COMPLETE ILLUSTRATEDGuide to Constructionexpomobpal.com/wp-content/uploads/2013/11/The Complete Illustrated... · excitement! This is the fine—and fun—art of woodworking. The

➤ Cabinets and Built-Ins

➤ Drawers, Doors, and Shelves

➤ Internal Architecture

➤ Bases, Backs, and Tops

➤ Hardware and Fasteners

ANDY RAE

Furniture&Cabinet

Construction

The COMPLETE ILLUSTRATED Guide to

The COMPLETE ILLUSTRATED Guide to

Furniture&Cabinet

Construction

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AN D Y RA E

t

The COMPLETE I LLUSTRATED Guide to

Furniture&Cabinet

Construction

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SECTION SEVEN OVERVIEW

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About Your Safety: Working with wood is inherently dangerous. Using hand or power toolsimproperly or ignoring safety practices can lead to permanent injury or even death. Don’ t try toperform operations you learn about here (or elsewhere) unless you’re certain they are safe foryou. If something about an operation doesn’ t feel right, don’t do it. Look for another way. Wewant you to enjoy the craft, so please keep safety foremost in your mind whenever you’re in the shop.

Text © 2001 by Andy RaePhotographs © 2001 by Andy Rae (except where noted)Illustrations © 2001 by The Taunton Press, Inc.

All rights reserved.

The Taunton Press, Inc., 63 South Main Street, PO Box 5506, Newtown, CT 06470-5506e-mail: [email protected]

DESIGN: Lori WendinLAYOUT: Steve Hughes, Suzie Yannes

PHOTOGRAPHER: Andy Rae (except where noted)

ILLUSTRATOR: Melanie Powell

LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA:Rae, Andy.

The complete illustrated guide to furniture & cabinet construction / Andy Rae.p. cm.

Includes index.ISBN-13: 978-1-56158-402-4ISBN-10: 1-56158-402-91. Furniture making--Amateurs’ manuals. 2. Cabinetwork--Amateurs’ manuals. I. Title.

TT195 .R34 2001684.1’04--dc21 2001033100

Printed in Thailand15 14 13 12 11 10

Pp

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First, my humble appreciation to myeditors at The Taunton Press. I was luckyto have three: Helen Albert, associate pub-lisher, whose eagle vision lifted an idea

that, at the outset, appeared too heavy to fly, andJennifer Renjilian and Tom Clark, for their support,steadfastness—and swift solutions.

For excellent photographic services, I credit thefolks at Commercial Color in Allentown, Pennsyl-vania, and at Iris Photography in Asheville, NorthCarolina. And special thanks to John Hamel, photog-rapher, for short- and long-distance mentoring, plussome pretty fine photos over the years.

I’ve had the curious luck to know many fellowwoodworkers and writers on a personal level. Mydeepest gratitude goes to my woodworking and writ-ing teachers, past and present, who have knowinglyand unknowingly inspired and taught: My creativemother, Johanna Weir, and my two artistic fathers, JudRae and Walter Weir, all three for their unique inter-est in making things; brother Gurnee Barrett, whodemonstrated it was worth doing right; GeorgeNakashima, for his unspoken commands, FrankKlausz, for his outspoken commands, and ToshioOdate, for speaking the unspoken; Dave Cann andPaul Connor, whose metalworking hands have savedmine many times; the crazy woodworking folks atArcosanti, including Kerry Gordon, Michael Christ,and Chris Fraznick; Fred Matlack, who never says itcan’t be done; Sue Taylor, for asking elucidative ques-tions; Dave Sellers, for his anarchy with heart; JimCummins, for huge excitement in small things; RichWedler, whose woodworking is music to my ears;Jonathan Frank, for trusting woodworkers; PalmerSharpless, for his wisdom on woodworking—even inthe dark without electricity; “Old” Jim, Michael Burns,

Acknowledgments

To Paul McClure, head chief and happy woodworking hero who bridged all barriers, social to scientific. May we reap the fruit of the wisdom he left behind on his beloved mother, the Earth.

Jim Budlong, and David Welter, for teaching fromafar; William Draper, who gave me the freedom toexplore—and paid me for it; Tim Snyder, whoseinsights always point the way; Mira Nakashima, forbridging the old and the new; Lonnie Bird, who’squiet approach bespeaks fierce skill; Edward Schoen,for showing me how to problem solve my way out ofanything; Kitty Mace, for challenging everything; PatEdwards, for hosting itinerant woodworkers; NedBrown, who unwittingly inspired me to excel; SimonWatts, for being the gent of all gentleman woodworkers;Steve and Susan Blenk, for persistence and tall good-will; Tom Brown, who patiently taught a young manthe art of installation; Leonard Lee, a bona-fide toolnut and enthusiast; Kevin Ireland, my first editor (younever forget your first); David Sloan, for curiouslyencouraging curiosity; Frank Pollaro, for adventureand bravado; Mike Dresdner, who’s always there whenthere’s nowhere else to go; Eric Stang, for enthusiasmand artistic inspiration; Paul Anthony, whose feedbackkeeps my feet on the ground; Janet Lasley, for helpingme to stay alive in the business of woodworking; Steve“Pimo” Metz and John Yarnall, who both demonstratethat patience and planning always win the day; EllisWalentine, for clever solutions and unexpecteddetours; Mike Callihan, for last-minute woodworking;the folks at the Lehigh Valley (Pennsylvania) Guild,for their sometimes embarrassing encouragement; RicHanisch, for having the courage to design from theheart; Peter Kauzman, for staying up late; and MannyPagan and Yeung Chan, both exemplifying what truewoodworking passion is all about.

Last, I thank my family, Lee, Zy, and Shade—especially my wife, Lee Speed—for enduring my “oneyear leave of absence” for writing this book. I love youguys and always will.

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Contents

11 Mobilize YourWorkshop

Introduction • 2

How to Use This Book • 3

P A R T O N E Tools and Materials • 6

SECTION 1 Shop Necessities • 8➤

8 Shop Space andFixtures

17 FundamentalLayout Tools

16 Favorite EdgeTools

18 SharpeningGear

SECTION 2 Woodworking Machines and Tools • 13➤

15 Basic HandheldPower Tools

20 Clamps

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57 Securing to a Wall

53 InsideCase Parts

P A R T T W O Box and Case Construction • 44

SECTION 5 Basic Cases • 46➤

42 UnderstandingWood Movement

SECTION 3 Working Wood • 22

SECTION 4 Designing Furniture • 40

➤

➤

23 Buying andPreparing SolidWood

27 Flattening aBoard by Hand

30 Good SandingTechniques

31 Keeping Parts Flat

28 Smoothingwith Edge Tools

33 Plywood andOther Man-Made Boards

35 MixingMaterials

36 Laying Out and CuttingPlywood

37 Making Your Mark

38 Choosing andUsing Glue

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74 Dressing Upa Shelf

66 Open Shelves64 Shelf Joinery 68 Shelf Options

92 Clamping Problems

86 Hardware Solutions

84 Nails andScrews

SECTION 6 Shelves • 58

SECTION 7 Nails, Screws, and Other Fasteners • 81

SECTION 8 Assembling Cases • 88

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➤

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98 Working withMoldings

126 ComputerHardware

124 Drawer Slides 127 Drawer Pulls

115 TrayConstruction

110 Drawer Construction

117 DrawerInteriors

SECTION 9 Cutting and Attaching Moldings • 95

SECTION 10 Drawers • 101

➤

➤

SECTION 11 Drawer Hardware • 119➤

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167 Locks165 Pulls andHandles

171 Catches and Bumpers

SECTION 14 Door Pulls and Hardware • 161➤

141 Solid Doors136 Doors withPanels

143 Glass Lights

P A R T T H R E E Doors • 130

SECTION 12 Building Doors • 132➤

153 Specialty Hinges

150 InstallingBasic Hinges

157 ShopmadeHinges

160 Hiding Doors

SECTION 13 Fitting and Hinging Doors • 145➤

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208 Making Stands

P A R T F O U R Bases, Feet, and Stands • 176

189 InstallingCabinets

184 Toekicks

201 Feet andCasters

SECTION 16 Feet • 197

SECTION 17 Stands • 206

➤

SECTION 15 Bases • 178➤

➤

Grooves, Dados and Rabbet Jointsxii

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P A R T F I V E Frame Construction • 212

223 Aprons and Rails

220 Strong Joints 225 Legs

255 Corner Units250 Making FaceFrames

241 Chair Backs 237 Chair Joints 242 Chair Seats 245 Hitting theFloor

SECTION 19 Chairs and Stools • 231

SECTION 18 Legs and Aprons • 214

➤

SECTION 20 Face Frames • 247➤

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P A R T S I X Tabletops and Work Surfaces • 268

265 BackStrategies

261 Making Panels

297 HardwareSolutions

294 Allowing forMovement

284 Top Options 276 TopConstruction

288 Leaves and Ends

SECTION 22 Making Tops • 270

SECTION 21 Frame and Panel • 256

➤

SECTION 23 Attaching Tops • 292➤

➤

Sources • 300

Further Reading • 301

Index • 302

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2

your shop space are part and parcel of thecraft. By combining all your skills, you canmake any type of furniture your dreams con-jure up. You’re limited only by your imagina-tion. I hope this book will provide you witha starting point for these skills. With prac-tice, many small joys are waiting for you.They’re worth seeking.

Above all, be patient. It takes time tomaster some of the smallest things. Thereare tricks and shortcuts, of course. Theycome with experience, and many are shownin the pages ahead. More important is theawareness that comes from trying manyapproaches and finding one that works foryou. In a very real sense, woodworking is apersonal journey. That’s because there is noright or wrong way of making furniture.What counts is what works. After 20 plusyears of practicing the craft, I still searchdaily for new ways of working. Once youdiscover something that works, call it yourown, and stand by it. You’ll have foundsomething that will make your woodworkingmore pleasurable. And your fine furniturewill reflect the results.

Making furniture is one ofthe most satisfying ways topass time: The schiiick of aplane iron on wood; the

dizzying aroma of freshly sawn sugar pine orEast Indian rosewood; the endless array ofcolor, texture, and feel of woods from aroundthe world; the tense but joyful final assem-bly, when all work and toil come together ina conclusive burst of completion. Whatexcitement! This is the fine—and fun—artof woodworking. The reward is beautifulfurniture.

To experience this excitement, you’ll needto have a degree of control over your workand your tools, command a working knowl-edge of your materials, and understand somebasic design principles. Unlike most othercrafts, furniture making and cabinetmakingdemand vast knowledge—and attentiveness.You must know what tools and techniquesto use and how to arrange the correctsequence, or order, of events when usingthem. You should listen with attentive earsand eyes to the material you’re working andchoose wood wisely, allowing for its eccen-tricities. With its countless pieces and parts,cabinetmaking involves a high level oforganization, and organizing your work and

Introduction

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3

In this book, we’ve included a wide vari-ety of techniques to fit these needs.

To find your way around the book, youfirst need to ask yourself two questions:What result am I trying to achieve? Whattools do I want to use to accomplish it?

In some cases, there are many ways andmany tools that will accomplish the sameresult. In others, there are only one or twosensible ways to do it. In all cases, however,we’ve taken a practical approach; so you maynot find your favorite exotic method fordoing a particular process. We have includedevery reasonable method and then a few justto flex your woodworking muscles.

To organize the material, we’ve brokenthe subject down to two levels. “Parts” aremajor divisions of this class of techniques.“Sections” contain related techniques.Within sections, techniques and proceduresthat create a similar result are groupedtogether, usually organized from the mostcommon way to do it to methods requiringspecialized tools or a larger degree of skill.In some cases, the progression starts withthe method requiring the most basic tech-nology and then moves on to alternativemethods using other common shop toolsand finally to specialized tools.

First of all, this book is meant to be used, not put on a shelf to gather dust. It’s meant to bepulled out and opened on your

bench when you need to do a new or un-familiar technique. So the first way to usethis book is to make sure it’s near where youdo woodworking.

In the pages that follow you’ll find a widevariety of methods that cover the importantprocesses of this area of woodworking. Justas in many other practical areas, in wood-working there are often many ways to get tothe same result. Why you choose one methodover another depends on several factors:

Time. Are you in a hurry or do you havethe leisure to enjoy the quiet that comeswith hand tools?

Your tooling. Do you have the kind ofshop that’s the envy of every woodworker ora modest collection of the usual hand andpower tools?

Your skill level. Do you prefer simplermethods because you’re starting out or areyou always looking to challenge yourself andexpand your skills?

The project. Is the piece you’re makingutilitarian or an opportunity to show offyour best work?

How to UseThis Book

SECTION SEVEN OVERVIEW

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How to Use This Book4

therein. Here’s where you’ll find importantgeneral information on this group of tech-niques, including any safety issues. You’llalso read about specific tools needed for theoperations that follow and how to build jigsor fixtures needed for them.

The step-by-step essays are the heart ofthis book. Here a group of photos representsthe key steps in the process. The accompany-ing text describes the process and guides youthrough it, referring you back to the photos.Depending on how you learn best, eitherread the text first or look at the photos anddrawings; but remember, they are meant towork together. In cases where there is an

The first thing you’ll see in a part is agroup of photos keyed to a page number.Think of this as an illustrated table of con-tents. Here you’ll see a photo representingeach section in that part, along with thepage on which each section starts.

Each section begins with a similar “visualmap,” with photos that represent majorgroupings of techniques or individual tech-niques. Under each grouping is a list of thestep-by-step essays that explain how to dothe methods, including the pages on whichthey can be found.

Sections begin with an “overview,” or briefintroduction to the methods described

The “OVERVIEW”

gives you importantgeneral informationabout the group oftechniques, tells youhow to build jigsand fixtures, andprovides advice ontooling and safety.

A “SECTION” groupsrelated processestogether.

SECTION 12?OVERVIEW

The first decision you’re facedwith when making a door is todecide on its style. Choices abound

here and include the use of solid wood,veneers, and moldings. The next step is toensure that the door you build will staytogether through years of use. There are fewitems in furniture making that get more abusethan the typical cabinet door, so the joineryyou select has to stand the test of time. Jointsmust also be strong enough to keep the frameof the door from racking under its ownweight. Proper glue-up techniques can saveyou the hassle of dealing with out-of-flat sur-faces and cocked joints, which lead to doorsthat won’t fit well or hinge poorly.

When it comes to door types, there areplenty of structures to pick from. Usedextensively in Euro-style kitchen cabinets,an austere, flat panel is the easiest type ofdoor to make and can be surprisingly elegantwhen used side by side in neat, orderly rows.Probably the most oft-used construction isthe frame and panel. This design dates backthousands of years and was conceived as asolution to the problem of excessive woodmovement seen with wide, solid-wood pan-els. Other more complicated doors includeframes with arching tops and glass doorswith divisions made of wood strips.

Designing?Doors

The design possibilities for doors are limit-less. But some basic ingredients are availablefor expanding your door palette. If the lookand feel of solid wood is what you’re after,

up stage of construction, when you unwit-tingly introduce twist into the frame. For aflat and square glue-up, think in terms of twoplanes: the face, or broad surface of the door,and the door’s edge. Always clamp yourwork on a dead-flat surface, or any twist inthe table will transfer itself to the face of the

Building?Doors 133

SECTION 12?OVERVIEW

132

Building?DoorsFrame-and-panel doors let you use solid-wood panels without the associated problems of wood movement. Flat panels from plywood or medium-density fiberboard (MDF) offer a broader design choice. Board-and-batten constructionprovides a rustic look.

Front

Back

Batten

Raised and fielded Arch top Double panel

Quarter-matched veneer Plywood with solid-Wood lipping

Plywood with mitered frame

DOOR?STYLESthen you need to think about wood move-ment and its associated structural concerns.Frame-and-panel construction takes thismovement into account, as does a board-and-batten door. Using man-made sheetgoods like plywood and medium-densityfiberboard (MDF) lets you expand yourdesign parameters to include veneers,leather, and other materials on the surface ofyour doors. And moldings are an endlesssource for adding bands of light and shadowto the surface of a door, making it morethree-dimensional.

Joinery?Options

Doors—especially cabinet doors—take a lotof abuse during their lives. Who hasn’tslammed a door or accidentally swung adoor open so fast it pulled on the hinges? Tocounteract this mistreatment, you need solidjoints to keep doors together.

In frame-and-panel construction, the cor-ner joints hold the frame together. The mor-tise-and-tenon joint is time tested to holdup well, especially if the tenons are 1 in. orlonger. Other options include paired biscuitsand paired dowels. Mitered frames can besplined to strengthen weak end-grain surfaces.And introducing plywood or any type of sta-ble, man-made board inside the frame allowsyou to glue the panel to the frame, greatlyincreasing the overall strength of the door.

Gluing?Up?Flat?and?Square

There’s no describing the frustration of build-ing a beautiful door and fitting it with expen-sive hinges only to have it hang twisted in thecabinet once it’s installed. The good news isthe door, and not the cabinet or those reallyfine hinges, is the most likely culprit. Theproblem usually shows up during the clamp-

Frame and Panel

Flat Panel

Board and Batten

➤ Flat?Panel?(p.?136)

➤ Raised?Frame?andPanel?(p.?137)

➤ Arch-Top?Frame?andPanel?(p.?139)

➤ Board?and?Batten(p.?141)

Doors?with?Panels Solid?Doors

➤ Dividing?Up?a?Door(p.?143)

Glass?Lights

The “VISUAL MAP” tells you whereto locate the essay that details theoperation you wish to do.

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How to Use This Book 5

At the back of the book is an index tohelp you find what you’re looking for in apinch. There’s also list of further reading tohelp you brush up on how to use tools andkeep them sharp, as well as some generalreferences on design.

Finally, remember to use this book when-ever you need to refresh your memory or tolearn something new. It’s been designed tobe an essential reference to help you becomea better woodworker. The only way it can dothis is if you make it as familiar a workshoptool as your favorite bench chisels.

—The editors

alternative step, it’s called out in the text and the visual material as a “variation.”

For efficiency, we’ve cross-referenced redundant processes or steps described inanother related process. You’ll see yellow“cross-references” called out frequently in the overviews and step-by-step essays.

When you see this symbol , make sureyou read what follows. The importance ofthese safety warnings cannot be overempha-sized. Always work safely and use safetydevices, including eye and hearing protec-tion. If you feel uncomfortable with a tech-nique, don’t do it, try another way.

“WARNINGS” tell youspecific safety concernsfor this process andhow to address them.

“STEP-BY-STEP ESSAYS” containphotos, drawings, and instructionson how to do the technique.

“CROSS-REFERENCES” tell youwhere to find a related process or the detailed description of aprocess in another essay.

The “TEXT” containskeys to the photos anddrawings.

“TIPS” show short-cuts and smart ways to work.

DOORS WITH PANELS

Building Doors 137

Raised Frame and Panel

For solid-wood doors of any size, frame-and-panel construction solves the problem of warp-ing and natural wood movement. The frame,made from stiles and rails that are on the narrowside, is relatively stable and thus not prone towarp. Inside the frame is a wide panel capturedin grooves cut in the frame. The panel “floats”inside the frame so it can move freely as itexpands and contracts, without stressing theframework around it (A).

Cut the frame joints, then groove the stiles andrails for the panel. Dimension your panel to theexact size of the inside perimeter of the frameplus the full depth of its grooves.

[ TIP ] Sanding in the right direction can

result in much smoother surfaces. Like

planing wood, the key is to sand so that

the fibers of the wood are pointing away

from you. Whenever possible, follow the

“downhill” sanding technique, flipping

over the workpiece when necessary.

You can raise panels on the router table using apanel-raising bit or use a panel raiser on theshaper. (For more on raised panels, see TheComplete Illustrated Guide to Shaping, by LonnieBird, The Taunton Press, 2001.) Making a full-depth cut in one pass will overload the cutter andthe machine, plus it can be dangerous. Instead,make the cut in two or three passes. A subfencetemporarily clamped to the shaper fence lets youmake a shallow cut on the first pass (B). To makethe final, full-depth cut, remove the subfence (C).

(Text continues on p. 138.)

DOORS WITH PANELS

Building Doors136

Flat Panel

The most basic of all doors is a simple flat panel.Although you can make a panel from solid wood,there’s a high probability that the door will warpif it’s of any considerable width or length. A bet-ter choice is a man-made material, such as MDF,because of its inherent stability. But MDF needsa surface covering of veneer or paint to concealits bland appearance. Veneered hardwood ply-wood is another choice, but like MDF, you’llneed to conceal the raw edges. For edging ondoors, I prefer thin solid-wood banding overveneer edgebanding. If you make your bandingfrom the same species as the plywood veneer,with similar color and grain patterns, it will blendinconspicuously with the panel. Make the band-ing about 1/8 in. thick, which provides enoughmaterial for easing over the sharp edges withoutexposing the plywood core.

Dimension the panel to account for the combinedthickness of the edging; then glue and clamp thetwo edges that will become the vertical surfaceson the door. Make sure to cut the banding slightlythicker and longer than the panel (A). Once theglue has dried, rout the excess with a laminatebit or trim it flush with a handplane.

Add the two horizontal bandings, making a buttjoint at the corners (B).

You can ease over the edges of the banding witha plane or rout a small 1/8-in. roundover (C). Oncethe door is installed, the corner joints will beinvisible from the top of the door.

A

B

CSee “Flush-Trimmed Lippings” on p. 75.➤

WARNING Always unplug the

machine when making bit changes on a

router oe shaper.

▲ !

Rail Stile

Raised-and-fielded panel.

1/16-in. minimum clearance on long-grain edges.

1/4-in. to 1/2-in. deep groove holds panel in frame.

Panel expands and contracts in this direction.

Tongue Field Bevel

1/16 in.A

B

C

▲ !

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Working Wood, page 22

Shop Necessities, page 8

Designing Furniture, page 40

Woodworking Machines and Tools, page 13

Building fine furniture hinges on three critical com-

ponents: an understanding of the material, the proper tools,

and old-fashioned know-how. Without a thorough knowl-

edge of woodworking, you’d be hard-pressed to follow even

some of the simplest of woodworking plans. Yet a workshop without

basic woodworking tools and the right materials faces the same dilemma.

Some woodworkers start out by equipping their shops with a full com-

plement of the best tools that money can buy, expecting good tools will

make up for a lack of skill. On the other hand, first-rate work in the

hands of a skilled craftsman can be enhanced by the right tools.

My advice is to buy the best tools and supplies you can afford, as you

need them. In the interim, your skills will grow. Fine woodworking does

not happen overnight. As your skills progress, you’ll become more astute

in your purchasing prowess, your desire will be greater, and you can buy

the right tools when you know you really need them.

Tools and Materials

PART ONE

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8

Shop Space and Fixtures

Certain items for the woodworking shop arenecessary, and for the most part they’re easyto come by. Good light is essential. If youcan’t get natural light, use a combination ofincandescent and fluorescent. Incandescentclamp-on spotlights, or task lights, are cheapand allow you to position the light rightwhere you need it. Overhead fluorescent fix-tures can brighten a room considerably.

[ TIP ] You can buy lamps with magnets

on their bases from many woodworking

suppliers. The magnet clamps to any

ferrous metal surface, making it possible

to position a light on a woodworking

machine, such as a bandsaw, for a better

view of the cutting action.

When laying out your work space, makesure you allocate enough room for assembly.Cabinets, with their multitude of parts andpieces, can quickly overcome a small room.One answer is to make your machines andfixtures moveable, so your can clear a spacewhen necessary.

Another is to group core machines togetherin a central hub, such as the table saw, jointer,and planer. And don’t overlook heating yourwork space. Not only will you and your handsbe comfortable but most finishes and gluescan’t survive temperatures below 65°F.

Building furniture and cabinetsbrings immense satisfaction. Butfrustration often blocks our aims. I

remember the aggravation I encounteredstarting out, working in a cramped studiospace with very few tools. My first attemptsat building furniture were clouded withproblems. Attempts at making an accuratecut often ended up in less-than-satisfactoryresults, due to a combination of poor light,confined space, and tools pushed far beyondtheir capacities. Looking back, I thinkthere’s a better way.

The following paragraphs are written withthe intention of steering you clear of the frus-trations I faced as a fledgling furniture maker.I’ll talk about some essential gear you’ll needfor years of satisfying woodworking. But byno means should you consider these itemssacred. I mention them as a guide only. Somegear I consider essential for constructing cab-inets and furniture, such as a table saw andgood light. Other “necessities” are handy tohave, but you can always make do with less.

The fact is, almost all the woodworkingoperations and techniques that I describe inthis book can be accomplished with a varietyof tools, not just the ones I show. If youdon’t own a jointer, try jointing with a hand-plane. Or use a handsaw if you can’t get to amotorized version. The point is to make dowith what you have. We all start woodwork-ing this way. As you learn the craft, you’llbuild up not only your tool collection butyour hard-won skills.

Shop Necessities

See “Mobilize Your Workshop” on p. 11.➤

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For me, the workbench is the heart of myshop, where some of the most importantaction takes place. Scrimp on or skip thistool at your own peril. A workbench shouldbe solid, sturdy, and stout. The top should beflat, so you can reference your work on it,and the top and base should be heavy, toresist the pounding, pushing, and pullingthat takes place on it.

Plywood clamped to sawhorses can make a bench, but it won’t compare to thesheer mass and work-holding capacity of aEuropean-style joiner’s bench. Its broad,heavy top is ideal for joinery and layout tasks.This style of bench has a tail vise and a seriesof angled holes in the vise and along the topof the bench into which you place a pair of

bench dogs made from wood or metal. Byplacing a workpiece between two dogs andtightening the vise, you can pull the work flatto the benchtop. This is useful for carvingand cutting operations and is especially wellsuited for handplaning.

Another effective means of clampingwork tight to your benchtop is to drill a holeright through the top, and pound a holdfastover your workpiece. Be sure to use somescrap stock to prevent the holdfast frommarring your work. I had a metal-workingfriend make my holdfast, but they’re com-monly available from woodworking catalogs.

At the far end of the bench, the shouldervise is ideal for holding long boards on edgeor for grasping tapered or irregular work-

Shop Necessities 9

A holdfast uses a wedging actionthrough the bench-top to keep a piecein position for handwork, espe-cially for carving or chopping tasks.

Pinching the workpiece between benchdogs helps pull it flat to the benchtop, especially useful when handplaning.

The open jaws of ashoulder vise allowlarger workpieces topass right throughfor easy clamping.The vise has aswiveling jaw toprovide even pres-sure onto taperedworkpieces.

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Shop Necessities10

pieces, since the jaw pivots to accommodateangles. Best of all, there are no obstructionsor hardware between the jaws, so long workcan pass right through the vise. You canbuild your own bench, as I did and as manyother woodworkers do (see The WorkbenchBook, by Scott Landis, The Taunton Press),or buy a commercial bench from a wood-working catalog or store.

An assembly table does well to comple-ment the workbench, as shown at left. Itslow working surface lets you work on largeassemblies with good control and comfort.And it works overtime as a glue-up table ora platform for applying finishes. You canalso make good use of the space below forstoring screws, hardware, clamping devices,and other tools.

Keeping your tools organized will makethem accessible; a tool cabinet serves thispurpose, especially if you keep it near yourworkbench. I recommend building your ownso you can lay out the interior to fit specifictools. It’s a good idea to construct lots ofshallow drawers and cubbyholes or to hangtools from box-type doors, dedicating specificspots for their storage. This way, you can getto a tool in an instant—and see when it’smissing. (For more ideas and information onbuilding your own toolbox, see The ToolboxBook, Jim Tolpin, The Taunton Press.)

As you read through this book, you’llnotice plenty of smaller jigs and fixtures.Shopmade jigs complement a tool or a pro-cedure, making construction easier or moreaccurate—or a combination of the two. Themore furniture you build, the more jigs you’llacquire. You’ll even—I hope—devise a fewjigs yourself for some of the woodworkingprocedures shown in this book. Write notes

Make rails from 2 in.-thick hardwood.

40 in.

Plywood or MDF, 1 in. thick,edged with hardwood

3/4-in. plywood spine

Wooden runnersguide bins.

Plastic bin for screws.

3/4-in. plywood

This side open forstoring large items.

60 in.

25 in.

3 in.

3 in.-

ASSEMBLY TABLE

A low work table for assembly, clamping,and sanding will help save your back.

SECTION 1

Shop Necessities 11

directly on your jigs; then the next time youuse them, you’ll have all the set-up informa-tion at your fingertips.

Keep some basic materials on hand formaking jigs. Medium-density fiberboard(MDF) and Baltic birch (multi-ply) plywoodare great; and pneumatic (air-driven) staplesor brads and glue afford a quick way of put-ting jigs together. Build them fast, but makesure they’re accurately constructed, so theywork with precision. Don’t fuss too muchover a jig’s aesthetics. Remember that jigsare only aids to the more important stuff,the actual furniture you make. When yourshop starts to overflow with jigs and fixtures,keep them organized where you can get atthem. A wall is handy spot.

Mobilize Your Workshop

One of the most efficient moves I ever madein outfitting my shop was to put wheels onalmost all of my major machines and fix-tures. Mobilizing your tools makes it easy toreorganize areas when needed, say for creat-ing a large, open space to build a complex or

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Step 1. Cut 30 miter on end of 1-in. board

Step 2. Mark parallel line2 in. to 3 in. from mitered end.

