 microns) are available as options.
Source: Oneida Air Systems, www.oneida-air.com.(800) 732-4065, Dust Cobra,
#XCKll 001 0, Call for price; Mini Gorilla, #XXPOl 01 00, $890; Remote Starter for Mini
Gorillia, $77; True HEPA Filter Media upgrade for Mini Gorilla, $129.

16 wwwAmericanWoodworker.com APR I L I M A Y 2 0 0 9
 Lightest
in its Class
HITACHI WAS the
first company to
introduce the slid-
ing compound miter
saw in 1988, twenty years
ago. Two new 8-1/2" saws
continue a great tradition.
The C8FSE weighs only
31 Ibs., the lightest in
its class, perfect for
carrying to and
from a job site.
The C8FSHE
addsan
LED work-
light and
laser
(photo above). Both saws are equally at home in a woodworking shop.
They're equipped with stops at 15°, 22S, 31.6°, and 45°, both left and
right, as well as bevel ranges up to 48° to the left and 5° to the right for
compound cuts. You can cut material up to 2-9/16" high and 12" deep
in a 90° crosscut. Both saws feature a pivoting fence extension, table-
Resaw Bandsaws mounted hold-down clamp, and dust collection.
LAGUNA TOOLS' new 3000 Series 16" Source: Hitachi Power Tools, www.hitachipowertools.com. (SOO) 706-7337, CSFSE
and 18" bandsaws incorporate new fea- S-1/2" Sliding Compound Miter Saw, $350; CSFSHE, $375.
tures designed to enhance performance
and ease of use. With resaw capability in
mind, the frames, flywheel tilt and blade
tensioning systems on both saws are
designed to properly tension blades up
to 1" wide for maximum performance.
Resaw capacities are 12" for the 16" saw
and 16" for the 18" saw. Throat capacities
are 15" and 17", respectively.
Both saws are equipped with quick-
release blade tensioning, gas-sprung
rack-and-pinion table-tilt mechanisms,
rack-and-pinion blade guide adjustment
and ceramic Laguna blade guides.
Replace the ceramic guides with Cool
Blocks, and both saws can take blades
down to 1/16" wide.
For safety and convenience, each saw
also has a work light and a foot brake
with a micro switch for emergency shut-
off. You can also use the brake to save
time, by stopping the blade more quickly
for repositioning or removing work. A
mobility kit is also available.
Source: Laguna Tools, www.lagunatools, (SOO)
234-1976, Laguna 3000 Series Bandsaws, 16",
$1795; 1S", $1995; Mobility Kit, #AB00002, $205.

APR I LIM A Y 2009 www.AmericanWoodworker.com 17

 The Well-Equipped Shop

Triangular Columns
THE TRIANGULAR columns on Jet
Tools' new 16", 18", and 20" bandsaws
are designed to provide strength and
rigidity. Jet claims this new column
style reduces frame twist by 65%.
Woodworkers will also appreciate the
increased resaw capacity: 10" on the
16" model and 12~ 1/4" on the 18" and
20" models.
All models include computer bal-
anced band wheels, a miter gauge
and a precision T·style rip fence, c:om-
plete with a resaw post. The 18" and
20" models feature mic:ro-adjustable
ball-bearing guides, three-position,
quick·release blade tensioning and a
tension scale.
The 16" saw is powered by a 1~ 1/2
hp motor and (omes with a 17'! by www.jettools.com. (800) 274-6848, Jet I!
~
17" cast iron table. The 18" model JWB5· 1616",., / 2 hp Bands3w,#708749B,
comes with a 19" x 19" cast iron $1:239; JWB5· 18 18" 1-3/4 hp Bandsaw,
table and either a 1-3/4 hp or a 3 hp #710750B, $1629; JWBS-1 8-3
motor. The 20" model boasts a 21" x 18" 3 hp Bandsaw, #7 1075 1B, $ 1829;JWBS-
2'" table and can be outfitted with 20·1 20· in.3 hp Bandsaw, #708754B, $2449;
either a 3 hp or a 5 hp motor. JWBS-20-3 20" 5 hp Bandsaw, #71 0755B,
Source: WMH Tool GrQup, 52699.

18 www.AmericanWooc!worDr,com APR I LIM A Y 2 009

Portable Dowelling Machine
HERE'S A TOOL that combines a drill shelf pin holes. The
plate joiner's ease of use with the 32mm spacing was cer-
strength and precision of dowels. tainly not happen-
Freud's Doweling Joiner features two stance. Any wood-
bits set 32mm (1 -1/4") from center to worker who has
center, adjustable indexing pins for had to suffer
even spacing of repetitive holes, and through
an adjustable-depth fence to accom- drilling
modate various stock thicknesses. dozens of
The joiner accepts standard 10 mm. holes with a
shank boring bits ranging from 3/16" drill press or
to 1/2" dia. (Smm to 12 mm). lt works who has used a jig
much like a plate joiner, with an and a handheld drill will
adjustable rack-and-pinion fence be happy to use this tool for
allowing for any angle necessary. But the task, especially on a jobsite.
what sets the doweling joiner apart Source: Freud. www.freudtools.com. (800)
from a plate joiner is its capacity to 472-7307, FDW71 0 Doweling Joiner, $329.

Granite Top Hybrid

RIDG I D HAS joined the
granite-top tablesaw
jamboree with a new
10" hybrid saw. Hybrid
saws position the motor
underneath the table, like a cabi-
net saw, for a smaller footprint than a
contractor-style saw, and better dust
collection. According to Ridgid, this 452
Ib saw's' -3/4" thick granite table and
extensions provide a no-rust, no-warp
vibration-reducing surface.
This saw features a left-tilt blade, a T-
square-style rip fence with 30" right and
20" left rip capacity and a Herc-U-Lift
mobile base. The quick-release spreader
and blade guard assembly travels up
and down with the blade. A 1-1/2 hp
motor supplies the power. Cut depth is
3-1/8" at 90° and 2-1/14" at 45°.A car-
bide-tipped blade and T -slot miter
gauge are included. This saw is covered
by Ridgid's lifetime service agreement.
Source: Ridgid. www.ridgid .com. (866) 539-
1710, 10" Granite Top Tab lesaw. #R4511 . $599.

APR I LI M A Y 20 0 9 www.AmericanWoodworker.com 19
 The Well-Equipped Shop

Finger-Saving
Contractor Saw
SAWSTOP'S NEW 10" contractor saw
features the same award-winning
blade contact detection and brake sys-
tem that has made their cabinet saw
one of the hottest tools available. This
is great news for woodworkers who
don't have room for the cabinet saw
and for contractors who want a job
site saw.
Weighing in at 280 Ibs, SawStop's
contractor saw comes with a massive
62 mm (approx. 2-1/2") diameter main
bearing, a heavy-duty arbor shaft, cast
iron trunnions and arbor block, a solid
cast iron table with removable exten-
sion wings, a large paddle switch for
hands-free shut off, a dust-collecting
blade shroud, and a 1-3/4 hp motor.
The left-tilt blade is equipped with a
true riving knife and has a maximum
cutting height of 3-1/8".
Models with 30",36" and 52" rails
are available. Cast iron wings, a 30"
outfeed table, a mobile base and a job
site cart are available as accessories.
Source: SawStop, www.sawstop.com. (866) 729-
7867, 10" Contractor's Saw,CNS175-SFA30
(includes aluminum extrusion fence & 30" rails),
$1599; CNS 175-TGP36 (includes Professional
Series T-glide fence & 36" rails), $1779; CNS 175-
TGP52 (includes Professional Series T-glide fence
& 52" rails), $1839; Cast Iron Wing Assembly,
#CNS-CIWA, $189 for 2 wings; Sigle Cast Iron
Wing, #CNS-07-017, $100; 30" Outfeed Table,
#OFT30-CNS-000, $99 (not compatible with
CNS175-SFA30 saw); Contractor Saw Mobile
Base, #MB-CNS-OOO, $160; Job Site Cart, #CNS-
JSC, $199.

20 www.AmericanWoodworker.com APR I LIM A Y 2009

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j I
 .A. Great American Woodworker An Artisan's Life Story

Ernje assembled into one

M11er
big project," he
explains, nonchalantly.
Despite his casual-
ness, Ernie has mas-
Harpsichord builder tered instrument mak-
ing, one of woodwork-
extraordinaire ing's most demanding
pursuits. The harpsi-
By Spike Carlsen chords he builds are
as wondrous to see as An instrument such as th is double manual (two keyboard)
WHEN MOST WOODWORKERS they are to hear. harpsichord can take Ernie up to six months to create. The
tackle a project, they cut, fit and glue "Most woodworkers woods he uses range from Sitka spruce to ebony; accents
a few dozen pieces of wood together have patience and pay include bone, faux painting and gold leaf.
over the course of a week or two. Not attention to detail,"
Ernie Miller. Each of his projects says Ernie."1 think what sets me apart A life dedicated to music
requires up to 500 pieces of wood is that I have extreme patience and I Ernie has been building harpsichords
and 1,200 hours of painstaking work. pay extreme attention to detail." for nearly a quarter of a century, but
How does one approach an enter- Repeating the same task 183 times- he's been involved in the world of
prise of such daunting proportions? as Ernie does when he's building a music much longer. He became inter-
"I look at it as building twenty small- double manual harpsichord-makes ested in piano technology as a teen.
er projects that all wind up getting extreme focus a necessity. In college, he earned a music degree,

22 www.AmerlcanWoodworlu!r.com APR I LIM A Y 2 0 0 9

and went on to teach choral music put him in contact with the instru- to a wonderful friendship."
for 35 years. In his spare time, he ment that became his passion . Ernie completed his first harpsi-
studied to become a Registered "The problem with restoring chord in the mid 1980's, but
Piano Craftsman. He tuned and pianos is that someone needs to destroyed it a few years later."To hide
repaired pianos for a few years, and bring you a piano to work on," chuck- the evidence," he admits. Ernie isn't
then began rebuilding grand les Ernie."But if you want to build a the only one to annihilate a harpsi-
pianos-a trade which eventually harpsichord, you can build one from chord. When the piano surged onto
the ground up." By coin- the ,.scene in the 1700s, harpsichords
cidence, one of the coun- fell so far out offavor that during the
try's finest harpsichord exceedingly cold French winters of
builders, Paul Kennedy, 1802 and 1803, people burned them
lived less than a mile to keep warm ."Because of that,"
from Ernie's home. While Ernie says, "it's very difficult to find an
Ernie never apprenticed original French harpsichord to obtain
under Kennedy, he was at measurements from."
his shop nearly every day
for five years."Paul was so The instrument maker
generous in sharing his Miller completes every step, from
time and talents that I'll turning the legs to gluing the sound-
feel forever in his debt," boards. Each of the woods he works
explains Ernie."llearned with is well suited to its purpose: reso-
by asking, and Paul nant Sitka spruce for the sound board,
taught by showing. It led versatile poplar for the curved case,
and durable ebony and rosewood for
parts of the keyboard. Ernie doesn't
stray far from the old masters' materi-
als and techniques, but he does make
exceptions. For the plectrums-the
part that plucks the string-he uses
Beneath the skin of each exquisitely
Delron plastic; it's more durable than
decorated harpsichord lies an instru-
ment exquisitely crafted of poplar.
the traditionally used crow feather.
And for creating the registers-a part
that must be accurate within
1/1,000th of an inch for the keys to
strike properly-he relies on comput-
er-generated templates as guides.
Ernie's wife Sandy paints the lids,
sound boards and other elements.
"When I started building harpsi-
chords, I threatened to paint them,"
Ernie says. "The problem is, I can't
paint." So Sandy became involved in
the business. The end result is an
object that's part musical instrument,
part work of art-and worth every
penny of the $10,000 to $25,000 cost.

