American Woodworker №164 2013

8/12/2019 American Woodworker 164 2013

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17Tips for WorkingMetal?!

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4 AmericanWoodworker.com F E B R U A R Y / M A R C H 2 0 1 3

#164, February/March 2013

Features30 The Learning Cabinet

Teach yourself how to precisely fit doors whilebuilding a useful utility cabinet.

37 Snazzy FramesAngled cuts and a simple jig create kookieshapes. Like crazy, man. Theyre cool.

41 Summer TablePerfect for a summer porch, this table is easy to

take apart for storage during the winter.

46 Stacking Tool CabinetBeautiful wood and stylish design turn anordinary storage cabinet into one that says,This was made by a true craftsman.

54 How to Control BlotchingClear gel varnish works better than commercialwood conditioners.

58 The Design in WoodExhibitionA short history of the largest juried

woodworking show in America.

62 8 Ways to Make TenonsA quick guide to their pros and cons.

67 17 Tips for Working MetalEvery woodworker should know how to cut, file,drill and tap metal. Here are some basic smarts.

Departments8 Workshop Tips14 Well-Equipped Shop

20 A Great AmericanWoodworker

26 Turning Wood

74 Oops!Issue #164. American Woodworker, (ISSN 1074-9152). Published bimonthly by Woodworking Media, LLC, 90 ShermanSt., Cambridge, MA 02140. Periodicals postage paid at Boston, MA and additional mailing offices. POSTMASTER : Sendchange of address notice to American Woodworker, P.O. Box 420235, Palm Coast, FL 32142-0235. Subscription rates: U.S.one-year, $24.98. Single-copy, $5.99. Canada one-year, $29.98. Single-copy $6.99 (U.S. Funds); GST # R122988611. Foreignsurface one-year, $29.98 (U.S. Funds). U.S. newsstand distribution by Curtis Circulation Company, LLC, New Milford, NJ 07646.Canada Post Publications Mail Agreement Number 41525524. Canada Postmaster: Send address changes to: AmericanWoodworker, PO Box 456, Niagara Falls, ON L2E 6V2. Send returns and address changes to American Woodworker, P.O. Box420235, Palm Coast, FL 32142-0235. Printed in USA. 2012 New Track Media LLC. All rights reserved.

37

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#164, February/March 2013

EDITORIAL

Editor Tom Caspar

Senior Editor Tim Johnson

Contributing Editors Spike Carlsen

Brad Holden

Kevin Southwick

Jim Stack

Chad Stanton

Richard Tendick

Office Administrator Shelly Jacobsen

ART & DESIGN

Art Director Joe Gohman

Director of Photography Jason Zentner

Vice President/Production Barbara Schmitz

Production Manager Michael J. Rueckwald

Systems Engineer Denise Donnarumma

V.P. Consumer Marketing Nicole McGuire Circulation Director Deb Westmaas

Newsstand Consultant TJ Montilli

Online Subscription Manager Jodi Lee

New Business Manager Joe Izzo

Assistant Marketing Manager Hannah di Cicco

Renewal and Billing Manager Nekeya Dancy

Renewal and Billing Associate Adriana Maldonado

ADVERTISING SALES

1285 Corporate Center Drive, Suite 180, Eagan, MN 55121

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office (860) 417-2275, cell (203) 509-0125

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office (630) 858-1558, cell (630) 336-0916, fax (866) 643-9662

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office (708) 606-3358, fax (866) 496-2376

NEW TRACK MEDIA LLC

Chief Executive Officer Stephen J. Kent

Executive Vice President/CFO Mark F. Arnett

Vice President/ Publishing Director Joel P. Toner

American Woodworkermay share information about you with repu-table companies in order for them to offer you products and servicesof interest to you. If you would rather we not share information, pleasewrite to us at: American Woodworker, Customer Service Department,P.O. Box 420235, Palm Coast, FL 32142-0235. Please include a copyof your address label.

Subscribers: If the Post Office alerts us that your magazine isundeliverable, we have no further obligation unless we receivea corrected address within one year.

No part of this publication may be reproduced by any mechani-cal, photographic, or electronic process, nor may it be stored ina retrieval system, transmitted, or otherwise copied (with theexception of one-time, non-commercial, personal use) withoutwritten permission from the publisher.

More On the Web at AmericanWoodworker.com

Stain Without BlotchingSee how stain controllers (p. 54) work on birch.AmericanWoodworker.com/WebExtras

Fitting DoorsWatch Chad Stanton build his Learning Cabinet (p. 42) atAmericanWoodworker.com/WebExtras

Find us on:

Tenoning Jigs Drill Press MortisingWhat features should they have? Take a look at

AmericanWoodworker.com/WebExtras

Yes, it really works! Find out how at


Butterfly InlayLearn how to make a perfect template at


Customer ServiceSubscription/Billing QuestionsOnline: www.AmericanWoodworker.com/SubInfo

Email:e-mail [email protected]

Phone: US and Canada(800) 666-3111, International(386) 597-4387

Paper mail: American Woodworker Subscriber Service Dept.,P.O. Box 420235, Palm Coast, FL 32142-0235.

Back IssuesMost are available for $6.99 each, plus shipping and handling.Order at www.awbookstore.com/magazines

Contact the editorsEmail: [email protected]

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Paper mail: 1285 Corporate Center Drive,

Suite 180, Eagan, MN 55121.

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Clever Ideas From Our ReadersWorkshop Tips

SERGED

UCLOS

Plywood

CuttingGuide

CROSSCUTTING A FULL SHEET o plywood on a table-saw is pretty diffi cult, particularly when you dont haveany help. I use a circular saw and this shop-made edgeguide, instead. Te cuts arent nish quality, o course,but at least I end up with smaller pieces that I can easilycut to nal size on the tablesaw.

My guide is easy to use and there are no loose parts.You just line up either end o its arms with a pencil lineon the wood and youre ready to go. One turn o a knoblocks the guide in place.

I ofen cut a sheet on edge when its still sitting in itsstorage rack, so I dont have to lif it. When the offcut isquite large, I pull the sheet all the way out and lay it aton a 4x8 piece o 2" oam insulation. Te oam supportsthe whole sheet and can be reused many timesminehas dozens o saw kers running across it.

Te guides locking mechanism is composed otwo pieces with opposing, beveled sides (see the detailphoto at right). Te outer piece is xed to the guidesarm; the inner piece is loose, but attached to a knob.

ightening the knob draws the two pieces together, andbecause theyre beveled, orces the inner block to wedgeagainst the plywood, holding the guide in place.

I determined the lengths o these pieces by mea-suring my circular saw. Te long side o each one cor-responds to the large offset to the lef o the blade;the short sides correspond to the small offset to theright o the blade. Te precise lengths o the offsetsare important, since the ends o these pieces showyou exactly where the saw will cut. Tis way, depend-ing on the situation, you can cut on either side o theguide. Teres a xed block at the lower end o the

guide with the same offsets.Te guide is made rom our pieces o hardwood;

the xed block and wedge parts are all 3/4" x 3" x 7" (thelength o these pieces may have to be adjusted or yoursaw). Te straightedge is 3/4" x 3" x 56".

Mark Tiel

EDITOR

:BRAD

HOLDEN

|

PHOTOGRAPHY:JASON

ZE

NTNER

UNLESS

NOTED

Terrific Tip!

Terrific Tips Win Terrific Tools!Well give you a $100 gift card for every original workshop tip we publish. One Terrific Tip

is featured in each issue. The Terrific Tip winner receives a $250 gift card.

E-mail your tip [email protected] send it to American Woodworker Workshop Tips, 1285 Corporate Center Drive,

Suite 180, Eagan, MN 55121. Submissions cant be returned and become our property upon acceptance and payment. We may edit submissions

and use them in all print and electronic media.

Line of cut

Fixed block

Lockingblock

COURTESY

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CONTRIBUTOR

10 bevels


9/76

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Workshop Tips continued

Flexible Sanding ToolA COMPLEX MOLDINGcan sure be diffi cult to sand. Sof-ening its crisp edges is a crime, so I use a thin, exiblestick with sandpaper adhered to it or getting into theat areas.