Step 3. Bandsaw slots every 1/8 in. or so.

Clamp featherboard to machine surface so that it presses against the workpiece with the “feathers“ flexed slightly.

MAKING A FEATHERBOARD

Running cleats along an open wall providesroom to store your collection of jigs and fixtures.

A mobile baseallows you to moveheavy machines andequipment easily.Make sure powerruns through extra-long wires.

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Even shop tables and cabinets can benefitfrom mobility, which you can provide byattaching heavy-duty locking casters to thebottoms of legs and cases. Dual-locking,swiveling casters are best: The brake leverlocks not only the wheel but also the swivel-ing plate, for maximum rigidity when thecabinet is stationary.

To move your work in progress aroundthe shop or to rotate pieces while you’reapplying a finish, build wooden dollies fromscrap pine and plywood, as shown at topleft. These dollies are highly maneuverable,lightweight, and stowable, yet they supportconsiderable weight.

good-size cabinet. You can mount largemachinery on commercial mobile bases. Mybig 20-in. bandsaw sits on a mobile basewith wheels, and I place small wedgesunderneath when it needs to be stationary.By pulling out the wedges and unlocking therear wheels, even a small person can movethis 500-lb. behemoth with ease.

Large casters undershop tables andcabinets createmobile work centers.

Nail and glue3/4-in. x 10-in. x 18-in. plywoodcleats to boards.

Screw 2-in. swiveling casters at each corner.

1 x 4 pine

22 in.

48 in.

SHOPMADE DOLLY

Handmade dollies help keep work safe,because they provide an easy way to movefinished pieces out of harm’s way.

Shop Necessities12

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13

with 40 teeth will suffice. For heavy rippingin thick hardwoods, you’ll get smooth cutswith a flat-top (FT) rip blade with about 24 teeth. A stacked dado blade will cut flat-bottomed grooves and rabbets.

For safety, always guide work against therip fence or with the miter gauge, or use a jigthat references one of these two areas. Neverhold the work freehand. Although a standardmiter gauge works great for precise crosscutsin all sorts of work, things get a little hairy asthe stock gets bigger. A miter gauge simplycan’t handle large work accurately or safely.To overcome these inadequacies, I use what

W hile it would be great toown every conceivable wood-working machine and tool—

plus the room to accommodate them—thereality is that we often get by with very little. However, I do believe that certainmachines belong in the shop of a furnituremaker or cabinetmaker, whether amateur orprofessional. The table saw tops the list.

The table saw is the foremost tool in theshop of a cabinetmaker, and it’s a versatileone at that. While it can rip and crosscutstock to width and length, it’s also adept atcutting all sorts of joints, from tapers andcoves to moldings and other nonlinearshapes, when equipped with the right jigsand accessories. For handling large panels orlong planks, you should outfit your saw withside and outfeed support, either in the formof rollers or dedicated tables. Keep in mindthat the table saw is a space hog. Ideally,you’ll want 16 ft. before and after the bladeand 10 ft. or more to one side of the blade.A contractor-style table saw will work finefor furniture making, although a 3-hp to 5-hp cabinet-style saw will provide moreaccuracy and muscle to slice through thickhardwoods.

Invest in good sawblades for your saw.For general crosscutting and ripping, an all-purpose alternate-top bevel (ATB) blade

Woodworking Machines and Tools

The table saw is the primary machine inany shop. You can increase its capacity bybuilding a heavy-duty crosscut jig for han-dling wide or long boards.

SECTION 2

Woodworking Machines and Tools14

After the table saw and its associatedaccessories and jigs, try to acquire the fol-lowing machines as your resources or budgetallows. Often a good bargain can be had bysearching the Internet or local auctions forused machines. Just be sure to inspect thetool thoroughly before buying. I’ve listed themachines in order of my personal preference.

The jointer is used for flattening and tru-ing faces and edges. Jointers are measured bytheir table width; 6-in. and 8-in. jointers arecommon. Bigger is better for flattening widestock, such as tabletops or panels. For safety,never joint stock shorter than 12 in., and usepush blocks or sticks to move the work overthe cutterhead.

The thickness planer is used after the jointerfor smoothing and thicknessing stock to auniform thickness, particularly face-jointedboards. It is not designed to flatten work(although it’s possible to do this with spe-cialty jigs). Like the jointer, bigger is better,and 12-in. to 15-in. models are common.The 12-in. and 13-in. benchtop planers areparticularly inexpensive, and their high-rotations-per-minute (rpm) universal motorsspin the knives at an incredible pace, result-ing in a smooth surface on difficult or gnarlywoods. Big cast-iron planers, with their sturdy frames and powerful inductionmotors, take a bigger bite per pass, makingthem better suited for production work.

The bandsaw is a wonderfully resourcefultool, and it really shines when it comes to allsorts of curved cuts. But the bandsaw also ex-cels at joinery and straight cuts, particularlywhen set up with a wide (1/2 in. or more)blade and a rip fence. For ripping roughstock and sawing really thick timber, such as

is essentially an oversize miter gauge withtwo steel runners that ride in the miter gaugegroove. Like a miter gauge, this crosscuttingjig is great for small parts, yet beefy enoughto handle long or wide stock. For really bigwork, you can use a clamp to secure the workto the jig, then push the assembly past thesawblade.

[ TIP ] Clean and protect your machines’

working surfaces by coating them regularly

with paste wax. Use the furniture-variety

wax, not the automotive kind, which has

abrasives. Apply a generous coat with a

rag, then buff it off by rubbing hard with

a clean cloth. The slick surface that results

fights rust buildup and provides good

control when pushing work over the

surface.

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BOTTOMLESS CROSSCUT JIG

Steel runner,3/8 in. x 3/4 in. x 24 in.

1/4-20 x 11/2-in. bolt

Glue three piecesof 3/4-in. plywood to fence.

Drill and countersinkfor fence-attachmentscrew.

2 in.

Drill and tapfor bolts.

#8 x 2-in. screw

Countersink 1 in. dia.for accessing bolt headwith socket wrench.

33/4 in.

30 in.

SECTION 2

Woodworking Machines and Tools 15

for a variable-speed router for big routertable work.

The drill press is more accurate and saferthan using a hand drill for many drillingoperations, especially when spinning bigbits. Plus it adapts itself well to all sorts ofdrilling jigs and fixtures. You can even cutmortises on the drill press with a mortisingattachment. Benchtop models are great ifyou can spare a benchtop, and they cost less.Floor models have the advantage of drillinginto long or tall work.

The wood lathe is just the ticket if bowlsor spindle turning is on your woodworkingagenda. For average spindle work, a bench-top lathe with 32 in. to 36 in. between centers will accommodate most spindles,including table legs. Columns or bedpostsnecessitate a longer bed length, and bigbowls need more height capacity, or swing,between the bed and the headstock and tailstock. If big turnings are what you seek,look for the mass and heft of a large floor-model lathe.

Basic Handheld Power Tools

To supplement your big machines, you’llwant a few portable power tools. In fact, in apinch, many of these smaller tools can sup-plant their bigger cousins. A basic powertool kit includes a jigsaw, for cutting curvesand making inside or stabbing cuts; a biscuitjoiner, for quick yet strong and accurate platejoinery; a random-orbit sander and a beltsander, for smoothing or flattening smalland large surfaces; a circular saw, to trimlarge panels into manageable size; a big,3-hp variable-speed plunge router, for mor-tising and grooving and spinning large bits;

resawing boards into veneer, the bandsawcan’t be beat for accuracy, ease, and safety.

Bandsaws are measured by their throat,or the distance from the blade guide to thepost, indicating the maximum width theycan handle. Height capacity is measuredunder the blade guides, and higher is better.Most 14-in. saws can be fitted with riserblocks to increase the post height. European-style bandsaws, typically 16 in. and up, arebecoming more common, and outperformthe smaller saws. Their stiff frames, bigmotors, and superior blade-guide systems letyou saw big, thick stuff all day long withouta whimper.

The miter saw, or chop saw, has virtuallyreplaced the radial-arm saw for accuratemiter cuts and general crosscutting. A slid-ing miter saw has even more capacity, cross-cutting stock as wide as 12 in. Power mitersaws work best if you incorporate them intoa workstation with support tables on eitherside of the blade. Also, it’s worth building aflip-up stop system for cutting multipleswithout having to reach for a tape measure.

The router table will increase your router’scapacity and can be used as a small-scaleshaper. With the router mounted upsidedown, you can take advantage of shapingsmall stock, cut a host of joints, and moreconveniently rout small pieces with morecontrol and safety. You can make your ownrouter table and fence, buy one, or cobbleone together from commercial components.In a pinch, simply mount your router upsidedown in a vise. Important features to lookfor are a flat top and a rigid, straight fence.Remember that spinning large bits (11/2 in.and up) means lowering the rpm, so look

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or when you need precise curved cuts andsmooth-walled interior cuts; an air compres-sor plus small- and large-nail and stapleguns, for driving fasteners with pin-pointconvenience; a vacuum pump and bag or alarge veneer press (another space hog), forveneering without needing zillions ofclamps; and for convenience’s sake only,more routers, so you can keep dedicated bitsin them for specific cuts or devote them toparticular routing jigs.

Favorite Edge Tools

Edge tools, used for shaping, cutting, andsmoothing wood, are probably more vital inmy woodworking than all my power toolscombined. That’s because the degree of pre-cision and surface finish available with thesetools are unparalleled. A bonus is thatthey’re quiet and relatively dustless. They dotake skill to use. But an appealing indicatorthat you’re beginning to master your edgetools is when you find yourself using finerand finer grits when it comes time to sand.

Some of my favorite edge tools, includinga variety of handplanes, are shown on thefacing page. I also favor wooden moldingplanes, from beading and rabbeting planes tohollows and rounds, when I want to work inpeace and quiet or to supplement my powertools when they can’t cut the profile I need.There are hundreds of molding planes avail-able. Nowadays, only a few molding planesare produced commercially; instead, look forthem at flea markets and through antique-tool dealers. Other important edge toolsinclude handsaws, files, rasps, and chisels forall sorts of sawing and shaping tasks.

a medium-size fixed-base router, for allthose other topside routing tasks whereyou’d rather not heft the big plunger; and acordless drill, which lets you drill holes anddrive screws—anywhere.

There are many additional tools andmachines that can add to your shop’s capaci-ties. Some I own; some I’d like to own, butdo happily without. The most useful onesare worth mentioning: a shaper, which ismore powerful and accurate than a routertable and lets you make really big moldingsand work with wider, taller stock; a bench-top hollow-chisel mortiser, which lets youcut mortises affordably; a belt-disk sander,which is good for smoothing, but better forshaping and trimming parts to exact size; anoscillating spindle sander, which cuts aggres-sively and leaves a smooth surface, particu-larly in concave curves; a laminate trimmer,which is small and comfortable to hold, yetfeels like a powerful mini shaper in yourhand; a right-angle disk grinder fitted with arotary blade, to hog out and dish wood in notime; a scrollsaw, for inlay or puzzle making

Important portablepower tools include(clockwise fromlower left): jigsaw,plate joiner, random-orbitsander, belt sander,plunge router, fixed-base router,and driver drill.

See “Power Drive Your Screws” on p. 81.➤

SECTION 2


less expensive alternatives to Forstner bitsand convenient for use in a hand drill; and avariety of countersinks, counterbores, andplug cutters, for fitting screw shanks, screwheads, and wooden plugs.

Fundamental Layout Tools

There are some wonderful marking andmeasuring tools that will help you lay outjoints, measure parts, and mark them accu-rately. Buy good ones; they’ll work with theprecision you need in this aspect of the craft.Some you can make yourself.

For drilling and routing, you’ll need aselection of bits and accessories. Organizingyour collection on a rack gives you quickaccess at a glance. Bits include 1/2-in.- and1/4-in.-shank router bits in as many profilesas you can afford for decorative edge work,grooving, rabbeting, mortising, and templatework; regular twist bits, for drilling pilotsand holes in wood and metal; brad-pointtwist bits, which cut very clean entrance andexit holes; Forstner bits, used primarily inthe drill press for cutting large or small flat-bottomed holes; spade bits, less precise and

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Trusty edge tools. Top: bench planes, blockplane, rabbet planes, spokeshaves, andscrapers. Bottom: bowsaws, backsaws,dovetail saws, flush saw, veneer saw, rasps, lathe chisels, bench chisels, and carving chisels.

A plywood rack withholes drilled for var-ious bit sizes helpsorganize your selec-tion of router anddrill bits.

Essential layouttools (clockwisefrom lower left):pinch rod, small andlarge squares, bevelgauges, trammelpoints on stick andcompass, measures,rulers, straightedge,inside and outsidecalipers, markinggauges, awls,knives, and dialcalipers.

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Marking and measuring gear shouldinclude a variety of tools from basic rulersand tapes to more specialized ones such as a pinch rod, which allows you to compareinside diagonals to ensure a square case.Depending on how serious you are aboutmaintaining your own shop equipment, youmay want some machinists’ measuring toolssuch as dial indicators and calipers.

Also expect to use a compass and a largetrammel for larger curves. And several sizesof straightedges always come in handy.

Sharpening Gear

As you start to acquire tools, your need forsharpening rises exponentially. Sharp toolsare safer and more accurate than dull ones,but they don’t stay that way unless you estab-lish a sharpening regimen. My routine?When a tool is dull and won’t cut properly,I sharpen it. I send out my carbide-tippedsawblades, router bits, jointer blades, andplaner blades to sharpening professionals.But I regularly sharpen all my hand tools.Saws can be kept in tune with saw files. Forplane irons, knives, and chisels, a grindingwheel will quickly dress nicked or damaged

SECTION 2


edges, and a honing stone will sharpen andpolish. In addition to acquiring these devices,setting up your sharpening area is just asimportant. A decent setup promotes yoursharpening routine. In the hands of a skilledcraftsman, sharpening is a quick and painlessmaneuver that lets you get back to work.

[ TIP ] Keep a supply of extra plane irons

for specific planes on hand. When the

last of your irons get dull, sharpen them

all at once. This way you can switch

out dull blades for fresh ones during

planing, instead of stopping your rhythm

to sharpen.

To dress edges properly, your grindermust be the right height, and it should havean adjustable yet solid tool rest. (There aremany good grinder tool rests on the market.)A fairly high tool rest gives you more con-trol over the tool and offers a better view ofthe cutting action. Keep the tool rest 40 in.to 46 in. from the floor, or the height yourhands rise when you bend your forearms at anatural right angle to your body. This com-fortable position lets you lock your elbowsand pivot the tool from your shoulders,

It’s best to mounta bench grinderabout chest high.This lets your armsextend comfortablyand easily for morecontrol.

This simple jig holds the chisel square for grinding.

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which steadies the work and gives you greatprecision.

If you’re new to grinding, it can be intim-idating to try to grind an edge square. Withpractice, you’ll be able to grind freehandquite easily and with great accuracy. But forbeginners, the shopmade jig shown at right,which you push across a grooved tool rest,works great for holding narrow tools squareto the stone.

[ TIP ] Overheating a tool during grinding

will draw its temper and weaken the cut-

ting edge. There are several tricks to keep-

ing an edge cool. Always use a light touch

and keep the tool moving across the

wheel. Use a slow-speed grinder that runs

between 1,700 rpm and 1,800 rpm to pre-

vent burning; regularly rub the wheel with

a dressing stone to remove glazed and

impregnated debris.

For honing and polishing, there are manytypes of sharpening systems that work verywell, from ceramic and diamond plates andpaste to natural India and Arkansas stones.Even sandpaper adhered to a flat surfaceworks great. I’ve settled on synthetic water-stones for their speed and general cleanliness(although you might splash water whenusing them). To house my stones, which forthe most part need to reside in water, and tosharpen with them, I use a homemadewaterstone holder and work box.

Distinct from grinding, sharpening andhoning take place on a lower surface, so youcan use your upper body to control and placepressure over the tool. The correct heightwill allow you to move the tool edge withbroad, even strokes across the stone. You can

Fill bin with water.

Stone holder sits on sticks.

Sticks rest on ledge.

Plastic binwith inner ledge

Wood box keepsbin rigid.

WATERSTONE WORK BOX

90

Size stick to fitgroove in tool rest.

3/4-in. plywood

Grooved tool rest

GRINDING JIG

SECTION 2


calculate the ideal stone height by lettingyour arms hang naturally at your sides, thenmeasure from the tips of your fingers to thefloor. It’s about 30 in.

Clamps

Yes, the old saying is true: You can neverhave enough clamps. But it’s worth investingin the most important ones. Pipe or barclamps are the most essential for cabinet-making, in lengths from 2 ft. to 6 ft. orlonger, for clamping edge-to-edge joints andcase assembly. Quick clamps with 4-in.-deepjaws are my second favorites; they help posi-tion and hold work, clamp parts together,and are useful with jig and machine setups.If you can, collect a few deep-throat quickclamps for reaching into the center of widework. Wooden handscrews, band clamps,spring clamps, and specialty clamps likemiter clamps are best acquired as you needthem. Don’t skimp on quality; a good clampshould provide enough pressure withoutbowing or bending. And the clamp headsshould grip securely and square to the work.

For reaching difficult-to-clamp areas,such as the middle of a wide panel, shop-made beams, or cauls, are just the ticket and

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This waterstonesharpening stationprovides a sturdywork platform aswell as a place tokeep the stones submerged whennot in use.

Clamping cauls should have slightly convexfaces to help transfer pressure to the centerof the board.

Hardwood,13/4 in. x 21/2 in. x 40 in.

Lay out cure with flexible ruler or stick and bandsaw to line.

Draw arrows tomark curved side.

Add 3/4-in.-thick plywood platensto distributeclamp pressure.

1/8 in.

Use paired cauls above and below the work to put pressure in the middle of wide stock.

BOWED CLAMPING CAULS

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Lock rod with screw.

Drill 11/8-in.-diameter hole for rod.

Span supports with closet rod.

Screw plywoodsupport to joist.

JOIST HOLDER FOR BAR

AND PIPE CLAMPS

Screw or bolt backboardto wall.

Space according to particular clamp.

3/4-in. lumbercoreplywood

Glue and screw bracket to backboard.

12 in.12 in.

WALL HANGER FOR BAR

AND PIPE CLAMPS

A set of plywoodwall brackets organizes your barclamps, makingthem readily accessible.

An overhead rackcan serve as convenient clampstorage.


cost less than deep-throat clamps. Plus, theycan be used along with plywood platens forpressing sheets of veneer. Because the beamsare slightly curved along their length, clamp-ing pressure is distributed evenly—even tothe very center of wide work. I keep about10 of these beams on hand for complicatedglue-ups.

Storing all your clamps can pose a spaceproblem. A cart with wheels is handy if youhave the floor space, since you can move theclamps to where you need them. Don’t over-look wall or ceiling space as real estate foryour clamps. You can hang a multitude ofclamps between joists as long as your ceilingheight isn’t out of reach. Another idea,which I picked up from my woodworkingbuddy Paul Anthony, is to make plywoodhangers, as shown below. Attach the hangersto the wall; then hang your clamps withineasy reach.

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22

Working Wooda machine. And listen to your tools. Yes,with your ears. Any audible feedback—achange in pitch or tone—can warn you thatdanger is fast approaching and tell you tostop and re-evaluate what you’re doing. If aprocedure feels risky, find another way to doit. There is always another method that willwork, and you should always feel safe andconfident in the doing of it.

Safety gear is vital, too. Protect your earswith sound-deadening ear plugs or earmuffs,particularly when using high-decibel univer-sal motors such as routers, miter saws, andbenchtop planers. Keep your eyes safe fromchips and dust whenever you’re cutting mate-rial, swinging a hammer, or using compressed-air tools. Wear eye protection in the form ofsafety glasses, goggles, or shields.

Watch out that your lungs don’t gatherdust. Sweet-smelling shavings may highlightthe romance of woodworking, but they oftencome cloaked as fine dust that floats lan-guidly in the air for hours. These micron-size particles are known as some of the worstoffenders when it comes to respiratory andother illnesses. Use a nuisance mask whenpossible and wear a powered air-purifyingrespirator when the dust is really bad. Toovercome big chips and some dust, hook up major machines to dust vacuums orinstall a central dust-collection system. Anair-filtration box, hung from the ceiling, isanother way to capture really fine dust.

Like it or not, even the cleanest wood-working shop collects dust. And dry wood-

Avital aspect of making qualityfurniture is having an intimate relationship with your material.

What material to use, how and where topurchase it, and how it will behave frombirth as rough stock to the ripe age of a 100-year-old piece of furniture are impor-tant pieces of information that will improveyour woodworking, even before you pick upa chisel. And knowing your material willhelp you work wood safely, probably themost important skill in the craft. The fol-lowing information should help you getstarted. For a more in-depth look at thetechnical aspects of wood and its properties,including plywoods and other man-madeboards, read Understanding Wood, by R. Bruce Hoadley (The Taunton Press).

Working Wood Safely

The first and most important technique tolearn and master in woodworking is to worksafely. You can fix a woodworking mistake,but you can’t take back a woodworking acci-dent. Our shops are full of any number ofsharp tools that can cause serious or perma-nent damage to your body. The good news isthat safety won’t cost you much. The biggestinvestment you’ll make is in your mind. Or,more precisely, in your attitude. Althoughthere is certainly plenty of safety gear thatyou should own, I believe that safe wood-working is primarily a mind-set you adoptevery time you’re in the shop. Be attentive toyour energy level; if you’re tired, don’t fire up

SECTION 3

Working Wood 23

Last, and certainly not least, are the safetyguards and shields on your machines. Theyprotect fingers and flesh, and they shouldn’tbe overlooked or taken for granted. Checkto see that your guards are properly installedand use them. If possible, use a splitter, orriving knife, to reduce the likelihood of kick-back on the table saw. If you find that aguard is inconvenient—table saws are theworst offenders—then look into replacementsafety devices. There are plenty of gooddesigns available from woodworking catalogsand stores.

Buying and Preparing

Solid Wood

If you buy dimensioned wood at the lumber-yard, save it for small projects—jewelryboxes and the like. Use rough lumber forfurniture. Buying rough lumber lets you totake control of the dimensioning process,resulting in stock that’s flatter, more stable,more consistent in color and texture, andprettier. All because you took the time tostudy your rough boards throughout themilling process.

For furniture making, it’s vital that youwork with dry wood. How dry? A good ruleof thumb is 6 percent to 8 percent moisturecontent, which will keep the material inequilibrium with its intended surroundingsindoors. You can buy kiln-dried wood, butdon’t overlook air-dried lumber. It’s relativelyeasy to dry lumber yourself and save somemoney in the process, and there are manygood articles and books on the subject.

The main thing to keep in mind, regard-less of whether you use air-dried or kiln-dried lumber, is to make sure it’s stored in an environment with a relative humidity of

working dust is a fire hazard. To keep thingssafe, clean and sweep your shop and regu-larly blow out electrical panels and outletsusing compressed air. Always keep a chargedfire extinguisher on hand, just in case.

During finishing, you’ll want to protectyour lungs, skin, and clothes from harshchemicals. Latex gloves, similar to thoseused by the medical profession, are inexpen-sive and keep your hands clean. An organiccartridge-type respirator worn over yourmouth and nose will prevent fumes andother noxious vapors from reaching yourlungs. And a shop apron helps preserve yourfavorite T-shirt or pants.

Even more important than safety gear is reading about and understanding the fin-ishes you use. Learn more by asking for amaterial safety data sheet (MSDS) from themanufacturer or supplier of the products youuse. Remember that oil-based finishes gen-erate heat as they dry and can burst intoflames (spontaneous combustion)—so besure to dispose of wet or damp rags in asealed, metal container or spread them outon a bench outdoors until they’re dry.

When it comes to moving wood pastsharp steel and carbide, keep your fingersout of harm’s way by using push sticks, pushblocks, and featherboards. You can makethem from scrap wood or buy them. Eitherway, use them whenever possible, instead of your hands.

[ TIP ] Working safely on a woodworking

machine involves total attentiveness to

the task at hand. Advise your family,

friends, and colleagues never to approach

you from behind while you’re working at

a machine. A sudden interruption can

break your concentration.

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and scientific supply catalogs, but a cheaperversion works accurately if you keep it clean(hang it under a shelf to prevent dustbuildup), mount it in an area with good aircirculation, and check its calibration regu-larly. Monitor your hygrometer during theyear to find out how much your shop’s rela-tive humidity level changes.

Once you become familiar with yourshop’s humidity level, use a moisture meterto check the actual moisture level in yourlumber. For an accurate reading, cut the endof a board to read the stock’s core and usethe meter on the center of the end grain.The moisture meter shown at middle lefthas a digital readout, which lights up when apair of steel pins are pressed into the wood.Use the meter to check your wood when youfirst bring it into the shop. Then check itregularly over the course of a couple ofweeks. When your readings are consistent,the wood has equalized with the shop’s envi-ronment and is ready for working.

[ TIP ] Buy or gather your lumber and

store it in the shop well in advance of

building a project. Stack and sticker the

boards in a well-ventilated area and plan

on waiting a few weeks for the wood to

equalize with your shop’s environment

before working it.

With your stock at rest with your shop’satmosphere and at the correct moisture con-tent, you’ll want to lay out your boards andinspect them for defects before you beginthe milling process. Look for stray hardware,such as staples or nails, and remove it withpliers. Mark around splits and unwantedknots. Then divide long boards into smallerlengths to make the milling process easier.

around 40 percent and that you store it inthat location for a couple weeks before usingit. Most woodshops have this ideal setting,which you can check by keeping an inexpen-sive hygrometer in your shop. You can buyexpensive hygrometers from woodworking

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Cut several inchesfrom the end of aboard to get anaccurate reading of the moisture content from theinterior.

Press both pinsfirmly into the endgrain to take a moisture-contentreading.

When laying outboards, it’s a goodidea to figure inabout 4 in. on eachend for planer snipecaused by the shift in pressure of therollers as the boardexits the machine.

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Working Wood 25

is to flatten the face of a board before plan-ing it to thickness. However, if you don’thave access to a wide jointer, you can hand-plane one side flat instead.

Before jointing, sight along the board,looking for a cup or bow. Then place thecupped or bowed face down on the bed ofthe jointer. Set the knives for a light cut,about 1/32 in., and be sure to use push blocksto control the work and to prevent yourhands from contacting the knives.

With one face flat, you can thicknessplane the stock to even thickness. Start withthe jointed face down on the bed of theplaner, orienting the stock so you plane withthe grain to avoid tearout.

To minimize further warping caused byinternal stresses in the wood, always take aneven amount of wood from both sides of the

Plan on losing about 4 in. on each end of aboard owing to checking or from planersnipe. It’s convenient to mark your cuts withregular chalkboard chalk. I like the “dustless”variety. White chalk shows up well on roughboards and, if you need to make a change,you can easily erase a mark by swiping thechalk with a damp sponge.

Now, if all went well, your lumber will bewarped. Relax. This is a natural part of thedrying process and now is the time to dealwith it—not after you’ve built your furniture.There are essentially four types of warp, andyou can easily train your eyes to spot eachtype in a board (see the drawing above).Knowing which kind of curve is in yourboard, and where, will help you determinethe best course of action when it comes toremoving it and milling your boards flat and square.

Face-jointing your lumber is essential ifyou want to make furniture that’s flat andsquare. Many woodworkers commonly mis-take the jointer as being solely an edge-straightening tool. Although it serves thispurpose wonderfully, the best use of a jointer

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Cup Bow

Crook Twist

TYPES OF WARP

See “Working with the Grain” on p. 28.➤

When face jointinga board, place thecupped side downand use rubber-coated push blocksso you can safelycontrol the work.

See “Flattening a Board by Hand” on p. 27.➤

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Working Wood26

board. This means flipping the board overand end for end—to orient the grain direction—after every pass.

After planing, joint one edge of the stock.Pay attention to keeping the board snug tothe fence, because this keeps the jointededge square. For narrow edges, you can takeoff a little more than when face jointing. Adepth of cut of about 1/16 in. is fine.

Once you’ve milled your lumber flat and tothickness, but before you cut out parts, it paysto get better acquainted with your wood. Bystudying your boards for grain pattern, color,and texture, you can learn to be a composer ofwood grain in your work. Mark like-coloredparts so they balance each other. For example,the two stiles on a door frame should comefrom similar areas of a board. And don’t beruled by straight edges; instead, follownature’s lines. Lay out your furniture parts,by studying the grain patterns, then drawstraight lines in chalk, parallel with the pat-tern you want. Cut to your lines on the band-saw; then clean up the sawn edges on thejointer and rip the opposite edges on the tablesaw. Now you have a board with the graingoing where you want it.

When cutting out individual parts from a solid-wood board, it’s best to rip piecesabout 1/4 in. over final width, placing a jointededge against the rip fence. Use leveragewhen ripping long boards and focus yourattention and pressure at the rip fence, not at the blade. Then go back to the jointer and re-joint an edge to remove any bowingcaused by tensions released in the rippingprocess. (Look for cupping on the face, too.You may have to face joint the ripped stockand then thickness plane it once more.)

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To avoid tearout onthe thickness planer,always plane withthe grain. Flip theboard over aftereach pass to planean equal amountfrom each side.

To ensure a squareedge, press downand against thefence. Edge jointingcuts should be limited to about 1/16 in. maximum.