Music boxes
Ernie likes intricate work so much,
that part of his business has evolved
into creating music box versions of
his harpsichords."I 've always had an
interest in miniatures," explains Ernie,
Mil ler's wife, Sandy, paints the scenes and ornamentation that embellish the cases, lids and
soundboards. Most of her designs are based on those of vintage instruments. The lid of this "so twenty years ago I built my first
harpsichord declares "Music is the gift from God which makes one flourish : harpsichord model."The model was-

APR I L I M A Y 2 009 www.A:meriaanWoodworlller.com 23

 A Gmat American Woodworker continued

Ernie crafts small sca le "childproof" instruments featuring rounded Ernie builds other instruments, such as this ottavino, styled after a
corners for safety and lidless construction to avoid pinched fingers. '7th century Flemish example. Diminutively sized (this one is only
"One is never too young to enjoy music," he quips. , 6" high), ottavinos are placed on a table and played while standing.

n't very convincing, according to chord components, reduces them, To experience building a harpsichord
Ernie-and that's when his stubborn prints them out, and adheres the from start to finish, check out Ernie's
streak kicked in. His goal became to printout to the music boxes. As many online postings on the North
craft a music box so realistic that vintage harpsichords were originally Carolina woodworker Website:
someone looking at a photo would- decorated by applying painted http://www.ncwoodworker.net/fo
n't be able to tell whether it was full- papers, Ernie's approach holds true to rums/ f1 01 /harpsichord-project-part-
sized or miniature (bottom, right). traditional methods. 1-keyboard-178S1 /
Clearly, though, there are differ-
ences. Ernie explains,"ln a harpsi- Rigorous quality control Spike Carlsen is author of A Splintered History of
chord, what you don't see is most Though keeping the business a two- Wood: Belt Sander Races, Blind Woodworkers
important. But in a music box, it's just person affair limits output to two and Baseball Bats published by HarperCollins.
the opposite." Crafting the music harpsichords plus a few related
boxes' intricate mini-keyboards and instruments and music boxes a year,
turning their diminutive legs are per- Ernie prefers the hands on part of
haps the most challenging aspects. building to managing employees."1
When it comes to decorating, always try to make the next harpsi-
Miller turns to his computer. He pho- chord better than the last. There are
tographs full-size painted harpsi- so many new techniques I want to
try-I love to keep learning. Plus, l'm
running out of years to learn,"
explains the 63 year old craftsman .
He's dabbled in other forms of wood-
working."I've built furniture and I can
make a drawer that opens and clos-
es. But after a week or two, my mind
wanders," Ernie muses."There's noth-
ing else I'm burning to do except
As a diversion from building full size harpsi-
This rose wreath is an example of the intri-
make instruments." chords, Ernie builds' 14-scale music box
cate painting and pride in craftsmanship For more information, visit replicas that are d ifficult to differentiate
that goes into each instrument. www.ernestmillerharpsichords.com. from their full -scale counterparts.

24 www.AmericanWoodworker.com APR I L I M A Y 2 009

-- - - ~-- - - ~ --- - -- -- -- -- -- - ~ ~- ~- - ~-- -~- - ~ - - --

Building a Keyboard
SOME HARPSICHORD BUILDERS begin keyboard is drawn onto this slab, exacting-the slots and holes in each
by building the curvilinear caSe, but with each key numbered so itean key must be a mere Vl,OOO" to
Miller prefers starting with the key- eventually be reassembled in that 2/1,000" wider than the gulde,pms
board.III love building keyboards; it exact order. A decorative key tip sec- they encompass. "This takes a lot of
gets my juices flowing, he explains.
II tion is applied (Photo 2) before the time and patience," Miller explains,
And once those juices start flawing, blank is cut into sections. Each sec- "also food and a television set!"
they need to continue flowing for a tion is then meticulously cut into Finally, the entire assembly is fitted
long time; it takes up to two weeks to individuCiI keys, using a bandsaw and into the harpsichord case fPhoto 5).
craft a sil'lgle keyOOard. a scroll S<iW (Photo 3'. Each individ- ,.As the harpsichord ~ completion,
The keyboard starts out as one ual key is then shaped, drilled, fine thin strips of ebony and bone are
large slab of wood, glued up from tuned, fitted and positioned on the glued to the keys (PhotO 6).
1/2" poplar (Photo 1). The entire keyframe (Photo 4)~ The work is

APR I LIM A Y 200 9 www.AmericanWoodworker.com 25

 TumingWood Create a Soda-Shop Classic

ream
coo
by Alan Lacer
IN SIMPLER DAYS, soda jerks
quickly and efficiently dished per-
fect servings of ice cream with stur- page 28), you can create a classic ice
dy wooden-handled scoops. Today, if cream scoop that will make you the
you have a little turning skill, a small envy of jerks everywhere.
block of wood, and
the metal parts How-To
(see Sources, Select a block of dried hardwood
about 1-3/4" square and 6" in length.
The handle must be strong enough,
so stay with domestic hardwoods,
such as cherry, hard maple, walnut or into the drilled hole. Another option
yellow birch. Exotic woods such as is to turn a tapered wooden plug
purpleheart, black palm (used here), that fills the hole and provides a sur-
bubinga, rosewood and goncalo face to engage the tailstock center.
alves are also good choices. The plug should protrude about 1/2",
Drill a 3/8" dia. by 1-1/4" deep so you can remove it when you've
hole for the scoop's stem. If the end finished turning the handle.
of the blank is properly squared, this If the blank you've mounted is still
operation is easily performed on a square, turn it to a cylinder, using a
drill press (Photo 1). Another option spindle roughing gouge.
is to mount the blank on the lathe Fit the brass ferrule to the blank.
and turn it to a cylinder, using a spin- The ferrule is 1" long, so mark that
dle roughing gouge. Then replace length on the blank with a pencil.
the tailstock center with a drill chuck Turning the correct diameter is a bit
to drill the hole (Photo 2). trickier. Start by turning the tenon to
Mount the drilled blank on the match the outside diameter of the
lathe with the drilled hole facing the ferrule (Photo 4). Before you use the
tailstock. lf you have a cone-type live outside calipers for any lathe work, be
center (Photo 3), simply run the cone sure to round the ends.

26 wwwAmericanWoodworker.com APR I LIM A Y 2 00 9

Use dense hardwood for the scoop's handle. Start by drilfing a hole Another option is to drill the hole on the lathe. This method requires
for the scoop's stem in the end of the handle blank. turning the blank to a cylinder and then replacing the tailstock center
with a drill chuck. The mark left by the tailstock center locates the bit.

Once the hole is drilled, you have two options for re-mounting the Turn a tenon to house the scoop's ferrule. First, match the ferrule's
blank: A cone-shaped live center or a small tapered plug. The cone cen- outside diameter. Then carefully reduce the diameter until you can
ters itself; the plug fills the hole, so you can mount a standard live center. drive on the ferrule.

Shape the area behind the ferrule with the spindle detail gouge, Reduce the diameter behind the flange to create the neck. From
working from large to small diameters. I like to start with a wide, this point on, remove the handle often to check how it feels in
tapered flange. your hand.

APR I L I M A Y 2 0 0 9 wwwAmerlcanWoodworlu!r.com 27
 Next, create a short taper on the 220 grit (Photo 10). When you wash the scoop after
end of the tenon . Keep checking Cut the handle from the waste. your ice cream social, don't sub-
with the ferrule until it just starts to I usually remove the blank from the merge the wood handle for more
go on. Turn the ferrule a few times lathe and separate the handle by than a couple seconds, and don't
around the tenon to create a bur- sawing with a coping or Japanese ever run the scoop through a dish-
nished surface. Then, when you start saw. Then I finish sanding the end of washer. Following washing, towel the
the lathe you should be able to the handle by hand. scoop dry and then leave it out to
"see" the diameter you are target- Apply the finish (Photo 11). For the air-dry, so any remaining moisture
ing.1 try to achieve a very tight driv- best protection against water and quickly evaporates. b....
en-on fit. If the tenon is longer than washing, use a film-forming finish
the ferrule, you may need another such as a gel varnish or polyurethane. SOURCES
ferrule to drive the first one home. Wipe on at least three coats, lightly • Rockier Woodworking and Hardware,
Another option is to turn the tenon sanding between coats with 320 or www.rockler.com. (800) 279-444 1, Brass
to a slightly loose fit and glue on 400 grit sandpaper, 0000 steel wool, Ice Cream Scoop Hardware Kit (includes
the ferrule with epoxy. If you use or a very fine abrasive pad, such as scoop and ferrule), #29848, $ 10.99.
epoxy, wait for several hours before white Scotch Brite. For a more natural • Oneway Mfg., www.oneway.ca.
completing the turning. look, use pure tung oil or even boiled (800) 565-7288, #2MT Live Center with
Shape the handle with a spindle linseed oil as the finish. Again, apply Cones, #2064, $ 120; #1 MT Live Center
detail gouge (Photos 5,6 and 7). This at least three coats and wait until the with Cones, #1100, $1 20;Talon Chuck,
is an organic process: Remove the finish is completely dry before using #2985, $231 . Packard Woodworks,
handle frequently, to see how it feels the scoop. www.packardwoodworks.com.
in your hands-the perfect shape is Glue the metal scoop into the han- (800) 683-8876, #2MT 12" Keyless Chuck,
the one that feels right. Most of my dle with epoxy (Photo 12). Use a rag #111022, $37.95; #1 MT Keyless Chuck,
handles end up about 5-1 / 2" long, dampened with lacquer thinner or #111021 , $37.95.
with maximum diameters near 1- acetone to remove any epoxy that
5/8". Switch to the skew chisel to fin- squeezes out. Prop the scoop upright Alan Author is a woodturner,
ish shaping the rounded areas for about one hour for the glue to set, writer and instructor living near
(Photo 8). For information about and allow at least one day before use. River Falls, WI. You can find out more
using this versatile tool, see "Rockin' about Alan and his work at
and Rollin' with the Skew" (AW #137, Tips for Using www.alanlacer.com.
September 2008). - Before you attack that frozen ice
If the ferrule's tenon protrudes, cream, immerse the scoop's business
use either a skew chisel (long point end in a cup of hot water for a couple
down) or a thin-kerf parting tool to minutes. Use the side of the scoop to
turn the end flush with the brass dish the ice cream-don't dig in with
(Photo 9). the front, like a shovel. If you're serv-
When you're satisfied with the ing a gang of kids, or a gaggle of soda
handle's feel and appearance, sand enthusiasts, dip the metal in the hot
it-and the ferrule, too-to at least water periodically, to keep it warm.

28 www.AmericanWoodworker.com APR I LIM A Y 2009

Start to shape the end of the handle. Be sure to leave sufficient If you are comfortable with a skew chisel, use it to finish shaping
waste, so you don't whack into the chuck. the handle's rounded areas. You can shape the entire handle with
the spindle detail gouge, but the skew leaves a smoother surface.

Trim the end of the tenon flush with the ferrule. Use the skew chis- Finish-sand the handle. Start with 120 grit; if turning marks remain,
ellong-end-down or a thin-kerf parting tool. drop back to 100 grit. Sand to 220 grit, or further if you still see
sanding scratches. Sand the brass ferrule to the same grit.

For a finish, I wipe on polyurethane or pure tung oil. I think Install the scoop. Work a generous amount of epoxy into the hole.
tung oil looks better, but polyurethane provides somewhat Insert the scoop's stem and bed its collar against the end of the handle.
better protection.

APR I L I M A Y 20 0 9 www.AmericanWoodworker.com 29
 (reate your
o.n wooden
eear (Io~k!

•
~AOg

Epilog Laser. 1.888.437.4564 • sales@epiloglaser.com • www.epiloglaser.com/americanww.htm

Thol Tallt Buying Advice for Shop Gear

Effective
alternatives
to wearing a
sanding mask

By Dave Munkittrick
NO DOUBT ABOUT IT, long-term
exposure to wood dust can be a
health hazard. Experts agree that col-
lecting dust at the source should be
the first line of defense. Next comes
personal protection, afforded by wear-
ing dust masks and respirators. In
order to be effective, however, most of
these products rely on a good seal to
your face, which poses a problem if
you have a beard, as I have, or sensi- but I was pleas-
tive skin. Fortunately, we don't have to antly surprised
shave or put up with a rash in order to once I got used
reduce our exposure to dust. Here are to putting them
five respirators that don't require an on, taking them
airtight seal. off, and wearing
Four of them are powered respira- them around the shop.
tors that pump filtered air into a mask. I liked them! There's a real
This creates an area of positive pres- feeling of security when
sure inside the mask and prevents any your face, head, eyes and
dust-laden outside air from leaking lungs are under a respirator's
inside.The stream of filtered air flows protective cover.
down the inside of the visor and I put the respirators through
across your face, which keeps you cool their paces by wearing them for up
and prevents the visor from fogging to four hours at a crack while turning,
up. The fifth respirator is a unique low- sanding and working around the
tech design that does the job without shop.The respirators didn't interfere in was the non-powered Resp-O-Rator; it
a separate power source. any significant way with most of my was so light it never bothered my
When I tried out these particular work, but when the job required me neck or shoulders.
models, I expected the big, bulky hel- to look down for a prolonged period, It's important to note that none of
mets to be quite cumbersome and they caused a minor amount of neck these respirators can be used for fume
annoying to wear. They were at first; and shoulder fatigue.The exception protection from finishing products.