Not just any stick will doit must have just the rightamount o spring. An auto-body putty spreader, cut intonarrower pieces, is perect. Putty spreaders taper in thick-ness rom end to end. Te part you hold is thick and some-what stiff; the part that holds the sandpaper is thinner andmore exible.

Look or a putty spreader at an auto-parts store. It willcost only a ew bucks.

Richard Tendick

GrippyClampSOME OBJECTS arenteasy to hold or drilling.When I run into a situation like this, I use a wooden-jawed handscrew that has sandpaper glued to one sideo it, so it doesnt move around. You can use either

adhesive-backed sandpaper or spray an adhesive onregular sandpaper.

Yoav Liberman

Jointer-Fence StraightedgeCAN YOU ASSUME that a board is straight, just becauseyouve jointed its ull length? Nope. I it was convex tobegin with, it can still be as bowed as ever.

Beore I joint any board, I check to see how straight itisor isnt. Rather than pull out a long straightedge, I justplace the board against the jointers ence and look or gaps.

I I spot a gap at either end, the board is convex. I thenknow that I should bear down on the middle o the boardas I joint. Pressing down on either end can rock the board,and it will end up the way it startedconvex.

One pass usually isnt enough, o course. Ill joint theboard a ew more times until I hear the knives cut theull length o the board. But even then, I check the boardagainst the ence one more time.

Tom Caspar

Glued-onsandpaper

Puttyspreader


11/76

Hardware Store T-BoltsSPECIALTY HARDWAREcan be really annoying. ake the-boltits essential for attaching anything to a -track,but where can you buy one at a moments notice? Hard-

ware stores dont carry -bolts, but Ive found that theyalways have a good substitute in stock: closet bolts.

Closet bolts are used to fasten a toilet to the oor.(Te prissy name must come from describing a bath-room as a water closet. I call them toilet bolts.) Closetbolts are slightly cheaper than -bolts, but dont expectto save a bundle. You may have to le their heads a bitnarrower to t in the track, but this is no big deal.

Why not just use hex-head bolts, you may ask? Fineand goodif your -track accepts them. Many typesdont. But even if yours does, I recommend using closetbolts. Teir heads are rounded and thinner in cross-sec-tion, so its easy to insert them into the end of the -track.Teyll slide better, too. Closet bolts come in either 1/4"or 5/16" diameters, and lengths from 2-1/4" to 3".

Jon NowlinCloset

bolt

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12/76

Workshop Tips continued

Tablesaw StoragePERFBOARDisnt just or wallsits perect or organiz-ing stuff wherever you need to store it. Ive bolted apiece o perfoard to the end o my tablesaws extensiontable to hold all the accessories I turn to each day in theshop. Choosing rom a wide variety o hooks makes itpossible to hang just about anything.

John Cusimano

Clamp the ClampWHEN YOUR HANDSarent strong enough or large enough toput the last squeeze on a big clamp, try clamping the clamp.

My ingenious wie, who has very small hands, inventedthis solution. She works in my shop, too, and she can't getadequate pressure with some our clampsthe grips are sim-ply too large.

Sometimes our small grandchildren help out in theshop and nd that they cant get their hands around a bigclamp. My wie shows them this trick, and they love it!

Alejandro Balbis

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The Well-Equipped Shop

EDITOR:TOMC

ASPAR

|

PHOTOGRAPHY:JASONZ

ENTNER

UNLESSNOTED

by Brad Holden

Pipe Clamp Vise

A TAIL VISEis an essential part of a first-classworkbench. Its used to hold work on topof the bench, between dogs. Most types oftail vises are quite complicated to build,but the folks at Lee Valley have figured outa way to make a simple one from an ordi-nary pipe clamp.

I remember trying to do this years ago,but my design never worked. First, the stockhandle on my pipe clamp was too long, soit stuck up above the top of the bench. Sec-ond, the clamp was very awkward to adjustin and out. And third, my mounting block

was, well, inadequate.Lee Valley has solved all of these prob-lems. The handle on their clamp has alow profile, theres a quick release mechanism thatsvery easy to operate, and the mounting block is quiterobust. Youll have to supply the pipe, a wooden jawand a bench dog.

Im not so keen about using this device as a sub-stitute for a metal-jawed face vise, however. Lackingguide bars, the pipe clamp vise racks too much, bothup and down and side to side. It will rotate, too. Thismay sound bad, but its not a deal-breaker for a tailvise. Up and down racking and rotation arent a prob-

lem as long as you dont use the vise for support; sideto side racking isnt an issue because a round benchdog can rotate to compensate for this movement.

As youd expect from Lee Valley, this is a well-madetool. Its a good value if youre trying to quickly get setup on a small budget.

S O UR C E

Lee Valley & Veritas, leevalley.com, 800-871-8158, Pipe Vise

Head and Base, #15G01.03, $59; Extra Base, #15G01.01, $35.

No-Plug Ear PlugsHEARING PROTECTIONtakes a back seat to convenience inmy shop all too often, but these new earplugs from Cre-scendo might make me change this bad habit.

As things are, I put on earmuffs when Im going tomake a lot of noise and take them off when Im done.Wearing the muffs makes me feel like Im under water, soI rarely leave them on all the time. (Ive tried regular, dis-posable earplugs, and theyre no better.) Heres my prob-lem: When I only need to make a cut or two, and my earmuffs are inconveniently located on the other side of theshop, I go without any hearing protection.

Sound familiar? If so, you may want to try CrescendoReds. Unlike other plugs, they have filters that allow air topass through. You get 25dB noise reduction without thatunderwater feeling, so you can comfortably wear themthe whole time youre in the shop.

These plugs dont have a connecting cord, like regularplugs, and at first I thought that was odd. But then I real-ized that if I were to leave the Reds in my ears all the time,I wouldnt need to hang them around my neck. Crescendo

provides you with an aluminum storage case to keep themclean, because at $38 a pair, these arent disposable. Cre-

scendo recommends that you frequently clean the plugsin accordance with their instructions.

You get two sizes of plugs when you buy a set. Choosewhich one best fits your ear, pop in the filters and bringon the noise. These plugs are a little pricey, but cost far lessthan hearing aids.

S O UR C E

Crescendo, crescendo-hearingprotection.com, 305-463-9304,Crescendo DI Red 25dB, $38.


15/76

COURTESY

OFMANUFACTURER

Heavy DutySpindle SanderCURVED PARTSadd a higher degree ofdifficulty to any project, including thetask of making them smooth. While

you could use hand tools or a sand-ing drum mounted in a drill press tofair a curve, its hard to beat the speed,convenience and performance of anoscillating spindle sander. Deltasnew Heavy Duty Benchtop SpindleSander delivers plenty of power in amid-size package.

The spindle of an oscillating sandergoes up and down while its going round andround, and that produces a surface that is free ofthe parallel scratch marks you get with a drill presssanding drum. The rate of this oscillation varies a lot from

machine to machine. At 29 spm (strokes per minute), thisnew sander is a bit on the slow side (Deltas floor modelruns at 71 spm), but to be honest, I was perfectly happywith the results.

This sander is powered by a 1/2 hp, 115V motor thatpulls 7.5 amps. Youd have to lean on the spindle prettyhard to slow it down. The table tilts to 45 and sits 18"high. Although this is called a "benchtop" sander, placing

the machine on most benchesputs the table at an uncomfort-ably high level. Weighing in at66 lbs., this sander is a bit tooheavyfor me, anywayto lugaround the shop. Consideringthe machines height and weight,Ill be building a mobile stand forit with storage for extra sandingsleeves and the wrenches neededfor mounting the spindles.

The machine comes with1/4", 1/2", 5/8", 1-1/2" and 2"spindles. A 3" spindle is sold asan accessory. Im not going tohesitate to get one, because a 3"

spindle is much better than a 2" spindleat removing lumps from large-diameter curves.