To prevent longboards from wandering, sightalong the rip fencerather than the sawblade as youpush the boardthrough.

Align the grainwhere you want it,such as parallel toan edge, by drawinga straight line. A single bandsaw cutalong the line estab-lishes the new orien-tation.

SECTION 3

Working Wood 27

Then go back to the table saw to rip to finalwidth, again referencing the jointed edgeagainst the fence.

Finish up by crosscutting the boards tolength on the table saw, using the mitergauge or a crosscutting jig.

Another alternative is to use the mitersaw for cutting to length. A stop block letsyou cut multiple parts to exactly the samelength without having to measure and markeach board.

Flattening a Board by Hand

If you don’t own a jointer, or your jointer istoo narrow for your stock, you can still workwide planks into beautifully flat surfaceswith some initial prep work from a hand-plane. Don’t worry. This is not the sweat-drenching work our woodworking forebearscarried out when they worked withoutpower tools. Instead, it involves a sharpplane and your thickness planer.

At the bench, clamp the plank that youwant to flatten cupped-side up, tappingwedges under the board at key points to pre-vent rocking. Use a long plane set for a fairlyheavy cut and plane the high spots on thecupped face. Work the plane diagonallyacross the face. As you plane, use a straight-edge and a pair of winding sticks to checkyour progress, reading the face for cup andtwist. Don’t try to plane the entire surface;just make sure the perimeter, or outer edge, is flat.

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The flip-up stopblock (to the left ofthe saw) allows youto easily cut multi-ple pieces to thesame length.

Wedges keep theworkpiece fromrocking as youplane the perimeterof a cupped board.Once the outsideedges are flush, youcan finish the jobwith a thicknessplaner.

Determine twist by placing winding sticks at each end of board.

Make sticks from straight-grained wood, with parallel edges.

Sight along top edge of sticks; when lines are parallel, plank is free of twist.

DETERMINING TWIST

See “Bottomless Crosscut Jig” on p. 14.➤

SECTION 3

Working Wood28

Smoothing with Edge Tools

Boards straight from the thickness planer orjointer (or the lumberyard) aren’t smoothenough for furniture. Small millmarks—usually tiny ridges and hollows left by therotation of a cutterhead’s knives—will beglaringly apparent when you apply a finish.You can sand out these marks with a beltsander or a random-orbit sander, but it’sdusty work and, worse, you risk leaving asurface that’s far from flat. To remove marksand smooth any imperfections, a handplaneis fast and efficient and leaves a flat, gleam-ing surface unsurpassed by any other tool.

If you’re working with a flat surface, suchas a long, wide board, clamp it to a flat sur-face such as your benchtop. If you try toplane on an out-of-flat surface, the planewill skip and skitter over small humps andvalleys. Assuming your work has been accu-

Now flip the board over and send itthrough the thickness planer to flatten theopposite, unplaned face. A few passes is all it should take. When you’ve established abroad, flat surface on the second face, con-tinue planing both faces evenly until youreach the desired thickness.

Working with the Grain

Working with solid wood demands that youpay attention to the direction of the wood’sfibers, or grain. When you cut with the grain,such as when routing, planing, or even sand-ing, you’ll produce smoother surfaces. Cut-ting against the grain pulls and lifts the woodfibers up, resulting in tearout, or a roughsurface. Take the time to study the grainpatterns in your boards to determine whichdirection to orient them for cutting. Most of the time, you can see the grain rising orfalling by looking at the edge of a board. Butcertain woods can fool you. Sometimes youcan pass your fingers along the long-grainsurface in both directions and feel whichdirection is smoother. The technique is verymuch like stroking the fur of a cat. The finaltest is to cut the wood itself. If it tears, cutfrom the opposite direction.

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After handplaning,turn the planed side down on thebed of the thicknessplaner and flattenthe top side.

Cutter

Wrong

RightMoving cutting edgewith the grain produces a smooth surface.

Cutting in this direction lifts and tears fibers.

CUTTING WITH

THE GRAIN

Wrong

Right

SECTION 3

Working Wood 29

rately thickness planed, use a no. 4 or no. 5plane for the initial smoothing. Make sureyour plane iron is razor sharp and set thedepth for a fine cut.

Body English is all-important when plan-ing. To gain leverage, spread your feet apart,hold the plane directly in line with yourwrist and shoulder, and use your legs topower the stroke. Plane in one smooth, deci-sive movement, letting your upper bodypivot over the work as you push the plane.You should be able to plane a board about 5 ft. long without taking a step or movingyour feet—and without huffing to catchyour breath. Proper handplaning is a fluid,enjoyable action. For longer boards, take several passes by landing and taking off the plane from the surface, just like an air-plane. This technique helps avoid stop andstart marks.

From time to time, check your progresswith a straightedge to ensure the surface isflat. If you detect a small hollow that theplane has skipped over, try skewing theplane to the direction of the cut to effec-tively reduce the length of the sole. If thewood is difficult and starts to tear, plane in the opposite direction. Sometimes it’squicker simply to reverse the plane and pullit rather than to reposition the board.

[ TIP ] You can reduce friction and make

handplaning easier by regularly oiling or

waxing the sole of your plane. Light oil or

paraffin (candle) wax works well, or rub

some paste wax on the plane and buff it

off with a clean cloth.

For working difficult woods, when ahandplane tears the grain—not uncommon

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Lifting the plane off the work beforeending a stroke prevents choppyplane marks.

Skewing the planewhile still pushingstraight ahead helpsreach slight hollows.

Pulling the plane issometimes easierthan changingplaces as you tackledifficult grain.

The frequent use of a straightedgeduring planinghelps ensure thatsurface is flat.

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Working Wood30

on wood with swirled or highly figuredgrain—use a hand scraper. Tilt the scraper at an angle to the surface until it begins tocut. A properly sharpened scraper makesshavings—not dust. Many books and articlesdescribe how to sharpen a scraper, and it’sworth reading about how to tune up thisindispensable hand tool.

In most cases, you’ll still have to sand toremove small ridges left by planing and toensure that all your surfaces have an identi-cal texture for an even finish. However,the surface left by a plane or scraper is sosmooth that you can start sanding with avery fine grit, reducing sanding time—anddust—considerably.

Good Sanding Techniques

Proper sanding will yield flat, swirl-free sur-faces ready for a fine finish. Careless sandingcan result in scratches, or—much worse, inmy opinion—rounded surfaces that reflectlight unevenly and look downright shoddy.Not sanding at all can leave patternedmachine marks or plane track marks andlead to hard edges or inconsistent-lookingsurfaces when the finish is applied. Take thetime to look carefully at the surface and besure to sand through each successive grit.Final sanding is always done by hand, withthe grain of the wood.

Whenever you’re sanding a surface byhand, wrap the paper around a block. Asanding block prevents rounding or dippinginto surfaces, and makes the sanding processmuch more efficient. On broad surfaces, usea felt block for its sensitive feel to the handand to the surface itself.

On edges, or arris, use a hard woodenblock to gently round over the sharpness

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Use a sharp handscraper, rather than a handplane,when working fig-ured woods withdifficult grain.

Sandpaper wrappedaround a felt blockprovides a sensitivetouch for hand-sanding, and usessandpaper moreeffectively.

A granite blockwrapped with sand-paper is great forgetting into cornersand for leaving acrisp edge with nofuzzy transitions.

Spray adhesive,sandpaper, and ascrap piece of MDFare used to make asanding block withdifferent grits oneach side.

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Working Wood 31

where the two planes meet. The denser theblock, the better. Please don’t sand an edgeby hand. The results will be inconsistent. Myfavorite back-up block is a chunk of dead-flat granite, which is great for getting intocorners for a nice, even look.

By far the most-used sanding block in myshop is a piece of MDF with a sheet ofsandpaper glued to both sides. I make lots ofblocks in a range of grits, spraying both sidesof the MDF and the back of the paper withcontact cement, and then sticking the paperto the block. You can use these blocks forleveling flat surfaces or for cutting or round-ing over edges. And they’re useful whensanding small parts, by clamping them tothe bench and moving the work over theblocks, instead of the other way around.Think recycle, too. When the sandpaperloses its effectiveness, just heat the paperwith a blow dryer or a heat gun and peel itoff. Then apply a fresh sheet.

To keep your sandpaper organized, con-sider building a cabinet dedicated to storingfull sleeves of sandpaper, cut paper, and allyour other associated sanding gear. Size theshelves to fit sleeves, and then organizethem by grit.

Keeping Parts Flat

Once you’ve flattened and milled your solidstock, and perhaps even sanded it, you stillhave to contend with the fact that wood leftlying around the shop will warp if given achance. (Letting the wood acclimate to yourshop for several weeks before milling willhelp minimize this but won’t stop it entirely.)In an ideal world, you would dimension thestock, cut all your joints, and assemble andglue all the parts together immediately. An

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Sanding blocksclamped end to end with multiplepaper grits areeffective for sandingsmall parts.

Using a heat gun,you can peel the oldsandpaper from ablock; then apply afresh sheet.

Building a cabinetwith adjustableshelves lets youorganize sand-paper by grit.

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Working Wood32

to a uniform width and thickness, typically3/4 in. by 3/4 in., and stack the pile so that thestickers are in line above and below eachother. After stacking, add another row ofstickers on top of the stack and placeweights on them. This simple routine willsave you untold headaches later.

If you’ve cut the joints, but aren’t ready for final assembly, it’s a good idea to dry-

assembled piece of furniture keeps itself flatand free from warping. However, most oftenwe work piecemeal, and joints cut today maynot see glue until weeks or months havepassed. To keep parts flat and to accommo-date a busy schedule, there are a couplemethods to follow.

After milling the stock flat, sticker andstack it as soon as possible on a dead-flatsurface. Make your stickers from shop scrap

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Stacking and weigh-ing precut parts pre-vents them fromwarping whileyou’re away fromthe shop.

When possible, dry-assemble case pieceswhile working on other components to keepthe parts from warping.

Small parts can be shrink wrapped to control wood movement.

I like to keep mysandpaper in sizes

that fit my jigs and tools.

To cut sandpaper into

thirds, a convenient size

for me, I use a home-

made fenced jig. You can

make the jig to suit your

favorite size of sand-

paper. Mine is 91/2 in. by

10 in. To use the jig,

place several sheets against the two fences, position a piece of

plastic laminate on top of the stack of paper , then lift and tear

individual sheets to size.

CUTTING SANDPAPER WITH A JIG➤

A piece of plastic laminate that’sone-third the size of a sandpapersheet helps the author tear off sections.

SECTION 3

Working Wood 33

fiberboard, and particleboard. And the sta-bility of man-made boards means you’re freefrom the concerns of wood movement. Thechart above shows some of the pros and consof each panel type to help you decide whichmaterial has the characteristics you need fora particular job.

Plywood, available as veneer core, solidcore, combination core, and lumbercore, canhave softwood or hardwood face veneers.For furniture makers, hardwood plywood isthe panel of choice. It is inexpensive; does a good job of holding hardware such asscrews; and is relatively rigid, making it agood choice for shelving.

Newer hardwood plywood types, such assolid-core and combination core, offer innerplies of less-expensive particleboard or fiber-board and are generally flatter—an impor-tant consideration if you’re building unsup-ported work such as floating door panels or

assemble the parts. This way, the jointsthemselves will hold the parts flat.

Another option that’s particularly handyfor smaller parts is to wrap them in plastic.I use industrial shrink wrap, which is strongand comes in wide lengths from shippingcompanies. Cover all surfaces—especially theend grain—and store the wrapped parts on aflat surface until you’re ready to work them.

Plywood and Other

Man-Made Boards

Using plywood, you can dimension all thepanels for an entire kitchen in the time itwould take to thickness enough solid stockfor one piece of furniture. It’s this ready-made width that’s one of the most com-pelling reasons for choosing man-madeboards. Another reason is the variety of panels or sheets to choose from, includingthe most common: hardwood plywood,

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Panel Characteristics

Cost W eight (3/4 in. ScrewPanel (A-2 grade) x 4 ft. x 8 ft.) Flatness Holding Rigidity

Softwood plywood $ 20 68 lb. Poor Good Good

Hardwood $ 45, birchplywood $ 80, cherry 75 lb. Fair Good Good

Solid-core $ 40, birchplywood $ 60, cherry 80 lb. Good Fair Fair

Lumbercore $ 100, birchplywood $140, cherry 75 lb. Fair Excellent Excellent

MDF $ 25 100 lb. Excellent Fair Fair

Particleboard $ 20 100 lb. Good Poor Fair

Information courtesy of Georgia Pacific Corporation, American Plywood Association, Hardwood Plywood and Veneer Association, and National Particleboard Association.

SECTION 3

Working Wood34

look. Also, their higher density and stabilitymake them great for jig making.

[ TIP ] Use a triple-chip (TC) blade for

clean, chip-free cuts in delicate faced panels

such as hardwood plywood, melamine,

and plastic laminate. A 60-tooth, negative-

hook pattern reduces tearout on both the

top and the bottom faces.

MDF is inexpensive and is the bestchoice for flat work because it’s flat and staysthat way. With its exceptionally smooth sur-face, MDF is a favorite for veneering orhigh-end paint work, and it’s another greatmaterial for making jigs. The cons: It’sheavy, making it difficult to handle in theshop; it won’t hold fasteners well; it bendsunder heavy loads; the rough, porous edgesof the panels need filling or edgebanding;and when exposed to moisture, it swells irreversibly.

Its “cousin” particleboard is made fromchips—not the fine fibers used in MDF. Theresult is a coarser surface that’s not suitablefor thin or very fine veneers. It has most ofthe benefits of MDF—it’s easy on your wal-let and it’s generally flat—and all of thecons. With its rough surface, particleboard isbest as a substrate under thicker materials,such as plastic laminate. Melamine-coatedparticleboard (MCP) is, as its name implies,coated with a hard plastic, making it idealfor interior case pieces, since it provides adurable finished surface.

When buying particleboard, make sure toselect the industrial, or high-density, grade;the builder’s variety, called chipboard orflakeboard, is much too coarse and lacks thestrength and rigidity of the denser grade.

large tabletops. Lumbercore, as its namesuggests, has a core of laminated solid wood,making it exceptionally stiff and rigid. Oneboard, medium-density overlay (MDO),combines inner plies with a face of kraftpaper impregnated with exterior glue, mak-ing it ideal for outdoor sign makers.

Keep in mind that the thin face veneerson hardwood plywood necessitates carefulcutting, handling, and finishing to avoidbreaking or chipping the face and exposingthe inner plies. Typical hardwood plywoodhas random spaces or voids between theinner plies, which show up as holes alongthe edges of panels. The raw edges must becovered or banded to conceal the voids andthe inner plies.

Three products—Baltic birch plywood,ApplePly, and Europly—are made frommultiple layers of veneers and are void free.You can polish their edges for a finished

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A, Hardwood veneer-core plywood with walnut face; B, Baltic birchplywood, C, softwood plywood with fir face; D, combination-coreplywood with cherry face; E, MDO; F, lumbercore with birch face; G, MDF; H, hardboard (for example, Masonite); I, solid core ofMDF with oak face; J, particleboard; K, MCP.

A G

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Working Wood 35

Mixing Materials

There’s no denying that the look and feel ofsolid wood has its advantages. But commer-cial hardwood veneered panels can be usedin conjunction with solid wood to provide a rich feel to just about any project. Forexample, I made all the panel frames, doorframes, edging, and trim in the home libraryshown in the photos above from solidmahogany. But the panels—including thedesktop—are made from sapele plywood.The overall look is solid and luxurious.

Even when wood is the look you want, it’ssometimes wise to mix it with other mate-rials. A simple solution is to use prefinishedpanels for the insides of your utility casesand hardwood plywood for the outside. Inthe case shown at right, most of the inside—including the top, bottom, and dividers—isconstructed from MCP. Melamine providesa hard-wearing surface, and you don’t have

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Mixing solid wood and plywood can be an effectivetechnique. Although the door frames, edging, and trimof this home library are made from solid mahogany ,the panels are sapele plywood.

The desktop is made from sepele plywood with solidwood edging and leather.

You can usemelamine-coatedparticleboard insidea cabinet to create a durable surface.

On the outside ofthe same cabinet,maple plywooddresses up the public side.

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Working Wood36

to apply finish to the insides of the case, anoften tedious task. The show sides of thecase are maple plywood, and a coat of painttakes care of the interior. Once the wooddoors are mounted on the outside of thecompleted cabinet, you see only maple in allits natural beauty (see the photo top left).

Laying Out and

Cutting Plywood

While plywood affords you large, stable sur-faces that need little or no prepping, thedownside is handling such big sheets. That’swhy it’s important to plan your cuts and tobreak up large sheets into more manageablebite-size chunks.

The first thing to do is to make a cuttinglist, including a sketch of each 4-ft. by 8-ft.sheet of plywood and how you plan to cut itinto parts.

Laying out your cuts in this manner lets you create the most efficient cuttingsequence. When you move from paper topanel, it helps to lay out the cuts on theactual plywood so you can more closelyselect grain patterns for individual parts.Using blackboard chalk lets you preview the cuts and makes it easy to change the layout; simply remove unwanted marks with a damp sponge.

Large sheets of plywood can be difficultto manage on the average table saw, evenwith side and outfeed support, so it’s usuallybest to cut up the sheet into smaller partsfirst. The jig shown in the drawing oppositelets you cut sheets using a circular saw withvery little setup. Simply clamp the jig to the

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Working with a cutting list andgraph paper, youcan minimize wasteby creating a cuttingdiagram for eachsheet of plywood.

Use chalk to createthe initial rough layout on a sheet of plywood.

See “Using Cutting Lists” opposite.➤

The maple doorsand visible exte-rior parts of thismelamine cabinetcreate a naturalwood look.

SECTION 3

Working Wood 37

Making Your Mark

Like cutting lists, marking the work itselfwill keep you organized and reduce the timeyou spend looking for misplaced parts. Formost work, an ordinary pencil works fine.On dark woods, consider using a white pencil, the kind sold in art-supply stores.

cutline and ride your saw on the base tomake the cut. Once you have your sheets cutinto smaller sizes, take them to the table sawto cut out the individual parts.

Using Cutting Lists

Making a cutting list is a good way to keeporganized, and working from a list preventsmistakes during the building phase. Forcomplex projects, make a list of each andevery part and mark the dimensions of eachpiece on a single sheet of paper. Graph papermakes it simple to organize your thoughts.As you progress on the piece, check off eachpart as you cut it to dimension.

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Simple jigs are often best. This circular -sawguide provides an easy way to cut up asheet of plywood into manageable pieces.

Fence (MDF or plywood, 3/4 in. thick x 3 in. wide)

Base (plywood, 1/4 in. thick)

Make plywood base wider than distance from circular-saw blade to edge of saw's base and attach fence.

Cut 1/16 in. x 1/16 in.rabbet so chips won't interfere with cuts.

Cut line on workpiece

Align edge of basewith cut line on stock.

The first cut with the circular saw aligns the jig with the cut line for subsequent cuts.

SHEET-SIZING JIG

This jig is easy to use because you placethe edge directly onto the layout line; thesaw is guided by the particleboard fence. For projects with

a lot of parts, a cutting list is animportant tool formaking sure every-thing gets cut to the proper size.

SECTION 3

Working Wood38

your own marking scheme—the actual sym-bols aren’t important. One of my favoritetechniques is to designate front and topedges with two respective marks: a line torepresent the front, and a triangle—or aseries of triangles—to mark a top edge andinside edge. This simple system lets me keep track of the numerous parts in theright order.

Choosing and Using Glue

When it comes time for assembly, you’llgrab your trusty glue bottle. But just as youwouldn’t build cabinets strictly from onetype of material or wood, you shouldn’t relyon one glue for all your assemblies. Havingsaid this, about 90 percent of my furnituregoes together with ordinary woodworkingwhite glue. Technically a polyvinyl acetate(PVA) glue, this glue comes in white andyellow varieties. White glue generally offersmore open time (the time you have onceyou’ve spread the glue to get all the jointstogether), making it useful for complexassemblies. And like all the glues for wood-working, it’s plenty strong for its intendedpurpose.

Other glues offer other compelling char-acteristics, such as the ability to take thework apart when you need to by nature of itsreversibility, increased moisture resistance, oreven waterproofness. The chart oppositehelps you select the right glue for the job.

[ TIP ] Many glues have a shelf life of

1 year; some less. Look for a manufacture

date on the glue you buy; if there isn’t

one, write the date you bought the glue

on the bottle. Dating your glue lets you

know how fresh it is.

When you need a higher degree of accuracy,such as when marking out dovetails, the fineline left by a marking knife is best.

To keep track of parts in a project, you’llneed some system of marking. I use a tri-angle and a straight line. You can make up

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A marking knife isthe most accuratemethod of trans-ferring layout lines.

Mark the edges ofyour parts with tri-angle symbols soyou can orient thefaces and edgescorrectly duringjoint cutting andassembly.

An astounding variety of woodglues is available.Glues range fromtraditional hide glue to modern synthetics that bond instantly.

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is enough? A good rule of thumb is useenough glue so that you see an even beadsqueeze out from the assembled joint.

Once you’ve chosen an adhesive, you needto learn the balance between using too muchand using too little, because each approachhas its respective drawback. Too little glueand you risk starving the joint line, especiallywhen the pressure from clamps spreads theglue away from the joint. The result is ajoint that’s likely to fail. It’s better to err onthe side of too much glue, but not to thepoint that you have a gooey mess on yourhands. Excess glue that’s not removed willalways haunt you later when it shows up as abland smear under any finish. So how much

Timely Glue Characteristics

Type Open Time Clamp Time Comments

PVA (yellow and white) 3 min. to 5 min. 1 hr. General woodworking; water cleanup

Cross-linking (type II 3 min. 1 hr. Good outdoors; water resistant) water cleanup

Hot hide glue Unlimited, Limited Hammer veneer work;with heat reversible

Cold (liquid) hide glue 30 min. 12 hr. Reversible with heat and water

Polyurethane 20 min. 2 hr. Moisture resistant; foams during cure

Plastic resin (resin 20 min./20 min. 1 hr./12 hr. Moisture resistant; powder/water powder) veneer and bent

laminations

Two-part epoxy 1 min./1+ hr. 30 sec./24 hr. Doesn’t shrink;(fast/slow) laminations;

submersible

Cyanoacrylate glue 5 sec. 5 sec. Quick fix for small (Super Glue) parts; filling cracks

Contact cement 30 min. to 3 hr. Immediate bond Plastic laminate work

Hot-melt glue 15 sec. Temporary hold Jig and template making

Working Wood 39

When applyingglue, shoot for an even bead ofsqueeze-out afterclamping.

SECTION 4

40

To work wood with confidenceand build furniture you’ll be proudof, it’s important to have a funda-

mental grasp of furniture design. Althoughdesigning good furniture is always a life-longchallenge, the essence of it is dead simple.

When I make furniture or cabinets, I fol-low a fundamental principle of form follow-ing function. In plain English, this meansthe furniture has to be used by real people ina comfortable and satisfying manner, yet thepiece should be pleasing to the eye. Usingthis theory, I’m careful to make sure a piecewill work first, before considering its finalshape or form. Think about how the piecewill be used. For example, you wouldn’tmake the height of a desk incompatible withthe chair used to sit in front of it. The chartat left lets you zero in on these importantmeasurements.

Once you know the essential size of apiece, start with a sketch. Please note: Youdon’t need formal training to sketch a proj-ect. The goal is to get down on paper theessential idea of the piece you want to make,so you can study it. Even crudely drawn,these sketches are full of energy and vitality.Later, refer back to your sketch to checkyour progress.T

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Average Furniture Sizes

Furniture Height Depth Length/Width(in.) (in.) (in.)

Tables

Coffee 14–18 18–24 36–60

Card/game 29 30 30

End 30 15 24

Hall 30–40 15 24–40

Writing 30 24 36–40

Kitchen 30–32 30 42

Dining 29–32 42 60–84

Chairs

Desk/task 161⁄2 16–18 16–20

Dining 16–18 16–18 16–18

Couch/lounge 14–18 18–24 24–90

Cabinets

Buffet 30 16–24 48–72

China/display 54–60 12–22 Any

Kitchen 32–36 12 or 24 Any

Other

Chests 32–54 24 Any

Bookcases 32–82 14–18 Any

Desks 30 24–30 40–60

Designing Furniture

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impact, build a full-size mock-up to visual-ize the real proportions of a piece. Makeyour mock-ups from common materials,such as 2x stock, rigid cardboard, andscrews; then alter and change them until you like what you see.

Partly for their design value and partly for the building information they contain,I often make a set of working drawings,showing side and front views (elevations)and the top view. Your drawings can be full-size or scaled down and drawn with a ruler and a 30/60/90-degree drafting triangle, available from art-supply stores.Besides helping you visualize a piece, aworking drawing can help you generate a cutting list should you need one.

Designing Furniture 41

Now go build something. Of course,you’ll use the right materials and sound joinery. And I guarantee, the next piece youmake will be better. And the next fromthereon.

To refine your design skills, there arethings to think about as you build your fur-niture. Consider appearance, proportions,balance, line, shape, mass, color, and texture.These ingredients combine to create a pleas-ing piece of furniture. You’ll figure all thisout on your own.

There’s always a risk involved with jump-ing in and designing as you go. Things maynot work out. For a safer, more traditionalroute, you can develop a model and do someexperimentation before building the realthing. For example, if you’re designing a setof speakers, you might want to test theacoustical properties of various woods. Or a new door design might prompt you toexperiment with various methods of hing-ing. To build these test models, use scrapwood and hold parts together with screws,hot-melt glue, or even tape.

Scale models are another test and can helpyou define a look before you commit. Dimen-sion your parts carefully, using an architect’srule to determine accurate scale.

Scrap pieces of thin wood, plywood, MDF,cardboard—whatever you can get yourhands on—make great materials for buildingthese miniature portraits. Assemble withhot-melt or cyanoacrylate glue, and standback to judge proportions and overall feel.

Sometimes, a scale model won’t give you a feel for the actual piece. For the most

Scale models canhelp you work outthe proportions of a project. A scaleruler, or architect’srule (foreground),lets you transfer full-size dimensionsto an appropriatescale size.

See “Using Cutting Lists” on p. 37.➤

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Designing Furniture42

more stable quartersawn wood for wide,unsupported panels, such as tabletops thataren’t held to a rigid frame underneath.(For more in-depth information on specificwood species and their characteristics, seeUnderstanding Wood, R. Bruce Hoadley, TheTaunton Press.)

Allowing for wood movement is the keyto building furniture that lasts. One of thebest solutions, and perhaps most ancient, ismaking a frame-and-panel door. This savvysystem relies on a narrow, grooved frame tohouse a wide panel. As the panel moves inresponse to changing moisture levels, it’s freeto change dimensions inside the grooves ofthe frame, swelling and shrinking withoutcracking or busting apart the frame.

Other strategies include aligning thegrain of different parts of a case with eachother. For example, if you orient the grain onthe sides of a case vertically, the grain shouldrun from side to side on the top and bottom.As the cabinet gains or loses moisture, theparts of the cabinet move in unison. Gluingor orienting parts cross-grain is a recipe fordisaster, but there are exceptions. For exam-ple, gluing a mortise-and-tenon joint is fine.The joint remains tight because the cross-grain members are relatively narrow. Andnarrow stock (3 in. to 4 in. or less) movesvery little. On wide stock, in which move-ment is considerable, one part swells andshrinks, pushing and pulling on its adjacentmember relentlessly. Cracks or joint failure isthe inevitable result. Even heavy buildups offinish can act like glue in the wrong place,promoting cracks.

Although a finish can’t stop wood move-ment, don’t overlook its protective powers.Any finish, including nondrying finishes

Understanding

Wood Movement

All solid wood expands or contracts inresponse to changes in ambient moisturelevels in the air. Because of wood’s hygro-scopic nature (the ability to absorb moisturefrom the air), nothing short of sealing theboards in a vacuum chamber can totally stopthis movement—including the best glue orfinish on the planet. Luckily, movementwith the grain is negligible, so we don’t haveto be concerned about the length of theparts. But wood movement tangential to, oracross, the grain can wreck havoc on yourfurniture if you don’t take it into account.If you follow a few guidelines, your workwon’t buckle and bow and will be around for a long time.

As a rule of thumb, you can assume mostkiln- and air-dried woods will change di-mensions by as much as 1⁄4 in. for every 12 in. of width, depending on the amount of seasonal swing in indoor humidity in yourarea. Certain species move very little; somechange dimensions radically. For example, a12-in.-wide plank of flatsawn black cherrywill move a little more than 1⁄8 in. when thewood changes from 6 percent to 12 percentmoisture content (MC). The same width andcut of beech subjected to the same change inMC will move slightly more than 1⁄4 in.

And the cut of wood affects its move-ment, too. Changing from plainsawn toquartersawn beech will reduce the move-ment to 1⁄8 in. for that same 12-in.-wideboard. Quartersawn wood is also more pre-dictable than plainsawn, or flatsawn, wood,which moves unequally over its widthbecause of its irregular grain, promotingwarp. One of the lessons here is to use the

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Designing Furniture 43

the piece will eventually come to live in theSouthern Hemisphere, near water, somewherein the tropics (where there are wild swings inhumidity levels)—even though it probablywon’t. That way, you’ll design and build forbig swings in dimensional changes, and yourfurniture will to turn to dust long after you.

such as natural oils, will to some extent min-imize the amount of wood movement in aboard. But be sure to apply the same numberof coats to all sides of your work, particularlyon free-floating panels. For example, whileyou may be more concerned about the beautyand luster on the top of a wooden desk, it’sequally important to finish the underside.This way, the panel or top absorbs andreleases moisture in an even manner. If youforget this rule of coating both sides, you’llend up with warped panels.