APR I L / MAY 2 0 0 9 wwwAmericanWoodworker.com 31

 Triton 3M
Powered Airstream
Respirator PAPR System
I found the Triton to This is hands-down the best
be comfortable and well power respirator of the group, and
balanced, even for prolonged it comes with the highest price.
periods of use, because the bat- Unlike any of the other respirators in
teries, fan, motor and filters are this review, however, the Airstream PAPR
contained in an external pack that's worn around the waist. (Powered Air Purifying Respirator) System is NIOSH approved.
The helmet's visor never fogged up unless the batteries got The Airstream provided the most CFM of airflow. The breeze
low. It also flips up out of the way. The earmuffs pull out of the inside the helmet did the best job of keeping me cool and the
way, as well, when hearing protection isn't needed. visor free <;>f fog. Powered respirators can get a little warm
Air is drawn through a washable pre-filter and a pair of car- when you exert yourself and breathe harder or faster, so the
tridge filters designed to remove 95% of dust particles under 1 more cooling breeze there is, the better.
micron. The filtered air flows over your forehead and down The 3M Airstream has a separate NiCad battery pack that's
along the visor, creating a gentle breeze. The helmet worn on the waist, like the Triton, but the fan is located in the
gets hot in a hurry, though, if you turn helmet, like the Trend. That means no breath-
off the airflow. ing tubes to get in the way and no battery \
sitting on top of your head. J ..
Rechargeable NiCad batteries
rated to last eight hours supply Like the Triton, the Airstream provides
head protection by mounting the respi-
I
power. Recharging takes
overnight. Spare power packs are avail- rator in a hardhat.
able ($80). A minor concern is that the A number of padded adjustment
drawstring used to close the shroud points in the helmet made the Airstream
around your neck hangs loose and could get the most comfortable power respirator
tangled in moving machinery.To avoid this risk, of the group.
be sure to tuck the string inside your shirt collar. In addition to recharging the battery
Source: Triton, www.tritonwoodworking.com. (888) 874-8661, pack, the Airstream's smart charger allows
Triton Power Respirator, $209. you to top off the battery at the end of the
day, or leave it on the charger over the
weekend. The Airstream and smart charger
are sold together or separately, so businesses
can service several helmets with a single charger.
Source: 3M, www.3m.com. (888) 364-3577, Airstream PAPR
System with Smart Charger, $870; Airstream PAPR System,
$692; Smart Charger, $185.

32 www.AmericanWoodworl<er.com APR I LIM A Y 2 009

Trend Resp-O-
Airshield Rator
and AIR/PRO This is a low-tech respi-
Trend offers two powered res- rator for woodworkers with
pirators. The Airshield (above) has beards and a small budget. I
been available for some time, while have to admit I laughed when I
the AIR/PRO (bottom) is new. Both units are first saw the Resp-O-Rator, and my granddaughter cried when
self-contained, with battery, motor, fan and filters all located in she first saw me wearing it. Despite appearances, the Resp-O-
the headgear. That makes them easy rator does a great job at a fraction of the cost of the powered
to put on and take off, but a little respirators featured in this story.
top-heavy. Wearing a nose clip and having something stuck in your
The AIR/PRO model has mouth takes some getting used to, though-some people may
moved the heavier com- never get used to it. It helps if you've done some diving or
ponents to the back of snorkeling in your past.
the headpiece for better The Resp-O-Rator is very light in weight. I found it to be the
balance and greater most comfortable of the respirators in this story, as its weight
comfort (left). Both mod- rests largely on your shoulders. The HEPA filters are in back,
els use rechargeable away from the dust clouds.The only time I felt some discom-
NiMh batteries.The fort was when I was leaning over a task for a prolonged period
Airshield comes with a of time. The discomfort was not in my neck and shoulders, as
single small battery rated with the other respirators. Instead, the muscles in my lips got
for four hours.There's space to add a tired as they struggled to hold onto the mouthpiece.
second battery in the visor to give you eight hours of run time. You can wear ear muffs, face shields or safety gasses with
The AIR/ PRO comes with the Resp-O-Rator. If you need to talk or take a drink of water, it
a much larger battery drops out of your mouth and hangs on your neck until you're
that's rated for eight ready to get back to work.
hours. Spare batteries Source: Duxterity, www.Resp-O-Rator.com. (336) 227-7168,
can be purchased for Resp-O-Rator, $49.95; Replacement Filters, $7.95 (pkg. of 2);
either model. Replacement Mouthpiece, $3.95 (pkg. of 2).
The visor on both
models lifts out of the
way for convenience. Ear
muffs cannot be worn
with these respirators, but
foam plugs work fine.
Source: Trend Routing
Technology, www.trend-
uk.com/ en/ US/, (270) 872-
4674, Airshield Face Shield,
$320; AIR/PRO Face
Shield, $400.

APR I LIM A Y 2 0 0 9 www.AmericanWoodworl<er.com 33

 Marble Solitaire
Create a classic in an afternoon

by Jim Church You can make

one of these game
WHEN I VISITED my boards in less than a
grandmother, I always day, following these
enjoyed playing a game simple steps: Saw the
with marbles on a round round shape, rout the
wooden board. My grand- trough, plunge-rout the
mother called it "Marble marble pockets, round the
Solitaire." You may know it on edges and apply the finish.
your PC as "Hi-Q." My grand- You'll need a tablesaw, a band-
mother's wooden board disap- saw, a plunge router and three
peared long ago, but I've kept the game ordinary router bits (see Sources).
alive by making wooden boards for my own
grandchildren, as well as for other relatives and friends. Create the Round Board
The game's appeal is universal-young and old alike enjoy Whether you glue up several pieces of wood or use a wide
its vexing simplicity. board, the project starts with a 3/4" thick rectangular blank
I make these game boards in two sizes, 9-1/2" dia. and with a minimum diameter slightly larger than the final
14" dia. (see Figure A, page 36). The small board is similar game board (Photo 1 ).1 make my blanks from wide
in size to my grandmother's original board. It's made to boards, so they showcase continuous grain patterns with-
work with 5/8" marbles. The large board has wider spac- out any glue lines.
ing that makes it easier for adult-size fingers to move Using the bandsaw, cut the circular shape freehand or
marbles without jarring the ones next door. This board with a circle-cutting jig (Photo 2).lf you cut freehand, use a
works with 1" marbles. Both marble sizes are available in compass to draw a circle of the desired diameter. Mark the
bags or as singles in most toy stores or online (see centerpoint the compass leaves (you'll use this point in a
Sources, page 36). later step). Saw oversize and then sand to the line.

34 www.AmericanWoodworker.c:om APR I LIM A Y 2 009

 I usually make boards in multiples, so I use a circle-cut-

.
ting jig. Set the jig to cut the board about 1/8" oversize in
diameter. After cutting, sand the edge to remove the saw CENTER
PIN,
marks and reduce the board to its final diameter.
,
Rout the Trough
I use a round template to guide the router when I rout
the trough (Photo 3), but a circle-cutting jig made for use
with a router would also work.
You need to know two measurements to calculate the
size of the round template: 1) From the center of your
game board to the center of its trough (see T, Fig. A); and
2) From the edge or your router's baseplate to the center
Start by cutting a square blank slightly larger than the game
of the bit. To determine the template's radius, simply sub-
board's diameter. Install a nail or pin at the center for use with a cir-
tract measurement 2 from measurement 1. Create the
cle-cutting jig. The nail hole will disappear when you rout the cen-
template the same way you created the round game
ter marble pocket.
board. Center the template on the board and secure it
with double faced tape.
Install the core box bit and set the plunge depth (Fig.
A). It's easiest to rout the trough by making four or five
arcs to complete the circle (Photo 4). Making two or three
passes to reach the final depth minimizes bogging down
the router and burning the wood. Sand the trough by
hand or with a detail sander to ease the sharp edges left
by routing (Photo 5).

Rout the Marble Pockets

Create pockets for the marbles by making plunge cuts
with a V-groove router bit. The pockets are arranged in a
simple grid pattern (Fig. B). Their diameter, depth and
pitch (distance between adjacent centers) depends on
the game board you're making (Fig. A). Use a photocopier Saw the round board on the band saw, using the circle-cutting jig. I
to enlarge the pattern and attach it to your game board usually make two passes around to make sure no high spots
(Photo 6). You'll need a separate pattern for each board remain. Sand the edge to remove the saw marks.
you make. For a small board, the pattern's grid should
measure 1" square; for the large board, it should measure
1-1/2" square. For the best accuracy, measure your
enlargements across all 6 boxes (the target measure-
ments are 6" or 9"). The enlarged pattern for the large
board requires oversize paper. If your copier is limited to
8-1/2" by 11" paper, enlarge one half of the grid and tape
two copies together.
Before you rout the pockets, remove the nail used to
center the pattern on the board. Install the V-groove bit
and set the plunge depth. To avoid burning the wood, I
set the router's plunge stop to the final depth, but com-
plete the pocket by making two or three plunges.
Position the router so the bit's point is centered
over the first target. Hold the router steady and
To rout the board's trough, use a template and a plunge router
plunge-rout the pocket. Repeat the process to create
equipped with a core box bit. Center the template on the board by
the other 32 pockets (Photo 7) . Then remove what's
installing its center pin in the nail hole at the board's center. Tape
left of the pattern.
holds the template in place.

APR III MAY 200 II wwwJbmricanWoodworker.com 35

 FIG. A: DIMENSIONS Finish the Board
9-1/2" Board 14" Board Finish-sand the board after rounding over its outside
A 3/4" 3/4" edges. I use a two-step finishing process. First I apply a
B 11 / 16" * 15/ 16" * pre-stain wood conditioner. Then I spray on three light
C 1/4" 5/ 16" coats of semi-gloss polyurethane.
D 1/4" 3/8"
E 1/2" 3/4"
F 1" 1-1/2" SOURCES
T 4" 6" • Little Works of Art, www.emarbles.com. "Jupiter"
R 4-3/4" 7" machine-made marbles by Mega Marbles, 5/8" dia., $.50
CB 3/4" dia. 1" dia. for 5 marbles; 1" dia., $.50 for 2 marbles; Bag of 24 5/8" dia.
core box bit core box bit
VG 1/ 2" 900 3/4" 90 0 player marbles and 1 1" dia. shooter marble, $3.
V-groove bit V-groove bit - • Rockier Woodworking and Hardware, www.rockler.com.
RO 1/4" round over bit 1/4" round over bit (800) 279-4441, Core Box Bits, 3/4" dia., #91 001, $27.99, 1"
dia., #23822, $32.99; 90 0 V-Groove Bits, 1/2" dia., #90869,
* approximate width after sanding
$19.99,3/4" dia., #90880, $23.99; 1/4" Round Over Bit,
#26078, $24.49.

Fig. A
Layout

Fig.B
Pocket Pattern

JIM CHURCH
Watching The New Yankee
Workshop while recuperating
from spinal surgery rekindled
Jim's interest in woodwork-
ing. Jim has since built a
small shop on the back of his
house in West Simsbury,
Connecticut.To see samples
of Jim's game boards, visit
www.angelscreations.com.

ENLARGE TO
1" GRID FOR
9-112" BOARD

ENLARGE TO
101/2" GRID
FOR 14" BOARD

36 wwwAmericanWoodworker.com APR I LIM A Y 2009

 5
When you rout the trough, always bear against the template from the Sand the trough and soften its sharp edges. To reach the trough's
same point on the router's edge.To help keep the router oriented cor- bottom, I fold an oversized sheet of hook and loop paper around
rectly,complete the trough by routing several arc-shaped segments. the edges of my detail sander's pad.

Center the marble pocket pattern. Poke a nail through the pat- Create the marble pockets by making plunge cuts with a 90° V-
tern's center and into the game board's center hole. Arrange the groove bit, centered on each target. To complete the board, remove
pattern to complement the grain and then tape it to the board. the pattern and round over the outside edges.
 iNFINITt ~~ CUTTING TOOLS

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Cuts Online!

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Bnild Your Skills with Stewart Crick

APR I LIM A Y 2 009 _Jl:mericaJlWoodwodaer.eom 39

 Fig. A Exploded View ARTS AND CRAFTS is both a style
of furniture and a philosophy about
craftsmanship. It calls for honest, func-
t ional design and a harmonious effort
between designer and craftsman .
The design of this bedside table
borrows elements from three Arts and
Crafts sources (see Arts and Crafts
Details, page 43). I've combined them
to create my own style, and built this
table using the best construction tech-
niques of that period.

Make the Legs

1. Glue up each leg from four sepa-
rate extra-long pieces (A, Photo 1) (see
Four-Sided Quartersawn Table Legs,
--c:::.,
page 47). Alternatively, you can make
the legs from one piece of 8/4 wood.
Once the legs are glued, make plugs (B
and C) to fit into the legs' hollow ends.
Mill the plugs so they're easy to slide
into the ends, then glue them with
epoxy. Trim the legs to final length.
2. Cut mortises in the legs (Photo 2)
for the upper and lower side rails (D
and E), rear rail (H)' and lower divider
(G) (see Figs. D and E).
3. Layout and drill 1/4" holes for the
pins (N) that will go through the joint's
tenons (Photo 3). Cut mortises for the
ebony plugs that cover the pins (Photo 4).
4. Rout a 1/8" roundover on all of the
legs' long edges and bottom edges.
5. Rout leg indents using a jig (Fig. B)
and a plunge router equipped with a
1/2" straight bit and a 1" O. D. template
guide (Photo 5). A 1/4" spacer t ilts the
jig to create the indent's taper. (This jig
was designed by Darrel Peart, an expert
in building Greene and Greene-style fur-
niture. See his book in Sources, page 46).
To use the jig, draw a penci l line across
Fig. B Leg Indent Jig Fig. C Drawer Details

----------- 4"

1/4" x 1·3/4" x 4"

SHIM

40 www.llmerk:anWoodworker.com APR I LIM A Y 2 009

Begin by gluing up the legs. Each leg is composed of four pieces Cut mortises in the legs using a mortising machine.
of quartersawn oak, joined by lock miters. (For more on this tech-
nique, see Four-Sided Quartersawn Table Legs, page 47).