Taking the machines oscillation into account, all of thespindles will sand a surface up to 3-1/2" wide.

This machine includes a 2-1/4" dust port with a 4"adaptor, a 100 grit sanding sleeve for each spindle, 4 tableinserts and a 5 year warranty.

S O U R C E

Delta, deltamachinery.com, 800-368-1487, Heavy Duty

Oscillating Bench Spindle Sander, #31-483, $720; 3" Heavy Duty

Drum & Sleeve Kit, #31-489, $58.


16/76

The Well-Equipped Shop continued

Sander, Unchained

LOOK TWICEat this picture. Yes, thats a battery on thesanders backits a cordless tool. Losing a sander's cordcould be a big benefit on a jobsite, but is it so importantin a workshop, where there are plenty of outlets? Well,ask yourself thisdo you still use a corded drill?

The analogy isnt perfect, but we all know howannoying a cord can be while sanding a large project.You can trip on it, snag it on a corner or find that itsexactly 1" too short. You wont have any of these prob-lems with the Makita LXT 18v 5" random orbit sander.

You may wonder whether adding a battery alsoincreases the sanders weight. It doesntthe LXTweighs a bit less than 4 lbs., about the same as most

corded sanders. The battery doesnt throw off thesanders balance, either. I found this machine to be rea-sonably comfortable to hold and easy to control.

You may also wonder how long the charge lasts. Theanswer depends on the speed you select. At 7,000 opm(orbits per minute), the slowest of the three availablespeeds, you can sand up to 40 minutes. At 11,000 opm,the fastest setting, youll get up to 20 minutes. Thatsplenty of time for me, before I need a break. The LXTcomes with two 3.0 Ah batteries and a 30-minute char-ger, so factoring in coffee breaks, you could sand all day.

Theres just one thing about a cordless sanderthat bothers me, and thats dust control. Granted,the LXTs onboard filter catches a lot of dust, butnot nearly as much as a vacuum can collect whenits hooked up directly to a sanders dustport. Whensanding indoors, Id prefer to hook up any sander tomy tool-actuated vac. And that means trailing arounda hose, so losing a cord wouldnt be an advantage. Butwhen sanding out on the driveway, where a vac isntneeded because dust is carried off by the breeze, acordless sander would be sweet!

S O U R C E

Makita USA, makitatools.com, 877-267-2499, Cordless Random

Orbit Sander, #LXOB01, $289; Tool only (less batteries andcharger), #LXOB01Z $99.



17/76

Precision Scribing ToolARE WALLSever as straight as the furniture you build?Nopetheyre often wavy or crooked or out of square.When you build a cabinet that must fit tight against a wall,

you use a scribing tool to transfer the walls shape to thecabinet, then trim the cabinet to fit. You can make a simplescribing tool from an ordinary washer, but Ive just triedone that any lover of sophisticated tools would appreciate.Its calledI kid you nota Thingamejig.

I guess the Australians who make the Thingamejig musthave a good sense of humor, but theyre quite serious abouttheir scriber. Its precision engineered, with an anodizedaluminum body and three carbide blades. Each blade is tri-angular and can be rotated, giving you 9 edges to wear outbefore you have to change blades.

To set the Thingamejig, you turn the tools threadedshaft to raise the blades to a height equivalent to the larg-est gap between the cabinet and the wall. You can directlymake this adjustment by holding the tool up to the gap or

you can measure the gap and refer to a laser-cut rule onthe tools shaft. Tightening a locking nut secures the setting.To scribe, you slide the tools foot along the wall and

press one of the blades against the cabinet, marking a crisp,accurate line. (You can add a protective plastic pad to thefoot to avoid scratching the wall.) Because the blades arecarbide, you can also scribe objects with hard surfaces, suchas cabinets veneered with plastic laminate, painted items,

stone and soft metals.I love the Thinkamejigs large foot. Its 2" across, pro-

viding a stable, wobble-free base that helps you scribe asmooth line. There are situations where the foots sizewould be a drawback, though. An extreme example would

be when scribing a brick wall; the foot would simply spansmall irregularities, like mortar joints.The scribing tool comes with an extra set of three blades

and an extra protective pad.

SOURCE

Thingamejig Precision Tools, thingamejigtools.com, Scribing Tool,

#SC-I (imperial scale) #SC-M (metric scale), $80.

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18/76

The Well-Equipped Shop continued

Sweet-Cutting BladeDO YOU AVOIDchanging blades on your tablesaw? Do youfeel like your tablesaw doesnt have enough power? Is

your current blade coated with burned residue? If youanswer "Yes" to all these questions, then its time to take agood look at a high-quality thin-kerf blade like this one,the Super-General T.K. from Infinity.

Blades that perform well at both ripping and crosscut-ting were once called "combination" blades. Many manu-facturers now make "general purpose" blades, which havea slightly different tooth pattern but can also be left in thesaw for both cutting operations. Infinitys Super-Generalis, as the name implies, one of those blades.

As for increasing horsepower, well, a new blade cantactually do that, but it can reduce the load on yoursaws motor. With its narrower teeth, a thin-kerf bladeremoves up to 25% less material than a typical 1/8" kerf

blade. Cutting a board with a thin-kerf blade requiresless power, so the saw is less likely to bog down. You wonthave to push as hard, either.

The Super-Generals plate has a hi-tech, aluminuminfused coating that reduces friction and is easy to clean.According to Infinity, this particular coating also aids inquickly diffusing heat, which helps the teeth stay sharplonger. Youll notice, however, that theres no coating on

the blades hub. Thishelps keep the bladerunning true, according toInfinity, because coatings arerarely uniform in thickness.Infinity has removed anypossibility that an unevencoating could affect how theplate mates against the sawsarbor washers.

The Infinity Super Gen-eral is one of the nicest thinkerf blades Ive used. Itsmade with first-rate materi-als, including thick, C4 sub-micron carbide teeth. The 30ATB (alternate top bevel) teeth

also have an aggressive hookangle and deliver crisp, clean ripsand crosscuts in all commonly usedmaterials.

S O UR C E

Innity Cutting Tools, innitytools.com, 877-872-2487, 10" Super

General T.K. 40T Saw Blade, #010-045, $99.


19/76

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20/76


A Great American Woodworker An Artisans Life Story

EDITOR:TIMJ

OHNSON

|

PHOTOSBY

MARK

SFIRRI,UNLESSNOTED.

arkMarkSfirriSfirriAn off-beat,off-centerwood turner.

by Spike Carlsen

MARK SFIRRI ISNT JUST A WOOD TURNERhes a turningteacher, turning researcher, turning author, turning lec-turer, and turning exhibit curator and judge. Whats oddabout this well-rounded turner is that he doesnt turn inthe round. Multi-axis turning is his specialtyand ewdo it better.

A circular pathMark, who is 60 years old, became enamored by art atan early age. I doodled WAY more than the averagekid, he explains. He had the good ortune o attendinga high school with a special arts program run by a rigor-ous teacher, where he learned about shape, color, and thebasics o art and design.

Afer graduating high school, Mark was accept-ed at the Rhode Island School o Design. My parentswere okay with me going there as long as I majored in

architecture so I could get a job, Mark recalls. But the

program was conceptual, while he wanted a hands-onprogram. So I wandered through the different art stu-dios at the school. Te glass, printmaking and jewelryprograms didnt excite me, but I loved the wood, toolsand machinery in the wood shop. He also discovered ateacher named age Frid, who taught him, among other

things, the importance o planning and drawing out hisideas so he could communicate them.

When Mark graduated, Frid asked him to run theschools woodshop. (Mark also worked in Frids RhodeIsland shop.) In 1978, afer receiving his masters degreerom RISD, Mark moved to Rochester, N.Y., to workor an offi ce urniture manuacturer. By the time helef three years later, he had become director o designand engineering.