In addition to specific building tech-niques, it’s important to understand theenvironment in which you work your woodand its relative humidity. For example, inmost geographic areas, your wood will bedrier indoors in the winter than in the sum-mer. That’s because the relative humidity issignificantly lower at that time of year, duein part to the cold weather outside and inpart to the central heat inside—both have amoisture-robbing effect. Knowing this, you’llwisely build parts a little less wide or a littleless thick in the winter, because you expectthem to swell during summertime humidity.The reverse is true for times when you’rebuilding during humid months: Build a little“fat” in the humid months to allow forshrinkage during drier times. You can checkthe exact swing in relative humidity over theseasons by monitoring your working envi-ronment with a hygrometer.

Ultimately, I think the safest approach incoping with wood movement is to acquiesceto its inevitability. In other words, plan forthe worst—and build accordingly. Assume

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Screws pivot as top moves back and forth.

Clip slides inand out ofgroove.

Wood movement

Wood movement

Wood movement

Wood movement

Wood movement

Divide one tenon into a series of smaller tenons, allowing panel to flex, not crack.

Arrange grain insame directionalong top, sides, and bottom.

As wood moves,parts shift in unison.

Wood movement acrossnarrow stiles and railsis minimal.

Where considerable movement occurs, panel is free to expand into grooves.

Blocks stiffen feet,and move in same direction.

End grain

Panel floats in grooves; use no glue.

BUILDING WITH WOOD MOVEMENT

See “Buying and Preparing Solid Wood” on p. 23.➤

Assembling Cases, page 88

Drawer Hardware, page 119

Shelves, page 58

Drawers, page 101

Basic Cases, page 46

Cutting and AttachingMoldings, page 95

Nails, Screws, and OtherFasteners, page 81

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As the groundwork for all of woodworking,

casework is much more than simply building a cabinet

with six sides. Complex case designs can incorporate

almost every joint you know and may include curves or

involve great spans. But basic casework tackles some essential techniques,

such as learning the art of producing flat and square surfaces—and keep-

ing them that way. Creating a fair curve, when you shape a smooth line

without hills or valleys, is also part of the craft. (For more on shaping,

see The Complete Illustrated Guide to Shaping Wood, by Lonnie Bird, The

Taunton Press.) And fitting parts. Yes—you’ll be endlessly fitting parts

in case construction. It’s not for the weak of heart. But constructing all

those little pieces into a recognizable whole as a box or a cabinet is good

experience. Bit by bit, you’ll learn to use your tools and materials more

thoughtfully and, with luck, gain a higher level of control over them.

Box and CaseConstruction

PART TWO

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Cabinets come in a never-endingarray of styles and flavors to suiteveryone’s needs and tastes. But the

basic box can be broken down into relativelyfew distinct styles, or types. Once you’vedecided on the flavor of your case, you stillhave many options for deciding how best toconstruct it.

Whether you’re making a small jewelrybox, a set of drawers, or a wall-to-wall enter-tainment center, basic case constructionremains the same: You need to join two sides(at the very least) and add a top, a bottom,and a back. How you join the cabinet will inpart depend on the material you’re using—whether it’s solid wood, man-made boardssuch as plywood, or a combination of thetwo. Yes, it’s okay to put plywood into asolid-wood case; but there are certain rulesto follow, or your new cabinet will comeapart at the seams in no time because ofsolid wood’s inevitable inclination to move.

The drawings on pp. 48 and 49 showsome of your options for joinery. For moredetails on making these joints, see TheComplete Illustrated Guide to Joinery, by GaryRogowski (The Taunton Press).

The next step in building a case is to layout the interior, and its design greatlydepends on the cabinet’s intended use.

SECTION 5 OVERVIEW

46

Basic Cases

➤ Web Frames (p. 53)

➤ Drawer Runners (p. 55)

➤ Dust Panels (p. 56)

Inside Case Parts

➤ Hanging Cleats (p. 57)

Securing to a Wall

See “Understanding Wood Movement” on p. 42.➤

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SECTION 5 OVERVIEW

Basic Cases 47

Basic case styles leave plenty of room for personal aesthetics and use. For example, the same base style can serve as a filing cabinet or as a kitchen cabinet.

Can be tall, wide, or built in separate parts, such as an upper unit that rests on a lower case.

Attached to wall, floor, or ceiling and scribed to fit.

CABINET STYLES

Freestanding Built-In Base

Wall-Hung

Display or 32-mm System Corner CabinetOpen Cabinet (Frameless)

SECTION 5 OVERVIEW

Basic Cases48

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CASE JOINERY OPTIONS

You can use the same joinery on cabinets made from plywood or other man-made boards as you do for solid-wood cases, with the exception of the sliding dovetail, which doesn't have much strength when cut in plywood. When working with solid wood, orient the grain direction of the parts, as indicated by the arrows, to keep the assembly stable.

Tail

Sliding dovetail

Pin

Biscuits of compressed wood glued into kerfs cut in mating pairs

Through dovetails join top corners; sliding dovetails secure bottom or shelf.

SplineFingers of box joint

Through mortise

Tenon Kerf for spline

Spline

Box joints secure top; bottom tenons fit into mortises cut in sides.

Metal connectors interlock with mating pieces.

Nut is inserted in blind hole under shelf.Bolt passes through

side and engages nut in shelf.

Rabbet

DadoHeld with glue and nails or screws.

Butt Joints

Biscuits Dowels Dovetails

Splines

Knock-DownJoints

Glued Dadoes and Rabbets

Mortises and Tenons

SECTION 5 OVERVIEW

Basic Cases 49

these parts in and out of the case. Of course,every cabinet has a back (or a bottom on asmall box or drawer). And even though fit-ting the back to the case typically comes lastin the assembly sequence, it’s worth notingthat most cabinets will need a rabbet orsome form of structure to accept the back,and this should be designed or constructedbefore the case is assembled.

Dividers and partitions can section off acabinet, maximizing the amount of usablespace inside. If you’re going to incorporateshelves, now is the time to think about thedesign, before you assemble the case.

Cabinets that hold drawers or small trayswill need runners and kickers that guide

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Plywood shelf

Solid-wood side

Solid-wood side

Solid-wood subtop

Solid-wood side

Solid-wood side

Screw in oversize hole; don't glue.

Plywood top

Plywood back

Plywood panel housed in grooves in frame.

Oversize hole for screw

Front of cabinet

Rabbet

Glue back into rabbets and back edges of top and shelf.

Glue frame into dado in side.

The key to mixing plywood and solid wood successfully in the same cabinet is to avoid gluing joints of 4 in. or more in width. If you must use plywood over a wide piece of solid wood, it’s best to screw the parts together. The screws will allow the wood to move freely without binding. Or, instead of screws, make a plywood panel and house it in a solid-wood frame so there’s no hardware on view. Plywood backs can be successfully glued into rabbets in the solid-wood sides, because there’s practically no width to the rabbet.

Screw

MIXING PLYWOOD AND SOLID WOOD

See “Shelves” on p. 58.➤

SECTION 5 OVERVIEW

Basic Cases50

Solid-Wood and

Plywood Joinery

Once you’ve decided on a style, you’ll needto investigate materials. Both solid wood andman-made boards (for example, plywood andparticleboard) are used in casework. Eachhas its own distinct advantages and dis-advantages when it comes to working it.

Your joinery approach will sometimesdepend on the type of material you choose,but most likely it will hinge on the degree ofcomplexity you want to invest in the work.

For example, there’s nothing wrong with aglued-and-nailed butt joint. Done in athoughtful and careful manner, a nailed jointcan last generations, and it’s a quick way ofputting together a cabinet. Dovetailing acase on all four corners is the other side ofthe coin, requiring lots of careful planningand much toil at the bench. The point isthat you can put as much time and energy as you wish into cutting simple—or not sosimple—joints. It’s often a matter of whatfits best with your own personal sense ofstyle, combined with the capabilities of yourshop and skills.

The main thing to think about whendetermining case joints in solid wood is totake into account the direction in which thewood will move; then construct the piece toallow for that movement. The drawing on p. 48 shows the correct way to orient thegrain in a variety of situations, particularlywhen gluing parts together. In hardwoodveneered plywoods and other sheet goodswith grain on the show surfaces, it doesn’tmatter what direction you orient the grain.

Finally, if the cabinet is to be hung on awall, there are hanging systems to consider. Orperhaps you need to secure a base cabinet tothe floor or wall. Weight is a big factor, sincethe cabinet will likely hold many times its ownweight. Wooden cleats can do the trick inmost cases and can be used to permanently fixa case to a vertical surface. But what happensif the cabinet is removed from its intendedspot? Plan ahead and you can make a wall-hung case easily removable—without tools.

Before diving into the constructionaspects of cabinets, decide on the basic styleand function you require of the cabinetyou’re building. Often, a very basic designcan be altered to suit a particular need, suchas turning a simple base cabinet into multi-ples to outfit an entire kitchen.

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1/8 in.

Drawer guide

Groove frame for panel

Plywood dust panel

Install tenon dry and leave gap at shoulders of joint.

Drawer runner

Back divider

Hanging cleat

Dado or dovetail

Front divider of web frame

Cleats stiffen case and provide anchor for top or dividers.

Rabbet side for back.Kicker prevents drawer from tipping down.

INTERNAL ARCHITECTURE

See “Working Wood” on p. 22.➤

SECTION 5 OVERVIEW

Basic Cases 51

When combining the two materials (see thedrawing on p. 49), you’ll have to take woodmovement into account once more.

Designing Inside a Cabinet

After settling on a style and choice of mate-rials, you’ll need to focus on what you wantto do with the inside construction details.The internal architecture of a cabinet canserve many functions. Web frames joined tothe sides of the case can stiffen it and pro-vide a platform for drawers, and dividershelp stiffen shelves and organize space effi-ciently. Cleats can replace wider panels andprovide a means for attaching tops. Drawerguides help drawers glide smoothly in andout of a case, and drawer kickers are neces-sary to prevent drawer boxes from tippingdownward as they’re pulled out. And ifyou’re building a wall-hung case, you’ll needto think about a method for hanging thecabinet, which often involves strategicallyplaced members hidden inside the case.

Partitions and Dividers

Web frames and dust panels provide theskeleton for the interior construction, towhich you’ll frequently add other dividersand partitions. Dividers not only break upthe space in a cabinet but provide bearingsurfaces for hardware and drawers or plat-forms for shelves. Position a vertical dividerunder a horizontal divider or shelf and youautomatically stiffen the shelf to keep itfrom sagging. If you join the divider to thesides of the cabinet, you’ll increase the over-all strength of the case itself.

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Combined with avertical partition, ahorizontal dividercan provide solidsupport for drawers.

A series of thin vertical partitions create pigeonholes for storingsmall items.

A vertical partitioncan help support ashelf or drawer andprevent sagging.

SECTION 5 OVERVIEW

Basic Cases52

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Countersinkscrew head.

Rout stopped groove in divider.Drill 1/8-in.-diameter hole in shelf.

Glue biscuitto shelfand divider.

Cut slots in divider and shelves with plate joiner.

Rout stoppedtongue on divider. Rout stopped

pin.

Rout stoppeddovetail socket.

Rout stoppedgroove in shelf.

Dividers and partitions can become part of the overall structure of a cabinet, especially if the joints that secure them are strong.Butt joints and screws are a simple way of connecting a divider inside a case, and they fit the bill when you won’t see the hardware. Wire supports provide an invisible joint and let you easily remove a divider.

Slide divider in from front of case.

Slide divider into case from back.

DIVIDER CONNECTIONS

Screws Wire Supports

Biscuits Sliding DovetailsTongues and Grooves

INSIDE CASE PARTS

Basic Cases 53

Web Frames

A web frame stiffens a case and creates astrong platform for housing drawers—all withoutadding excess weight to a cabinet—and itsdesign allows for the movement of cases withsolid-wood sides.

Start by sizing and cutting the frame parts to fitthe interior dimensions of the cabinet. Preparefor the case joinery by first cutting mortise-and-tenon joints in the frame parts. Then cut thedovetail sockets and dadoes into the case sides.For accuracy, use one jig to cut both joints at thesame time—but with two routers with differentdiameter baseplates (A). Shims placed on eitherside of the smaller router accommodate the dif-ference in base diameter. Size the shims to suityour particular router. You can use this jig to cutboth joints using only one router, but you’ll haveto either change bits (and bit depth) betweencuts or reposition the jig for each cut.

Rout an 11/16-in.-wide by 5/16-in.-deep dovetail socketfor the horizontal drawer divider using a 1/2-in. bit.Using a bit that’s smaller than the desired slotwidth puts a lot less strain on the bit and makesa cleaner cut in the wood. Place the shims oneither side of the router and move the router in aclockwise direction, making contact with theshim on the left side and then with the shim onthe right. Pencil lines mark the length of thesocket, so it’s a simple matter of stopping the cutwhen the bit reaches the mark (B).

Next, rout the dadoes for the drawer runners.Remove the shims and use the same jig and thesecond router, which has a larger baseplate. Usea 3/4-in. plunge-cutting straight bit to cut a shallow1/8-in. dado between the dovetail slots (C).

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Add loose shims to appropriatethickness for routing dovetailswith router that has smaller-diameter baseplate.

Rail guides router.

Align marks on jig with dovetail or dado layouts on stock.

26 in.

X

This dovetail dado-routing jig serves double-duty to rout 11/16-in. dovetail sockets and 3/4-in. dadoes in case sides. Using a 1/2-in. dovetail bit in the first router, add shims on either side of the guide rails that provide 3/16 in. of side-to-side play between the router and the rails. Rout the dovetails by moving the router from left to right as you push it away from you. To rout dadoes, remove the shims and install a 3/4-in. plunge-cutting straight bit in a second router with a larger baseplate.

Diameter of larger router baseplate for routing dadoes

B

A

C

INSIDE CASE PARTS

Basic Cases54

Working from the front of the cabinet, install thefront dividers by gluing the dovetails into thesockets and clamping across the joints (D).

Next, turn the case over and install the drawerrunner from the back by gluing it into the mortisein the front divider. Don’t glue the runner into thedado. Instead, drive a screw through an oversizehole in the center of the runner and into the caseside (E). On wider cases, use two or threescrews through the runner. Adding screws maysound unconventional, but the technique stiffensthe overall frame and—more important—helpskeep the case sides flat over time.

Glue the back divider into the dovetail sockets atthe back, but don’t glue the rear tenons on therunners. Make sure to size the runners so youleave an 1/8-in. gap between the shoulder of therunner and the back divider (F). This arrangementallows for movement of the case sides. Waxingthe rear tenons is also a good idea to promoteeasy movement of the runner. On the caseshown here, where pairs of drawers run side by side, vertical dividers were dovetailed at thefront of the case. Add wide runners behind thedividers using the same dry-tenon technique.Later, glue narrow guide strips onto the runner to guide the sides of the drawers.

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D

E

F

See “Drawer Runners” opposite.➤

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INSIDE CASE PARTS

Basic Cases 55

Drawer Runners

If the cabinet contains drawers, some guide sys-tem is necessary. For the simplest cabinet, theside itself can guide the drawer. But guides arerequired, for example, when a face frame extendsbeyond the side of a cabinet or when a verticaldivider divides two or more drawers side by side.

When your case doesn’t involve horizontal frontdividers and you want to maximize usable space,you can hang drawers directly above and beloweach other by attaching solid-wood strips to thesides of the case and then routing matchinggrooves in the drawer sides.

Rout a 1/4-in.-deep stopped groove in the drawerside (A). Attach the strip to the case with screws.A piece of plywood registered against the casebottom keeps the strip parallel and helps alignpairs of strips (B). Slide the drawer onto thestrips and all you see is the grooves in the drawer sides (C). In the case of an extended face frame, just pack out the space with a ply-wood strip to accommodate the frame overhang;then screw the hardwood guide strip to the sideof the case.

[ TIP ] When a drawer has free space

above the sides, install a kicker above the

sides to prevent tipping. A couple screws

or some spots of glue attach the kicker

to the case.

For divided drawers, rip and plane a strip equal tothe thickness of the divider and mortise it into thefront and back of the cabinet, or glue it directly to the web frame. To help align the guide stripsquare to the opening, use a pair of scrap boardscut to the exact width of the drawer openings.Clamp the boards in position with the guide stripbetween them. Then remove one board and glueand clamp the strip to the frame (D).

C

D

A B

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INSIDE CASE PARTS

56

Dust PanelsThere are two primary reasons for adding dustpanels inside your cabinets: In bureaus, a panelhelps prevent clothes from getting tangled indrawers above. It also helps seal the cabinetfrom airborne dust.

Before assembling the frame, groove the webmembers for the panel. It’s quick to rout the slotswith a slotting cutter on the router table (A).

After installing the front divider and the runners,slide the panel into the grooves from the back.For extra rigidity, you can glue the panel into thefront and side grooves, as long as you make itfrom plywood (B).

Add the rear divider by gluing only its dovetailsinto the sockets. Be careful not to glue thedivider to the panel or the tenons on the runnersto allow for movement of the case sides (C).

Basic Cases

A

B

C

SECURING TO A WALL

Basic Cases 57

Hanging Cleats

An additional member fixed to the case is oftenneeded when you’re securing a cabinet to a wall,floor, or ceiling. For base cabinets, one horizontalstrip of wood at the top of the cabinet in theback is usually sufficient to hold it securely to awall. Or you can attach blocks underneath a cabi-net’s bottom that allow you to screw or bolt it to a floor.

For wall-hung cases, add a solid-wood strip insidethe cabinet so it rests underneath the top (A) andadd a similar strip underneath the case bottom(B). Drive screws or nails through both strips andthrough the case back to secure the cabinet. Thestrips support the top and bottom of the case,which is much stronger than simply screwingthrough the back. Be sure the fasteners you useenter the studs in the wall if you’re attaching thecabinet to conventional wood-framed walls. Usemasonry anchors for stone or concrete.

If you want your wall cabinet to be removable,you can hang it on a beveled strip secured levelto the wall (C). Attach a matching beveled strip tothe back of the case and add a block of the samethickness at the bottom of the case to keep thecabinet plumb to the wall. Then simply lower thecase onto the wall strip (D).

For small cabinets, try routing a pair of keyholeslots in the case back with a keyhole bit in therouter (E). If possible, position the holes so theycorrespond to the stud spacing in your walls;then drive a pair of screws into the studs and slipthe cabinet over the screws.

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A B

ED

Wall

Bevel lower edgeto 30 and attach to back of cabinet.

Attach block of same thickness as top stripto plumb cabinet.

To conceal hangers, construct cabinet with extended sides.

Bevel top edge to 30 and attach level to wall.

C

SECTION 6 OVERVIEW

58

The lowly shelf is one of the mostimportant elements in casework.Where else will you find such useful

horizontal storage space? Whether you’restoring books, kitchen goods, office supplies,tools, or any of the myriad stuff we accumu-late during the course of our lives, the shelfyou build today will be pressed into servicefor many years to come.

Selecting the appropriate material forshelves is crucial. Solid wood can be decora-tively shaped on its leading edge more easilythan composite or man-made boards, suchas plywood, to give your shelves a flair.Plywood, particleboard, and MDF have thedistinct advantage of being available in large,flat panels, making the process of producingwide horizontal surfaces as easy as cuttingpanels to size on the table saw or with a cir-cular saw. And the type of material you usecan have a big effect on whether the shelveswill bow or sag when they’re loaded withfavorite possessions. In general, solid wood is stiffer than plywood.

When making the shelves, you have twooptions: fixed or adjustable. Adjustableshelving offers you the ability to move ashelf ’s position after the furniture has been

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Shelves

➤ Through-Dado Shelf(p. 64)

➤ Tapered SlidingDovetail (p. 65)

Shelf Joinery

➤ Ledges for OpenShelves (p. 66)

➤ Wood Brackets forOpen Shelves (p. 67)

Open Shelves

➤ Adjustable Shelves(p. 68)

➤ Wood Support andEdge Strip (p. 69)

➤ Pilasters and Clips(p. 70)

➤ Pins and Holes (p. 71)

➤ Wire Supports (p. 72)

➤ Torsion-Box Shelf(p. 73)

Shelf Options

➤ Wood Lippings (p. 74)

➤ Flush-TrimmedLippings (p. 75)

➤ Plugged Screws (p. 76)

➤ Biscuits (p. 77)

➤ Tongue and Groove(p. 78)

➤ CommercialEdgebanding (p. 79)

➤ PVA Glue andVeneer (p. 80)

Dressing Up a Shelf

See “Designing Sag-Proof Shelves” opposite.➤

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SECTION 6 OVERVIEW

Shelves 59

built, increasing a cabinet’s versatility. Butthis type of system often increases the com-plexity of your cabinet design. Fixed shelvesare simpler to design and build, and theysignificantly increase the strength of a cabi-net as well as stiffen each individual shelf.The most common method of making afixed shelf is to dado it into the case sides.Dovetailing the shelf to the case is muchstronger because of the increased glue sur-face and mechanical locking of the joint.

You have many options with adjustableshelves, from shelf-support pins that fit intoholes drilled in the case to more elaborateshopmade supports.

Designing Sag-Proof Shelves

Even a slightly bowed shelf in a cabinet or bookcase looks wrong. Good furnitureshould include shelves that are straight andsolid looking. The trick is to figure out howto make your shelves strong enough to holdtheir intended load before you build them.There are several strategies you can employfrom edging and ledges to dividers and tor-sion boxes. Other strategies include keepingthe shelf span as short as possible and select-ing the right material in the appropriatethickness. For the strongest shelves, thickhardwoods are your best bet. Also, a fixed

See “Shelf Joinery” on p. 64.➤

See “Adjustable Shelves” on p. 68.➤

shelf is much stronger than an adjustableone because the joint itself helps stiffen the shelf.

Choosing Adjustable

Shelf Supports

If you want adjustability and maximum ver-satility in your shelving, an adjustable shelfsystem is the way to go. You can choosefrom commercial hardware or make yourown supports (see drawings on pp. 60 to 62).

Maximum Shelf Spans

The maximum length between supportsfor a moderate load (20 lb. per foot) on a10-in.-wide shelf.

MaximumMaterialSpan (in.)

Particleboard, 3/4 in. 24

MDF, 3/4 in. 28

Hardwood plywood, 3/4 in. 32

Softwood

3/4 in. 36

1 in. 48

11/2 in. 63

Hardwood

3/4 in. 42

1 in. 48

11/2 in. 66

See “Wood Lippings” on p. 74.➤

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SECTION 6 OVERVIEW

Shelves60

Glue a 3/4-in. x 11/4-in. – 11/2-in.lip to front edge.

Glue a 3/4-in. x 11/2-in. – 2-in. ledge at back of shelf.

Fixed panel

Slide divider between shelf and fixed panel, such as bottom of cabinet.

Cardboard honeycomb

Solid-wood grid

Build torsion box with honeycomb or grid core.

SHELF-STIFFENING STRATEGIES

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SECTION 6 OVERVIEW

Shelves 61

TYPES OF ADJUSTABLE SHELF SUPPORTS

Wood cleat with pins

Wood cleat Edge strip

Notch in shelf

Wood support

Wall-mounted metal standard and bracket

Metal or plastic pilasters with shelf clips

Shelf pinWire support

Stopped groove in shelf accommodates wire support.

Metal sleeve

There are various metal and plastic clips and pins that fit into pilasters or into holes drilled in the case.

Pins

Pilaster clips

Commercial Hardware

Clips and Pins

Shopmade Adjustable Shelving

SECTION 6 OVERVIEW

Shelves62

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EDGE TREATMENTS

Chamfer Chamfer top and bottom

Chamfer top and bevel bottom

Cove Cove and fillets Cove and quarter-round

Ogee Roman ogee with fillet Reverse ogee with fillet

Cock beadBead Corner bead

Basic Shapes Variations

Routing, shaping, or molding a profile on the edge of a shelf can add a lot to the overall design of a piece of furniture. Here are some options.

Roundover Roundover with fillet Bullnose Thumbnail

SECTION 6 OVERVIEW

Shelves 63

Wood Plugs That Disappear

Once you’ve selected the stock and the over-all dimensions of your shelf, there are anumber of strategies to increase its rigidityto prevent deflection under load. You canuse screws or nails, for example, that supportthe shelf at several points. To hide the fas-tener on an exposed surface, you can usewood plugs.

For a super-tight fit in a counterboredhole, cut your plugs on the drill press using atapered plug cutter. Be sure to select yourmaterial from the same stock that you’re try-ing to fill, so the plugs will match the grain.It’s best to set the fence so that the cutter isexposed on the edge of the stock as you drill.This trick keeps the cutter from overheatingand dulling.

Apply tape to the drilled stock, rubbing itfirmly over the ends of the plugs. Turn thestock on its side and bandsaw the plugs freefrom the blank. Eyeball along the bottom ofthe exposed plugs and cut to that line.

Before pulling off individual plugs, markthem to indicate the correct long-graindirection. This is important, because thebandsaw marks run at 90 degrees to thegrain and will often fool you into installingthe plug in the wrong direction. Install theplug with the grain, pare or sand it flush, andnote how it practically disappears.

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Use a bandsaw tocut the plugs free,following the base-line of the plugs.

Mark the graindirection on all theplugs before sepa-rating them.

Plugs installed withthe grain in theworkpiece virtually disappear.

For a series of woodplugs, drill close tothe edge so the cut-ter breaks throughthe side, reducingfriction and heat.

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SHELF JOINERY

64

A Way to Make a

Through-Dado Shelf

A strong shelf connection is to attach the shelfpermanently to the case sides. This approachstrengthens the case itself and helps stiffen theshelf and prevent it from sagging under a load.

The simplest method for making a fixed shelf is to cut through dadoes in the case sides toreceive the shelf. Rout the dadoes with a straightbit guided by a straightedge. For a clean cut,plunge rout the dado in successively deeperpasses to reduce tearout (A). Make your dadoesshallow—about 1/4 in. deep in a 3/4-in. panel—tokeep the case sides strong and to leave enoughmaterial for nailing or screwing through the joint.

A tight-fitting joint is important for strength andgood looks. Most plywood comes about 1/64 in.under nominal thickness, so you’ll need to cutdadoes slightly undersize for a tight fit. The dadoshown on the right in photo B was routed with aconventional straight bit, which resulted in aloose joint with a small gap. The bit on the left ofthe photo is specially sized for an exact fit withstandard /4-in. hardwood plywood, so the joint isstrong and tight.

For a finished appearance, simply glue and clampthe joint (C). For case sides that won’t be seen,add screws or nails through the side to easeassembly and to strengthen the joint.

A

B

C

Shelves

SHELF JOINERY

Shelves 65

Tapered Sliding Dovetail

The strongest connection is to dovetail the shelf to the case sides, tapering the joint alongits length.

Cut the tapered dovetail sockets in the case first.Use a shopmade jig (A, B) to guide the router and a 1/2-in. dovetail bit. To reduce tearout, rout anotch into the back edge first, before routing thefull width of the panel (C).

Next, tape 1/32-in.-thick shims to both sides of theshelf stock (D).

Using the same bit you used to cut the socket,rout the pin by making one pass on the routertable on each side of the stock. Be sure to rout inscrap first to fine-tune the fit, moving the fencein or out from the bit, or adjusting the shim thick-ness, until the widest part of the tail almost—butnot quite—fits into the wider end of the socket.Beams clamped to the stock remove any possi-ble warp (E).

The dovetail pin should tighten as the joint isbrought home. Having to tap the last 1⁄2 in. intothe socket means a tight-fitting joint. Glue isoptional, although with solid wood it’s a goodidea to glue about 2 in. at the front of the joint to keep the shelf flush with the case despite anywood movement (F).

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1/32-in. gap

Guide board1/4 in. x 6 in. x 16 in.

Diameter of router base plus 1/8 in.

Align center of dovetailwith center mark on stock.

Rout socket from left to right, workingfrom front of jig.

This tapered-dovetail socket jig is sized to rout a 5/16 -in.-deep by 5/8 -in.-wide dovetail in a case side up to 14 in. wide, using a 1/2-in. dovetail bit. The dovetail tapers 1/16 in. over its length. For wider cases, use the same amount of taper and make the guide boards wider.

Front of jig

A

MDF or plywood stock

1/32-in. shim taped to stock

B

C D E F

OPEN SHELVES

Shelves66

Ledges for Open Shelves

Display shelves often call for a ledge in the mid-dle of a board, which can be screwed in placefrom behind.

To elevate your ledge from rectilinear boredom,first scroll the ends of the stock on the bandsaw(A) and then clean up the sawn surfaces with adrum sander or by hand.

For a more delicate feel, chamfer the undersideof the stock on the router table. Use a pilotedchamfer bit and begin the cut safely by rotatingthe stock against a starting pin. Don’t rout the fullchamfer in one pass; make successively deepercuts by raising the cutter after each pass (B).