Drill holes for 1/4" dia. pins in the adjacent sides of the legs. Insert Make the holes square using a mortising-machine's hollow chisel.
a loose tenon into the mortise to prevent splintering. Tap the end of the chisel with a soft mallet until the square portion
ofthe hole is about 1/4" deep (see inset).

the leg at the indent's top starting point; side rails for the shelf support spline (K). so the rail is free to shrink and swell.
then place the jig on the leg and the 7. Make 1/4" hardboard templates Clamp the rails, spindles and panel
assembly in your vise. Next, place your for the upper and lower rails (Fig. F). together, without glue, then glue the
router on the jig and plunge the bit Trace the templates' outlines on the legs to the rails (Photo 10).
until it touches the leg on the pencil rails and bandsaw the profiles. Attach 10. Once the glue has set, complete
line. Lock the bit at this depth. Push the the templates to the rails with carpet the pin holes by drilling through the
router up the jig so the bit is no longer tape and rout the profiles with a flush tenons. The final holes should be 1"
touching the leg, start the router, and trim bit (Photo 8). deep. Glue the pins in the joints, but
rout the indent (Photo 6). Sand the bot- 8. Layout and cut mortises for the don't install the ebony plugs (BB) .
tom and edges of the indents with 150- spindles (L) and panel (M) (I?hoto 9 They'll interfere with clamping in the
grit sandpaper. Feather the top of the and Fig. D). steps ahead.
indents into the leg. 9. Make the spindles and cut tenons
on their ends. Ensure a snug fit into the Assemble the Base
Build the Sides mortises, because the spindles will not 11. Mill the dividers (F and G) and
6. Mill the upper and lower rails, then be glued in place. Dry fit the rails, legs rear rail (H). Using a dado set, cut a
cut tenons on their ends (Photo 7). and spindles. Measure the distance 1/16" shoulder on all four sides of the
Note that the upper tenon on the between the rails to determine the lower divider and the rear rail, and the
upper rail is 1/8" narrower than its mor- panel's exact length. Make the panels bottom face of the upper divider. This
tise; this space allows the rail to shrink and cut tenons on their ends. Dry clamp cut establishes a consistent length
and swell without cracking. The lower the entire side assembly and mark the between the shoulders of all three
tenon on this rail, and the tenon on the location of the pin holes in the upper pieces. Raise the dado set to the appro-
lower rail, are cut for a snug fit with rail. Disassemble the side and drill elon- priate height and finish cutting the
their mortises. Cut grooves in the lower gated holes through the upper tenons, tenons on the rear rail. Readjust the

APR I LIM A Y 2009 wwwl .....riqanWoodwodaer.com 41

Build a router jig for making Greene and Greene-style indents at Rout the indents. The indents are shallow ramps that are flush at
the bottom of the table's legs. the top and about 1/8" deep at the bottom. This jig fits tight around
the leg and tilts the router.

Mill the rails, cut tenons on their ends, and test their fit. The tenon Make hardboard templates for the rails, then shape the rails using
on the upper rail is split in two in order to avoid weakening the leg. a flush-trim bit. You can see that my router table is very simple!

dado set's height to cut the outside assemble the sides, dividers, rear rail and hand, see "Precise Hand-Cut Dovetails,"
cheeks of the lower divider. Remove bottom shelf (Photo 13). Once the glue AW#119,january 2006, p. 62. There are
the material between the double has set, drill holes through the tenons, as many other ways to make the drawer,
tenons of the lower divider, staying you did in step 1O.lnstall pins in the however-just pick the method you're
1/32" below the shou Ider (Photo 11). joints. Mill the doublers (P) . Measure the comfortable with. Add the pull (see
Pare to the shoulder with a chisel. distance between the inside face of the Sources) when you're done.
12. Cut the dovetails on the upper upper rails and the legs to determine
divider. Scribe around the dovetails to the doublers' exact thickness. Cut mor- Make the Top
layout the sockets in the legs. Drill, tises in each upper doubler for table 17. Select the wood for the top's
saw, and pare the sockets. top buttons (AA) . Glue the doublers in core (W).I like to book-match my tops
13. Drill holes in the upper divider place. Mill the runners (Q) and cleat (R). by re-sawing a piece of 8/4 stock, and
for screws to fasten the top. Drill holes Cut a slot in the cleat for a screw. Glue use other parts of the same board for
in the lower divider large enough for a the cleat to the rear rail. Glue the run- the breadboard ends (X). I wait a few
screwdriver to pass through. ners to the lower doublers (Photo 14). days for the re-sawn stock to stabilize,
14. Assemble the sides, dividers ijnd then glue up the top, ensuring that it's
rear rail without glue. Measure the dis- Build the Drawer flat, and cut it to final size.
tance between the lower rails to deter- 16.I've built the drawer for this table 18. Cut a groove in each end of the
mine the exact length of the shelf (J). in a traditional manner with half blind core. Reference the groove's location
Make the shelf and cut a groove at dovetails in front and through dovetails from the core's bottom. Using the Silme
each end to receive the shelf support in back (Photo 15 and Fig. C). I lay out setup, and also referencing from the
spline (K) (Photo 12). and cut these joints by hand, so I haven't bottom, cut a groove in the bread-
15. Disassemble the base and glue drawn their precise dimensions for you. board ends.
the spline in the side rails. Glue and For more on cutting drawer dovetails by 19. Drill stepped holes in each

42 wwwJl:mericanWoodwodter.c:om APR I LIM A Y 2009

Clamp a pair of upper and lower rails together, then layout mor- Clamp the rails, spindles and panel together without glue. Then
tises for the spindles and panel that go between the rails. glue the legs to this assembly.

Saw t~o tenons side by side on the ends of the divider that goes Fit the shelf. It sits on a spline that runs the length of the lower
below the drawer. One large tenon would weaken the legs too much. rail. The shelf won't be glued, so it's free to expand and contract.
 Assemble the table in a trial run. Tap the top rail into dovetailed Add numers for the drawer. Make sure that they are flush with the
socket s in the ends of both legs. When you're sure everything fits, frontJaii and square to the c~se, front to back.
glue the base,

Glue the drawer, using bl9cks with fingers to put pressure directly Move on to making the top. Drill deep holes all the way through
onthe dovetails. the breadboard ends in order to fasten them to the top with screws.

breadboard end for the screws that will board ends, making sure that they're but only apply glue in the core portion
fasten it to the core (Fig. H). Start by centered on the core (Photo 18). Don't of the slots. The spline shou ld be free to
drilling 1/8" holes all the way through put glue all the way across the float in the breadboard end, allowing
the breadboards. Use a 3/8" Forstner joints-just in the center, about 4" wide. the core to expand and contract.
bit to counterbore the holes from the Let the assembly dry overnight, then 24. Make the ebony plugs from a
I
outside edge (Photo 16). Drill elongat- drill pilot holes into the core using an couple of blanks. Round the ends of
I, ed 3/16" holes from the inside edge to extra-long 3/16" drill bit. Add the screws. each blank to create a pillow shape
allow the screws to move with the core. 22. Turn the top over, so the flat side using a sanding jig (Photo 20), or by
I'
Layout and cut plug mortises on the is up, to cut slots for the decorative hand with a file and sandpaper. (For
breadboard ends. Use a 1/8" roundover ebony spline. Mark the top to indicate more information on this jig, and
bit to rout all the edges of the bread- where to begin and end the slots. Rout detailed instructions on shaping and
board ends, except the bottom. the slots with a 1/4" slot cutter set up polishing plugs, see Da rrel Peart's
20. Plane a hollow no more than for a 1/2" deep cut (Photo 19). Square book.) The jig has holes for various size
1/32" deep on the grooved side of each the ends of the slots with a chisel. plugs and is clamped to the disc
breadboard end (Photo 17). This is an 23. Mill the stock for the ebony sander's table. Rotating a blank into
optional step, but I do it to ensure that spline (Z) . Cut the inside profile of each one of the holes quickly creates a pil-
the joint stays tight. spline using a jigsaw or bandsaw. Trim low shape on the end of the blank.
21. Make the breadboard spline (Y). each spline to fit. Install the spline, After this coarse rounding, sand the
Cut each spline into three pieces (Fig. A) without glue, and trace the outer pro- ends as you did the spline pieces. Cut
and glue the pieces to the core. Leave a file so that it protrudes 1/8" proud of the plugs to length on the bandsaw, to
gap between the spline pieces for the the top. Remove the spline and round avoid kickback, and install them with a
screws. Let the glue dry and scrape off over all its edges and ends. Sand the dab of glue.
any squeeze-out. Glue on the bread- spline up to 400 grit. Glue the spline,

44 wwwAmericanWoodworker.com APR I LI M A Y 2 009

 CORE,
...v

18
Plane a slight hollow on the breadboard ends in order to create a Glue the top. Only the center portion is glued, so the core is free
spring joint. The hollow helps ensure that the joint comes tight at to move. Screws at both ends of the joint pass through elongated
the ends and stays tight in the future. holes, also allowing the top to move.

Rout slots in the top's edges to receive ebony spline. Use a slot- Round the ends of ebony blanks into a pillow shape for making
ting bit w ith a bearing and an oversize base plate, which helps pre- plugs. I use a jig that accommodates various sizes of square
vent the router from tipping. stock-ready for my next Arts and Crafts project!

Fig. 0 Side Elevation Fig. E Front Elevation

3/16"

~~r-----------------~~
6°

3/8" SQ.

3/8"

1/4" SQ.

APR I LIM A Y 20 0 9 wwwAmericanWoodworker.com 45

 CUTTING LIST BEDSIDE TABLE DIn1ellslons:281/8"H x20' W x20"D
Apply the Finish
PART NAME QTY. MATERIAL TH X W X L 25.1 prefer to protect white oak with
Base a simple oil finish, not adding any dyes
A Leg part 16 QS White Oak* 3/4" x 1--3/4" x 27-1/4" (a) or stains. Left natural, it's a beautiful
B Lower leg plug 4 QSWhiteOak 1/4" x 1/4" x 9" wood which ages to a golden color.
C Upper leg plug 4 QSWhiteOak 1/4" x 1/4" x 6"
26. Make four tabletop buttons. Cut
D Upper side rail 2 QSWhiteOak 3/4" x 5-3/4" x 16-1/2" (b)
lips on the buttons to fit loosely into the
E Lower side rail 2 QSWhiteOak 3/4"x 4" x 16-1/2" (b)
F Upper divider QSWhiteOak 3/4" x 1-1/2" x 16-1/4" (c) mortises on the upper doubler (Fig. J) .
G Lower divider QSWhiteOak 3/4" x 1-1/2" x 16-1/4" (c) Center the top on the base and fasten
H Rear rail QSWhiteOak 3/4" x 5-3/4" x 16-1/4" (c) screws through the top d ivider. Install the
J Shelf 1 QSWhiteOak 5/8" x 14-1/2" x 16-7/32" buttons, centered in their mortises.
K Shelf support spline 2 QSWhiteOak 5/16" x 15/16" x 14-1/2"
L Spindle 12 QSWhiteOak 1/2" x 1/2" x 13-1/4"
SOURCES
M Side panel 2 QSWhiteOak 1/2" x 6" x 13-1/4"
• Darrell Peart, Greene & Greene: Design
N Pin 12 Oak dowel 1/4" x 3/4"
P Doubler 4 QSWhiteOak 3/4"x 1-1/2"x 14-3/4" Elements for the Workshop, Linden Publishing,
Q Runner 2 QSWhiteOak 3/4" xl" x 15-1/2" www.woodworkerslibrary.com.
R Cleat QSWhiteOak 3/4" x 1-1/4" x 14-1/2" • Horton Brasses,
Drawer www.horton-brasses.com. (800) 754-9127,
5 Drawer front QS White Oak 7/8" x 3-3/4" x 14-1/2" Mackintosh Pull, AD-4064, $18.50.
T Drawer side 2 Maple 1/2" x 3-3/4" x 16"
U Drawer back Maple 1/2" x 3-1/4" x 14-1/2"
V Drawer bottom Maple 1/2"x 15-3/4" x 14"
Top
W Core 1 QSWhiteOak 3/4" x 19-3/4" x 14" Stewart Crick
X Breadboard end 2 QSWhiteOak 7/8" x 3-1/2" x 20" A lifelong woodworker,
y Breadboard spline 2 QSWhiteOak 1/4" xl 5/16" x 20" (d) Stu writes, teaches, and
Z Spline 4 Ebony 1/4" x 3/4" x 4-1/4" builds Arts and Crafts
AA Button 4 QSWhiteOak 3/4" xl" x 1-5/8" furniture from his
BB Plug 26 Ebony 3/8" x 3/8" x 1/4" (e) Manassas, Virginia
CC Plug 2 Ebony 3/8" x 3/4" x 1/4" workshop. He also
DD Plug 2 Ebony 1/4" x 1/4" x 1/4"
serves as President of the Washington
* QSWhite Oak=Quartersawn White Oak Woodworkers Guild. Visit his website at
(a) Rough cut these pieces at 32" L. Completed legs are 1-3/4" x 1-3/4" x 27-1/4" www.stuswoodworks.com.
(b) Length incl udes two 1" L tenons.
(c) Length includes two 7/8" L tenons.
(d) Cut each spline into three pieces.
(e) Make from two blanks 3/8" x 3/8" x 12", Fig. H Top Details

Fig. F Side Rail Templates

I
I
I
I
+f-TENON
: SHOULDER

Fig. G Spline Detail

Fig.J
1-- 1 -114 " ----+j
TableTop
t ,----------------------
112" 1 Button
:l --------- , 5/8"

. '- . 1
46 www.AmericanWoodworker.com APR I L I M A Y 2009
Four-Sided
Quartersawn
Table Legs
How to rout lock miters
on narrow pieces

By Tom Caspar and Stewart Crick

IF YOU SPOTTED an oak leg with quartersawn figure on all
four sides, yourfirst reaction might be:That's neat! But if you
know wood, your second reaction ought to be: Now, how did
they do that?
Well, there's more than one way. You could make a solid,
plainsawn leg and glue quartersawn veneer on all four sides.
Or you could make a leg from quartersawn wood and veneer
just two sides. Or you can do what L. & J. G. Stickley did over
one hundred years ago, in the heyday of the Arts and Crafts
era, and make the leg from four interlocking pieces of solid
wood (see Arts and Crafts Bedside Table, page 39) . This
method is the most durable type of construction because
there's no chance of veneer flaking off. Using a modern lock
miter router bit, it works well for any size leg, big or small.