A position opened up at the ne woodworking pro-gram at Bucks County Community College. Mark was

hired because he possessed one qualication no one else


21/76

F E B R U A R Y / M A R C H 2 0 1 3 AmericanWoodworker.com 21

hadindustry experience. While teaching, he contin-ued developing his own woodworking and urniturebusiness. In the 80s, it seemed like anything wentkind o like the Wild West. Tere were lots o collectorsand opportunities, and price wasnt a huge actor.

Te nancial landscape changed in the 90s whenrecession hit, so Mark began to build very conservative

urniturea style he labeled Recessionary Expression-ism. I couldnt sell any o it, he explains, so I decided Imight as well make stuff that was appealing to me. Andwhat was appealing to Mark was multi-axis turning.

Where math meets artMark has an affi nity or math and art, and multi-axisturning allows him to combine these two loves. He alsosavors the engineering, the challenge posed by the diffi -cult turning work and what he calls the dash o illusionthats involved.

With conventional turningwhere one centers anX on each end o the blank and uses these marks orpositioning the lathes live and dead spindle centerstheturned piece has no option but to be round. Multi-axisturning involves mounting a blank in an offset position,turning all or part o it, then repositioning the blank andturning some more. Depending on the setup, the nishedpiece may be ootball-shaped in cross-section, symmetri-cal or seemingly ree orm. While multi-axis turning canappear to be ree owing and sculptural, careul calcula-tions and planning are essential to achieve specic results.

Te setup might involve marking 1" away rom the

center on one end, making a second mark on the otherend that can be in the same plane as the rst or not, andturning based on these offset centers. Other variations,such as repositioning the blank on a second set o offsetcenters afer turning a portion o it on the initial offsetcenters, result in more complex shapes.

For simple offset turnings such as a candlestick (seePhoto, top right) Mark creates a game plan by drawingthe cylindrical shape on kraf paper and cutting it out.Ten he cuts the cut-out shape into multiple pieces andarranges them at the desired angles. From this pattern,Mark can determine the center pointsand off-center

pointsthat are needed to create the actual object.For more complex pieces he ofen turns three-dimen-

sional sketches on the lathe to work out the details. Marksometimes builds hal the project and leans it against amirror. Ten he steps back and squints to envision whatthe completed piece might look like. His studio has awall ull o samples. Mark describes some as happy acci-dents, but most are the result o careul planning. Markalso keeps detailed sketchbooks and notes that allow himto recreate a pieceor at least the techniquelater on.

Since multi-axis and offset turning involves mount-

ing wood on the lathe in unbalanced positions, Mark

Ribbon Silhouettes

(1999)

Oak, poplar, paint

20-1/2" x 12" x 6"

Left:

Tippy Candlestick

(2000)

Ash

12-1/4" x 4-1/2" x 3-1/2"

Right:

Offset Candlestick

(1994)

Maple

11-1/2" x 3-1/2" x 3-1/2"

Homeland Security (2002)

Maple; 4" x 18" x 5"


22/76

A Great American Woodworker

prepares and works with caution. When he rst start-ed turning, a workpiece got away, took a divot out othe oor and then ew 20' across the room to shattera cabinet. I that cabinet had been a person, the piece

would have killed him, Mark observes. As a result,Mark places a premium on saety. He checks the blankand tool rest our or ve times beore starting the latheand careully adjusts the speed based on the blanks size,shape and state o balance. Using cup centers is a must,he says. Spur centers are dangerous, because they gripthe wood. I a tool catches, either the tool or the work-piece has to give. Cup centers are much saer, becausethey have round, continuous rims that hold the wood,so i a tool catches, the center keeps spinning, but theworkpiece simply stops.

Marks advice to anyone who wants to try multi-axisturning is to start small and simple. Experiment, he says,and plan to learn on something you can throw away!

Inspired designsWhile some o Marks pieces are meticulously planned,others are simply inspired. Afer turning a baseball bat orhis son, or example, Mark began thinking about its elegantorm and perect engineeringabout how every part, romthe knob on the end through the slender handle to the meato the barrel, was built or pure unction. I began thinkingabout what a perect blank canvas this would be or multi-

axis turning, he says. Rejects From the Bat Factory (seePhoto, opposite page, top lef) has become one o Markssignature works. His rejected bats are tied in knots, doublehandled, curved, cut in hal and comically indented.

Marks brightly painted, cartoon-like ood cans andcontainers combine the best o Andy Warhol and Pop-eye (see Photo, opposite page, top right). His inspira-tion or them came during a teaching jaunt to France,where he became intrigued with container shapes andhow to animate them while trying to decipher the labels.You gotta love a guy who creates a can o Fromage Wiz.Humor is a serious part o Marks work. But, its not like

Im laughing the whole time Im making things, he says.Creating the illusion is a very measured process. Still,theres no denying that Mark loves to push the limitswith wood. In glass blowing and ceramics youre work-ing with droopy, uid material and your goal is to makethe nal piece symmetrical. But in woodturning, onceyour piece is on the lathe, symmetry is a given. So lotso my work is aimed toward making wood look moreelastic than it actually is.

For a ew years I was worried that Id run out oideas. But I realized that i you leave yoursel open to

creativityand nurture itthe ideas just keep com-ing, Mark explains. He draws inspiration rom pop

continued



23/76

Rejects from the Bat Factory

(2002)

Ash, poplar, paint

38" x 24" x 16"

Fromage Wiz II

(2003)

Poplar, paint

9-1/2" x 5" x 4"

Madonna and Child

(2003)

Walnut

20-1/2" x 4" x 4"

16-1/2" x 4" x 4"PHOTO

BY

JOHN

CARLANO

PHOTO

BY

JOHN

CARLANO

PHOTO

BY

JOHN

CARLANO


24/76


A Great American Woodworkercontinued

culture and artists ranging rom Picasso to Wanda Gagto Alphonse Mattia. Hes a devoted an and authorityon Wharton Esherick. Esherick is the grandather othe studio arts movement, one o the rst people to

think about personal expression through urniture,he explains. Even today, people who have never evenseen Eshericks work are inuenced by artists that wereinuenced by him.

Survival and road killAs both a turner and a woodworker, Mark is some-what o an anomaly. Someone recently mentioned itwas unusual to have eet in both camps. But the truthis when Im with urniture makers they say, Oh, yourea turneryoure one o thoseguys, and when Im withturners they say Oh, youre a urniture makerlike Imnot part o either club. But Marks versatility has servedhim well. His tables, chairs and casework combine cre-ative elements rom turning and urniture making, andinclude both careul planning and spontaneity.

When choosing wood, Mark keeps the end productrmly in mind. Most turners like to showcase beauti-ully burled or curly-grained pieces o wood. (Markjokingly reers to such woods as road kill.) But sincemany o Marks works are sculptural, he preers woodswith less drama and more straight grain, such as ash andmahogany. I dont want to get into the battle o wood

grain vs. design, he explains. For painted pieces, he pre-ers smooth, tight-grained woods. But hes not opposedto showcasing a gorgeous hunk o tiger maple, cherry orwalnut when the project calls or it.

Mark credits the nancial stability o his teachinggig at Bucks Community College (31 years and count-ing) or allowing him to stay with wood turning or thelong haul. He loves every aspect o the craf. Doingperipheral things such as research, curating and judginggives me a more well rounded view o the art world, heexplains. On the day o our interview, Mark is headingto Philadelphia or the grand opening o an exhibit at

Te Center or Art in Wood called YOURPERSON-AL HANG-UPS. It contains work by a wide variety owoodworkerssome o whom take the title literally,while others interpret it very (very) conceptually. Marksentry, a coat rack titled Lunar Pad Foot (see Photo,opposite page, top lef), shows inspiration rom eachviewpoint, just like its creator.

Spike Carlsenis the author o WoodworkingFAQ,A Splintered History of Woodand RidiculouslySimple Furniture Projects. For more inormation visit

spikecarlsen.comor facebook.com/spikecarlsenbooks.