For a low-profile look, counterbore the stock with a 1/4-in. Forstner bit and use trim-headscrews to attach the shelf to the backboard (C).Once the shelves are secured, spread glue on a 1/4-in. wooden plug and tap it into the counter-bored hole. A mark on the plug indicates graindirection (D).

Once the glue has dried, pare and sand the plugflush with the edge of the shelf (E). Because theplug’s grain runs parallel to the shelf’s grain, theplug blends in seamlessly.

Custom-fitted ledges can make a distinguishedstatement. As shown here, I store my largerhandplanes on shelves scrolled to the outline of each plane (F).

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OPEN SHELVES

Shelves 67

Wood Brackets

for Open Shelves

Attached to the wall or placed in an open cabi-net, wooden brackets can support a lot of weightand add a custom look.

If you’re making one or two brackets, you candraw the desired shape on the stock and saw itout on the bandsaw. For multiple brackets, use aplywood template to trace the shape onto thestock (A).

Saw out the shape by cutting to the line on thebandsaw (B). Clean up the saw marks on thedrum sander, sanding “downhill” to the grain forthe smoothest surface (C). Pare the shouldersand flats with a sharp chisel.

When possible, screw through the back of thecase or the backboard and into the brackets toconceal the connection (D). If necessary, you canalso screw through the brackets themselves andinto the backboard; then plug the screw holes fora finished appearance.

You can simply let the finished shelf sit on thebrackets or secure it from behind the backboardand below the brackets with screws or finishnails (E).

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See “Wood Plugs That Disappear” on p. 63.➤

SHELF OPTIONS

Shelves68

Adjustable Shelves

For maximum versatility in a cabinet or book-case, a shelf that simply rests on supports is theway to go. With this approach, you can easilyreconfigure shelves on the fly. The type of sup-port you choose is mostly an aesthetic decision,from simple pins that fit into holes drilled intothe case, to more elaborate wooden hangersthat add flair to your furniture.

Wood cleats used to support shelves are simpleand effective. To improve their looks, keep thecleats as thin as possible (3/8 in. thick is about minimum) and install them with finish nails orsmall screws.

After ripping and crosscutting the stock to widthand length, round over the front and bottom edgeon the router table. Use a starting pin to beginthe cut safely (A).

It’s easier if you secure the cleats before fullyassembling the case. Use a square to ensureeach cleat runs dead square across the case (B).

The finished shelf rests on top of the cleats (C).To adjust the shelf, simply place it over anotherset of cleats.

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➤

SHELF OPTIONS

Shelves 69

Wood Support and

Edge Strip

An elegant solution to adjustable shelving is tosupport each shelf on support cleats that nestleinto half-holes drilled into wooden strips. Thesystem is simpler to make than it looks, and atemplate-rounding jig helps you accurately makethe round-ended supports (A).

Starting with a pair of 2-in.-wide boards, drill aseries of 1-in.-diameter holes along the center of each board using a Forstner bit on the drillpress (B).

Rip each board in half on the table saw to createtwo strips (C) and nail the strips into the cornersof the case. A pneumatic brad gun makes for fast work (D).

After sizing the cleats to about 1/8 in. longer thanthe finished size, use a template-rounding jig anda pattern bit to reach the finished length, round-ing the ends at the same time (E).

Install the supports between the edge strips atthe desired height. The finished shelf sits on topof the supports (F). You’ll have to notch the shelfto fit it around the edge strips.

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Align stock with mark on base for trimming to final length.

Distance equalswidth of stock.

Saw and smooth a desiredradius on corner of base.

Toggle clamp

Base,1/2 in. x 8 in. x 14 in.

Fence,1/4 in. x 11/2 in. x 13 in.

Use this template-rounding jig on a router table to cut half-circles on the ends of wooden supports or anywhere you need a specific radius on the ends of stock. Rip the stock to finished width and about 1/8 in. over length; then bandsaw a curve on the ends slightly bigger than the desired radius. Using a top-bearing template or pattern bit, rout each support in four consecutive passes, each pass cutting one corner of the support.

C

E

WARNING Always remove rings

and other jewelry when operating a drill

press. Rings caught by a spinning drill

chuck or bit can rip the flesh right off

your finger.

▲ !

B

D

F

A

SHELF OPTIONS

Shelves70

Pilasters and Clips

Pilasters offer an easy way to incorporate ad-justable shelves into cabinets, and they usuallyallow for incremental height changes of 1/2 in. or less—a real benefit for configuring shelvesexactly where you want them. Some pilasterscan be surface mounted, but recessed pilastershave a cleaner look.

Plow grooves in the stock for the pilaster using adado blade or router, making sure to test the fitfirst in scrap (A).

Crosscut the pilaster strip to length using a crosscut-style carbide-tipped blade for aluminum,brass, or plastic (B). For steel, you’ll need to usea hacksaw. It’s important when using any style ofpilaster that the slots or holes for the clips areequidistant from the ends of each pilaster, someasure carefully when cutting to length.

Tap the pilaster strip into the groove, using theassembled top and bottom of the cabinet to helpregister the strip (C).

With the cabinet fully assembled, you can hangthe shelves. The plastic clips twist securely intothis style of pilaster (D).

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Shelves 71

Pins and Holes

Drilling a series of holes in the case and usingpins to support the shelves is another simple yetgood-looking solution to adjustable shelving. Butmake a mistake in the hole layout and you’ll endup with wobbly shelves. The key is to use a sim-ple jig that lets you lay out dead-accurate holesin the case sides (A).

Clamp the jig to the case side with its edge flushwith the edge of the panel. For this example, Iused the biscuit joinery in the panel to help alignthe end of the jig. Use a center punch or an awlto mark the stock through the jig. Masking tapeapplied to the jig defines the row of holes youwant to drill (B).

Drill the holes on the drill press using a fenceclamped to the table and a brad-point bit. Thefence is rabbeted so wayward chips don’t inter-fere with alignment (C).

[ TIP ] Shavings from a drill press (or a

router table) have a nasty habit of lodging

between the workpiece and the fence,

most likely spoiling the work. A rabbet cut

into the bottom of the fence provides a

channel for the shavings and allows the

workpiece to contact the fence.

If you don’t own a drill press, a good drillingoption is to use a commercial drilling rig like theVeritas jig shown here. There’s no marking out;just secure the jig to the stock and drill into thework through hardened steel bushings (D).Masking tape wrapped around the bit guides it to the correct depth.

A nice touch is to lightly chamfer the drilled holeswith a handheld countersinking bit. Be sure touse the same number of rotations per hole for a consistent look (E). Brass pins provide a clean look (F).

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MDF or plywood, 1/4 in. x 3 in. x 36 in.

Mark contrasting colorson each end of jig to clearly indicate top and bottom.

Drill holes every 1/2 in. on center.

Size holes so that punch protrudes 1/16 in. below the jig.

This simple hole-layout jig allows for accurate layout of shelf-pin holes. To use it, align the bottom edge with the bottom of the case side or with the case’s joinery, such as a dado or biscuits. Use an awl or a center punch to mark the hole locations by pushing the punch through the jig and into the workpiece.

B C

D E

F

A

SHELF OPTIONS

Shelves72

Wire Supports

These imaginative little strips of wire—some-times called invisible or “magic”wires—workgreat when you need to make removabledividers or partitions.

A pair of small bent wires engage slots cut intothe ends of the shelf and small holes drilled intothe case. To position the shelf, you simply slide itover the wires from the front of the case. Thereare two benefits to using wire supports: First, theholes you drill in the case are small (1/8 in. diame-ter), so they don’t intrude glaringly into yourdesign. Second, once the shelf is hung, youwon’t see any visible means of support.

Wire supports are available in roughly 6-in. and 9-in. lengths. If you need longer wires, for widershelves, you can double up the wires to gain thenecessary support. For narrow shelves, useshorter wires that you make yourself. Clamp apiece of stiff 1/8-in.-diameter wire—or an existinglonger wire support—into a bending jig in ametal-working vise to form the bends (A).

Use a drilling jig to drill the 1/8-in. holes accuratelyin the case side for the wires (B). Tape placed onthe drill bit lets you know when you’ve reachedthe correct depth (C).

Cut a groove in the ends of each shelf, stoppingit about 1/2 in. from the front edge so you don’tsee the groove when the shelf is installed. Usean 1/8-in. slotting cutter on the router table andadjust the fence for the correct depth of cut.Pencil marks on the fence indicate where to startand stop the cut (D). The finished shelf slides into the case and over the wires (E). T

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➤Fence, 7/8 in. x 2 in. x 14 in.

Clear acrylic, 1/4 in. x 6 in. x 16 in.

1/8-in.-diameter hole

Use scrap spacer to adjust spacing of first hole from edge of stock.

Drill first hole 3 in. from fence; then drill series of holes correct distance from first hole for specific lengths of wire supports.

Secure acrylic in 1/4-in. x 1/2-in. mortise with epoxy. Scribe centerline on

bottom of acrylic. Use line to align jig with center mark on stock.

903 in.

This wire support drilling jig lets you drill a pair of accurately spaced holes for a wire support. To use the jig, hold the fence firmly against the front edge of the stock and drill through the correct holes in the acrylic.

B

C D

A

E

SHELF OPTIONS

Shelves 73

Torsion-Box Shelf

For maximum stiffness, you can make a torsionbox by sandwiching a panel of honeycomb mate-rial or a grid of wooden ribs between two thinplywood skins—similar to the construction of anairplane wing. The result is a shelf that’s rela-tively lightweight but very rigid. Torsion boxes are also good for all sorts of furniture elements,including large conference tables and caseworkand anywhere you need a large surface thatwon’t bend or deflect under weight.

Start by making the grid from 1/4-in.- to 3/4-in.-thicksolid-wood ribs. Pine, poplar, or any lightweightwood works best. The wider the ribs, the stifferthe shelf. Make the spaces between the ribsabout 4 in., depending on the thickness of theskin material that you’re using—the bigger thespacing, the more chance that the skins will de-flect. Use a staple gun to pin the parts together,making sure to staple both sides (A). You won’tneed glue here; the staples simply hold the gridtogether before you add the skins.

To make glue-up easy, spread a coat of glue onboth sides of the grid with a roller (B).

Cut the skins from 1/4-in. or 1/2-in. plywood or MDF,making them about 1/2 in. larger than the assem-bled gridwork. Glue the skins to both sides of thegrid, using bowed cauls to distribute clamp pres-sure evenly (C).

Once the glue has dried, rout the skins flush tothe core with a laminate bit (D). To dress up theshelf, you can veneer its surfaces or cover it withlaminate or leather. Adding solid-wood lippings isan effective way to conceal the raw edges.

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A

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C

B

DRESSING UP A SHELF

Shelves74

Wood Lippings

Covering up the edges of plywood shelves andother sheet goods with a band of solid wood orveneer is the best way to clean up the voids andvariations that man-made boards exhibit. Lip-pings can be thick or thin, depending on thedesign of furniture, and there are a variety ofmethods for applying them. Once you’ve applieda solid-wood edge, you can then rout or saw intoit to create a decorative effect—something youcan’t do with a raw plywood edge.

No matter what type of lipping you’re adding tothe edge of a shelf or case, it must be milledslightly thicker than the shelf material. This letsyou accurately bring the lipping flush to the panelafter it’s applied. It’s a good idea to mill the lip-ping stock about 1/16 in. wider than the shelf is thick (A).

For a simple edge joint, apply glue with a roller toboth the shelf and the lipping (B). Slip shims ofveneer underneath the shelf to center the thickerlipping on the edge of the shelf (C).

Pipe clamps are very effective for pulling the lip-ping tight. A wide caul between the clamps andthe lipping spreads the clamp pressure, allowingyou to use fewer clamps (D).

For even more effective clamping pressure, gluetwo shelves at once, orienting the lippings sothey face each other (E). The Jorgenson edgeclamps shown in photo F allow for a quick andeffective method for applying pressure, but you’llneed plenty of clamps to close the joint.

On thin bandings—1/8 in. or less—you can get suf-ficient clamping power by using masking tape topull the joint closed. Press the tape firmly to oneside of the panel; then stretch it over the edgeand onto the opposite side (G). T

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DRESSING UP A SHELF

Shelves 75

Flush-Trimmed Lippings

There are several methods for cleaning up aproud lipping once the glue has dried. If the lip-ping is thin, use a ball-bearing laminate bit to routthe lipping flush. A block clamped to the bench-top steadies the router (A).

My favorite method for flushing up a lip is toplane it by hand. It’s very quick, quiet, and rela-tively dustless. The danger here is that if youplane too far, you’ll plane through the thin veneer.Here’s a foolproof method: Set the plane iron fora medium cut and plane close to—but not quiteto—the surface of the veneer. Use your fingersto feel how far you have to go and skew theplane to help reduce tearout (B). Now adjust theiron for a very light cut and finish-plane the edg-ing. You can see the difference in the planeadjustment by the gossamer-thin shavings (C). If you do cut into the veneer, you’ll take only avery light shaving but not tear it.

For really wide lippings and for gnarly, difficult-to-plane woods, you can rout the lipping by using apiece of melamine-coated particleboard screwedto a router. The board rides on the veneered sur-face while the cutter routs the lip flush. A four-flute end-mill bit leaves the cleanest cut for thisoperation, but any straight bottom-cutting bit will work (D).

Once you’ve trimmed the surface of the panel,you’ll need to flush up the ends. If you planahead and cut your panel oversize in length andmake the lipping slightly shorter than the panel,you can simply flush up the lipping at the ends of the panel with a couple of crosscuts on thetable saw (E).

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DRESSING UP A SHELF

Shelves76

Plugged Screws

Screws are a great way to attach lippings, espe-cially when you’re on the job or can’t easily getto the work with clamps. To conceal the screwholes, fill them with wooden plugs. And if you’recareful with the way you make and install theplugs, the joint will virtually disappear.

Countersink and counterbore the screw hole in the lipping in one step with a counterbore/countersink bit on the drill press. In this example,I’ve spaced the screw holes about 5 in. apart; forwider lippings you can use fewer screws (A).

Drill pilot holes into the panel by drilling throughthe edging as you hold it in position. Then applyglue to the panel and lipping, and screw the lip-ping to the panel (B).

Spread glue on the plugs and tap them into thecounterbored holes. Mark the plugs to help orientthem with the grain direction of the lipping (C).

Remove most of the excess plug by tappingacross it with a chisel and a mallet. Then carefullypare the plug flush to the lipping by hand (D).Finish up by planing the entire edging with a finely set handplane (E).

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Shelves 77

Biscuits

Biscuits aren’t really necessary to strengthenmost lippings, but for foolproof alignment, theycan’t be beat. Place a biscuit every 8 in. or so,and lippings will accurately line up with a shelf orcase piece, taking the hassle out of shimming orcarefully adjusting the lipping to the shelf as youclamp it. If you offset the biscuit slot in the lip-ping, you can offset the lipping to the shelf sothat it stands slightly proud. This lets you flushup and smooth the lipping after gluing it to the panel.

No measuring is needed when cutting slots forbiscuits. Just hold the lipping in position againstthe edge of the panel and draw a center markacross both pieces (A).

Cutting the slots in the panel is simple: Adjustthe fence so the slot is centered on the edge ofthe panel and plunge into the edge at your centermark. Be sure to clamp small work (B).

Cutting narrow or short lengths of wood can betrickier and is often downright dangerous, be-cause it’s difficult to clamp the work effectivelyto keep your hands clear of the cutter. To makethings safe, use the hold-down jig shown here forslotting small pieces (C). The jig is simple to makeand adjusts to different sizes of small stock (D).

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C

B

This hold-down jig lets you safely cut biscuit slots in short or narrow stock without having your hands near the cutting action.

Hold-down clamp

Base, 3/4-in. plywood Fence, 1/2-in. plywood

Adjust fence so workpiece overhangs base by 1/16 in.; clamp.

D

DRESSING UP A SHELF

Shelves78

Tongue and Groove

Like biscuits, a tongue-and-groove lipping canfacilitate a glue-up so that pieces go togetherexactly where you want them. And the additionalglue surface of the tongue-and-groove jointmeans considerably more strength in the joint.This is an important consideration for timeswhen you might need the extra strength, suchas in wide lippings.

Plow a groove in the panel on the table sawusing a dado blade. Make the width of thegroove one-third the thickness of the panel. Usea featherboard to keep the stock tight to thefence (A).

[ TIP ] Keep your hands clear of the blade

when forming edge details by using over-

size stock. Once the groove or detail is

formed, rip the narrow section off the

wider board.

Install an auxiliary fence and use the same blade-height setting used to mill the tongue on the lip-ping. By cutting a rabbet on both sides of thestock, you automatically center the tongue (B).

Once you’ve milled the tongue, rip the stock tofinal width (C).

The glued lipping needs only flushing up on bothfaces and it’s ready for service (D).

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Shelves 79

Commercial Edgebanding

Veneering the edge of a shelf is another option.Because the veneered edge is somewhat deli-cate and can’t be shaped decoratively, this typeof banding is usually reserved for more homelytypes of work, such as the interior shelves of akitchen cabinet. The easiest method for veneer-ing an edge is to use commercial edgebanding,which has a layer of hot-melt glue on one side. Itcomes in rolls in almost every species, and it’ssized about 1/16 in. wider than standard 3/4-in. ply-wood. You can also buy plastic bandings in a vari-ety of colors to match melamine and laminatesurfaces.

You can use a commercial iron to apply theveneer, but a household iron will work just aswell if you set the heat to medium. Keep the ironmoving as you heat the glue and the veneer toprevent scorching. Use your other hand to guidethe tape so it overhangs both sides of the panelevenly as you press it with the iron (A).

Immediately after heating the glue, rub the band-ing firmly with a hard block. Be sure to rub alongthe edges and ends to ensure a tight joint (B).

A wide chisel works best for trimming the endsof the banding, especially in coarse woods suchas the oak shown here. Register the back of the chisel on the edge of the panel and move the chisel in a downward slicing action to get the cleanest cut (C).

You have a couple options for trimming the long-grain edges. An edge-cutting file is a safe bet forveneers that are prone to tearing. Hold the filevertically, tipping it a few degrees away from theface of the panel, and make the cut on the downstroke (D).

To cut both edges at once, use a commercialtrimmer with knives on both sides. Be carefulthough; this tool can tear difficult woods if youcut against the grain (E).

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DRESSING UP A SHELF

Shelves80

PVA Glue and Veneer

You can make your own veneer edgebanding andapply it without fancy glues or clamps. This tech-nique relies on the thermoplastic qualities ofwhite or yellow polyvinyl acetate (PVA) glues.

[ TIP ] Use this method for attaching only

small pieces of veneer, it’s not reliable

when you get into bigger jobs with wider

veneered surfaces.

Thin some white or yellow glue about 10 percentwith water and brush an even coat on both thepanel and the veneer. Don’t use a roller here; itwill leave small bubbles. Be sure to cover all theedges and corners, since these areas are natur-ally prone to lifting. To prevent the veneer fromcurling, wet the opposite side with a dampsponge before you apply the glue (A).

Sand the fully dried glue lightly with 80-grit paperto remove any nibs or dust (B). Then recoat bothpanel and veneer with the glue mixture.

Once the second coat has fully dried (the gluewill appear clear and shiny), use an iron to reacti-vate the glue by heating it as you press theveneer firmly to the substrate (C). Trim the edgesand you’re done.

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Fasteners are essential gear forthe cabinetmaker. Screwing partstogether saves time and is often the

best method for clamping difficult-to-reachjoints until the glue sets. Even the old-fashioned nail has its place in the shop,especially finish nails and brads for tackingtogether small projects and parts. And withthe bevy of modern pneumatic nail guns andlow-cost air compressors on the market, it’seasy and economical for the small shop topower drive fasteners using compressed air.

For large cases that need to be assembledon site or for big woodwork such as beds, useknockdown (KD) hardware. This hardwarecomes in an endless variety and is used heavilyby the furniture industry. If you’ve ever beenfaced with a piece too big to get out of yourshop, knockdown hardware is the solution.

Power Drive Your Screws

Today’s powerful battery drill drivers are per-fect for driving screws. Although you can usethe corded variety with the same results, acordless drill/driver let’s you get to the actionquicker and without the headaches of tangledcords under foot. I equip my drill with a mag-netic bit holder, which helps start the screwand allows a longer reach. This power-drivingtechnique works best with Phillips-head orsquare-drive screws, but with practice you candrive traditional slot-head screws as well.

Nails, Screws, andOther Fasteners

➤ Nailing Joints (p. 84)

➤ PneumaticFasteners (p. 85)

➤ KnockdownHardware (p. 86)

➤ Bed-Rail Fasteners(p. 87)

Nails and Screws Hardware Solutions

81

SECTION 7 OVERVIEW

Nails, Screws, and Other Fasteners82

Proper driving technique is essential toavoid a common pitfall: bit spinning, inwhich you quickly strip the head of thescrew. Two things to remember are keep thedriver in line with the screw and maintainconstant and very firm pressure (as much asyou can apply) against the head of the screwas you drive it.

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Screw heads come in different driving styles, so you need to match the driver tip to the screw. Slotted screws are prone to slipping, and the driver often jerks out of the slot. Phillips-head screws strip less, as long as you maintain pressure and stay in line with the head. Square-drive screws are king when it comes to not slipping, but they cost more than conventional heads. Combination drives work well with square drivers; in a pinch you can drive them with a Phillips-head screwdriver.

To be successful in driving your screws, gauge the root diameter then drill a pilot hole to that size (or slightly under in softwoods). Next, determine the shank diameter and drill a shank hole to that size so the screw slips freely through the upper workpiece.

Drive

Head

Shank diameter

Thread

Root diameter

Counterbore.Countersink.

Pilot hole; drill to diameter of root.

Shank hole; drill to diameter of shank.

Slotted

Phillips

Square

Combination

SCREW ANATOMY

Driving screws intoend grain is risky at

best. The threads

mash the fibers; and

instead of a strong

connection, the fit is

loose and is likely to

fail if stress is placed

on the joint. When

you’re faced with

screwing into end

grain, a nice trick is to

introduce some long

grain into the area

that the screw will

penetrate. The easiest

way to do this is to

drive a dowel across

the joint.

CROSS DOWELS IN END GRAIN➤

DOWELS STRENGTHEN

SCREW JOINTS

Dowel Screws pierce long-grain dowel for better holding power.

Glue dowels into the end-grain member to allow screws to get a grip.

Drives

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SECTION 7 OVERVIEW

Nails, Screws, and Other Fasteners 83

To prevent damageto the screw head,align the bit and thedrill with the screw’sshank and use firmpressure.

Types of Screws

The vast array of screw types on the marketcan be bewildering to a woodworker. Thegood news is that there’s a screw for practi-cally every application and type of material.But for typical furniture work, you can paredown the options by selecting a few typesthat will work for most jobs. Once you’veselected your screws, pick up a few drillingaccessories for the drill as shown in thephoto below right.

Equip your drill with some essential gearfor sinking and driving screws (clockwisefrom top): countersinks to bevel the screwhole so the head of the screw seats firmly;countersink/counterbore drill bits to per-form three operations at once (drill pilothole, countersink for screw head, and counterbore for shank); quick-change drill/drivers to save time when changing drillbits and driver bits; magnetic bit holder anda selection of driver bits that slip into theholder; self-centering drill bits for hinges;flexible driver for tight spaces.

Screws for the woodshop (clockwise fromtop): production or particleboard screws,which grip well in plywood and particle-board; drywall screws; tapered woodscrews, which come in the greatest varietyof sizes and materials; trim-head screwswith tiny, self-sinking heads; deck screws,which are coated with long-lasting epoxy;deep-thread or Confirmat screws, withexceptionally deep threads, making themthe best choice for driving into materialswithout grain such as MDF or particleboard;pan-head sheet-metal screws for attachinghardware; solid-brass screws for the finaltouch on quality brass hardware.

NAILS AND SCREWS


Nailing Joints

Sometimes a well-placed nail is all you need tofirmly fasten a part in a cabinet or piece of furni-ture. Stay away from common nails, though.They’re wonderful for carpentry, but too big forwoodworkers. Box nails, however, are great forsmall work such as attaching a cabinet back. Theshank is stiff and won’t bend, yet the head is rel-atively small and won’t jump out at you. Cut nailscome in handy for period-furniture reproductions.Brads and finish nails are probably the mostcommon nails used in furniture. Great for thinmoldings and trim, a brad can be set below thesurface in a hole so small you can barely see it.Finish nails can be puttied over to blend withyour woodwork.

In contrast to pneumatic nailing, you generallyneed to pre-bore a pilot hole in solid wood for thenail you’ll be hand driving, or the material is likelyto split (A).

[ TIP ] If you can’t find the right size drill

bit for a finish nail, you can snip off the

head and use the snipped end to drill the

pilot hole for the same size nail.

Use a nail set of the appropriate diameter to drivethe nail below the surface (B). This not onlyallows you to hide the head of the nail but helpsseat the joint.

Finish up by puttying over the nail hole or byusing a colored filler to match the finish (C).

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NAILS AND SCREWS


Pneumatic Fasteners

Nothing beats the ease and convenience ofpneumatic, or air-driven, fasteners. The powerfuldriving force of an air-driven nail lets you shoottogether assemblies with speed and accuracy,since the parts don’t have time to slip out ofalignment. And you can leave your nail setbehind: Nails or brads are set below the surfaceof the wood in the same stroke.

Although industry uses many types of pneumat-ics, the fundamental guns for a small shop are abrad gun or pin nailer, a small staple gun, a bigstaple gun, and a large finish nailer (A). You’llneed an air compressor, but air demand is rela-tively small for these types of pneumatic drivers.A 3/4-hp compressor with a tank will provide the100 pounds per square inch (psi) necessary todrive a brad gun or finish nailer.

Brad guns and pin nailers accept 18- or 15-gaugebrads in lengths from 1/2 in. to 2 in., and they’reuseful for attaching moldings and other smallwork. Brads generally won’t split the wood. Pre-boring for the fastener is totally unnecessary; justpoint and shoot (B). The tiny holes the bradsleave in the surface can be easily filled.

Finish nailers, which use thicker and stiffer nails,are great for finish-nailing case parts on a showsurface. For unseen joints in relatively thick case-work, such as all the 3/4-in. interior dividers in a setof kitchen cabinets, use staples—and a large sta-ple gun—which have more holding power thanfinish nails (C). For thin 1/4-in. cabinet backs, use asmaller staple gun equipped with 5/8-in. or 3/4-in.staples, which won’t blow through the plywood.

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WARNING Air nailers can’t tell

the difference between wood and your

fingers. Always make sure your hands

are well clear before pulling the trigger.

▲ !

HARDWARE SOLUTIONS


Knockdown Hardware

Sometimes the most appropriate fasteners arethose that knock down or come apart, allowingyou to transport furniture in pieces and assembleit outside of the woodshop. Knockdown (KD)hardware is especially useful for large or heavypieces, such as beds and cabinets. (For moredetails on knockdown joinery, see The CompleteIllustrated Guide to Joinery, by Gary Rogowski,The Taunton Press.)

My favorite type of KD hardware is the bolt con-nector (A). These connectors are easy to comeby, easy to use, and very easy to re-use, animportant consideration if the piece you’re mak-ing is going to go through many cycles of beingtaken apart and put back together again.

Bolt connectors have two parts: A nut captured ina hole secures the bolt, which typically has a verythin profile that won’t intrude aesthetically in thefinished surface. Drill a hole through both piecesto be joined, checking that the hole is largeenough for the diameter of the nut, which is usually the larger of the two parts (B).

Pull the parts together by tightening the nut ontothe bolt. Most connectors accept a hex wrench,which allows you to get a good grip withoutheavy, protruding hardware (C).

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Profile of nut is same as bolt head.

Nut

Nut

Bolt

Bolt

Flat, slim-profilehead

Drill clearance hole equal to the shank diameter of the nut.

Hex drive

You can counterbore for heads with a Forstner bit so they sit flush with surface of work.

Drill hole equal to shank diameter of bolt.

Drill blind hole for nut.

Bolt connectors can join vertical assemblies, such as two case sides, or can connect two panels face to face. Another variety allows you to make T connections, such as when a shelf joins a side. If you drill a stopped, or blind, hole for the nut in the underside of the shelf, you can conceal the cut from view.

A

B

C

Joining Face to Face

Joining a T

HARDWARE SOLUTIONS


Bed-Rail Fasteners

Gluing together any but the smallest bed framein the shop is a big mistake; although you mightget it out of the shop, the new owners will surely struggle to get it in the house. Knockdownbed-rail fasteners solve this potentially disastrousdilemma. There are two kinds of gear you canuse—the bed bolt and the bed-rail fastener—andboth work well.

The bed-rail fastener consists of two parts foreach joint: a post plate with slots and a matingrail plate with fingers that fit into the slots. Thisfastener is a little fussier to install but allows fortool-less bed setup and knockdown. Rout andchisel a shallow mortise in the post for the postplate so it’s flush with the surface (A). Beforeinstalling the plate, mark and drill clearance slotswith a Forstner bit for the fingers of the matingrail plate (B).

Rout a mortise in the end of the rail for the railplate and install it flush. The metal fingers of the rail plate wedge into the slots in the postplate (C). Installed correctly, the wedging effectincreases as you place weight on the bed, help-ing stiffen the connection.

The bed bolt fastener is great because is easy toinstall without much fuss, and it’s very strong (D).