APR I L I M AY 2009 www.lbnericanWoodwodrer.com 47

 1
Set up a lock miter bit in your router table by aligning th~ !:enter Test the setup by routing similar lock miters on two scrap pieces.
of the bit with the center of your material. Set the fence to produce Pre-cutting some of the bevel on the tablesaw produces a
a knife edge. smoother profile.

Fit the pieces together. If the top surfaces are flush, the setup is Rout the first bevel by standing each leg piece on edge, in a verti-
OK. If not, adjust the fence's position or the bit's height. cal position. Make a large push block. with a stop on the end, to
hold the workpiece tight against the fence.

Figuring out how to make these and the fence as shown (Photo 1). you'll probably want to go through the
lock miters safely and accurately on a Chances are that the setting will be whole procedure with scrap stock.
narrow leg can be quite a challenge. close, but not perfect, so prepare two Prepare your blanks by selecting wood
On each piece, one lock miter is rout- blanks for test cuts. First, cut a bevel with strong quartersawn figure. Rip
ed with the piece held vertically; the on the edges of each piece using your them to the final width of the leg and
other is routed with the piece held tablesaw-but not a complete bevel. crosscut them a few inches extra long.
horizontally. The problem, as you can Leave a 1/4" wide flat area. Rout one When you're done, the blanks must be
readily see, is that the pieces have very edge of both pieces (Photo 2) and fit absolutely flat and straight-this is essen-
small bearing surfaces. The solution: them together (Photo 3). Be picky tial for making precise lock miter joints.
make a push block and a jig to hold here. The top surfaces must be Next, make a push block that's as
the pieces rock steady for each pass. absolutely flush. If they aren't flush, long as the blanks. It should be as
adjust your bit's height, the fence's thick as the blanks are wide. Fasten
Test The Set Up position, or both. Once you've got the two push pads to the top of the block
You'll need a lock miter bi.t that can setup right, you won't have to change and add a stop to the block's end to
handle 3/4" thick stock (See Source, it because it will work for cutting both help push the blanks through the cut.
page 49) and a router with variable sides of each leg piece. Attach a featherboard to your
speed mounted in a router table. Dial router table's fence. This is a must-the
the router down to one of its lowest Rout The First Bevel pressure it applies is essential to mak-
settings, then adjust the bit's height Before you cut into your good wood, ing a smooth cut.

48 wwwJl.mericanWoodwoDer.com APR I LIM A Y 2009

Build a jig for routing the second bevel. Rout a lock miter on this Fasten a cover piece to the jig and attach a stop block. Slide the
piece by standing it on edge, as in the last step. Remove the center workpiece into the jig from the front, with its lock miter engaged
portion of the lock miter profile using a bandsaw. with the jig's profile.

Rout the second bevel with the workpiece held horizontally. The Glue four identical pieces to make the leg. The interlocking miters
jig provides a wide bearing surface in order to cut a perfect joint prevent the pieces from slipping side to side.
on this narrow piece.

Stand the workpieces on edge and blocks to the cover piece to make
rout the first bevel on each one the jig easier to push.
(Photo 4) . Slide a workpiece into the jig from
the front end, so the lock miters on
Rout the Second Bevel both pieces are engaged front and
Make a jig for cutting the second back. It should be a pretty tight fit. If it's
bevel. Start with a piece that's about too tight, place masking-tape shims
the same length as the workpieces. under the cover. Rout the second bevel
Stand the piece on edge and cut a (Photo 7). Slide the piece out of the jig
lock miter along its length. Next, and rout the remaining pieces. When
remove most of the profile using a you're done, glue-up is fairly simple,
bandsaw (Photo 5) . Leave about 3" of but use lots of clamps all around to
the lock miter at each end. This huge make sure the joints are tight (Photo
notch ensures that the workpiece will 8). Let the glue dry overnight and cut
nest securely in the jig. the legs to final length.
Next, fasten a stop block to the SOURCE
end of this piece, plus a cover piece • Freud, www.freudtools.com.
that hangs over the lock m iter by (800) 472-7307, Lock Miter Bit,
about 1" (Photo 6). Fasten some #99-035, $79.99.

APR I LIM A Y 2 0 0 9 www.AmericanWoodwod<er.com 49

www.logosol.cOJn
State-of-the-Art Website, Success Stories,
Forum, Technical Specs, Web
Store, and FREE Downloads!

PH260 4·Head
Planer/Moulder

.
!3 LOGOSOL
Swedish wood processing products
Solution-Driven Wood Processing
30 must-have
tools for finishing
all types of
woodworking
projects

by Kevin Southwick

COLLECTING WOODWORK -
ING TOOLS is undeniably fun.
As a professional finisher, I
meet a lot of woodworkers on
the job and in the classes that I
teach. So I know that spending
hundreds of dollars on a new
router or a fine hand plane is
thought of as a reasonable
expense for an essential tool.
On the other hand, having to
buy sandpaper or a new can of
finish is usually likened to
throwing money away.
Why is that? I think offin-
ishing supplies as good invest-
ments-essential woodwork-
ing tools on a par with those
that cut and shape wood.
Good finishing tools make it
easier to apply good finishes,
which both improves my
enjoyment of woodworking
and produces a superior result.
In my opinion, a well-equipped
woodworking shop includes a
well-equipped finishing cabi-
net. Here's a collection of fin-
ishing tools and supplies that I
think are worthy of your hard-
earned cash.
Finishes You Can Wipe, Brush or Spray
It makes sense to keep different kinds of finish on hand, because each
project presents unique fin ishing challenges. A wipe-on/wipe-off finish,
such as General Finishes Gel Topcoat urethane, looks great, applies easily
and eliminates worries about bubbles, drips, runs, sags, dust nibs, hair, or
brush marks. Any finishing oil, oil/varnish blend, or gel varnish will do, as
long as you prepare the surface well and buff the finish thoroughly dry,
to avoid streaks. Wipe-on/ wipe-off finishes leave an attractive low sheen,
but they provide limited water resistance and numerous applications
may be required.
Film-building finish, such as Varathane oil-based
polyurethane, is the best choice if you want a
higher sheen or better moisture protec-
tion. Building a film finish requires a
brush or pad, sanding between coats,
and a little practice. Most oil-based
polyurethanes can be thinned to make
wipe-on/ wipe-off finishes.
Shellac is a must-have. A beautiful
finish on its own, shellac can also be a
big time-saver, because it dries super-
fast. Zinnser SealCoat is liquid shellac
that's light in color and free of wax, so it's
compatible with virtually any other finish.
Spray-on finish in aerosol cans is
excellent for finishing smaller projects.
Many different finishes are available as
aerosols, including lacquer, shellac, acrylic
and polyurethane. Apply thin coats for the
best results.

~
~
,,-,
\
1J' j ~l
~
"l
'\'
'\ ~ f~
~
J
~ ~1
~\
\p\ ~

Touch-Up Tools
Knowing how to hide mistakes makes you a bet- ins that don't quite match. Wood touch up
ter woodworker. Touch-up tools allow you to pens are handy to have, as are colored pencils
disguise defects such as glue spots, sanded and wood-tone colored markers from an art
through edges, light-colored scratches, and fill- materials or office supply store.

52 www.ArnericanWoodworlcer.com APR 1 LIM A Y 2 0 0 9

4 Types of Brushes
When you choose a finishing brush, con- Redtree and Grammercy natural bris- A synthetic bristle brush, made
sider the task you want to perform. For tle varnish brushes are my favorites. with Taklon nylon bristles, is an excellent
example, when you are applying var- Redtree 2" brushes cost less than $20, choice for water based materials.
nish, you'll get the best results by using about the same as a paint brush of com- Disposable brushes are indispensi-
a varnish brush, rather than a paint parable size and quality. Gramercy brush- ble: No cleaning required! Chip brushes
brush. A varnish brush is designed and es cost twice as much, but they're made (natural bristle) are useful for applying
constructed to be used with thin finish- by hand and are worth every penny. both stains and finishes (although they
es such as oil-based polyurethane, shel- A sash brush is a round, tapered nat- do shed bristles) . Foam brushes work
lac and lacquer; paint brushes are ural bristle brush that is uniquely suited well on flat surfaces. However, shellac
designed to apply much thicker materi- for evenly applying finishes to uneven and lacquer will
al.The best varnish brushes have very surfaces such as shaped moldings or dissolve them .
fine natural bristles that are relatively carvings. I keep a range of sizes ready
short and densely packed. A 2" wide for use. Sash brushes are available at art
brush is the most versatile size. materials stores.

Rags and Cloths

Scott brand shop rags are my
top choice for general use. These lint
free, heavy duty paper towels are eco- ORGANIC
VAPOR
nomical and available in rolls or boxes-I CARTRIDGE
prefer the boxes, because they keep the Dust Mask
towels clean.
Knit 100% cotton rags are more
and Respirator
absorbent than towels. They're good for A reusable dust mask is worth t he ini-
staining and for wipe-on/ wipe-off finishes. tial investment, because it can last for
Buy them ready for use or cut them from years. Just wash it by hand and it's ready
100% cotton T-shirts-just avoid the to reuse. Dust Bee Gone brand reusable
seams, collars and armbands. masks are comfortable and much more
Super absorbent, 100% cotton effective than any paper disposable
cheesecloth makes an excellent applica- masks I have ever used.
tor pad that affords precise control for padding or wiping on film-building finish- A respirator mask with organic
es. Wrap a pad of cheesecloth in nylon stocking fabric for an extra-nice applicator. vapor cartridges is a must-have to limit
Micro-fiber tack cloths make traditional tack cloths obsolete. They grab and your exposure to toxic fumes found in
hold dust amazingly well, and they're infinitely reusable. I use two-one that's finishing products. Lay in a supply of car-
dry, for initial dusting, and one that's barely damp, for use immediately before tridges and replace them regularly.
applying finish.

APR I LI M A Y 2 0 0 9 www.AmericanWoodworker.com 53
 PREPPIN'
WEAPON Surface Preparation Tools
Any tool that makes sanding faster or easier is welcome in
my shop. Mach ine sanders are obviously important, but
even the best leave marks that must be removed for a
top-quality finish. That's why hand sanding
blocks are the most frequently used
tools in my shop.
Shop-made sanding blocks of
3/4" wood with 1/4" cork or neo-
prene glued on the business end are
my favorites for use on bare wood.
Cork's firmness works best for flatten-
ing; neoprene works best for subtle
curves or easing an edge. I keep several
different sizes and shapes to meet needs
such as reaching into tight corners.
The Preppin' Weapon is a good choice for
sanding large flat surfaces; solid cork blocks work well
for general sanding.
Hard felt or dense neoprene blocks work best for sanding
film finishes between coats. These materials have flexible, cushioned
working surfaces that provide consistent and delicate control.
Top Quality Abrasives
High tech sandpaper is made with durable backing paper, no-load coat-
ings, and abrasive particles that stay sharp and are consistently sized. This
sandpaper cuts quickly, leaves a uniform scratch pattern and lasts a
long time. Stock ample supplies of sandpaper in every grit that you
commonly use. Buy only the best quality paper, such as Norton
3X or 3M Sandblaster.
Steel wool ranges in quality, too. For example, the steel
wool you find at hardware stores can be quite oily as a
result of the manufacturing process. Top brands, such as
Liberon, have very consistent, long, fine strands of steel that
last longer, and don't shred as easily, so they are less messy.
Nylon abrasive pads (also called synthetic steel wool) are an
alternative to using fine sandpaper or 0000 steel wool between coats
of finish . Abrasive pads don't leave steel fibers behind, but they also
don't cut as consistently as good quality steel wool.