25/76

Hall Table

(2011)

Bubinga, mahogany, paint

36" x 41" x 15-1/2"

Branch Rolling Pin

(2006)

Mahogany

3" x 4" x 22"

Lunar Pad Foot

(2012)

Cherry

68-1/2" x 22" x 19"

P HOTO B Y JOHN CA R LA NO

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26/76

by Mary Lacer

rush and Razor SetBrush and Razor SetTurn custom-fit

tools for a luxurious

shave.

Turning Wood

ED

ITOR:TIMJ

OHNSON

|

PHOTOGRAPHY:JASON

ZENTNER

AT SIX OCLOCK in the morning, the

bathroom is yours because everyone

else is asleep. So rather than rush-

ing, why not pamper yoursel with a

great shave? Forget cold oam rom

a can. Instead, massage your ace by

applying hot, soothing lather withan old-style shaving brush that per-

ectly ts your hand. Ten switch to

a razor thats equally well-tted to

defly whisk away that unsightly 6

a.m. shadow.

With this shaving brush and

razor set, you can repeat this

rereshing scenario every morn-

ing. Your brush and razor will get

wet on a regular basis, so choosewater-resistant wood or the han-

dles, such as cocobolo (shown

here), which is naturally oily.

Other dense hardwoods will also

work well i you apply a durable

water-resistant nish.



27/76


1 2

3 4

Drill a shallow hole for the brush head in the handle blank aftermounting it in a scroll chuck and installing a drill chuck in thetailstock. Then use a roughing gouge to round the blank.

Widen the hole as necessary to fit the base of the brush head.The bases arent consistently sized, so each hole has to becustom-fit.

Use a detail/spindle gouge to establish transition points thatdefine the handles beads and concave neck.

Define the end of the handle by cutting in about 1/8" witha parting tool. Widen the cut sufficiently to provide enoughclearance to finish shaping the bottom bead.

Scrollchuck

Drillchuck

Square-endscraper

Transition point

Detail/spindlegouge

Parting tool

Sc

Shaving brushTis project starts with a brush head(also called a hair knot). Te widevariety o available brush headsmade rom such materials as bad-ger hair, boar bristles and nylonisone indication o the artul shavesrenaissance. I use 24mm silver-tip badger brush heads, which arethick, with extra stuffi ng or sofnessand ullness (other grades and sizesare available; see Sources, page 27).Tese heads absorb water and workwith either shaving soap or creamto whip up a rich, warm lather anddeliver it to your skin, lifing andsofening your beard. Ahh!

Each brush head is unique, so ithas to be custom-t to the handle.

Mount the handle blank in a our-

jaw scroll chuck and install a drillchuck in the tailstock (see Sources)Ten drill a 7/8" dia. x 1/2" deep holein one end (Photo 1). urn the blankto a cylinder. Ten true the hole andwiden it to t the base o the brushhead (Photo 2).

Shape the handle so its narrowenough at the neck to t the stand(see Sources) and comortable toholda rounded shape at the baseeels good, or example. Te handleshown here has beads at both endsand a cup-shaped middle. Install acone center in the tailstock to sup-port the drilled-out blank. Ten usea detail/spindle gouge to establishtransition points and start shapingthe beads and cup (Photo 3). Switch

to the parting tool to establish the

handles bottom end (Photo 4). Cutin only about 1/8"any urther willweaken the blank. Use the roughinggouge to shape the narrowest part othe cup (Photo 5). Ten return to thedetail/spindle gouge to nish shap-ing the handle.

Sand and nish the handle whileits still on the lathe. Start with 180 gritsandpaper and work up to 400 grit.For oily woods, such as this cocobolo,a buffed wax nish is suffi cient. Fornon-oily woods, make a nish thatstough, durable, water-resistant andeasy to apply with a sof cloth, by thin-ning Behlen Rockhard able op Var-nish by 50% with mineral spirits (seeSources). Tree light coats, sandedbetween with 600 grit paper, provide

adequate protection. Its best to wait


28/76


six to eight hours between coats.Part off the nished handle (Photo

6). Ten sand the parted end by handand apply the nish. Use ve-minuteepoxy to glue the brush head intothe handle (Photo 7). o keep waterfrom soaking into the end grain atthe top of the handle, use a toothpickto apply a small bead of glue aroundthe base of the brush head.

RazorTe razor handle kit shown here (seeSources) is designed to hold GilletteMach 3 blades. Other kits are availablefor different types of bladesincludingold-fashioned safety razor blades!

o make a handle for the razor,cut a 1" square blank the same length

as the brass tube that comes in the kit

(3" long, in this case). Mark the centerof the blank at both ends. Ten mountit on the lathe between centers and cuta short tenon on one end. Remove theblank and install the scroll chuck andthe drill chuck on the lathe. Remountthe blank in the scroll chuck, using thetenon on its end. Ten drill a centered9/32" hole all the way through it.

Remove the blank to glue in the8mm brass tube (Photo 8). Either CAglue or ve-minute epoxy will work.Use a 7mm barrel trimmer to squareoff the ends of the blank ush withthe brass tube (Photo 9and Sources).Mount the blank on a 7mm pen man-drel with sizing bushings installedat both ends (see Sources). Shapethe handle with the roughing gouge

(Photo 10). A shape that swells at one

or both ends makes the handle easierto grip. urn both ends down to thebushings. Ten nish sand the handleand apply wax or the wipe-on nishdescribed above.

Before assembling the razor, screwthe razor holder all the way into thecoupler and install a set of blades. Placethis assembly on a at surface andposition the handle behind it with itsgrain oriented for the most pleasingappearancewith the annual rings attop dead center, for example. Gentlypress the coupler into the handle untilit stays put; then remove the blades andthe holder and install the coupler andlower cap (Photo 11). All that remainsis to clip the blade onto the razor holder(Photo 12).

5 6

7 8

Use the roughing gouge to shape the handles narrow neck.Switch to the detail/spindle gouge to refine the shapes andcomplete the turning.

Cut the handle from the waste block after sanding it andapplying the finish. Sand and finish the end after the handle iscut off.

Glue the brush head into the handle using five-minute epoxy. Glue a brass tube in a hole drilled through the razor handleblank. To spread the glue evenly, apply it to the tube and thenspin the tube as you slide it into the hole.

Razor handleblank

Roughing gouge Thinparting

tool

T

e


29/76


Brush careTe brush may shed some

at rst. Tis is normal.

Te brush head is sterilized. Dontboil it in an effort to clean it.

Dont use excessive pressure whenyou lather up; doing so will breakbrush hairs and cause shedding.

Rinse the brush well aferuse and shake it to removesoap and excess water.

Let the brush air-dry onthe stand with its bristlesacing down, so water doesntseep into the handle.

Dont put a wet shavingbrush in a shaving bag or

other enclosed space.

S O U R C E S

The Golden Nib, thegoldennib.com,

480-575-0729, Silvertip Badger Hair Knot,

24mm x 58mm, $19.95; Gillette Mach 3 Turbo

Blades, 4-pack, $6.99.

Oneway Manufacturing, oneway.ca,

800-565-7288, Talon Chuck, #2985, $232.

Packard Woodworks, Inc.,

packardwoodworks.com,

800-683-8876, 1/2" Drill Chuck #2

MT, #111012, $36.95; 7mm Bar-

rel Trimmer, #154993, $16.95.

Penn State Industries,

pennstateind.com, 800-377-7297,

Pen Mandrel System, 7mm, #2MT,

#PKM-FSM, $29,95; Mach 3 Razor

Handle Kit, #PKRAHAN, $8.95; Bushing

Set for Mach 3 Razor Handle Kit,

#PKRAHANBU, $4.95; Brush and Razor

Stand, #PKRASTA, $8.95.

Rockler Woodworking and Hardware,

www.rockler.com, 800-279-4441, Behlen

Rockhard Table Top Varnish, 1 qt., #44539,

$24.19.

Mary Lacerhas been turningwood or more than30 years. She hastaught in a numbero turning programsacross the country.

9 10

11 12

Flush the ends of the blank with the brass tube using a 7mmbarrel trimmer.