A stub tenon on the rail supports the frame, but the bolt pulls the joint tight. Drill a holethrough the post for the bed bolt; then drill a flat-bottomed hole on the inside surface of the bedrail with a Forstner bit. Now drill the same diame-ter hole through the stub tenon in the rail, endingin the flat-bottomed hole. Use a special wrenchto turn the bolt and install a nut on the bolt so itbears against the wall of the flat-bottomed hole,tightening the joint.

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SECTION 8 OVERVIEW

88

When you’re ready to assembleyour furniture, you usually haveonly one shot to get it right.

Once the glue is spread, there’s no turningback. Glue up a cabinet out of square, andyou’ll pay dearly later in the constructionprocess because your error will accumulate sothat fitting subsequent parts becomes anightmare. To get it right the first time, it’svital to have the right assembly tools onhand and to use the proper clamps andclamping technique. After all, who hasn’tglued together what was a perfectly fittedmiter, only to find the joint slipping out ofalignment as you placed pressure on thejoint? Learning and practicing the correctapproach to assembly will save you untoldhours of frustration.

The Dry Run

One of the best techniques I’ve come tolearn about assembly (and learned it thehard way, meaning I had to make many mistakes first) is to always—and I meanalways—do a dry run of any assembly. Thismeans assembling all the parts without glue.Make sure you use all the necessary clampsyou’ll need and check to see that you canconfidently close all the joints. In effect,you’re practicing the entire assemblysequence.

And 9 times out of 10, you’ll discoverduring a dry run that something is missing

Assembling Cases

➤ Assembling a Case(p. 92)

➤ Clamping Corners(p. 92)

➤ Clamping DifficultParts (p. 94)

Clamping Problems

SECTION 8 OVERVIEW

Assembling Cases 89

that make things a little easier and moreprecise. Set the rod to the length of one ofthe diagonals; then check the opposite diag-onal inside the case. Push the sticks into thecase to read the entire depth. Keep adjustingthe rod (and the case) until the rod fitsequally between both diagonals.

or you need more clamps in a specific area to bring an assembly together. Or perhapsyou’ll need to rethink the glue-up processand break the assembly sequence down intosmaller, more manageable parts. It may takemore time, but investing in a dry run is wellworth avoiding the horror of applying glue,only to find that you can’t quite put the partstogether as planned.

Assembly Tools and Jigs

There are innumerable jigs and tricks usedin assembly. All are aimed at making theprocess of putting together multiple partseasier, more accurate, and ultimately lessfrustrating. There’s nothing worse thanspreading glue only to find you don’t havethe right tools or setup ready to go. Here are some essential assembly aids that makeglue-ups go a lot smoother.

Reading Square with a Pinch Rod

It’s vital to square up a case or openingimmediately after assembly—before the gluedries. One way to check for square is to readthe diagonal measurements from outsidecorner to outside corner with a tape mea-sure. When the two measurements are equal,the opening is square. But clamps often getin the way, it’s practically impossible to get areading on the back of the case, and readingthe outside corners won’t tell you whetherthe inside of a deep case is square. A moreaccurate method is to use a pinch rod.

A traditional pinch rod is simply twosticks, sharpened at one end, that you pinch,or hold together, in the center. The modifiedversion shown at right adds clamping heads

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Drill hole; square with chisel to fit width and combined thickness of sticks.

Sharpen one end of each stick to a slender point.

Slide sticks apart until points contact the work; then lock together by tightening thumbscrew.

Drill undersize hole for thumbscrew.

Clamping head

A pinch rod is the most accurate way to measure an opening for square. Any type of wood will suffice—even softwood—but make sure to use stock with straight grain.

PINCH ROD

An adjustable pinch rod allowsyou to compareinside diagonalsquickly and to anydepth. If theymatch, the casemust be square.

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Assembling Cases90

Squaring a Case with a Board

As an aid to assembling a case square, cut apiece of plywood to the exact width of thecase opening, making sure adjacent edges aresquare. Before you clamp the case joints,clamp the board inside the case, lining upone edge of the board with the case sides.Voila! No more twisted or out-of-squareopenings.

Shims and Blocks Align Parts

It’s a good idea to keep on hand a variety ofshims and blocks in varying thicknesses,from playing cards, squares of plastic lami-nate, and strips of leather to 1/4-in.-, 1/2-in.-,and 3/4-in.-thick blocks of wood. These spacers help align or position parts duringglue-up, and they’re great for protecting the surface of your work. Shown at middleleft, small squares of MDF align the clampheads over the center of the joint, whileplastic shims prevent the pipes from dingingthe surface.

Riser Blocks Raise the Work

Gluing up assemblies often means having toget underneath the work to attach clamps orother parts. The simplest answer is to raisethe entire assembly on blocks of wood. Butfinding stock thick enough can be a pain.Just as strong, and easier to make, are sets ofriser blocks made from 3/4-in. plywood gluedand nailed together. Blocks about 5 in. highby 2 ft. long are sufficient for almost all your glue-ups.

Using a hammer to pound

parts together is admittedly

a part of woodworking.

Your joints may be too

tight, or the culprit may be

the glue that has swelled

parts at the critical moment

of assembly. Either way,

you should be ready with

some form of heavy-duty “persuader” to coax parts together

when hand pressure or clamps alone fail. Better than a hammer

is a dead-blow mallet. These weighted hammers pack a power-

ful punch without the jarring effect that metal produces. Back-

ing up the surface with a block of hardwood can help distribute

the force of the blow. The mallet shown here has different

weights in each of the two heads, allowing gentle taps on one

side and heavier, more powerful hits on the opposite.

DEAD-BLOW MALLET➤

A squared-up boardcut to the width ofthe inside providesan easy way tosquare up a case.

Use a dead-blow mallet to helpalign parts during a glue-up.

A box full of shimmaterials comes inhandy during glue-up.

SECTION 8 OVERVIEW

Assembling Cases 91

Clamping Cauls

Like blocks, cauls made from scrap materialcan prevent dings in your work. More im-portant, cauls distribute more clampingpressure across a joint, allowing you to usefar fewer clamps when gluing up. For broadgluing surfaces, use bowed clamping cauls.

For narrow joints, scrap plywood or left-over sticks of wood work fine. The trick togetting the cauls to stay where you wantthem until you add the clamps is to tapethem temporarily in place.

Dovetail Tapping Wedge

In many cases, you don’t need to botherclamping dovetail joints, especially on smallbox constructions, such as a drawer. Toassemble and fully seat the joints withoutdamaging the pins, tap over the joint with a wedged-shaped block of dense wood. Theshape of the block allows you to position it over the joint regardless of the size of the tail.

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Simple plywood risers elevate thework for easyclamping.

A piece of tapecomes in handy as a third hand whenpositioning clamp-ing cauls.

A wedge-shapedblock helps seatdovetails in theirsockets.

See “Bowed Clamping Cauls” on p. 20.➤

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Assembling Cases92

Assembling a Case

For most cabinets, there’s a basic assemblysequence that will guarantee success—or atleast a more comfortable heart rate. The trick isalways to begin assembly from the insides out.In most instances, this means assembling anyinterior dividers or partitions to the top and bot-tom of the case. If the case is wide, clamp oneside of the work while it sits face down on thebench (A). Then flip the assembly over andclamp the opposite side (B).

Tackle the outside of the case, often the sides orends of a cabinet, after you’ve clamped all theinterior assemblies. Depending on the type ofclamps you use and the design of the cabinet,you might have to wait for the glue to dry on theinterior parts before clamping the outside of thecase. When possible, use long-reach clamps,because they can reach over existing clamps andlet you clamp the entire case in one assemblysession (C).

A

A

B

C

Clamping Corners

Corner joints constitute most of the casework infurniture—including small boxes and drawers—and it’s necessary to find an effective way toclamp across what is typically a wide surface.Like edge work, the answer is to use cauls tohelp distribute clamping pressure.

When joints protrude at the corners, such as inthrough dovetails or box joints, use notched caulsto bring the corner together (A). Make the notchcuts on the bandsaw or table saw. The blocks

See “Assembly Tools and Jigs” on p. 89.➤

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CLAMPING PROBLEMS

gain purchase and don’t interfere with closing thejoint, and they center over the joint to avoid bow-ing the sides.

Miter joints have a way of not closing at the mostinappropriate times. To get good purchase onwhat is often a very slippery joint, there are sev-eral clamping strategies. The tried-and-truemethod is to clamp all four corners of a miteredframe at once with bar clamps. The deep throatsof Bessey K-body clamps make it easy to getover and under the joint (B). Tighten each clamp alittle at a time, like tightening the lug nuts on acar wheel. Make sure to check the frame forsquare before letting the glue dry.

The block-and-rod frame system shown here(from Lee Valley Tools) gives you very precisecontrol when closing four miters at a time, and itdoesn’t require lots of clamping force (C). Likethe bar clamp approach, tighten each corner a little at a time to align the miters.

One of the simplest ways to close the joint is toclamp shopmade blocks to the frame beforeassembly. Cut out the blocks on the bandsaw sothat the clamping surfaces are parallel to eachother when the frame is assembled (D).

A picture framer’s vise is handy for closing onemiter at a time (E). This is useful when you’renailing or screwing the joint, since you canassemble the frame one piece at a time.

Web clamps allow you to glue up all four cornersat once, and they work well on both flat framesand boxes (F). You can use heavy-duty webclamps for large cases, but plan on having severalon hand to close the joints.

DC

B

E F

Assembling Cases 93

CLAMPING PROBLEMS

Assembling Cases94

Clamping Difficult Parts

If your pipe clamps are too short, you can extend them with metal pipe joiners, available at plumbing-supply stores. Make sure at leastone of your pipes is threaded on both ends so it can accept both the threaded joiner and theclamp head (A).

Another effective way to grip long work is to jointwo clamp heads together. Shims center theclamping pressure over the joints, and rubberpads slipped over the clamp heads prevent thework from being marred (B).

Get a grip on difficult pieces, such as a panel, bysecuring it with a wooden handscrew (C). A barclamp holds the handscrew to the bench, leavingyour hands free for more important tasks.

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SECTION 9 OVERVIEW

95

Moldings accentuate furnitureand often help tie two or morediscordant surfaces together, such

as when you join an upper case to a lowercase in a two-part cabinet. By attaching waistmolding between the two pieces, the casevisually becomes one. Moldings also serve toanchor a piece visually (base moldings) and tofinish off the top of a case (crown moldings).

Almost all your moldings will requiresome sort of miter cut to allow the moldingto wrap around a corner or face. Althoughyou can cut miters with a miter box andhandsaw or on the table saw, I find it best toinvest in a dedicated mitering tool such as achopsaw or power miter saw. These saws canmiter big or little stock and do so with greatprecision. However, for really small moldingsor delicate profiles prone to splintering,you’re better off sawing them by hand.

Gluing and nailing moldings to a piece offurniture is the easiest method of attachingthem. If you set the nails below the surfaceand then putty over the holes, you can con-ceal the method of attachment. But withsolid-wood surfaces, you have to take woodmovement into account. There are severalstrategies you can employ. Also, sometimesit’s inappropriate or even impossible to nailor effectively clamp a molding in place. Inthese cases, there are some clever techniquesyou can use to overcome the problem.

Cutting and Attaching Moldings

➤ Cutting Big Miters(p. 98)

➤ Shooting Miters (p. 98)

➤ Making Moldings“Grow” (p. 99)

➤ Sawing DelicateMiters (p. 99)

➤ Coping LargeMoldings (p. 100)

Working withMoldings

SECTION 9 OVERVIEW

Cutting and Attaching Moldings96

Attaching Moldings

to Solid Wood

If you glue a length of molding cross-grainto the surface of a solid-wood panel, such asthe side of a case, wood movement of thepanel will eventually cause the molding topop loose or, worse, split the case. Instead ofgluing the molding along its full length, it’sbest to apply glue to only 3 in. of the mold-ing at the front of the case side to keep ittight at the miter joint. At the back of thecase, you have several options for attachingthe molding. The easiest method is to use asmall finish nail to secure the molding to therear of the case side. If you set the nail headand putty over the hole, the connectionbecomes almost invisible. Other optionsinclude screwing through a slotted holeinside the case and routing a dovetailed slotin the back of the molding and joining themolding with a matching dovetailed keyscrewed to the case.

Clamping Difficult Moldings

There are times when it’s impossible orinconvenient to nail or clamp moldings inplace. One solution is to use masking tape asa temporary clamp to hold your molding inposition until the glue sets. Stick the tape toone side; then firmly pull and stretch it overthe molding and press it to the adjacent side.

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Glue holds the mitered molding at the frontof the case. A single nail, set below the sur-face and puttied over, secures the back.

ATTACHING MOLDINGS

TO SOLID WOOD

Glue molding tofront of case.

Case side

Glue molding 3 in. at front; then nail at back with brads that flex to allow movement.

Screw rides in slot in case side,allowing movement.

Back part of molding slidesalong runner.

Rout dovetailslot in backof molding.

Screw dovetailrunner to case side.

SECTION 9 OVERVIEW

Cutting and Attaching Moldings 97

When there’s nothing for the maskingtape to grab—such as on a flat panel—trysome cyanoacrylate (CA) glue as a “clamp.”First, spread a bead of regular white or yel-low PVA glue on the back of the molding;then add drops of CA glue along the bead.Now press the molding into position. Presto!The water in the glue accelerates the cure ofthe CA glue, making it grab almost immedi-ately. And the CA glue won’t interfere withthe bond of the PVA glue. Once the PVAglue has set, you have a permanent bond.

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Immediately pressthe white glue andCA mixture to thework surface. In seconds, the mold-ing is secure.

When cutting miters on the miter saw, there are times you

need to take off a shaving or two to get the miters to fit accu-

rately. The difficulty comes in trying to judge just how much to

take off. Here’s a trick that doesn’t require tedious measuring:

Lower the blade so its teeth are below the table and push the

sawn miter against the saw plate. Make sure no teeth contact

the workpiece. Then lift the blade and, without moving the

workpiece, make a cut. You’ll take about 1/64 in. off the miter, or

the amount of tooth set on one side of the blade. It’ s a great

technique for sneaking up on a perfect fit.

SNEAKING UP ON A PERFECT FIT➤

Step 1. Lower stopped blade below table and push sawn miter tight to saw plate. Make sure teeth do not contact work.

Step 2. Hold work firmly, lift saw head, and make cut.

Wrap small moldings with masking tapeuntil the glue sets.

When applying moldings to flat work, spreada bead of white glue; then squeeze drops ofCA along the glueline.

THE PERFECT FIT

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WORKING WITH MOLDINGS


Cutting Big MitersThe power miter saw makes fast and accuratework of cutting moldings. But sometimes it’s achallenge to cut miters in really large, wide stock,such as conventional crown molding. For thesecuts, you have to place the molding upside down.To register and hold the molding securely, youcan use an L-shaped jig clamped to the saw.

Make sure the two rear flats of the moldingmake full contact with the fence and base of thejig. Then add a strip of wood at the front of thejig to keep the molding from sliding forward asyou make the cut. Use a scrap piece of moldingto locate the strip. A pair of screws work greatfor holding the strip temporarily to the base,allowing you to reposition the strip for moldingsof a different width (A).

Slide the molding into the jig, with its top edgefacing down and against the strip. Then make the cut (B).

A

B

Screw and glue base to fence.

Screw and glue base to cleat; clamp cleat in bench vise to use.

Seal or wax surface.

Make fence from 11/2-in.-thick stock to provide bearing surface for plane.

45

4514 in.

3 in.

A

B

Shooting MitersWith large miters, it’s important to have anexceptionally smooth cut to provide the best-possible gluing surface. If you use a sharp handplane, you’ll produce a surface quality unmatched by any other tool. And a plane is agreat tool for fine-tuning a miter that’s a little off. To hold the stock and control the cut, use a jig to “shoot” the miter, as shown here (A).Position the molding in the jig slightly proud ofthe jig’s mitered fence and clamp or hold thepiece in place.

Any plane will work; but for more control and the best cut, use a large, low-angle plane toshave the molding. Keep the plane’s sole firmlyon the fence and shave the miter downhill, orwith the grain (B). To avoid cutting into the jig,make sure to stop planing when the miter isflush with the fence.

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Cutting and Attaching Moldings 99

Making Moldings “Grow”

Who hasn’t cut a molding too short, only to findthat it’s your last piece of stock? Don’t despair.You can “grow” the molding, increasing itseffective length, by taking a few shavings fromits back side with a handplane (A). Removematerial sparingly, tapering the cut, and checkthe fit until the miter meets its mate, as shownhere (B). The tip of the opposite miter will pro-trude past the planed molding, but judicious carv-ing or sanding at the joint will conceal the factthat the two miters don’t line up precisely.

Sawing Delicate Miters

On small, delicate moldings that are likely tosplinter when cut with a spinning sawblade, thesafest approach is to use a handsaw to cut themiter. A shopmade jig helps you control the cutand guides the saw. To make the jig, first cut adeep groove along the center of a block ofwood, equal to the width of the molding. Shal-low holes drilled with a Forstner bit provide pur-chase for your fingers. Lay out the miter cuts onthe block with a combination square; then sawdown to the depth of the groove with a fine-toothed backsaw, following your layout lines (A).

Slip the molding into the block, lining up a markon your molding with the miter cut, and use thesame saw to cut through the stock (B).

A

Plane back of molding.

Thinner moldingnow fits at miter.Sand or carve misaligned tip of miter to blend joint.

Molding too short.

B

A B



Coping Large Moldings

When you’re faced with joining large moldings atinside corners, such as when you’re attachingcrown molding around the walls of a room, thebest approach is to run one piece full length,then cope the adjoining piece so that it fits pre-cisely over the first piece. This way, if the mold-ings or the surfaces they’re attached to shouldever shift, you won’t see a gap between themoldings. The coped cut is easier to make thanyou might think. Start by cutting an inside miteron the piece to be coped, using an L-shaped jigto support the stock (A).

For right-handers, it’s easiest to cope the leftpiece (as it will be installed) to the right piece, so plan accordingly when laying out your cuts.Southpaws should start on the opposite side,coping the right piece.

At the bench, use a coping saw to saw straightacross the square sections at the top, bottom, ormiddle of the molding. These sections must bebutted, not coped. For the best fit, hold the sawat a slight angle to back-bevel the cut (B).

To saw the curves, follow the cut line of themiter cut. As before, angle the saw slightly toback-bevel the cut (C).

When the two pieces are held together (hereshown upside down on the bench), the squaresections butt together and the profiled area ofthe coped piece follows the curves of the oppo-site molding. Not a bad fit (D).

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See “Cutting Big Miters” on p. 98.➤

A

B

C

D

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SECTION 10 OVERVIEW

101

Drawers are the workhorses of casework. They store, then offerup, a load of cargo that keeps you

organized and makes your furniture a plea-sure to use. As such, it’s worth paying atten-tion to the type of drawer you’re making asto well as to its overall construction.

The technique of making a well-fitteddrawer is very much like the carpenter’s artof building a staircase. Both reflect thebuilder’s skill and commitment. While a setof stairs must hold itself up in space andtransport you from floor to floor, a drawer ismore intimate. It often holds our personalbelongings, and we sometimes stash oursecrets inside to keep them from pryingeyes. This intimacy suggests that our drawersshould be well made and work flawlessly,with no binding or sticking. Often thismeans careful measurement and layout toget that elusive “perfect” fit. As a matter ofhabit, you should always keep planes andscrapers razor sharp; then use them to fine-tune the fit of a drawer.

Beyond the basic drawer are all sorts ofspecialty devices, from divided drawers andkeyboard trays to leather-lined beauties andelusive “secret,” or hidden, drawers.

Drawers

➤ Full-Overlay Drawer(p. 110)

➤ Flush-Fit Drawer (p. 111)

➤ Half-Overlay Drawer(p. 113)

➤ Bow-Front Drawer(p. 114)

➤ Pull-Out Drawer (p. 114)

➤ Keyboard Tray (p. 115)

➤ Lazy Susan (p. 115)

➤ TV Swivel (p. 116)

Drawer Construction

Tray Construction

➤ Felt-Lined Drawer(p. 117)

➤ Divided Drawer (p. 118)

Drawer Interiors

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of skills but because of inattention to thedrawers’ proportions. Some general guide-lines (see “Good Proportions” opposite) canhelp you build beautiful, functional drawersthat look great.

Note the thickness of the sides of thedrawer shown in the photo (opposite) inrelation to the drawer front: It’s no accidentthat the overall effect looks good. Keepingthe sides about one-third (or less) the thick-

SECTION 10 OVERVIEW

Drawers102

Designing Drawers

Drawers can be one of the most beautifulparts of furniture to look at, with perfectlyexecuted, hand-cut dovetails on the sidesand custom-made handles that show crafts-manship. And when you operate them, theyslide out wonderfully as if on a cushion ofair. But some of the drawers I’ve seen madeby woodworkers can be downright awful.Such drawers aren’t appalling because of lack

With the appeal of today’s electronicgear, you often end up with a mass of

wires trailing under and over your

beautiful woodwork. To organize and

hide wires and plugs, you can install

inexpensive grommets in the sides,

tops, bottoms, backs, or shelves of

your cases. Then run your wires

through the grommets. Grommets

come in a variety of colors to comple-

ment your woodwork.

To install a grommet, use the drill

press to drill a 17/8-in. hole through the

workpiece. Clamp the work to the table

and use a Forstner or a multispur bit to

make the hole.

Tap the plastic ring of the grommet

into the hole, then run your plugs and

wires through the ring. A cap seals off

most of the hole, allowing the wires

to pass through. If you ever need to

remove the wires completely, you can

seal the hole with a small filler cap.

HIDE UNSIGHTLY WIRES➤

Tap the barbed grommet into the hole. Aplastic cap reduces the opening for smallerruns of wire.

Use a Forstner bit to drill a hole equal tothe ring diameter of the grommet.

SECTION 10 OVERVIEW

Drawers 103

ness of the front is the key. Also note thatthe dovetail pins on the sides are muchsmaller than the tails. This isn’t necessary forthe structure of the joint, but small pinsalways look more refined and elegant.

Material selection is also paramount indrawer making. Straight-grain wood isalways the best to use, and when it won’truin your budget, use quartersawn stock forits stability. Plywood is a wonderful materialfor drawers, but use it only for drawers thatwon’t need subsequent fitting after assembly,

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1/8 in. to 1/2 in.

Bottom, typically 1/4 in. to 1/2 in.

Bottom extends under back and is secured to back with screws or nails.

Back joins sides at corners and rests on top of bottom.

Grooves in bothsides holds bottom.

Drawer front

Groove in frontholds bottom.

Front corner jointmust withstand stress of repeated pulling forces.

All drawers share a common theme: They must be joined at four corners and a bottom put in place to hold its contents. The type of joints you select is critical for a drawer to survive repeated cycles of opening and closing, and there are many options.

BASIC DRAWER ANATOMY

Keep drawer sidesabout one-third thethickness of thefront for appealingproportions.

GOOD PROPORTIONS

Make sides one-third or less in thicknessthan front.Y

X

10-in. maximum drawer height

Sides thicker then 5/8 in. are unnecessary. Small drawers can have sides as thin as 1/8 in.

Paying attention to the overall size of a drawer can pay off. Make a drawer too wide, and it willtend to rack in its opening, sticking when you tryto pull it out or push it in. Too narrow, and you can’t successfully store items. Make the sides thinner than the front; many woodworkers buildsides too thick.

Aim for a width (X) that’s less than the depth (Y) to avoid racking.

SECTION 10 OVERVIEW

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Equal

Equal

Drive nails, screws, or staples through sides.

Apply false front to drawer to conceal sides.

Joints areexposed ondrawer face.

Pin

Tail

1/8 in.

1/8 in. to 1/4 in.1/2 in. to 1 in.

3/8 in. ormore

Back fits in dadocut in sides.

Conceals sides andprovides more surface area for glue.

No reinforcement necessary; lots of glue surface.

Drawer front should extend beyond sides to maintain integrity of joint.

CORNER JOINTS

Butt Rabbet Rabbeted Tongue and Groove

Through Dovetail

Half-Blind Dovetail

Sliding Dovetail

SECTION 10 OVERVIEW

Drawers 105

Once you master basic drawer making,there are four essential types of drawers youcan make, as shown above. Outfitting theinside of a drawer offers many possibilities.One especially interesting approach is aFrench-fitted drawer designed to holdprized possessions. A fitted drawer looksbeautiful and adds immensely to the organi-zation of its contents. In the drawer shownin the photo on p. 106, I’ve fitted a set ofprized wrenches. If I forget to replace awrench, I can see in a heartbeat that it’smissing from the drawer.

such as a drawer hung with commercialdrawer slides. Multi-ply plywood, such asBaltic birch, is preferable, since it’s flat andsolid throughout, so the edges of your drawers won’t have voids in them.

Choose your joinery carefully when making a drawer. A drawer is asked to with-stand a lot of abuse over time as it is pulledout from a case, so the corner joints must be sound and well made. (For more ondrawer joints, see The Complete IllustratedGuide to Joinery, by Gary Rogowski, TheTaunton Press.)

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TYPES OF DRAWERS

Inset Flush Fit

Reveals must be even to look good.

Half (or thereabouts) of the frame is covered by the front. Not particularly elegant but a cinch to make and fit.

Easy to make, but aligning the drawer front flush to the frame and/or even with an adjacent drawer will challenge your fitting skills.

Round over inner edges of frame to create elegantpillowing effect.

Drawer frontrests 1/8 in. to 1/4 in. inside frame.

One of the most challenging drawers to fit. Any inconsistencies between the frame and the edges of the drawer front areimmediately apparent.

Half Overlay Full Overlay

SECTION 10 OVERVIEW

Drawers106

Making a French-fitted drawer is simplic-ity itself, as shown at left. After installingthe panel that cradles the drawer’s contents,you can line the drawer with traditional feltor use commercial spray flocking.

Hidden Drawers

Admit it: Woodworkers are a sneaky lot.We love to make things that nobody else can figure out, such as wooden puzzles or mechanical toys. It’s a disease that’s been around a long time, for if you studyseventeenth- and eighteenth-century furni-ture, you’ll find quite a number of cabinetsthat house “secrets.” Most of these hiddendrawers were designed to hold valuablesfrom prying eyes and hands. Because it was long before the days of secure banks or consumer safes, these drawers were prob-ably made more out of necessity than in-trigue. But you can still wow your modernfriends by creating a few of these fun, safe-keeping spots.T

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Saw extra cutoutfor finger access.

Lift item here.

Cut a 1/4-in. panel of sheet stock to fit inside the drawer. Position the items and trace around them.

Bandsaw to the outline, planning your cuts so you can enter and exit the panel in the same spot.

Glue the panel onto the drawer bottom. Cover with felt or flocking.

FRENCH-FITTED DRAWER

Step 1

Step 2

Step 3

French fitting provides convenient and jiggle-free pockets for storage.

SECTION 10 OVERVIEW

Drawers 107

case drops down, revealing a small drawer at the top. Pretty underhanded, eh?

Hidden Boxes in an Apron

Push back both drawers in JosephSeremeth’s “My Brother’s Table” (a sleekcherry coffee table shown on p. 108),to reveal what looks like a fixed center

Secret Drawer in the Back

The traditional spice cabinet by furnituremaker Craig Bentzley of Pennsylvania offersa tantalizing puzzle at the rear of the cabinet(shown above). Start at the front by remov-ing the lower drawer and reaching inside,where you pull forward a wooden key dove-tailed into the case bottom. The back of the

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HOW THE SECRET DRAWER WORKS

A wooden key hidden under the bottomdrawer of Craig Bentzley’s spice cabinet(above) allows you to drop down the backto reveal a hidden drawer (below).

Key engages groove in back.

Remove the bottom drawer and pull key forward.

Back drops down.

Pull secret drawer out from back of cabinet.

Step 1

Step 3

Step 2

SECTION 10 OVERVIEW

Drawers108

apron. Pull out the apron and you have asmall drawer in your hands.

But wait, there’s more. Put the little hid-den drawer back into the table and reachinside one of the drawer openings to access acatch. With the catch engaged, pull out thehidden drawer; this time you also pull out asmall box behind the drawer!

Dividers

Assorted sizes of drawers make for organ-ized storage, but partitioning the interior ofa drawer with dividers goes a step further.T

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The magic starts when you pull out a centerdrawer that looks like a fixed divider.

Push in a catch to engage a mechanismthat attaches another drawer.

A second box now comes out with the drawer.

A sliding lid reveals the contents of the second secret drawer.

Put the drawer back in to start the next trick.

SECTION 10 OVERVIEW

Drawers 109

a part of the drawer’s joinery. However,because a drawer generally does fine by itselfstrength wise, I like to keep it simple whenadding dividers, so I avoid unnecessaryjoints. You can divide the dividers or useother means to keep the dividers from shift-ing around inside the drawer. There are several options for both tasks.

Dividers let you sort all your paraphernaliain a logical manner. The best examples arekitchen and office drawers, in which utensilsand office supplies would quickly get lost orforgotten if left to fend for themselves in abig, undivided drawer.

Installing partitions can stiffen the drawer’s overall construction if you add thedividers in such a way that they become

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Insert narrowdivider in grooves to retain block.

Glue slips to draweror to divider.

Vary height of dividers.