Task Lighting
A movable light source, such as this inexpensive clamp light, is
especially helpful to have during sanding and finishing operations.
Highlighting surfaces with light from raking angles reveals defects
and problems much more clearly than overhead light.
Good overhead lighting is also important. Be aware that colors look
different under different types of lighting. Incandescent light makes colors
appear"warmer" than natural light and fluorescent light makes colors appear
"cooler." For this reason, color matching should always be done under the same
type of lighting in which the final results will be viewed.

S4 www.AmericanWoodworker.com APR I L I M A Y 2 0 0 9
Wood Coloring
Materials
Changing the nat-
ural color of
wood is optional;
if you want to do
it, you should be
familiar with two
types of stains.
Pigmented oil
stains in liquid or gel
form are usually the
easiest wood col-
orants to use. Gel
stains are especially good
for color matching, because they can be
used like a glaze for layering color. Stains
and glazes made using artist's oil colors offer
the widest choice of colors. To make your own liquid
stain, mix the oil colors in a 2 to 1 solution of mineral spirits and boiled
linseed oil. To make a glaze, mix the oil colors with glazing medium. Artist's oil colors
and glazing medium are available at art materials stores.
Dye stains are unique because they have both powerful and subtle coloring
abilities. For example, they can turn maple jet black, gently tint it to an aged golden
tone or amplify its curly figure. Water-soluble dyes are the easiest'to use on bare
wood and are usually the best choice for accentuating highly figured woods.

Dust Collection
An effective shop vacuum traps
dust without re-circulating small par-
ticles, which can ruin your finishes,
Information back into the air. Fein vacuums come
for Your Brain with cloth filters that remove dust
particles down to 5 microns, and finer
Creating a great finish begins before you even filters are available as upgrades.
open a can. Books about finishing wood are loaded with useful information, A room air filtration system, usu-
techniques and formulas, facts and honest opinions. I've learned something new ally installed to remove fine airborne
from every finishing book that I've read. Bob Flexner's Understanding Wood dust for health reasons, will also clean
Finishing is comprehensive and well organized. It also has an excellent in-depth the air before you apply finishes. Run
index that's helpful whether you're seeking general information or trying to solve the system for an hour or two and
a specific problem. shut it off just before finishing begins.

APR I LIM A Y 2009 www.AmericanWoodworker.com 55

 rave•
urnl or
A pull-apart box with a
silky-smooth fit

method ensures
grain and color uniformi-
ty. lt also conserves on materi-
al. My mUlti-purpose tall fence (AW
by Suwat Phruksawan #135) makes quick work of this task.
Size your humidor to fit the desired product.
I'VE HAD A LOT OF FUN over the years building boxes of 2. Use water-resistant glue to attach the sides to the bot-
all shapes and sizes. This one was made as a travel humidor tom . Do not glue the top on yet. Note: Make sure the box is
for a friend. The box can just as easily be used for a travel perfectly square.
jewelry box, eyeglasses-you name it. Whatever its use, the 3. Epoxy a thin washer or other slim piece of metal inside
real crowd pleaser is the silky smooth sliding action as the one end of the box.
box is opened : it always brings a smile. 4. Cut all the inner box parts to size, using the outer box
I like working on small-scale projects. Materials are easy as a guide (Photo 2). The inner box (E, F, G and 0) should fit
to find and afford. (I get my best wood from my scrap pile). snugly in the outer box from side to side. But place a 3/ 16"
Working on a small scale gives me a chance to do more spacer in the washer end of the outer box, so the inner box
handwork than time normally allows on a large project. will fit after the outer box is cut in two.
I sized this humidor to fit three Corona cigars (Photo 1). 5. Create the inner box divider by face-gluing the divider
If you aren't a cigar person, just eliminate the humidifier (M) and divider lining (N). Drill three 5/8" dia. holes near the
and Spanish cedar. Then, modify the box dimensions to fit top edge to allow air movement between the cigar com-
eyeglasses, pens and pencils, jewelry-anything that needs partment and the humidifier.
to be contained while bouncing around in a backpack, 6. Glue the inner box together using the outer box as a
purse or suitcase. form to insure a smooth, piston fit.
7. Cut the Spanish cedar linings (H-K) and install them
Build the Boxes inside the inner box (Photo 3).
1. Cut the parts for the outer box (A-D, Fig. A, page 58) to 8. Glue on the top piece (L) so its edge is flush with the
size. It's best to resaw the thin stock from thick boards. This edge of the divider.
II

56 www.AmericanWoodworker.com APR I L I M A Y 2 009

 9. Drill a shallow hole and install a magnet on the out-
side of the inner box end (G). Make sure the magnet
aligns with the washer mounted in the outer box.
10. Drill some tiny holes at the opposite end
of the inner box to allow for air move-
ment when opening and closing the
humidor (Photo 4).

Build the Humidifier

11 . Cut the humidifier parts (R-T) and
assemble with plastic adhesive (see
Sou rce, page 58, and Photo 5) .
12. Cut some green floral foam (available
at hobby stores) to fit tightly in the humidifier
and install it. Cover the foam with cheesecloth or Build the outer box from a single piece of Brazilian rosewood
similar fabrics to allow the moisture to move freely. that's been resawn into thin boards. Size the pieces to fit the
13. Cover the cloth with sculpture wire mesh (avail- objects you'll be carrying.
able at hobby stores). Glue the wire mesh and the cloth
on the rims of the Plexiglas box.
14. Build the humidifier frame (DD&EE) around the top
edges of the humidifier. Make the frame a bit oversize so
that you can trim it flush with the humidifier compartment.

Complete the Outer Box

15. Set the assembled inner box in the outer box. Cut the
top lin ing (P) to size and position it on the inner box, so it
covers the opening. Spread a thin layer of glue on the back
of the lining.Then press the top in position on the outer box
and clamp lightly.
16. When the glue has dried, remove the top and the
inner box. Install a pair of temporary support blocks in the
outer box (Photo 6). Locate the blocks so they are rough-
ly centered where the inlay dadoes will be cut.
Custom-fit the inner box by using the outer box as a form. Wax
17. Mark the humidifier end of the box so you can
paper prevents the boxes from sticking to each other and provides
identify it once the top is glued on . Note: If you forget to
the side clearance for a piston fit.
mark the humidifier end, you can always find it using a
magnet. You'll feel the pull on the correct side.
18. Glue the top to the box. After the glue has dried,
sand all the edges f lush.

Create the Inlays

19. Mark the inlay and decorative button locations on
the box (Photo 7).
20. Cut the inlay dadoes on the tablesaw. Cut 1/ 16"
deep dadoes in the sides and bottom of the box and 1/4"
deep dadoes in the top (Photo 8).
21. Cut the inlay pieces (U-BB) and glue them in place
(Photo 9). Saw the ends flush and then remove the saw
marks by sanding.

Shape the Top and Add the Buttons

22. Layout the curve on the top (Photo 1OJ. Plane the Remove the inner box from the outer box and line it with Spanish
curve and sand it smooth (Photo 11). cedar. Be sure to use water-resistant glue.
23. Now cut open the box. Ra ise the blade above the

APR I LIM A Y 2009 www.AmericanWoodwol.lulr.com 57

Fig. A
Exploded View SCULPTOR'S
MESH

Note: The dadoes on this

end are 1/ 4" wide. Cutting
the box in two trims the 1/ 4"
wide inlay to 3/ 16" wide.

box and center it on the inside glue line of

the wider inlay.
24. Cut the box in two (Photo 1 2).
25. Pull out the support blocks from inside
CUT TIN G LIS T Overall Dlmensions:7-1/2"lx3"W xHli16"T the box (Photo 13). Use a long auger bit to
PA RT NAME Q T Y. M ATERI A L TH X W X L grab the support block that's deep inside.
A Box Top 1 Brazilian rosewood 3/8" x 3" x 7-5 /8" (A) 26. Drill holes fo r the decorative buttons.
B Box Bottom 1 Brazilian rosewood 1/8" x 3" x 7-5 /8" (A) Square the holes with a chisel (Photo 14).
C Box Side 2 Brazilian rosewood 1/8" x 1-3/16" x 7-5 /8" (A )
D Box End 2 Bra zilian rosewood 1/8" x 1-3/1 6" x 2-3 /4" 27. Glue in the buttons (CC) .
E Inner Box Side 2 Padouk 3/32 " x 1" x 7-3/16" (B) 28. Finish-sand to 220 grit. Spray the out-
F Inner Box End 1 Padouk 3/32 " x 1" x 2-9/16" side of the box with gloss lacquer and rub it
G Inner Box Magnet End 1 Padouk 3/16" x 1" x 2-9/16" (C)
H Bottom Lining 1 Spanish Cedar 3/32" x 2-1 /2" x 5-15/16" out to a satin finish.
J Side Lining 2 Spanish Cedar 3/32" x 29/32" x 5-15/16" 29. Install the humidifier (Photo 1S).
K End Lining 1 Spanish Cedar 3/32" x 29/32" x 2-3/8"
L Inner Box Top Padouk 3/32" x 3/4" x 2-3/4"
M Inner Box Divider Padouk 3/32" x 1" x 2-9/16" Source: Ridout Plastics, www.eplastics.com.
N Divider Lining Spanish Cedar 3/32" x 1" x 2-9/16" (800) 474-3688, IPS Weld-On #16 Plastic
P Top Lining Spanish Cedar 3/32" x 2-11116" x 5-7/16" Adhesive, 1.5 oz.Tube, $3.81.
Q Inner Box Bottom Padouk 3/32" x 2-3/4" x 7-3/16"
R Humidifier Box Bottom Plexiglas 1/8" x 3/4" x 2-7/16"
S Humidifier Box End Plexiglas 1/8" x 3/8" x 3/4" SUWAT PHRUKSAWAN
T Humidifier Box Side Plexiglas 1/8" x 3/8" x 2-3/16" "I was born in Thailand and
U Narrow Top Inlay Padouk 1/4" x 3/ 16" x 3"
V Narrow Side Inlay Padouk 1/16" x 3/16" x 1-7/16" earned a degree in
X Narrow Bottom Inlay Padouk 1/16" x 3/16" x 2-7 /8" Architecture there. Although
Z Wide Top Inlay Padouk 1/4" x 1/4" x 3" I have made a career change
AA Wide Side Inlay Padouk 1/16" x 1/4" x 1-7/16"
BB Wide Bottom Inlay Padouk 1/16" x 1/4" x 2-7/8" since I moved to the USA, I
CC Button s Padouk 3/16" x 7/1 6" x 7/16" am still fascinated with
DD Humidifier frame Brazilian rosewood 3/32" x 1/8" x 2-9/16" design and always try to
EE Humidifier frame Brazilian rosewood 3/32" x 1/8" x 3/4"
practice it in my woodworking. By day, I manage a
Notes: software development team. In the evening, howev-
(A) These pieces are 1/8" longer than th e finish ed project, to account for the sa w kerf when the box
is cut apart. er, I can be found in my garage shop tinkering w ith
(B) Trim length to fit, if necessary. all things woodworking."
(C) Thi s end is thicker, to accommodate the in set magn et.

58 www.AmericanWoodworker.com APR I L I M A Y 2 0 0 9
Drill air-escape holes in the end of the inner box. These holes Build a Plexiglas humidifier to keep the ciga rs fresh . Assemble the
allow the boxes to slide smoothly past one another. box with plastic adhesive.

Place wood blocks wrapped in wax paper inside the box. The Layout the inlays on the box after the lid is glued on. The inlay on
blocks support the walls when the inlay dadoes are cut and act as the humidifier end of the box (the end w ith the washer) is 1/ 16"
a backer when the box is cut in two. wider. The extra width w ill be removed when the box is cut open.

Cut the grooves for the inlays. The groove in the top is extra deep Install the inlays. Start with the top piece, then add the side pieces.
to allow for shaping the lid. Fit the bottom inlay last, to minimize exposed end grain.

APR I II MAY 2 0 0 9 www.Ar!:leric:anWoodwu1.lalr-.com 59

Layout the curve on the top with a piece of flexible steel. Hold the Plane and sand the gentle curve on the top.
steel at the center of the top and bend it to create the curve.

Cut the box open w ith a single pass on the tablesaw. Position the Extract the support blocks by drilling a hole at a slight angle. Stop
box so the blade is centered on the inside glue line of the w ider inlay. the drill and pull out the blocks.

lS
Cut the recesses for the buttons with a brad point bit and then To access the humidifier for recharging, pull the short end of the
chisel them square. outer box off the inner box and lift the humidifier out of its compart-
ment. The inner box has a rare earth magnet embedded in one end.
The outer box has a washer glued to the inside of the short end. D...