Shape the handle after mounting the blank on a pen mandrelbetween specialized sizing bushings. Turn both ends down tothe bushings. Then sand and apply the finish.

Press the coupler and lower cap into the ends of the handle. Clip a blade onto the razor holder, which screws intothe coupler.

Coupler

Barreltrimmer

Penmandrel

Bushings

Cap

Razor holder

m

B


30/76

EDITOR

:TOMC

ASPAR

|

PHOTOGRAPHY

COURTESYO

FCHADS

TANTON

|

ILLUSTRATION:FRANKR

OHRBACH

The Learning abinetThe Learning CabinetTeach yourself how to precisely fit doorswhile building a useful utility cabinet.

AS THE OLD SAYING GOES,sometimes you have to learn towalk before you can run. Tatscertainly been true in my careeras a cabinetmaker: Ive tried tolearn the basics on small projects,where I could afford to make mis-takes, before tackling the reallyambitious work that Ive had myheart set on for years.

Tis utility cabinet is one ofthose small projects. I built one

like it years ago, when my wifeneeded storage space for linensand I needed an opportunityto hone my skills building faceframes and making and ttingdoors. oday, we need even morestorage space, so I thought Idbuild another one and share thewhole process with you.

Build the caseAlthough you could make this

whole cabinet out of solid wood,I built the case from veneer-coreplywood to save time and money.Youll need one sheet of 3/4" mate-rial plus a small piece of 1/4" mate-rial for the back. Start by cuttingthe sides (A1) and subtop and bot-tom (A2) to their nished sizes. Besure that their edges are straightand that the pieces are square.

Cut shallow dadoes acrossthe sides to receive the bottom(Photo 1; Fig. D, page 44). I usepocket screws to assemble plywoodcabinets, so a dado isnt strictly nec-essary here. But I like the way thatthe dado registers and aligns thebottom during glue-up, so makingit is worth the extra time. If yourplywood is slightly less than 3/4"thick, set up a dado set thats 11/16"wide and add shims until it cuts adado that ts your plywood.

Next, cut rabbets on the endsof the sides to receive the subtop.

Leave the dado set at the same

by Chad Stanton



31/76


height and clamp a sacricial board to your fencethe bladewill go right up next to it. Reset the fence and adjust the dadosets height to cut rabbets for the back. While the sides are stillloose pieces, drill holes for the shelf pins (Fig. A).

ape the side pieces together, inside to inside. Using a com-pass, lay out the legs on the top piece (Fig. D). (Note that the backlegs are wider than the front legs; the front legs will become widerwhen you add the face frame.) Cut out the legs on the bandsaw(Photo 2). Smooth the rough edges of the cut with a half-round le and coarse sandpaper.

Drill pocket holes in the subtop and bottom pieces. Te exactspacing of the holes isnt important. My pocket-hole jig was setup for drilling pairs of holes in face frames, so I drilled theseholes in pairs, too. emporarily assemble the cabinet. (Note thatyou must use 1" long pocket screws, which are shorter than nor-mal. Tats because the dadoes and rabbets you cut into the sideseffectively reduced the sides thickness to 5/8".)

Place the case face down. Cut the back (A3) to t and put itin place. Make sure the case is square, then pre-drill holes forscrews through the back.

Glue and screw the subtop and bottom pieces to the sides(Photo 3). Install the back right away, with screws, before the

glue sets. Tis will ensure that the cabinet is square.

Make the face frameDuring my years as a professional cabinetmaker, Ive seen halfa dozen different ways to build and attach a face frame. Someguys build it oversize, so it hangs over the cabinets edge allaround. Teyll glue it to the cabinet, then trim it ush with arouter. I do things differently: I make the face frame the samesize as the cabinet, with no overhang.

Mill the rails and stiles for the face frame (B1 and B2)to nal thickness and width, but leave them about 1" extra-long. rim the stiles so theyre the same length as the cabinetssides, then trim the rails to their nal length. Double-checkthe lengths of the rails by clamping the face frame together; itshould be ush with the cabinet on both sides (Photo 4). Posi-tion the face frame so its ush with the bottom of the cabinet,then reposition its lower rail, if necessary, so its ush with thecabinets bottom. Mark the rails location on the stiles.

Bandsaw legs on the bottom ends of the stiles. Tese legsshould be the same width as the rear legs on the cabinets sides.Drill pocket holes in the rails, then glue and screw the faceframe together (Photo 5). Make sure it is square by measuringits diagonals or by using a framing square.

Cut a number of biscuit slots on the cabinet and corre-

sponding slots on the face frame.

3 4

1 2

Dado and rabbet the sides of the cabinet to receive the bottomand the subtop. Although youll be fastening the cabinet withpocket screws, dadoes make the parts much easier to align.

Cut out the legs of the side pieces. Tape them together so youcan cut both pieces at the same time.

Gluethe bottom and subtop to the sides. Fasten them withpocket screws, so you dont have to use any clamps.

Make a face frame that exactly fits the cabinet. Temporarilyclamp up the face frame and place it on the cabinet. Makesure its edges are flush with the cabinets sides.

Subtop

Bottom


32/76


A1

A2

A2

A3

A4

A5

A6A7

B1

B2

B3

D 1

D2

D3

D4

D5

1-1/4"

5-1/2"

1" COARSEPOCKET SCREW

BULLNOSE

NO-MORTISE HINGE

1-1/4"COARSEPOCKET SCREW

3/4" #6 F.H.

1-1/4" #10PAN. HD.#10BISCUIT

OVAL HOLE

WASHER SCREW HOLE IS 1"FROM EDGEOF DOOR

16"

1-1/4"#8 F.H.

2-1/2"

C 1

C2

C3 C4

C5

WASHER

2 BEVEL

3/8"3/8"

3/8"

3/4"

3/4"

1/4"

1/8"

3/8"

3/8"1/4"

1/8"

4-1/8"

2-1/2"

6-1/4"

6"

C 1

C2

C3

3/8"ROUNDOVER

3/4"

1/4"

1/8"

1-1/4"

1/2" WIDE RABBET, 1/4" DEEP3/4" WIDE DADO, 1/8" DEEP

3"

1/2"3/4" WIDE DADO, 1/8" DEEP

1-1/4"4-1/2"

5-1/2"

Fig. A

Exploded View

Fig. B

Molding

Proles

Fig. D Side Details

Fig. CDoor Details

Section Part Name Qty. Material Th x W x L

Case A1 Side 2 Ply 3/4" x 16-1/4" x 39"

A2 Subtop and bottom 2 Ply 3/4" x 16" x 23-3/4"

A3 Back 1 Ply 1/4" x 24-1/2" x 39"

A4 Shelf 1 Ply 3/4" x 15-3/4" x 23-3/8"

A5 Shelf edging 1 Solid 1/8" x 3/4" x 23-3/8"

A6 Corner block, front 2 Solid 3/4" x 1-1/4" x 4-3/4"

A7 Corner block, back 2 Solid 3/4" x 2-1/4" x 4-3/4"

Face frame B1 Rail 2 Solid 3/4" x 2-1/2" x 20"

B2 Stile 2 Solid 3/4" x 2-1/2" x 39"B3 Door stop 1 Solid 3/4" x 2-1/4" x 4"

Door C1 Rail 4 Solid 3/4" x 2-1/2" x 6-1/4" (a)

C2 Stile 4 Solid 3/4" x 2-1/4" x 31-1/8"(b)

C3 Panel 2 Solid 3/4" x 6" x 26-5/8"

C4 Handle, xed side 1 Solid 3/4" x 2-1/4" x 2" (c)

C5 Handle, pivot side 1 Solid 11/16" x 2-1/4" x 2-7/8" (c)

Top D1 Top 1 Solid 3/4" x 18-3/4" x 28-1/2"

D2 Bullnose molding, front 1 Solid 3/4" x 1-1/4" x 27-1/2"

D3 Bullnose molding, side 2 Solid 3/4" x 1-1/4" x 18-1/4"

D4 Cove molding, front 1 Solid 5/8" x 3/4" x 26-1/2"

D5 Cove molding, side 2 Solid 5/8" x 3/4" x 17-5/8"

Cutting List Overall Dimensions: 39-3/4" H X 28-1/2" W x 18-3/4" D

Notes:a) Adjust the rails length, if necessary, so the doors t tight inside the face frames opening.

b) This length is oversize; it should be 1/16" more than the height of the opening in the face frame.c) Cut from one piece 3/4" x 2-1/4" x 4".