Cut 1/8-in.-deepgrooves in sides.

Dividers press-fit together with half-lap joints.

Grooved slips of wood hold dividers and allow for changes in layout.

Cut shallow grooves in drawer sides before assembly; dividers slide into them.

Coved block sits in drawer for holding pens and pencils.

DIVIDER OPTIONS

Insert narrowdivider in grooves to retain block.

Cut 1/8-in.-deepgrooves in sides.

Cut shallow grooves in drawer sides before assembly; dividers slide into them.

Coved block sits in drawer for holding pens and pencils.

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DRAWER CONSTRUCTION

110

Full-Overlay Drawer

Found on Euro-style cabinets, a full-overlay draweris one of the easiest drawers to make, but notnecessarily the simplest to fit. The drawer frontlays completely over the face frame of the cabi-net, concealing the drawer opening.

Unlike other drawer types, the final fit of a full-overlay drawer often depends on its neighboringadjacent drawers. The idea is to have a 1/8-in. orless gap between all the drawers (and any over-lay doors, too). The result is a seamless, contem-porary look and feel. Achieving this small revealbetween drawers is a challenge, but it’s straight-forward if you follow the right steps.

You can build the drawer as a complete unit,extending the front beyond the sides. I prefer asimpler method, that of building a drawer boxand then attaching a false front to the box thatoverlays the face of the cabinet. Because thefront overlays the box, you can use sturdy boxjoints or through dovetails for a long-lasting drawer, without seeing the joints from the frontof the drawer.

Once you’ve constructed the drawer box, drilland countersink the back side of the front forscrews (A).

Install the drawer box flush to the front of thecase and use double-sided (carpet) tape toadhere the false front to the box (B).

Gently pull out the drawer and immediately clampthe front to the box (C). Then drive two screwsfrom inside the drawer box and into the front.

Slide the drawer back into the case and check thefit (D). If the reveal is even, add more screws tosecure the front permanently to the box. If thegap needs work, remove the drawer front andplane its edges or reposition the front by usingscrews in different holes. When the front fits correctly, add two more screws.

A

B

C

D

Drawers

DRAWER CONSTRUCTION

Drawers 111

Flush-Fit Drawer

The Cadillac of drawers, a flush-fit drawer hasthe look and feel of fine craftsmanship. It’s justas well—this type of drawer is more challengingto fit than any other. A flush-fit drawer involvesmany aspects of general drawer making, so it’s a good exercise in mastering the art of a well-made and well-fitted drawer.

A fail-safe method for determining the correctheight or width for the drawer parts is to measuredirectly from the opening. Hold a drawer front orside up to the finished opening and mark theexact height; then cut to your mark (A). Thisapproach leaves you enough material so that youcan plane the drawer down for the correct fit intothe opening once you’ve assembled it.

Usually, assembling a dovetailed drawer doesn’trequire the use of clamps. After tapping the jointstogether, and while the glue is still wet, checkthe drawer for square.

If the drawer is out of square, give the longer ofthe two diagonals a sound rap by tapping the rearof the drawer on a hard surface (B). When thedrawer is square, set it aside on a flat surfaceuntil the glue dries.

After the glue has dried, use a smooth plane tolevel the top and bottom edges of the drawer.Periodically check that you’re planing the drawerflat by checking it against a flat surface, such asyour benchtop. To prevent tearing out the fibers,turn the plane around the corners as you work(C). Plane more off on taller drawers to allow forwood movement.


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See “Dovetail Tapping Wedge” on p. 91.➤

See “Understanding Wood Movement” on p. 42.➤

A

B

C

DRAWER CONSTRUCTION

Drawers112

Next, set your plane for a very fine cut and shavethe drawer sides down until the pins and tails arelevel. Clamp the drawer front in a bench vise andsupport the side on a wide board. Work in fromeach end to avoid breaking off any fibers (D).Check your progress with a straightedge andstop often to test-fit the drawer in the case open-ing. Keep shaving until the drawer slides in easilywithout any side-to-side play. Finish by sandingthe sides lightly with 220-grit sandpaper wrappedaround a felt block.

With the drawer stops in place, install the drawerinto the case and mark the amount the front pro-trudes by scribing around the drawer (E).

Back at the bench, plane lightly across the faceof the drawer to your marks (F). Now that you’vefitted the drawer, add your favorite pull hardware.

Finally, rabbet a plywood drawer bottom and slideit into the grooves in the drawer (G).

[ TIP ] On large drawers, glue the ply-

wood for drawer bottoms into the

grooves. It significantly increases the

strength of the drawer and helps stiffen

the corner joints.

Finish up by driving screws or nails through thebottom and into the back of the drawer. If possi-ble, use 3/8-in. or thicker plywood on anything butvery small drawers. Thin 1/4-in. plywood has achintzy sound and feel.

Another option is to install a solid-wood bottom(without glue!) and let it extend past the back ofthe drawer to function as a drawer stop.

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See “Drawer Stops” on p. 122.➤

DRAWER CONSTRUCTION

Drawers 113

Half-Overlay Drawer

At the opposite end of the spectrum from flush-fit drawers are half-overlay drawers, oftenreferred to as half inset. Because half-overlaydrawers are so easy to fit into a drawer opening,this type of construction is perfect for utilitydrawers, kitchen drawers, and anytime you havemultiple drawers and want to get the job donefast. A portion of the drawer front conceals theopening in the cabinet, so you can have as muchas 3/8 in. of space between the opening and theback of the drawer front, allowing you to make afront with a “sloppy” fit. Half-overlay drawersare often used with metal ball-bearing slides,which further eases the installation.

You can cut the drawer joints before or after youcreate the overlay in the drawer front. The orderof construction isn’t critical. To make the halfoverlay, start by rounding over the edges of thedrawer front on the router table using a 1/4-in.roundover bit (A).

Next, set up the table saw with an auxiliary fenceand a dado blade and cut a 3/8-in.-deep by 3/8-in.-wide rabbet on all four sides of the front (B).

A typical bank of half-overlay drawers shows gently rounded edges (C). You can space adjacentdrawers relatively far apart by incorporating thedrawers into a face frame made from wide stilesand rails. This saves you from having to fit thedrawer fronts to exacting reveals.

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See “Commercial Slides” on p. 124.➤

A

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C

DRAWER CONSTRUCTION

Drawers114

Bow-Front Drawer

Making a curved or bow-front drawer is identicalto building a conventional drawer, except youcurve the drawer front. The tricks are to cut allthe drawer joints and to groove the parts for thedrawer bottom while the stock is still square,allowing extra thickness in the front stock foryour desired curvature. Once you’ve cut thejoints, lay out the curve from a pattern or use athin, flexible stick or batten that’s bent to thedesired arc (A).

Saw to the waste side of your layout line on thebandsaw (B). Clean up the saw marks with asmall plane or use a flat-bottom spokeshave.Skewing the shave to the work helps reducechatter and makes a smoother cut (C). As youshave, feel with your fingers to check that thecurve is fair. Sand the curve; then assemble thebow-front drawer as you would any other drawer.TJ52-01-2008 IM

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Pull-Out Drawer

Great for easy access inside a cabinet, a pull-outdrawer can be made as you would any standarddrawer. The difference is that it stows inside thecabinet, typically behind a door. Pull-outs workbest with full-extension metal slides. To concealthe slides, construct the drawer front so itextends past the sides, as you would a full-overlay drawer.

Use an alignment spacer to install the metalslides on the drawer side (A). With a shim sup-porting the hardware at the correct height andparallel to the case bottom, screw the slide intothe cabinet. A plywood spacer glued to the caseside prevents the slide hardware from hitting thedoors when the drawer is pulled out (B).

Install the drawer by sliding it onto the hardwarein the case (C).

TRAY CONSTRUCTION

Drawers 115

Lazy Susan

A lazy Susan is basically a turntable. It’s greatinside a cabinet where you want to store a lot of small items (spice jars are ideal); it can alsosupport a TV.

A large hole lets you screw through the swivelingplate and into a shelf (A). To cover the hardware,add a shelf above the turntable. You’ll have to drillan access hole through the shelf for screws tosecure it to the turntable. If you don’t want a holeto show, simply stick the shelf to the platformwith double-sided carpet tape (B). Once installed,you can swivel the shelf a full 360 degrees (C).

Keyboard Tray

A custom keyboard tray will enhance any home-made desk. The tray shown here is 10 in. wideby 26 in. long, big enough for a standard key-board and mouse pad.

Make the tray from 3/4-in. hardwood plywood andedge it with solid wood. Use a 1/2-in. lipping at thefront so you can round the corners of the tray (A).Trim the lippings flush with the plywood and roundthe front corners on a spindle sander or with afew chisel cuts. Then round over the lippings withan 1/8-in. roundover bit on the router table (B).

Sculpt a wooden wrist support by using a selec-tion of router bits, chisels, and sandpaper. Withthe stock face-side down, use a large thumbnailbit on the router table to cut the front and ends(C); a small roundover bit eases the back edge.Round the corners as you did on the tray.

Screw the wrist support to the tray from under-neath (D). The support is shorter than the fulllength of the tray, which leaves about 6 in. forthe mouse pad.

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TRAY CONSTRUCTION

Drawers116

TV Swivel

It’s always a hassle to get to the back of a big TV to access the wiring, especially if the TV ishoused in a cabinet. Not so if you mount the seton a swivel. A swivel lets you pull out the TV toget at the back and lets you adjust the viewingangle of the picture tube to cover practically anyseating arrangement in the room (A).

Buy the hardware first; then build a tray to fitover the swivel. A simple plywood panel edged in solid wood will support a large TV (check themanufacturer’s load rating on your swivel first).Size the tray to accommodate your set and thecabinet or shelf where it will go. Before addingthe wide front lipping, miter the back corners ofthe tray so the tray won’t bind in the cabinetwhen the swivel is rotated (B).

Make the front strip wide enough to conceal thehardware that will reside under it, less about 3/16 in. of clearance. Cut out a curved notch in thestrip for a hand pull. Then glue the strip to thefront edge with the tray upside down. A widecaul gives the outer clamps purchase (C). Trimthe front lip flush once the glue dries.

Screw the swivel’s metal platform to the under-side of the tray (D). Then install the assembly intothe cabinet with screws or, better yet, bolts; nowyou’re ready to swivel (E).

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Miter corners to provide clearance for tray.

Rotate the tray to change the viewing angle.

Pull the tray forward and out from the cabinet.

A

D

B

E

C

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DRAWER INTERIORS

Drawers 117

Felt-Lined Drawer

There’s nothing like a felt-lined drawer. It makesa classy drawer classier. Master craftsman FrankKlausz starts with a small dovetailed drawer.Begin by measuring the interior of the drawer;then cut pieces of cardboard or mat board slightly undersize. Cut each felt piece about 1 in.larger all around than the board; then cut awaythe corners of the felt at roughly 45 degrees, sothe felt just touches the board at the corners (A).

Lay the board over the felt and spray a light coatof contact cement along the edges of the boardand on the exposed felt (B). Then fold the feltover onto the board and smooth it down withyour hand (C).

Run a couple beads of regular woodworking glueover the backside of each liner; then clamp theliner into the drawer (D).

A B

C D

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DRAWER INTERIORS

Drawers

Divided Drawer

One of the simplest ways of dividing a drawer orother box-type opening is to join the dividersthemselves with half-lap joints cut on the tablesaw. If you cut the dividers a hair short of theirintended resting spot and add strips of felt toeach end, you can press-fit the dividers in place.Start by finish-planing the divider material (A).Then cut the stock 1/32 in. smaller than the draweror case opening. Lay out the joints with asquare, making the notches equal to the thick-ness of the planed stock (B).

Saw the first notch on the table saw by making a couple of passes using the miter gauge (C).Check the fit. The joint should almost fit but betoo tight to put together fully (D). Repeat the pro-cedure to cut the notch in the second piece.

Sand the dividers for the final fit with 220-gritpaper wrapped around a felt block (E). Self-stickfelt applied to the ends of each finished dividerholds them in tension against the drawer or case opening (F).

C

A

D

B

E F

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SECTION 11 OVERVIEW

119

After building your drawers, thenext step is to install them into thecase. If you’ve already built web

frames into your cabinet, you’re done.

But for many drawer-making operations,you will want to consider other types ofdrawer-guiding hardware as well as someclever jigs that can help you accurately layout parts to fit them into the case. Today’scommercial metal slides are beautifullymade, with silky smooth action and respec-tably quiet operation. But many wood-workers like to make their own drawer-guide systems.

Another consideration when installingdrawers is how they are going to stop oncethey’re all the way in the case. Also, youshould decide whether you want to limithow far the drawers can be pulled out of thecase, so you can avoid accidents.

Finally, there are knobs, pulls, and othergreat pieces of gear that will allow you tograsp the drawer and actually get inside it. Here you have a choice between com-mercially available knobs and the shop-made variety.

Drawer Hardware

➤ Commercial Slides(p. 124)

➤ Under-Mount Slides(p. 125)

➤ Keyboard andMouse Hardware (p. 126)

Drawer Slides Computer Hardware

➤ Installing Pulls (p. 127)

➤ Shopmade Pulls (p. 128)

➤ Protruding-Strip Pull(p. 129)

➤ Curved Pull (p. 129)

Drawer Pulls

See “Web Frames” on p. 53.➤

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Drawer Hardware120

Commercial Drawer Slides

Commercial drawer slides may not belong in fine furniture with hand-cut joinery, butthey certainly have their place in case con-struction. Used appropriately, commercialslides let you hang a drawer quicker than a sneeze; and today’s designs are quiet,smooth, and easily hidden.

Remember that most metal slides require1 in. of clearance between the case openingand the sides of the drawer, or 1/2 in. for eachside. Good slides have a “slop” tolerance ofabout 1/16 in., meaning that if you build yourdrawer a little too wide or too narrow, theslides will still work fine. Be sure to buy yourslides first, and follow the manufacturer’sspecifications before building your drawers.And think about the load that the drawerwill carry. Choose a slide rated at or prefer-ably above that load. Use a full-extensionslide when appropriate, such as for file drawers or wherever you need to get to theback of the drawer.

Shopmade Guides

Shopmade drawer hardware has a look andaction that commercial slides can’t competewith. Wood runners have a special feel andare well worth the extra effort. The goodnews is that you have several options forusing wood runners, and they suit severalapplications.

The drawing opposite shows some op-tions for using wooden runners that ride in grooves. One popular method is to routgrooves in the sides of the drawers and hangthe drawers on wooden runners installed inthe case. Or, if you want to make a designstatement, attach the runners to the drawer

Drill 1/8-in. hole th-rough tenon.

Saw 1/16-in. kerf up to hole on bandsaw.

Glue knob into hole front. Glue and drive wedge into kerf; saw protruding tenon and wedge flush.

Turn tenon on knob slightly longer than thickness of drawer front.

Drawer front

WEDGING A KNOB

Full-extension slides provideaccess to the back of a drawer.

SECTION 11 OVERVIEW

Drawer Hardware 121

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GROOVES AND RUNNERS

Rout stopped groovein drawer side.

Screw wooden runnerto case side.

Rout stoppedgroove in case.

Screw runner to drawer side.

Runners attached to the case side allow you to conceal the means by which the drawer travels.

Runners attached to the drawer become a visible design element at the front of the cabinet.

Rout twin grooves in sidesbefore assembly.

Twin guide strips work well on drawers with extended fronts, and the front conceals the method of travel.

Glue guide stripsinto grooves.

Screw runner to case, setting it back by thickness of drawer front.

Runners on Case Runners on Drawer

Twin Guide Strips

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Drawer Hardware122

instead and rout grooves in the case. Theends of the runners show up as little rect-angles at the front of the cabinet.

A third method involves pairs of guidestrips and works well with drawers withfronts that extend beyond the sides. Routtwin grooves in the sides before assemblingthe drawer; then glue wood guide strips intothe grooves so they extend beyond the sidesbut not quite as far as the extended front.

Pairs of hardwoodguide strips workwell for drawerswith fronts that ex-tend past the sides.

Rip some runner stock and plane it to fitbetween the guides; then temporarily screwit to the sides of the cabinet. Hang thedrawer and make any necessary adjustmentsto the fit by removing the runners and hand-planing them. When the drawer operatessmoothly, glue and screw the runners perma-nently to the case.

Drawer Stops

Besides the overall fit and action of a drawer,there are two other key movements to ques-tion when building drawers: What stops thedrawer on the way in? Do you want to stopthe drawer on its way out?

On cases with solid-wood sides, you canuse a solid-wood drawer bottom as a drawerstop. Let the bottom extend about 3/8 in.beyond the back of the drawer so it contactsthe case back. As the sides of the caseexpand and contract, so does the drawerbottom, keeping the drawer front flush tothe front of the case.

Orient the grain of the bottom from sideto side, never front to back. If the grain wereto run front to back, any expansion wouldforce the sides apart, binding the drawer andweakening the joints. And don’t glue thebottom into the grooves in the drawer. Onehandy method is to use a screw and a washerthrough a slotted hole—cut on the tablesaw—to hold the bottom in place. As thebottom swells, it moves toward the back ofthe drawer.

If you allow for some extra wood whenmaking a solid-wood bottom, it’s easy to geta perfect flush fit at the front of the drawerby shaving some material off the back edge.

You can extend adrawer bottom toact as a stop. A slotfor a screw providesroom for expansionon a solid-wooddrawer bottom.

SECTION 11 OVERVIEW

Drawer Hardware 123

The same technique works for cabinets withplywood sides, except that you must use aplywood bottom in the drawer instead ofsolid wood.

A wooden strip glued to the front rail of a case makes a convenient drawer stop andallows for more accurate tolerances when itcomes to solid-wood cases. To cushion thedrawer, you can glue leather to the front ofthe strip if you like. It makes a nice touchand softens the action. Drawers stopped atthe front are more likely to stay aligned withthe front of a solid-wood case when the caseswells and shrinks over the seasons. Thistechnique works only when the drawer frontand sides extend below the drawer bottom,usually by about 1/4 in.

Clamp the stop strip to a scribed lineequal to the thickness of the drawer front.The stop material must be thin enough toclear the drawer bottom—3/16 in. is usuallysufficient—and short enough to allow clear-ance for the sides of the drawer. Once thestop is secured, fit the drawer flush to thecase by shaving the front with a handplane.

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Use a markinggauge to mark thesetback for the door stop strips. Set the gauge bythe thickness of adrawer front.

Spring clamps holdthe stops on thegauged lines whilethe glue sets.

See “Flush-Fit Drawer” on p. 111.➤

DRAWER SLIDES

Drawer Hardware124

Commercial Slides

Side-mounted slides remain popular with manycabinetmakers and kitchen designers. Affordableand easy to install, they come in left and rightpairs for each drawer, and each slide consists oftwo parts: a runner, which is screwed to thedrawer side, and a housing for that runner, whichattaches to the inside of the case.

When installing the runners on the drawer, use ajig to align the runner accurately. At this point,install only two or three screws in the elongatedholes—enough to hold the runner in place (A).How high on the side should you position therunner? You should aim for aligning the runnerwith the height of your drawer pull or handle. For example, if you plan to mount the handlecentered on the drawer front, then center therunner on the side. This gives you the best actionand feel.

Use a plywood spacer in the case opening toalign the slide housing in the cabinet. The shimensures that the slides on both sides of the caseare level with each other and that they’re squareand parallel to the case (B). After hanging and fit-ting the drawer to the correct depth of the cabi-net, add the remaining screws (C).

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DRAWER SLIDES

Drawer Hardware 125

Under-Mount Slides

When the thought of looking at metal hardwareon the side of your carefully crafted drawer givesyou the heebie-jeebies, use an under-mount side.

Mount the case and drawer slides as one mem-ber into the case. Then drill a hole in the bottomedge of each drawer side, near the front of thedrawer (A). Slip the drawer into the case andlower the drawer so the holes you’ve drilledengage pins at the front of the slides (B). Whenyou pull out the drawer, you won’t see any hard-ware at all (C).

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COMPUTER HARDWARE

Drawer Hardware126

Keyboard and

Mouse Hardware

The mail-order woodworking catalogs are full ofhome-office and computer gear, and one of themore useful devices you can find is hardware forholding a keyboard and mouse tray. Good hard-ware lets you pull out the tray as you would adrawer and then swivel the tray from left to rightto suit your typing or mouse-clicking style.

The keyboard hardware consists of a plate and a tray-holding mechanism that slides along theplate. Installation is simple. Just screw the plate tothe underside of your desk surface (A). Mount thesliding mechanism onto the plate (B); then attach acommercial or shopmade tray. To make an invisibleconnection, attach the tray to the mechanism bydriving screws from underneath .

Once you’ve installed the tray and support mech-anism, you can fine-tune the position of your key-board for optimum performance. Extend the traybeyond the desk by simply pulling it out, or tuckit out of view by pushing it underneath. To rotatethe tray, just grasp it and swivel it into position.You can adjust the height of the tray below orflush with the desk surface by loosening a knob.Finally, set the desired angle or tilt of your key-board by pulling a lever located underneath thefront of the tray (C).

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C

See “Keyboard Tray” on p. 115.➤

DRAWER PULLS

Drawer Hardware 127

Installing Pulls

U Pulls U-shaped pulls typically install withscrews through the back of the drawer front.Finding the center of the screw holes is the keyto mounting them successfully. To make the jobeasy, create a template with the centerlines ofthe screw holes carefully drilled through it; thenuse the template to mark the holes’ locations inthe drawer front (A).

If possible, drill for the screws before you assem-ble the drawer. Use the drill press so your holesare precisely square to the face of the drawerfront (B).

Bail Pulls Bail-type pulls are elegant pieces ofgear. Unfortunately, on pulls for which you installa pair of loose posts to connect the bail, you’lloften encounter one drawback: The pins on thebail can be slightly out of square and not parallelwith each other. After you drill the holes for theposts and install the pull, the bail binds, becausethe pins won’t rotate freely in the posts.

To avoid the problem of out-of-square pins,always check all of the pulls for a project beforedrilling the post holes. Make a jig from scrapwood with the desired hole spacing drilled intothe jig. Then check each pull by installing theposts and bail in the jig. If a reluctant bail won’trotate easily, spread it open or squeeze it closeda little with your hands to square up the pins. Ifthe bails still bind, try re-drilling a new set ofholes in the jig and check again (C).

When all the bails swing freely in the jig, drawcenter marks on the jig and corresponding centerand height marks on the drawer fronts. Positionthe jig on each drawer front with the marksaligned and mark through the jig to locate theholes on the work (D).

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Drawer Hardware128

Shopmade Pulls

Making your own pulls or handles is a very satis-fying aspect of furniture making and is tons offun. There’s no limit to the designs you canincorporate into your work, and it personalizesyour furniture in a way that commercial hardwarecan’t. The pulls shown here are just a samplingof what you can make if you let your imaginationroam free. And all these designs will work greatas door pulls, too.

Here’s a chance to use those prized leftoverscraps of wood you’ve been saving since the lastmillennium. This pull is as simple as it gets, andthat’s probably why I like it so much. Use a live-edged piece of wood—burled or highly figuredwoods are my favorites—to make each pullunique. Sculpt the shape of the pull on the band-saw however you wish; just be sure to keep themounting face flat. Try beveling the ends for adramatic effect (A).

Drill and countersink the inside of the drawerfront for screws and drill pilot holes in the back ofthe pull. Spread some glue on the pull and secureit to the drawer with screws driven through theback of the drawer front (B).

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See “Doors” on p. 130.➤

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DRAWER PULLS

Drawer Hardware 129

Protruding-Strip Pull

To make a very simple but very effective pull,apply a strip to the top edge of the drawer front.If you select your stock carefully for color andgrain, you can fool the eye into thinking that thepull was carved into the front, instead of beingsimply glued in place. The best method is toshape the strip before gluing it to the drawer.

Cove the underside on the router table using acoving bit. Make the cut in successively deeperpasses (A). Then round over the top and bottomof the leading edge (B).

Glue and clamp the strip to the drawer front (C).When the glue has dried, clean up any small misalignments with a goose-neck scraper and planes.

A B

C

Curved Pull

Made from any dense, close-grained hardwoodsuch as maple, rosewood, or ebony, a curvedpull has a sophisticated look (A). The fauxscrews shown here add to the charm, althoughtheir main function is to conceal the screws thatsecure the pull to the drawer.

Lay out the pull profile on the stock using twoplywood templates, one for the side of the pull(B) and one for the top (C). Cut out the shape onthe bandsaw.

Use a drum or spindle sander to help fair thecurves and remove the saw marks; then counter-bore, countersink, and drill a shank hole at aslight angle through the pull for screws (D). Plugthe hole with a dowel made from a contrastingwood; but before you glue in the dowel, saw akerf in one end with a handsaw. Install the doweland tap a wedge into the kerf made from con-trasting wood to mimic the slotted head of a screw.

A B

C D

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Building Doors, page 132Door Pulls and

Hardware, page 161Fitting and Hinging

Doors, page 145

Cabinet doors are the gatekeepers of furniture

making, dressing up the entrance to our furniture in a

variety of patterns, textures, colors, and styles. A well-

made door will invite us to explore the contents within.

On a practical level, doors keep out dust and dirt, and they dissuade pry-

ing eyes from the insides of our cabinets. Plus they’re expedient at hiding

the clutter of our lives. They provide the opportunity for us as wood-

workers to conceal the good and the bad and to provide access to both

by designing and building good-looking and trouble-free doors.

Your design choices when making doors are plentiful, thanks to the

ready supply of natural woods and man-made goods like veneered hard-

wood plywood. The style of door you decide to make can also be affected

by small details, such as introducing a curve for flair or adding moldings

for depth and contrast. Of course, you can always keep it simple and

construct a simple flat panel. The choice is up to you.

Doors

PART THREE

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The first decision you’re facedwith when making a door is todecide on its style. Choices abound

here and include the use of solid wood,veneers, and moldings. The next step is toensure that the door you build will staytogether through years of use. There are fewitems in furniture making that get more abusethan the typical cabinet door, so the joineryyou select has to stand the test of time. Jointsmust also be strong enough to keep the frameof the door from racking under its ownweight. Proper glue-up techniques can saveyou the hassle of dealing with out-of-flat sur-faces and cocked joints, which lead to doorsthat won’t fit well or hinge poorly.

When it comes to door types, there areplenty of structures to pick from. Usedextensively in Euro-style kitchen cabinets,an austere, flat panel is the easiest type ofdoor to make and can be surprisingly elegantwhen used side by side in neat, orderly rows.Probably the most oft-used construction isthe frame and panel. This design dates backthousands of years and was conceived as asolution to the problem of excessive woodmovement seen with wide, solid-wood panels. Other more complicated doorsinclude frames with arching tops and glassdoors with divisions made of wood strips.

Designing Doors

The design possibilities for doors are limit-less. But some basic ingredients are availablefor expanding your door palette. If the look

SECTION 12 OVERVIEW

132

Building Doors

➤ Flat Panel (p. 136)

➤ Raised Frame andPanel (p. 137)

➤ Arch-Top Frame andPanel (p. 139)

➤ Board and Batten(p. 141)

Doors with Panels Solid Doors

➤ Dividing Up a Door(p. 143)

Glass Lights

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SECTION 12 OVERVIEW

fine hinges, is the most likely culprit. Theproblem usually shows up during the clamp-up stage of construction, when you unwit-tingly introduce twist into the frame. For aflat and square glue-up, think in terms of twoplanes: the face, or broad surface of the door,

Building Doors 133

Frame-and-panel doors let you use solid-wood panels without the associated problems of wood movement. Flat panels from plywood or medium-density fiberboard (MDF) offer a broader design choice. Board-and-batten constructionprovides a rustic look.

Front

Back

Batten

Raised and fielded Arch top Double panel

Quarter-matched veneer Plywood with solid-wood lipping

Plywood with mitered frame

DOOR STYLESand feel of solid wood is what you’re after,then you need to think about wood move-ment and its associated structural concerns.Frame-and-panel construction takes thismovement into account, as does a board-and-batten door. Using man-made sheet goodslike plywood and medium-density fiberboard(MDF) lets you expand your design parame-ters to include veneers, leather, and othermaterials on the surface of your doors. Andmoldings are an endless source for addingbands of light and shadow to the surface of adoor, making it more three-dimensional.

Joinery Options

Doors—especially cabinet doors—take a lotof abuse during their lives. Who hasn’tslammed a door or accidentally swung adoor open so fast it pulled on the hinges? To counteract this mistreatment, you needsolid joints to keep doors together.

In frame-and-panel construction, the corner joints hold the frame together. Themortise-and-tenon joint is time tested tohold up well, especially if the tenons are 1 in. or longer. Other options include pairedbiscuits and paired dowels. Mitered framescan be splined to strengthen weak end-grainsurfaces. And introducing plywood or anytype of stable, man-made board inside theframe allows you to glue the panel to theframe, greatly increasing the overall strengthof the door.

Gluing Up Flat and Square

There’s no describing the frustration of build-ing a beautiful door and fitting it with expen-sive hinges only to have it hang twisted in thecabinet once it’s installed. The good news isthe door, and not the cabinet or those really

Frame and Panel

Flat Panel

Board and Batten

SECTION 12 OVERVIEW

Building Doors134

and the door’s edge. Always clamp yourwork on a dead-flat surface, or any twist inthe table will transfer itself to the face of thedoor. Then position your clamps over criticalpoints on the door’s edges and face.