60 www.A:meric:anWoodwo:r'ker.coxn APR I LI M AY 1009

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 J.
J "
Second Life
for Old Pine
Antiquated grain
elevators yield
millions of feet of
vintage lumber

by Glenn Gordon
THE THREE GLOBE GRAIN
ELEVATORS, in Superior,Wisconsin,
across the harbor from Duluth,
Minnesota, are some of the largest grain
elevators ever built of wood. The biggest
of the three, fifteen stories high, is com-
prised of more than two million board
feet of lumber that has essentially been
curing in these structures for 125 years
(Photo 1). Built in 1887, mostly of white
pine from the once vast north woods of
Minnesota and Wisconsin, the Globe
elevators are relics of an era when tim-
ber was an economical and plentiful
material, an era that built massive rail-
road trestles entirely of walnut. After the

1 Some of the largest grain elevators

ever built of wood were erected in
1887 in Superior, Wisconsin, near
Duluth.The structures were made
the

PHOTO COURTESY OF THUNDER BAY RESEARCH COLLECTION

62 www.AmericanWoodworker.com APR I L I M A Y 2 009

forests were depleted, it didn't take long
for the wooden grain elevators and tim-
ber railway trestles of the 19th century to
give way to cylindrical concrete grain ele-
vators and bridges of steel.
The Globe's three wooden behe-
moths closed in 1997, but the weather-
beaten buildings still stand, strung
along a line a half a mile long next to an
inlet of the Port of Duluth. Today, huge
ships bound for ports all over the world
come to load taconite from the Mesabi
Iron Range and, at more modern grain
elevators nearby, wheat, corn and soy-
beans from the plains of Minnesota and
the Dakotas. Disused, the Globe com-
2 Today, the Globe Grain elevators are slowly being dismantled to recover more than two
plex was rescued from almost certain million board feet of white pine lumber.
demolition and waste by the foresight
of an entrepreneur named David Hozza,
the founder and CEO of Wisconsin
Woodchuck L.L.c., a company that sal-
vages old-growth lumber.
What Hozza saw in these creaking old
giants were not ramshackle dockside
ruins but a resource worth preserving.
Wisconsin Woodchuck is painstakingly
dismantling the buildings (Photos 2
through 4). Its sister enterprise, The Old
Globe Reclaimed Wood Company, direct-
ed by Tony Elvig, is selling the reclaimed
lumber as certifiably antique material that
tells a remarkable story. Most of the lum-
ber is 2x6, 2x8, and 2x1 0 lengths of white
pine that were spiked together face-to-
face and staggered in such a way that the
laminations formed continuous finger
joints at the corners up and down the
height of the elevators' hollow grain
shafts (Photo 5).
The edges of the stacked planks that
formed the interior surfaces of the shafts
are beautifully eroded, like driftwood,
from a century of flowing grain; the
cataracts of corn, wheat, and barley acted
abrasively on the wood like sandblasting
(Photo 6).The bevel-ended 8x8's that
you see in photo 4 are essentially giant
washers for the iron tie rods that kept the
walls of the hollow shafts from buckling
outward under the pressure of tons and
tons of grain.
During all the years they were in oper-
ation, the buildings were clad in corru-
gated iron, protecting the wood and its 3 The ground and top floors of the elevator buildings were timber-framed with braced
treasure of grain. The inside of the posts and beams.

APR I LIM A Y 2 0 0 9 www.AmericanWoodworker.com 63

 the shafts'walls apart before lowering
them to the ground. Each member of the
crew is rigged with a safety harness,as
the gaping structures are pretty treacher-
ous; a foot wrongly placed and someone
could buy the farm.
The Old Globe Wood Reclaimed
Wood Company is milling and resawing
most of the 2" thick lumber into panel-
ing and flooring for family cabins and
lake homes in what Minnesotans call "Up
North" (Photo 9). The faces of the planks
are wire-brushed for texture. The lum-
ber's black-oxidized holes left by the car-
penters' old-fashioned square nails add
even more to its character.
The heavy old-growth posts and
4 This elevator has been stripped of the corrugated iron that sheathed the wood, protecting
beams that supported the Globe's eleva-
the wheat, corn, and barley from the fierce winters of Lake Superior.
tors were mostly white pine, but oak and
biggest building was an architectural Douglas fir were also used. Old Globe
wonder. The top floors housed ten enor- sells lengths of these massive
mous cast-iron pulley wheels, each beams-mortises, tenons, holes and all-as
weighing 4400 pounds. There were three material for fireplace mantles. Some of
huge grain distributors, each of which these fine old squared-up tree trunks
fed grain into an "octopus" that directed were signed by the carpenters who built
the grain into separate bins. the elevators a hundred and twenty-five
The job of dismantling the Globe years ago, and a few were signed again
Grain Elevators is expected to take several by the sons of those carpenters working
years (Photos 7 and 8). A small crew is on the structures thirty years later. Their
working with a single crane to carefully signatures dignify timbers the likes of
cut, pry and lever manageable sections of which we'll never see again. b...

5 A pair of crane-suspended "tuning forks" 6 The abrasive, sandblasting action of grain flowing through the elevators over 100 years sculpt-
are used to grasp segments of the elevator ed the interior edges of the planks. These surfaces are being saved for their unusual character.
walls so they can be cut with chain saws
and lowered to the ground.

64 www.AmericanWoodworker.com APR I L / MAY 2 009

7 A small crew is working with a single crane to dismantle the three colossal elevators that made up the complex. The work is expected
to ta ke severa I yea rs.

SOURCES
• Wisconsin Woodchuck,
www.wisconsinwoodchuck.net. (800) 853-
8623.

8 Segments are denailed using a custom-built set of hydraulic

wedges to pry the planks apart.
9 Cleared of nails, the wood is resawn and
milled into boards for flooring and paneling.

APR I LIM A Y 200 9 www.AmericanWoodworker.com 65

The Magic of
White Pine
by Tom Caspar
AAH, WHITE PINE. Just saying the oame makes me boards often contain the pith. Second,
smile. For a hand tool guy like me, it hardly gets any construction lumber has a high moisture con-
better; white pine is easy to plane, saw and pare. And tent (MC).lt's only dried down to about 17 percent
the shavings smell so good, they transport me right MC, so the wood has a ways to go before it stabilizes.
back to the forest. White pine, on the other hand, is often cut from huge
White pine (Pinus strobus) isn't your ordinary lum- trees, far from the pith, and is usually available kiln-
beryard pine. Construction lumber is usually a mix- dried down to 7 to 9 percent Me, ready to be used in
ture of spruce, other types of pine, the woodshop.
and fir (SPF, for short). These woods Once dried, white pine is exceptionally stable and a
are denser and have a more pleasure to work. It shrinks and swells less than red oak
uneven texture than white or hard maple, for example, and is about on par with
pine. SPF pieces are also like- cherry. It has a uniform texture with inconspicuous
ly to move a lot after they're growth rings, unlike con5t(uction lumber. You won't
sawn, for two reasons. have the aggravation of catching an ~dg~ while planing
First, SPF is frequent- or paring through alternating sections of ~oft earlywood
ly sawn from and hard latewood. Your plane or chi s¢1just glides right
smaIl-diame- through the wood-except the knots, of course.
ter trees, so American woodworkers have always valued white
pine. It was widely used in the colonial era for making
everyday furniture because it was so plentiful and easy
to work by hand. White pine's figure is fairly plain, so
pieces were often stained or painted to brighten them
up. White pine is pretty soft and easy to ding or
scratch. It proudly bears its scars, though. All that old,
humble furniture shows its history, and that's a big part
of its charm. For fancier work, white pine was often
used as a secondary wood. Many cabinetmakers used
it for drawer sides and bottoms, cabinet backs, and
as a ground for veneering.
White pine's appearance changes as it ages.
Freshly cut, it's usually a pale straw color. Exposed to
air and light, it turns a deeper yellow, like maple. But
unlike maple, it keeps getting darker, eventually turn-
ing a warm brown. This patina extends down into the
wood. If you plane an aged white pine board that's
been recycled from an old building (left), you'll see
a wide variety of colors reveal themselves with
every pass. Eventually, you'll get to the
wood's original pale color, but the
wood that's just under that old sur-
face still has a lot to say: I'm an
American classic, and I'm proud of it.
An1.ericanw#
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Rout 4 variations of
these super-strong guide, straight bits designed for mortising and vertical for end mortis-
plunge cutting, and a mortising ing. The router sits on top of the block
joints with a versatile block-a shopmade jig I've designed and overhangs the workpiece (Photo,
that you can make in a day. The mor- at right).
shop made jig tising block minimizes layout work
and allows routing both edge and end How the Jig Works
mortises from the same router setup. The jig's registration line locates
By Bill Hylton You can use off-the-shelf bits and the workpiece.
just about any plunge router, but a • The jig's L-bracket tracks the router
precision edge guide is a must. I use and keeps the mortise aligned with
I'VE USED A NUMBER of different the Micro-Fence edge guide, which I the edges of the workpiece.
methods to create mortise and tenon think is the best available (see Sources, The mortise's width is determined
joints, but I keep coming back to loose page 72). by the bit's diameter. To create
tenons, because they're easy, strong mortises wider than the bit, you
and versatile. Instead of cutting a The Mortising Block reposition the fence and make a
tenon on one part and a mortise in This jig holds the workpiece, supports second pass.
the other, I rout identical mortises in the router and controls its movement • The mortise's depth is controlled by
both parts, and connect them with a (Fig. A, page 69). The jig consists of the the router's plunge mechanism.
fitted strip of wood-a loose tenon. mortising block itself, a top extension, • The mortise's length is governed by
Loose tenon joinery is perfect for case- an L-bracket and a clamp board for the jig's adjustable stop blocks.
work, tables and doors of all sizes. bench mounting. The mortise's lateral (side-to-side)
The only tools you need to start The face of the block has dadoes positioning is controlled by the
making loose tenon joints are a and mounting-bolt holes for the two router's edge guide.
plunge router equipped with an edge work holders-horizontal for edge

68 AmericanWoodworl<er.com APR I LIM A Y 2009

Build the Jig
1. Mill stock for the main parts and
cut the pieces to final dimensions
(Fig. B, page 73). The mortise block's
body and the horizontal work holder
must be exactly the same length,
because you reference from the ends
to rout vertical keyways in both
pieces.
2. Rout the 1/4" deep vertical key-
ways in the mortising block and the
horizontal work holder.
3. Rout single 1/4" deep horizontal
keyways in the mortising block and
the vertical work holder. The block's
keyhole is stopped.
4. Rout mounting-bolt slots in
each work holder, using a plunge Adapt your router to the jig by installing a fence on the edge guide that fits the slot
router and an edge guide. formed by the jig's L-bracket. This keeps the bit aligned as the router slides back and forth .
5. Plane 1/2" thick stock to fit the To move the bit laterally, you simply adjust the edge guide.
work holder keyways. Cut pieces to
length to create the keys. Attach Fig. A Loose Tenon Mortising Jig
them.
6. Clamp the horizontal work hold-
14"-20 x 1-1/4" BOLT (TYP.)
er to the mortising block. Tap a 1/2"
brad point drill at both ends of each STOP BLOCK
slot to transfer its location to the
1/4" x 1/2"
block. Remove the work holder and KEYWAY (TYP.)
scribe a pair of vertical lines on the
L-BRACKET
block through the four points you - .. 4.U~
marked. Clamp on the vertical work 114" x 3/4"
holder, mark the slots and scribe a KEYWAY (TYP.)

pair of horizontal lines.

7. Drill holes for the work holder
mounting bolts at the four points
where the horizontal and vertical
lines intersect. To secure the 3/8"
bolts, I cut threads in the wood itself.
To do this, drill the four holes with a
LONG THREADED
5/16" bit and use a 3/8"-16 tpi tap to SPINDLE (TYP.)
cut the threads (see Sources). No cut- HORIZONTAL WORK
ting fluid is needed; just turn the tap HOLDER--~

into the hole, then back it out.