See how Chad fits these doors at



33/76


Fit the doorsYouve got a lot o options or making the doors, so I wontgo into much detail. I use a standard set o cope and stickrouter bits to join the stiles and rails (C1 and C2) and alarge cove bit to shape the panels (C3; Fig. C, see Source,page 47). Afer cutting the coves, I rabbet the back sides othe panels so the panels will t into the grooves in the stilesand rails.

I usually make my doors oversize to begin with, thenmethodically trim them until theres about 1/32" clearanceall around. Beore tting, they are 1/16" taller than the open-ing in the ace rame. Teir width is generous, too: Placedside by side, the doors should t tight across the opening.(However, i youre off in width by up to 1/16", one way orthe other, it really doesnt matter.) Note that the dimensionsgiven in the cutting list are or these oversize dimensionsthey are not the nal sizes o the doors rails and stiles.

Fitting the doors is much easier to do with the acerame lying at on my bench rather than attached to thecabinet. Tis way, I dont have to rig up something to sup-port the doors; they lie right on the bench, too.

A set o plastic laminate shimswhich are about 1/32"

thickare invaluable or trimming the doors. Afer glu-ing each door together, ne-tune its length. Lay one door

on the bench and place the ace rame on top o it. Placetwo shims between the bottom o the door and the acerames lower rail. Because the door is oversize, the top railo the ace rame should now sit on top o the door. Usinganother shim as a spacer, scribe a ne pencil line alongthe top o the door (Photo 6). Cut as close to this line asyou can on the tablesaw, using a crosscut sled. I the lineis slightly tapered, use a plane to nish the job. Te doorshould now have a perect 1/32" clearance top and bottom.

Teoretically, you could have just cut the doors to theright length on the tablesaw, but my experience has taughtme that this can be risky. I the ace rame is just a little bitout o square, scribing is the only way to correct the error.

Scribing isnt necessary or trimming the doors width,however. For this operation, use a jointer to remove anequal amount o material on both o the hinge-side stilesuntil you can t shims where the hinges will go (the hingesrequire about 1/32" clearance, too). At this point, the doorsand shims should t tight inside the ace rame, with littleor no gap in the center.

Next, mount the hinges on the doors and hang thedoors inside the ace rame (Fig A). rim the center stiles

by hand, using a block plane (Photo 7). Both o these stilesmust be beveled about 2 so the doors will close properly.

7

8

5 6

Once youre sure that the face frame fits, unclamp it and cut thebottom end of each stile to form a leg. Glue and screw the faceframe together.

Make the doors and fit them inside the face frame. Use shims toestablish the clearances. This process is much easier when theface frame is not attached to the cabinet, but sits flat on a bench.

Attachhinges to the doors and plane bevels on both inner stiles.These bevels allow the doors to close with a minimum amount ofgap between them.

Glue and clampthe face frameto the cabinet.Align the pieceswith biscuits.

Leg

Shimss

Biscuit


34/76


TOP VIEW

FELT

SCREWHOLE

FRONT VIEW

CENTERLINE

BACK VIEW

1"

3/4"

1/4"

11/16"

2" 1" 1"

C4

C5

Making Flush-Fit Handles

I HAD A FUNNY URGE when designing this cabinet.Although its doors have a traditional look, why notgive the handles an ultra-modern touch? When closed,they would be ush with each other, orming a singledesign element. When open, theyd become two pulls

with different, graceul shapes.I theres one thing a woodworker truly enjoys, itsthat an abstract idea can soon become reality. I madea ew prototypes to perect the design, but, in the end,these handles proved to be quite easy to make. Teywould work well on many types o doors.

Start out with one block o wood (see Cutting List,page 44). Mark a centerline around the block, positionit on the doors and trace around it (Photo 1). Roundover the blocks edges with a belt sander and markLef and Right on the blocks back side.

Draw an ogee curve on top o the block (Fig.

E, below). Begin the curve, rom ront to back, onthe blocks centerline. Saw the curve on a scroll saw(Photo 2). (You could also use a bandsaw with a 1/8"blade.) File and sand the rough suraces smooth.

Glue the right handle (C4) to the door within thelines you markedits lef end should align with theedge o the door.

Using a belt sander or block plane, reduce thethickness o the lef handle (C5) by about 1/16". (Tisside must be thinner so it can pivot on a washer.)

Drill a hole through the door or mounting thehandle. Tis hole should be 1/4" above the line marked

on the door and 1" rom the edge o the door. Place thehandle on the door, butted up to the part thats glued tothe door and positioned slightly above the hole. Markthe location o the hole on the handle, then drill thehandle to receive the screw.

Glue a piece o elt to the lef handlethis willprevent it rom scratching the nish. Fasten the han-dle (Photo 3), placing a washer between the handleand the door. est the handles operation. I its tootight, le or sand the ogee.

2

1

3

Position the

handle on the

cabinet and trace

around it. At this

point, the handleis a single block.

Cut the handle

into two pieces on

the scroll saw.

The left piecepivots on a

screw. The rightpiece is fixed to

the door.

Fig. E

HandleDetails


35/76


You dont need a protractor, however. Just scribe a line 1/32"below the inside edge of each stile and bevel the stile until youget to the line. Ten plane the entire bevel until theres an even1/32" gap between the doors when theyre closed.

Remove the doors from the face frame and glue the faceframe to the cabinet (Photo 8).

Make the top and moldingsGlue up the top (D1), sand it even and rout a bullnose round-ing on its front and side edges (Fig. A). (I do this on the routertable, using a standard roundover bit; see Source.) Using thesame setup, make the bullnose moldings that go under thetop (D2 and D3; Fig. B).

Drill holes in the subtop for fastening the top (Fig. A).Note that two of the holes on each side must be oval, so thetop is free to expand and contract. Fasten the top to the cabi-net with screws and washers (Photo 9).

Make the cove moldings that also go under the top (D4and D5, Fig. B). Rout the edges of a board thats about 4" to 5"wide (Photo 10), then rip the moldings from the board. Youcan create this moldings elliptical shape using a standard covebit, which has a round prole, by making a series of overlap-

ping passes (see Source). Just adjust the height and depth ofthe cut a few times, then remove any small waves between the

cuts by sanding.rim the front bullnose molding to length rst and glue it

to the case. Cut both side pieces next and glue them as well.Repeat the procedure for the cove moldings (Photo 11).

While the cabinet is upside down, make and installcorner blocks (A6 and A7) to reinforce the legs. Shapethe blocks to follow each legs curve. Tese blocks alsoprovide more material for supporting furniture glides(Photo 12). Pre-drill holes for the glides before tappingthem in place.

urn the cabinet on its feet and glue a block (B3) insidethe face frame to stop the doors. Hang the doors on the cabi-net and install the handles (see Making Flush-Fit Handles,page 46).

Remove the handles, doors, top and back for nish-ing. Apply nish to both sides of the top to prevent it fromwarping.

SOURCE

Freud Tools, freudtools.com, 800-334-4107, Adjustable rail and stile bits,

round over prole, #99-760, $125 at many dealers; rounding over bit, 3/8"

radius, #34-124, $26 at many dealers; round nose bit, 3/4" dia., #18-112,

$21 at many dealers.

11

9 10

Make a top from solid wood and fasten it to the cabinet. Drillelongated holes in the cabinets plywood subtop so the solid-wood top can expand and contract without cracking.

Shapetwo coves on a board, then rip the board to make twomoldings. Although this router bit is round, adjusting its heightand depth a few times yields a nice elliptical shape.