Alternatively, you can use T-nuts or
drive threaded inserts into the mor- 3/8"-16 x 2" ---~y
BOLT (TYP.)
tising block to secure the bolts.
8. Glue and clamp the top exten-
sion to the mortising block. Clean off
any dried glue after removing the
This jig allows routing both edge and end
clamps. Then joint the assembly to
ensure that its top surface is square
mortises from a single setup. All you have
to its face. to do is switch work holders.
APR I LIM A Y 2 0 0 9 AmericanWoodworker.com 69
 9. Attach a 3/ S" thick wood fence to 13. Install toggle clamps on the absolutely essential : a centerline
your router's edge guide. Then size the work holders (see Sources). I used across the mortise. This mark aligns
L-bracket parts to create a groove that stronger SOO-ib. rated clamps on the with the jig's registration line.
will house the fence. The fit should be vertical work holder and installed 2. Position a test piece on the jig, using
snug, so the fence slides without any longer threaded spindles on all the the horizontal work holder (Photo 2).
wobble. Glue the L-bracket parts clamps. Be sure to locate the clamps so 3. Adjust the work holder so the edge
together and install them . they don't interfere with the router. of the workpiece is flush with the jig's
10. Make both stop blocks from one 14. Draw a registration line cen- top. Line up the workpiece centerline
long piece of s/ S" by 2-3/4" stock. Rout tered on the face and top of the mor- with the block's registration line (Photo
the 1/ 4" deep keyway and two mount- tising block. 3). Adjust the toggle clamps to hold the
ing bolt slots. Cut the stops to final 15. Glue on the clamp board. work securely.
length. Make keys and attach them. 4. Install a bit designed for mortising in
Create the Basic
11 . Rout matching keyways in the the router. Up-spiral bits are popular for
top of the mortising block.
Loose Tenon Joint making these plunge cuts, but they're not
12. Set the stops in place on the 1. Layout an edge mortise (Photo essential.
block and mark locations for mounting 1). lt doesn't have to be elaborate, s. lnstall the router on the jig and
bolt holes. Drill and tap the holes for just lines marking the mortise ends test-slide the edge guide's wood
1/ 4"-20 tpi bolts. and centerline. Only one line is fence in the L-bracket groove. Apply

70 .II.merleanWoodworker.c:om APR I L I M A Y 2 0 0 9
wax, if necessary. tises are located in the same place on inet doors. Adding loose tenons
6. Bottom the bit onto the work- each workpiece, you don't even have strengthens these joints.
piece. Then move the router to center to mark them . Instead, just fasten a Rout the mortises before you rout
the bit on the mortise centerline stop on the jig against the end of the cope and stick profiles, so you don't
(Photo 4). Lock down the edge guide your test piece and use it to register have to work around stub tenons on the
and set the plunge depth. the workpieces. ends of the rails. (The mortises won 't
8.lnstall the stop blocks to establish 10. The only change you have to interfere when you rout the profiles.)
the length of the mortise (Photo 5). make to rout the matching end mortis- Center the mortises across the thickness
9. Rout the mortise (Photo 6). es is to switch work holders (Photos 8 of the workpiece. The mortises probably
That's all it takes. As long as the faces and 9) . won't align with the stub tenons pro-
of the workpieces are oriented the 11. Mill loose tenon stock to com- duced by the cope cuts, but that doesn't
same way on the jig, all the edge plete the joint (Photos 10 and 11). matter, because everything will be hid-
mortises routed with this setup will den in the assembled joint.
Reinforce a
be the same, regardless of where they Start with the end mortises. Offset
fall on the workpiece. Just scribe a
Cope and Stick Joint them away from the rails' inner edges,
centerline across each mortise and Routed cope and stick joints look so the panel groove won't cut into the
align it with the registration line on great, but their stub tenon construc- mortises (Photos 12, 13 and 14). Use
the block (Photo 7).lf all of the mor- tion may not be suitable for large cab- the rails' offset end mortises to locate

APR I L I M A Y 2009 AmericanWoodworker.com 71

 the stiles' edge mortises.
Be aware of the rails' offset
mortises when you rout the profile
and panel grooves-it's easy to
rout the wrong edge.

Twin Mortise Joints

In post-and-rail constructions
made using thick stock, you can
make stronger joints by doubling
the loose tenons. The rail mortises
of these corner joints can all be the
same depth, but the inside mortis-
es on the posts will intersect, so
they must be shorter, and their
tenons must be mitered. The out-
side post mortises won't intersect,
so they can be the same depth as
the rail mortises.
Orient the workpieces with their
outside faces against the mortising
block. Set up and rout all the out-
side mortises. You'll have to change
work holders when you switch
from routing edge to end mortises.
Reposition the bit and rout all the
inside mortises (Photo 15). Reduce
the final plunge depth when you
rout these mortises in the posts.

Loose Tenon Table Joint

In this construction, the apron usual-
ly is inset from the leg faces. My
approach is to set up for the mortis-
es in the legs (Photos 16 and 17).To
rout the aprons, I use double-faced
tape to install a shim equal in thick-
ness to the inset between the apron
and the block (Photo 18). Be sure to
install the aprons outside-face in
before routing their mortises. h...

SOURCES
• Micro Fence, www.microfence.com.
(800) 480-6427, Micro Fence
Edge Guide, $179.
• Buy Destaco, www.buydestaco.com.
(800) 560-9292, De-Sta-Co Horizontal
Toggle Clamps, #215U, $9.69 ea.;
#225U (500 lb. cap.), $11.16 ea.
• Tap and Die sets are available at
hardware stores and home centers.

72 AmericanWoodworker.com APR I LIM A Y 2 009

Fig. B Dimensions
STOP BLOCK
MORTISING BLOCK 5/8" x 2-3/4" x 4"
4-7/8" x 9" x 22"
TOP VIEW - - 6-1/16"------- ~4"--, 5/8"

112"
1/4" DIA'7

/
/ r
2-3/4" I===::j =!
L I L = 15/16"
- - --
1-~8" T -- -.: .
L~
0
1I4"DEEP---..L,

-.12-13116,,0
15/16" C:"
FRONT VIEW END VIEW
8"
~4"--- ,-
-12-1/4~~ 1-112" 1-112"
2-1/4"1+ 3/8" DIAZ I_ -I- -I ~3I8'~

r+L
t---sl8"

=~=~=======
t
5-1/8"
--
--
---
--- 11'L 147"
" DEEP
--.1
-J [.-314"
2"

-<11- 1 '1'
9"
9" 2-518"~
)I
1,-,~I l'---+-----l~4"
r---
I----
I
o t -------
~I -
- -------- 'Y
--
I
II+------~~::------+l-
-.l 1.-314" I 1.-3-3I8"...J'
VERTICAL WORK HOLDER
1-112" x 4-3/4" x 12"

HORIZONTAL WORK HOLDER

1-112" x 6" x 16"

r------- 16 "'--------1
• •

rl ·· ~}.
1/2"

~---I-~
1-1/4"
~• 5"

L
...J 2-1/4" I.- 4,,--1
1-1/16,J

APR II I MAY 2 009 AmericanWoodworker.com 73

 Rustic

74 www.AmericanWoodworker.com APR I LI M A Y 2009

Make a chair in a day
using green wood saplings

by Jonathan Benson
YOU CAN MAKE a pretty good case for bending and
attaching green wood sticks as the second oldest wood-
furniture making method-after coming upon a fallen
log, and sitting. Today, this type of furniture is labeled
"rustic," so exposed nails, screws and other hardware are
acceptable for joining the individual pieces. Larger
pieces can be joined using mortise-and-tenon joints cut
Willow saplings and branches about 1" in diameter make
by hand, a drill or a commercially available tenon cutter.
suitable bending material. Slightly larger branches are best for
Nails or leather straps also work well for joining the
structural members.
wood together.
Building this child's chair (see Fig. A, page 76) is a
good introduction to rustic chairmaking. It's also a les-
son in the great bending properties of willow. With
rustic furniture, there are often no drawings or set
plans. The shapes and sizes of the wood at hand and
the maker's eye are often the determining factors
when creating a design. A few basic dimensions are
important, however. For rustic chairs, they include the
height, width and depth of the seat. (see Fig. B, page
76). As this chair is designed for a child, it's smaller
than an adult-size chair. But both chairs are made the
same way:

Working with Green Wood

Green wood is either freshly sawn or has not undergone Start by making a pair of frames. One frame supports the seat; the
any formal drying process. It retains moisture and the other frame supports the legs. Using a slightly curved branch for
wood's natural resins, which makes it easier to bend the front of the seat frame makes the seat more comfortable.
than wood that has been thoroughly dried. Alder, birch,
beech, hickory, and willow are commonly used to make
bentwood rustic furniture. Willow may have the best
qualities of all because it bends easily, stays in place, and
the bark usually doesn't come off when the wood dries.
It can also be a reliable source of material-a good
stand of willows near a creek or river will yield new
saplings year after year.
Saplings work best for bending, because they are rel-
atively straight and have few offshoots and leaves
(Photo 1). That makes them easy to prepare. Use
saplings and small branches to construct bent compo-
nents, such as the arms and seat of this chair. Use thicker
branches to construct the support structure.
When you cut live branches and saplings, it's best to
use them right away, before they have a chance to dry out. Nail each frame together after pre-drilling each hole, to avoid split-
The sticks can be wrapped in plastic and stored for a while, ting the wood. Orient the pieces firmly against the bench, so the force
but they'll continue to dry. Mildew can also be a problem. of the hammer is directly transferred through the nail to the bench.

APR I LIM A Y 2009 www.ArnericanWoodworlmr.com 75

 Nail the first arm inside the leg frame. Bend the arm inside the opposite rail and nail it in place. Then trim
the ends. This chair has a total of four bent arms. Pre-bending the
branches before installation makes their curves more uniform.

Fig. A Rustic Child's Chair For the bent pieces in this chair, I cut willow and
Osage-orange saplings that were about 1" in diameter at
their thickest. The structural members were cut from
branches of willow and Osage-orange and were slightly
more than 1" in diameter. This chair's structural frames
hold the bent elements in tension, which adds much
strength to its overall structure. To create bent pieces
that are uniformly shaped, you must pre-bend the thick
end of each piece by hand or over the edge of a bench.
1 S0 - 200 Otherwise, the pieces will tend to bend more where they
PITCH are thinner and less where they are thickest, resulting in
uneven curves. Use galvanized nails (with heads) to fas-
ten the pieces. Some joints could be wrapped with
leather to add strength and detail. n...

S0 - 100
PITCH

From the book Woodworker's Guide to Bending Wood by

Jonathan Benson. Reprinted by permission of Fox Chapel Publishing.

SEAT Jonathan Benson's work has been exhibited in over 40 galleries

FRAME nationwide. He taught woodworking at the college level for over ten
years and has held woodworking workshops and lectures across the
country. In addition to Bending Wood, Jonathan is also the author of
Woodworker's Guide to Veneering and Inlay. Both books are avail-
able directly from Fox Chapel at
www.foxchapelpublishing.com.

FIG. B: COMMON CHAIR MEASUREMENTS

BARSTOOL CHILDS DINING (SIDE) DINING (ARM) EASY KITCHEN STOOL ROCKER

Seat Width 17" 18" 19" 24" 25 " 19" 12" 20"
Seat Depth 17" 15" 19" 18" 26" 19" 12" 26"
Seat Height 30" 12" 18" 18" 17" 19" 27" 16"
Back Hei ht 42" 40" 36" 36" 31" 34" 42"

76 www.AmericanWoodworker.com APR I LIM A Y 2 0 0 9

r

Install the second inside arm. The remaining two arms are Install the seat frame by nailing it between the four arms. Angle
attached on the outside of the frame. the frame 5° to 10° to the back, to make the seat more comfortable.
Here I've installed one of the outside arms to help with positioning.

Construct the back

frame by bending
two long branches
into a loop and
threading them
through a pair of
nailed-on cross
braces. The brace on
the seat frame
determines the
seat's depth. The
arm brace deter-
mines the pitch of
the back-usually
between 15° and
20°. Slightly bending Create the back's U-shaped frame by wiring together two long
this brace makes the branches, so the thick end of one branch is attached to the thin end
back more comfort- of the other. The wire helps the two branches bend uniformly. Nail
able. the back frame in position. Then remove the wire.

Fill in the seat and Install the remain-

back to complete ing branches. Pre-
the chair. Pre-bend bend the second
the first branch to branch and snug it
create a comfortable against the oppo-
seat and back, after site arm. Then work
passing it between from both sides
the two pieces that toward the center.
form the back's Space the branches
frame. Snug the as far apart or as
branch against one close together as
of the inside arms. you want, depend-
Make sure the ing on your design
branch is vertical and how many
and then nail it to branches you have.
the front rail, cross These branches are
braces and back spaced about 3/4"
frame. apart.

APR I LIM A Y 2 0 0 9 www..llmericanWoodworJ(er.com 77

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 s\ Crazy Mistakes Woodworkers Make

Steam-Burnt
Cherry
THE CHERRY SALAD
TONGS I'd made needed
repairs. They were steam-
bent, so they would "spring"
when you squeezed them
together. But the top portion
where the two arms attached
was messed up. Cutting off this
section significantly shortened
the tongs, so there wasn't much
spring left. No problem: I could
simply re-steam the pieces to
increase the bend.
I'd made the tongs after reading
an article about using a microwave
oven to steam wood for bending.
The wood was dampened, wrapped in for 10 minutes and went outside to opened the microwave to find a
moist paper towels and then heated do a chore-I sure wasn't going to charred wad (formerly paper towels)
in the microwave-the process had just stand there and wait. that contained a pair of carbonized
worked amazingly well. When I returned nine minutes salad tongs.
Unfortunately, I couldn't remem- later, the smoke detector was A year and a half later, using the
ber how long to heat the wood. So, I screeching and smoke billowed out microwave still makes the kitchen
tried 15 seconds, then 30, and then the door. I raced inside, opened a win- smell like smoked cherry-or burnt
60 seconds-nothing. Next, I tried 2 dow and whipped a dishtowel lasso- paper towels, according to my spouse.
minutes. No soap. Irritated and fed style to silence the smoke detector. -Jayne Thorson
up with the process, I set the timer Coughing from the acrid smoke, I

Make your woodworking

mistakes pay! Send us your
most memorable "What was I think-
ing?" blunders. You'll receive $100 for
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