Gluethe moldings to the case, but not to the solid-wood top.These pieces run across the width of the top; gluing them to thetop would restrain the top from moving and may cause it to crack.

Attach glidesto the ends ofthe legs. Glidesprevent theplywood sidesfrom splinteringwhen thecabinet getspushed acrossthe floor, whichis bound tohappen!

. r

Solidtop

Plywoodsubtop

Bullnosemolding

Covemolding

12


36/76

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THESE FRAMES appear challeng-ing to build at rst, because eachside has to be beveled, mitered,tapered, and beveled againata skewed angle. But once youunderstand the process, theyresurprisingly easy to make and justas easy to modify. Skew only thetop, or skew both sides toward thebottom. Alter the skews pitch.Change the bevel angles. Change

the width of the frame pieces orthe shape of the opening. You canmake these frames using only atablesaw and bandsaw, but the jobwill go faster if you also have amiter saw, jointer and router table.

Angled cuts and a simple jig create kookie shapes.Like ... crazy, man. Theyre cool.

SNAZZYFramesby Jason ZentnerFig. A Dimensions

1-7/8"

30 BEVEL (TYP.)

FULLWIDTH

10 BEVEL (TYP.)

2-1/4"

3-1/4"

WIDEST CORNERSOPPOSITE

OPENING:13-9/16 X 11-9/16"

3(TYP.)

BACK EDGESRABBETED FOR

GLASS

FRAMES ORIGINAL RECTANGULAR SIZE

See how to cut the frames wonky bevels atAmericanWoodworker.com/WebExtras


38/76

2

4

1

3

Bandsaw

the framestapered edges.Exaggeratedtapers are mostdramatic.

Mark the backof the frame toposition it onthe jig. Use asquare to drawregistration linesthat intersect atthe miter on thetwo wide corners,exactly 1" fromtheir outsidepoints.

Map out theframes taperededges on amitered framewith a wideinside bevel.Use a differentpoint on eachmiter to create

unique cornersand tapers. Thenarrowest cornermust be at least1-5/8" wide.

Make a two-sidedjig from a 2x6 withone tapered edgeto cut taperedbevels on theframes taperededges. Mark thewide end of thejig.

At least1-5/8"

Start squareBelieve it or not, each of these framesstarts out as a plain rectangular framewith 3" wide sides and a 2" wide bevelaround the opening. You can buy sucha frame (watch out for metal fasten-ers at the miters) and skip to the nextsection, or build your own frame. Te

frames shown here are sized for 12" x14" imagesor 8" x 10" images sur-rounded by 2" mats. o build one ofthese frames, youll need two pieces of3/4" x 3" x 40" stock. Each piece con-tains one long side and one short side.

Cut a 2" wide bevel on the face ofboth frame-stock pieces by tilting theblade to 10 and setting the tablesawsfence to leave the edges 1/2" thick.Sand, plane or joint each bevel toremove the saw marks.

Rout a 1/4" wide x 1/4" deep rabbetfor the glass on the back inside edgeof each piece. Next, cut the four sidesto length by mitering the corners tocreate a 13-9/16" x 11-9/16" opening.Simply butt the miters when you gluethe frame togetherdont reinforcethe joints with biscuits or mechanicalfasteners. Note: Te miters must meetprecisely at the corners and all foursides must be ush, so the frame sitsat on its back.

Create dramatic taperso establish a different taper on eachside of the frame, leave one miteredcorner full width and mark differentpoints to uniquely shorten the otherthree corners (Fig. A, page 51). Tenconnect the dots (Photo 1). aperthe frames outside edges (Photo 2).Make sure each corner remains cen-tered on the miter when you removethe saw marks.

Build a jigBuild a tapering jig to bevel the out-side edges of the frame (Photo 3).Using one side of this jig allows you toincrease the bevel during the cut; usingthe other side allows you to decrease it.

o make the jig, joint one face andone edge of a 20" long 2x6 so both sur-faces are at and the corner is square.Mark a 1/2" end-to-end taper on thenon-jointed edge. Bandsaw the taperand joint the edge to remove the saw

marks. Fasten 1/2" x 6" MDF fences toboth edges, so you can clamp the frameto the jig. Mark the jigs wide end.

1/2"taper

Narrowend

Wideend

Exactly 1"



39/76

Align the fenceon the wide endof the jig with theregistration lineon the long sideof the first markedmiter. Then clampthe frame tothe jig.

6

7

8

Cut the firsttapered bevelwith the wideend of the jig atthe front. Thisbevel decreases

in width as it runsdown the frameslong sideandsimultaneouslytapers both thesides beveled faceand its outsideedge.

Rotate the frameand spin thejig to cut thetapered bevelon the adjacentshort side. Alignthe jigs wideend with theregistrationlineboth arenow at the back.Then clamp theframe to the jig.

Cut the secondtapered bevel.This bevelincreases inwidth as it runsdown the framesside and risesto meet thepreviously-cuttapered bevelprecisely at themiter.

5Cut wonky bevelsDraw registration lines on theframes two widest corners, so youcan position it on the jig (Photo 4).On this frame, the widest corners areopposite one another. Use a squareto mark a line that crosses one ofthe wide miter joints exactly 1" away

from its outside corner. Mark a sec-ond line from the adjacent side, sothat the two lines intersect at themiter. Repeat the process to markthe frames opposite corner.

Orient the frame on one of itslong sides to cut the rst taperedbevel (Photo 5). Tis places the reg-istration lines at the front end of theframe. Align the wide end of the jigwith the vertical registration line.Ten clamp the frame to the jig. ilt

the blade to 30 and set the fence toleave the edge 3/16" thick. Ten cutthe bevel (Photo 6).

Bevel the adjacent side of themiter without changing the sawsetup. Unclamp the frame and rotateit forward 90, so the registrationlines are at the back (Photo 7). Tenspin the jig 180 so its wide end is alsoat the back. Align the wide end withthe vertical registration line. Tenclamp the frame to the jig and cut the

bevel (Photo 8

). Because the jigs wideend is registered from the same pointon the frame for cutting both bevels,their tapers will rise from the oppo-site ends of the two sides to meet atthe miter.

Move to the opposite wide cornerof the frame and repeat the processto bevel the two remaining sides.Because the bevels taper at the sameratio during all four cuts, the bevelson the two narrow corners automati-cally meet at their miters.

ake a break to comb your D.A.and plan more snazzy frames. Tekey to making variations is to alwaysregister the frame on same end of thejig (wide or narrow) when you cut thetapered bevels on adjacent sides.

Jason Zentnerlikes fuzzysweaters, long walks on the beach anddiscussing politics while lounging by acozy re. On weekends he sits in his

rat rod pretending to be racing forpinks ... which is also the color ofhis bedroom.


3/16"edge

90First

tapered bevel

180

e


40/76

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41/76

ummer TableSummer TablePerfect for a summerporch, this table is easy

to take apart for storageduring the winter.

Three identical frames,shaped like an F, have armsthat lock together like a puzzle.

Taken apart, the table breaks down into three flat pieces.

by Redge Estell



42/76


Fig. E

Notch Details

Fig. C End Cuts

HALF-LAP

A

B

C4

1-1/8"

16" ARM

4

4

4

4

4

90

20-3/8"

20"

22-7/8"A

B

C

13/16"

13/16"

4-1/4"

4

4

4

90

4

HALF-LAP

3-5/8"

3-5/8"

3-5/8"

1/2"

13/16"

4

30

Part Name Qty. Th x W x L

A Top arm 3 3/4" x 2" x 24" (a)B Bottom arm 3 3/4" x 2" x 22" (a)C Leg 3 3/4" x 2" x 20"D Top 1 3/8" x 30" dia.E Shelf 1 3/8" x 20" dia.

Cutting List Overall Dimensions: 30" Dia. x 22" H

Notes:a) Rough length. See Fig. C for nal length.

Fig. B Tablesaw Setup f

Documents

American Woodworker №164 2013