As you look at the edge of the door, checkto see that the center of the clamp’s screw is

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PANEL PROFILES

Raising, fielding, and molding create different effects with light and shadow.

Raised-and-fielded panelRaised panel Thumbnail-molded frame with raised-and-fielded panel

Flat panel with rabbet Flat panel with mitered molding Flat panel with mitered center molding

Stile

Rail

Make tenon at least1 in. long; longer for large doors.

Double up biscuitsfor more gluingsurface.

Cut slots for biscuits in stile and rail.

Grooved dowelsdistribute glueevenly and gripbetter.

Orient grainacross splinefor strength.

Drill holes in stile and rail for dowels. Slot stile and rail for spline.

DOOR JOINTS

Mortise and Tenon Biscuits

Dowels Splines

Center of screw is centered over joints, keeping joints square and assembly flat.

CL

CL

CLAMP ALIGNMENT

SECTION 12 OVERVIEW

Building Doors 135

centered over the thickness of the framemember. This is easy if you position scrapsticks of the correct thickness over theclamps. Centering the work in this mannerprevents twisting the stiles and keeps thedoor flat. Look down on the surface of thedoor to make sure the clamps are centeredover the width of the rails, ensuring that thejoints come together square.

Don’t turn the clamps with the strengthof a gorilla; undue pressure can buckle theframe and compress the wood. When theclamps come off, the wood springs back andthe joints open. Be sensitive to the pressureyou apply. If a reluctant joint needs encour-agement, by all means crank those clamps.But back them off a little once the joint lineis tight. Then check the assembly for flatwith a straightedge.

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One of the most hotly debated joinery issues is whether or

not to reinforce a cope-and-stick joint. An obvious fact is that

the increased gluing surface and stub tenon of a cope-and-stick

frame is simply no match for the strength of a long tenon. On

cabinet doors that see a lot of daily use, the joint can fail, even

when pinned from behind with brads. One method of reinforc-

ing the joint is to glue dowels into the stiles and rails. The

strongest solution is this: First rout a separate mortise into the

edge of the stile and into the end of the rail; then glue “loose,”

or floating, tenons into both mortises. Make sure the tenon is

housed at least 1 in. into each part.

Properly fitted and made from a hardwood, a loose tenon

can be stronger than a conventional mortise-and-tenon joint—

and in many cases easier to construct for the small-shop wood-

worker. (For more on joinery, see The Complete Illustrated

Guide to Joinery, by Gary Rogowski, The Taunton Press.)

REINFORCING A COPE-AND-STICK JOINT➤

Tenon

Sticking

Mortise for tenonin stile and rail.

Rail is coped to fit stickingwith stub tenon.

COPE-AND-STICK

WITH LOOSE TENON

Raising a door onsome scrap and inline with the clamp’sscrew prevents thestyle from cocking.

The clamping pres-sure should be cen-tered on the widthof the rails to keepthe frame square.

DOORS WITH PANELS

Building Doors136

Flat Panel

The most basic of all doors is a simple flat panel.Although you can make a panel from solid wood,there’s a high probability that the door will warpif it’s of any considerable width or length. A bet-ter choice is a man-made material, such as MDF,because of its inherent stability. But MDF needsa surface covering of veneer or paint to concealits bland appearance. Veneered hardwood ply-wood is another choice, but like MDF, you’llneed to conceal the raw edges. For edging ondoors, I prefer thin solid-wood banding overveneer edgebanding. If you make your bandingfrom the same species as the plywood veneer,with similar color and grain patterns, it will blendinconspicuously with the panel. Make the band-ing about 1/8 in. thick, which provides enoughmaterial for easing over the sharp edges withoutexposing the plywood core.

Dimension the panel to account for the combinedthickness of the edging; then glue and clamp thetwo edges that will become the vertical surfaceson the door. Make sure to cut the banding slightlythicker and longer than the panel (A). Once theglue has dried, rout the excess with a laminatebit or trim it flush with a handplane.

Add the two horizontal bandings, making a buttjoint at the corners (B).

You can ease over the edges of the banding witha plane or rout a small 1/8-in. roundover (C). Oncethe door is installed, the corner joints will beinvisible from the top of the door.

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A

B

CSee “Flush-Trimmed Lippings” on p. 75.➤

DOORS WITH PANELS

Building Doors 137

Raised Frame and Panel

For solid-wood doors of any size, frame-and-panel construction solves the problem of warp-ing and natural wood movement. The frame,made from stiles and rails that are on the narrowside, is relatively stable and thus not prone towarp. Inside the frame is a wide panel capturedin grooves cut in the frame. The panel “floats”inside the frame so it can move freely as itexpands and contracts, without stressing theframework around it (A).

Cut the frame joints, then groove the stiles andrails for the panel. Dimension your panel to theexact size of the inside perimeter of the frameplus the full depth of its grooves.

You can raise panels on the router table using apanel-raising bit or use a panel raiser on theshaper. (For more on raised panels, see TheComplete Illustrated Guide to Shaping Wood, byLonnie Bird, The Taunton Press.) Making a full-depth cut in one pass will overload the cutter andthe machine, plus it can be dangerous. Instead,make the cut in two or three passes. A subfencetemporarily clamped to the shaper fence lets youmake a shallow cut on the first pass (B). To makethe final, full-depth cut, remove the subfence (C).


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WARNING Always unplug the

machine when making bit changes on a

router or shaper.

▲ !

See “Dust Panels” on p. 56.➤

Rail Stile

Raised-and-fielded panel

1/16-in. minimum clearance on long-grain edges

1/4-in. to 1/2-in. deep groove holds panel in frame.

Panel expands and contracts in this direction.

Tongue Field Bevel

1/16 in.A

B

C

DOORS WITH PANELS

Building Doors138

Before assembling the door, there are threeimportant steps to take. First, joint 1/16 in. to 1/8 in.off each long-grain edge of the panel. This allowsroom for the panel to expand in the groove of theframe (D). (For more on calculating expansion and contraction of solid-wood panels, seeUnderstanding Wood, by R. Bruce Hoadley, The Taunton Press.)

Next, if the finished door will be colored, prefin-ish the same long-grain edges of the panel withthe stain you’ll use to color the door (E). Thatway, when the panel shrinks during the dry season, it won’t expose the lighter colored lip of the panel.

Last, to keep the panel from rattling in the frame,pin the panels from the back in the center or usespacers between the panel and the grooves. Onemethod is to use little rubber balls (sold as SpaceBalls through many woodworking mail-order cata-logs) that fit into 1/4-in.-wide grooves and com-press when the panel expands (F).

Align your clamps carefully over the joints andglue up the frame and panel. Make sure no gluemigrates from the joints to the edges of thepanel, or the panel will bind in the frame andeventually crack. Furniture maker EdwardSchoen’s glue-up table has notches that automat-ically center pipe clamps for easy assembly (G).

A variation on the frame-and-panel style is a flatpanel fitted in a frame. You can significantlyincrease the overall strength of the door if youmake the panel from veneered plywood orMDF—or any stable sheet stock—and glue it into the grooves of the frame. To dress up theperimeter of the panel, you can miter decorativemolding inside the frame and glue and nail it tothe panel (H).

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DOORS WITH PANELS

Building Doors 139

Arch-Top Frame and Panel

Introducing a simple arch at the top of a door iseasier than you might think, as long as you fol-low the construction sequence step by step. Thefirst step is to make a full-size drawing of thedoor, including the curve of the top rail. Onewarning: Don’t aim for a small radius on the rail,because the shoulders will have weak shortgrain and can snap off if the angle is too severe.A curve with a radius of 10 in. or larger is ideal.(For more complex curves, see The CompleteIllustrated Guide to Shaping Wood, by LonnieBird, The Taunton Press.)

Choose your door stock carefully. Whenever pos-sible, use straight-grained material for the stiles.For the curved rail to look its best, select a boardwith curving grain and cut the rail stock to followthe curve. Cut the frame joints first while thestock is still square; then transfer the curve ofthe rail on your drawing onto the rail stock by set-ting a large compass to the correct radius (A).

Bandsaw the curve in the rail, staying to thewaste side of your layout line (B). Then clean upthe sawn surface with a spokeshave or a spindlesander (C). For the smoothest surface, sanddownhill to the grain.

Groove the frame members on the router tablewith a 1/4-in. ball-bearing slotting cutter. Use thefence for the straight pieces; then remove thefence and ride the curved rail against the bearing.Use a starting pin and a guard (not shown) tomake the cut safely (D).


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DOORS WITH PANELS

Building Doors140

Use the same layout method to mark the curveat the top of the panel, increasing the radius forthe panel by the depth of the groove you cut inthe rail. Now bandsaw the curve and smooth thesurface as before; then raise the panel on therouter table using a bearing-guided panel-raisingbit and a starting pin (E). Make several passes,raising the height of the bit in increments untilthe panel fits the grooves in the frame. The panelshould slide easily into the stiles and rails withoutrattling (F).

[ TIP ] Sanding in the right direction can

result in much smoother surfaces. Like

planing wood, the key is to sand so that

the fibers of the wood are pointing away

from you. Whenever possible, follow the

“downhill” sanding technique, flipping

over the workpiece when necessary.

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SOLID DOORS

Building Doors 141

Board and Batten

A board-and-batten door has a rugged, rusticappeal. If you pay attention to the details, it canbe quite elegant, too. This type of door is madefrom boards laid edge to edge and held togetherby splines and by stout battens at the back. Startby milling individual boards to length. Your boardscan be random in width or you can make themall the same for a more symmetrical effect. Youcan chamfer the edges of the boards where they meet, rout beads, or simply leave the edges square.

Use a slotting cutter in the router table to mill 1/4-in.-wide by 3/8-in.-deep grooves in the edges ofthe boards (A), Be careful not to cut grooves inthe outer edges of the two outside boards.

Rip some spline material to fit the combined depthof the two grooves. To prevent the splines fromfalling out of the door, spot glue one spline intoeach board, except for a single outer board (B).

Fit all the splines and boards together, dry-clampthem, and check the panel for square. Don’t gluethe boards together or they’ll split or curl as theymove against the battens. Then attach the bat-tens onto the backside of the panel with screwsthrough countersunk holes (C). I like to use trim-head screws for their low profile. You can addplugs to cover the screws if you wish, but I thinkthe little holes make a nice detail.


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WARNING Cut against the

rotation of the router bit when slotting.

Failure to do so can cause the router

to grab the workpiece and pull your

hands in.

▲ !

A

B

C

SOLID DOORS

Building Doors142

Add a diagonal brace between the battens. Thebrace stiffens the construction and prevents thedoor from racking. Getting the brace to fit tightlybetween the battens can be tricky. The bestapproach is to clamp the brace stock across thebattens and knife two lines at each end of thebrace where it meets the inside edge of the bat-ten (D). Then square your marks onto the face ofthe brace and cut a miter on each end.

Attach the brace in the same manner as the bat-tens by screwing it into the back of the door (E).The front of the finished door (F) does not revealthe bracing and screws.

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GLASS LIGHTS

Building Doors 143

Dividing Up a Door

Here’s a simple approach to making divided orglass-light doors based on a little router jig (A).Construct and assemble a door as you would astandard frame; then level the joints if necessarywith a plane and trim the door to fit its intendedcabinet.

Once you’ve trimmed the door, rout a 3/8-in.-widerabbet into the inner edge on the back side of theframe. The actual rabbet depth isn’t critical. I usu-ally make the rabbet about half as deep as theframe’s thickness. This leaves plenty of room forthe glass and a wood strip or some caulk to holdthe glass in the frame. Make sure to lay a sacrifi-cial sheet under the door or raise the door onblocks to avoid routing into your benchtop. Anoversize baseplate on the router serves as a sta-ble platform for riding the frame, making it easierto cut the rabbet to a uniform depth (B).

Square the rounded corners of the rabbet with a chisel. For accuracy, extend the straight edgesof the rabbet onto the frame with a ruler; thenchisel to your marks. Work slowly up to yourmarks by taking thin slices, using a mallet tochop the end-grain shoulders and paring the long-grain shoulders by hand (C).

After finishing the rabbet, measure the thicknessof the remaining ledge below the rabbet and millthe muntin strips to the same thickness by 5/8 in.wide. Cut each strip to the correct length by hold-ing it in position over the rabbets and markingwhere the ends meet the frame. Then use adado blade to rabbet the ends of the muntins byhalf the muntins’ thickness and to mill dadoeswhere adjacent muntins overlap. Remember toflip one of the muntins over when cutting the

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Rout slots for bolt.

Glue 220 -gritsandpaper under platform.

Plywood fence,1/4 in. x 2 in. x 14 in.

Align front edge of platform with inneredge of door frame.

Saw and file7/16-in. x 3/4-in. notch.

Plywood platform, 1/2 in. x 6 in. x 14 in.

With this glass-light jig, you can rout 3/8-in.-long by 5/8-in.-wide pocketsin a rabbeted frame for 5/8-in.-wide glass muntins. Sandpaperunder the jig lets you hold it in position without clamps.

Use 3/8-in. guide bushing and a 1/4-in. straight bit in router, following notch in platform.

A

B C

GLASS LIGHTS

Building Doors144

intersecting dadoes so the rabbeted ends in bothmuntins will face the same direction (D). Maketest cuts in scrap until the two muntins fit together with their surfaces flush.

Fit the muntins together and lay them into therabbeted frame; mark where they rest on the rab-bets. Then cut 5/8-in.-wide pockets in the rabbetsfor the muntins using the router jig, aligning thejig to your marks. If necessary, you can square upthe rounded corners of the pockets with a chiselor simply round the ends of the tongues on themuntins. Remember, the joint won’t be seenonce the glass retainer strips are in place (E).

Spread glue on the tongues of the muntins and in the pockets in the frame; press the assemblyinto the pockets (F). A few clamps will pull thejoints together and keep everything tight until theglue sets (G).

Have a glass shop cut the glass 1/8 in. smaller thanthe rabbeted opening, and lay the glass in therabbets. You can use caulk to hold the glass inthe frame or miter wood strips to fit into the rab-bet. Tack the strips temporarily into the frame tocheck the fit (H). Then apply a finish to the doorbefore permanently installing the glass. From the front, you won’t see any of the overlappingjoinery (I).

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145

Once you’ve built a door, the nextsteps are to fit it to the case andthen install the hinges and hang it.

Achieving the perfect fit of door to case is atelltale mark of craftsmanship. Your aim is tohave even reveals, or gaps, all around thedoor, whether the door is inset into the caseor lying over the case frame. Once you’ve fitthe door to the opening, fitting and applyinghinges to the door are the keys to complet-ing the job successfully. Properly hung, adoor should open with effortless ease andswing quietly on its hinges.

As a general rule, it’s best to constructyour door a little oversize and then trim itafter assembly to fit the case. This gives youmore control over the final reveal, becauseyou can saw, plane, or sand the edges to theexact size needed. You can trim edges on the table saw using a cut-off sled to keep the door square.

The jointer is another useful tool fortrimming a door to size. For the final fit andfinish, a handplane is by far the most accu-rate tool to use. Once you master the tech-nique of planing an edge flat and square,

Fitting and Hinging Doors

➤ Butt Hinges (p. 150)

➤ Surface-MountedHinges (p. 151)

➤ No-Mortise Hinges(p. 152)

➤ Knife Hinges (p. 153)

➤ Euro-Style Hinges(p. 154)

➤ Barrel Hinges (p. 155)

➤ Continuous Hinges(p. 156)

Installing BasicHinges

Specialty Hinges

➤ Knuckle Hinges (p. 157)

➤ Brass Knife Hinges(p. 158)

➤ Wood Knife Hinges(p. 159)

Shopmade Hinges

➤ Pocket-DoorHardware (p.160)

Hiding Doors See “Bottomless Crosscut Jig” on p. 14.➤

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SECTION 13 OVERVIEW

Fitting and Hinging Doors146

can affect your decision, too. At one end ofthe spectrum is the surface-mounted hinge,which puts both leaves and knuckle on dis-play for all to see. Or perhaps you want todownplay your hinges and install an incon-spicuous knife hinge, which reveals a low-profile knuckle, or use a barrel hinge so youdon’t see any hardware at all.

Regardless of the hinge you use, it pays totreat the process of installing hinges with thesame approach used for cutting joints: Tuneup your tools and hone them razor sharp.And take the time to lay out parts accurately.This attention to detail will pay off in a well-hung door that will provide years of service.

Three Types of Doors to Fit

Before you can hinge a door, it must beaccurately fitted to the case. Of the threedoor types—flush fit, full overlay, and halfoverlay—the flush-fit door is by far the most demanding to install. Overlay andhalf-overlay doors are fitted just as youwould a drawer of the same type.

But a flush-fit door requires that theedges of the door meet the perimeter of theframe or case sides in an even gap, or reveal.And the surface of the door must be flushwith the surface of the case. I use a simpleshopmade jig to ease the process and tomake the art of fitting more accurate.

Start by building the door to the exactsize of the case opening. If you dimensionthe door correctly, it shouldn’t fit into the

you’ll find that a handplane can removeshavings as thin as 0.001 in., a degree ofaccuracy no other machine or hand tool canmatch. You’ll have to sand the surface atsome point, but be careful. Use fine sand-paper and a felt block, or you’re likely toround over the surface and quickly bring anedge out of square.

Once the door fits the case opening, you’reready for hinges. You have many hinge typesto choose from, and your choice will dependon the type of door you’re making, not theleast of which includes making your ownhinges from wood or other materials.

Choosing Hinges

Everything about the final fit and feel ofyour doors relies on its hinges. From thelook and feel of the hinges on the outside, tothe positive action of the door as it swingsaround them. It’s not enough to simplymake or buy good hinges. You’ll need tolearn the characteristics of each type so youcan choose the right hinge for your projectand then install it properly. Some hinges canbe used interchangeably for flush, half-inset,and overlay doors; others cannot. Make sureto select the correct hinge before committingto its installation.

As a friend of mine wisely notes, it’sworth picking your battles. You can choose ahinge that needs precise mortising into boththe case and the door or you can get thesame results with a hinge that simply screwsto the surface of both parts. Knowing theoutcome will help you to determine the bestcourse of action. What you see on the out-side of the cabinet once the door is hinged

See “Full-Overlay Drawer” on p. 110 and “Half-Overlay Drawer” on p. 113.

➤

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SECTION 13 OVERVIEW

Fitting and Hinging Doors 147

Top or bottom

Case side

Slide

Use for inset and overlay.

Mortise leaves into case and door.


Mortise leaf into door.


Secure leaves to face of door and case.


Mortise blades into door and case top and bottom.

Use for bifold, inset, and overlay.

Fit barrels into holes in doors and case side.

Door or case side

Use for inset, half overlay, and overlay.

Fit cup into door; mount baseplate and slide inside case.

Use for inset and half overlay.

Fit cup into hole in door; mount baseplate inside case.

TYPES OF HINGES

Butt Continuous Surface Mount

Knife Barrel

Cup Pocket

SECTION 13 OVERVIEW


opening. To get the initial fit, joint all fouredges of the door to remove about 1/32 in.on all edges. Use a back-up block to guidenarrow edges and to prevent tearout on the stiles.

With the case facing up on the bench,place the door into the case on shopmadehangers. Check the gap around the door; ifit’s not uniform, use a compass to scribearound the door by referencing against thecase opening. If the hangers get in the wayduring scribing, use a straightedge at thebench to join your scribed marks.

Finish the fit by planing the edges of thedoor with a bench plane, shaving to yourmarks. A block clamped to the stile preventstearout.

Commercial Hinges

With the door ready to receive hinges, youcan venture into the vast world of commer-cial hinges. Using store-bought hinges hasT

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For a uniform open-ing, support thedoors in positionand use a compassto scribe the desiredgap onto the door.

3/4-in. x 21/2-in. x 8-in. block rests over case.

3-in. x 7-in. tie plate(available at lumberyards)

Countersink plate for screws.

Door is supported by3/4-in. x 11/2-in. x 8-in. block.

Make distance equal to thickness of door.

DOOR HANGER

Carefully plane the doors to the scribedmarks, using a back-up block to preventtearout on the end grain of the stile.

Prevent a jointerfrom tearing theend grain of a doorstile by followingthe door with aback-up block.

SECTION 13 OVERVIEW


is generous—that are flat and without twist,and accurately placed and crisply drilled andcountersunk screw holes. Knuckle jointsshould be accurately machined and thejoints tight, yet able to rotate freely. A goodhinge should swing open smoothly withoutany play. Solid brass is preferable over platedvarieties, and “bright brass” should be pol-ished to a mirror shine. If you buy goodhardware, it will be a pleasure to install and will truly complement the fine doorsyou build.

many advantages over making your own.You’ll save time (but be prepared to spendmoney) and you can select the right hard-ware from a wide assortment to complementthe particular style of furniture you’re mak-ing, including historical pieces. Lucky for us,there’s a commercial hinge for practicallyevery type of door we’ll ever make.

Once you settled on a particular hinge,it pays to buy the best you can afford.Quality hinges have some distinct charac-teristics. Look for thick leaves—1/8 in. or so

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The rule of thumb for accurately locat-

ing butt hinges is to measure from the

center point of the hinge barrel to the

outside edge of one leaf; then subtract

about 1⁄16 in. and lay out the width of the

mortise to this measurement. Laying

out a hinge in this manner ensures that

the door won’t bind on the face of the

cabinet when it’s opened, yet keeps

the barrel unobtrusive when the door

is closed.

DETERMINING HINGE SETBACK➤

1/16 in.

Door or case Setback,

or width of hinge mortise

Use this distancefor setback.

LC

INSTALLING BASIC HINGES


Butt Hinges

With a butt hinge, you’ll need to mortise theleaves into both the door and the case. When-ever possible, lay out and cut the mortises in thecase side before assembling the cabinet. Then fitthe door and use a marking knife to transfer themortise location to the door (A).

Here’s the process for accurately laying out andcutting the mortises for the leaves: First, deter-mine the correct depth of the hinge into the doorand the case. Next, lay out the length of eachhinge by squaring lines across the work with apencil and a square. Then use a marking gauge to mark the long-grain shoulder (B).

Install a 1/4-in. straight bit in the router and adjustthe bit height to the thickness of the hinge leaf.The simplest way to do this is to lay the leafdirectly on the baseplate of the router (C). Makea test cut in scrap to check the depth before rout-ing the real thing.

Rout freehand inside your layout lines, stayingabout 1/16 in. from the marks (D). Then clean upthe shoulders by hand with a sharp chisel. Backup the delicate long-grain shoulder by clamping ablock behind the door stile (E).

Install the hinges by placing each hinge into itsrespective mortise and using a self-centeringdrill bit to drill accurate pilot holes for screws. Atthis point, drill only one hole for each leaf (F).Hang the door on a single screw through eachleaf and check the fit. If you need to make adjust-ments, back off the first set of screws, shift thedoor into position, and drill and install the secondset of screws. Once the fit is perfect, install allthe screws.T

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See “Three Types of Doors to Fit” on p. 146.➤

E



Surface-Mounted Hinges

One of the easiest hinges to install is the surface-mounted hinge. There are many vari-eties, including hinges for inset or half-overlaydoors and hinges that close by themselves via springs concealed in the barrels. Usually, asurface-mounted hinge is used when a decora-tive effect is desired, such as the butterfly hinge shown here (A).

Fit and position the door into the case; then laythe hinges into position, making sure the center-line of the hinge barrels are centered betweenthe door and the case. Drill pilot holes for screwswith a self-centering drill bit. To facilitate drivingthe screws, wax the threads with a little paraffinor beeswax (B). Then install the screws andyou’re done.

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No-Mortise Hinges

A type of butt hinge, the no-mortise hinge isgreat for hanging doors quickly and without fuss,and it works with frame or frameless cabinets.The best part is that there’s no mortise to cut ineither the door or the case, which makes the jobof hinging much easier.

To locate the holes for the screws, turn the hingeover and snug up the barrel against the face ofthe door stile; then drill pilot holes through theleaf and into the stile (A). Now turn the hingeover and install it right-side up on the door.

With the door fitted and positioned temporarily inthe case opening, mark the location of the hingeonto the front of the case. Use the center sec-tions of the hinge barrel to eyeball the marks (B).

Remove the door and use a spare hinge to drillpilot holes in the cabinet. You can accurately posi-tion the hinge without measuring by holding thebarrel tight to the frame and aligning the centerbarrel sections to your marks on the case (C).Then replace the door with the hinge leaves openand drive the screws to attach the door to thecabinet (D).

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D

SPECIALTY HINGES


Knife Hinges

Knife hinges are one of the most elegant andinconspicuous types of hinges; and installed cor-rectly, their action is delightfully smooth (A). Thebest hinges have separate blades. You mortisethe pin blade into the case; the pinless blade ismortised into the door. There are two types ofknife hinges: straight hinges for overlay doorsand offset hinges for inset doors (B). Make sureyou buy right-hand offset hinges for doorshinged on the right side of the case and left-handoffset hinges for the opposite side.

Cut the hinge mortises in the case before assem-bly and fit the door to the case before cutting thedoor mortises. Correct layout of the mortises iscrucial for a good fit. Mark the outlines of eachhinge with a sharp pencil or knife; then rout free-hand to the exact thickness of the blade, stayingwithin the marked lines. Use a 1/4-in. straight bitand clamp a scrap block level with the door toprevent the router from tipping (C).

Pare the case mortises to the exact size of thehinge, but leave the door mortises a hair short for now (D).

Install the pin blades into the case, press thedoor blades onto the pin blades, and slide thedoor between the blades. Install a single screw in each door blade and check the fit of the door.Make adjustments by lengthening one or bothdoor mortises with a chisel. When the doorhangs evenly, drive in the final screws (E).

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A

1/32 in.

Case top or bottom

Door Pin Knuckle

Case side

Lay out the pin leaf on the cabinet’s top and bottom, flush to the sides of the case. For clearance, lay out the pinless blade on the door so it overhangs the door’s edge by 1/32 in.

Use for overlay doors. Use for inset doors (right hand shown).

B

C D E

Hinge Layout

Straight Hinge Offset Hinge

SPECIALTY HINGES


Euro-Style Hinges

Cup hinges, also called Euro hinges, are part ofthe gear used in the 32mm cabinetry system inEurope. They’re appropriate for doors that geteveryday use, like kitchen cabinets. Each hingeconsists of a cup, which is mortised andscrewed into the back of the door, and a base-plate, which screws into the case side. Once thedoor is hung, you can adjust the door up anddown, in and out, and side to side.

There are three styles of cup hinges: overlay, halfoverlay, and inset. All the hinges are available indifferent degrees of opening (A).

Installation is easy. Mark a centerline on the doorstile for the height of each hinge. Refer to themanufacturer’s directions for the correct setback,or distance from the edge of the door to the cen-ter of the hinge mortise, and set up a fence onthe drill press to establish that distance. Use a35mm hinge-boring bit to drill the holes for thecup (a 13/8-in. Forstner bit works in a pinch). Setthe depth stop on your drill press accordingly todrill the correct depth (B).

Install the hinges into the door by drilling pilotholes for the screws. For accuracy, use a squareto align the hinge to the edge of the door; thendrill the holes (C).

Measure the height and center-to-center distancesof the installed hinges on the door and transferthese measurements to the case to locate thebaseplates. Install the baseplates on the cabinetwith screws (D). Then slide the hinges over thebaseplates and secure the door (E).

[ TIP ] When you have a number of doors

to install, it helps to transfer the correct

layout dimensions to a piece of 1/4-in. ply-

wood and use that to mark the hinge

locations. That way, all the hinge loca-

tions are uniform and layout is quick.

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Baseplate

Door Cup

Cabinet

A

C

E

B

D

Overlay Half Overlay Inset

SPECIALTY HINGES


Barrel Hinges

Barrel hinges are great when you want an invisi-ble hinge connection. They mortise into the inneredges of both the door and the case, so they dis-appear when the door is closed. These hingesare especially useful for hinging bifold doors,because their 180-degree opening allows for thefull swing of both doors, giving you better accessinside a cabinet.

To install barrel hinges on bifold doors, clamp thedoors face to face with the ends of the doorsaligned and mark across the doors with a squareto locate the hinges. Then drill a 9/16-in.-diameterhole for each barrel of the hinge. Masking tapeacts as a flag to gauge the correct depth (A).Because of the expanding nature of the barrel,it’s fine if each hole is a little oversize. You’ll takeup any slack when you install the hinge.

Install a pair of hinges in one door by pushing thebarrels into the door holes; then turn the smallscrew in each barrel to expand the hinge andtighten it against the walls of the hole (B). Forheavy doors, you can drive a screw through themachined recess on the side of the barrel to fur-ther wedge the hinge. Then join both doors byinstalling and tightening the barrels in the adjoin-ing door (C).

Once you’ve installed the hinges, hang the doorsby hinging one door in the conventional manner.

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C

SPECIALTY HINGES


Continuous Hinges

A continuous hinge, or piano hinge, is one of thestrongest pieces of gear you can use to connecta door to a frame, making it well suited for heavydoors. For relatively small piano hinges, you cansurface mount the leaves directly to the dooredge and the case frame. But bigger hinges—those with 5/8-in.-wide leaves or larger—requiresetting into the door to avoid ending up with anunsightly gap between the case and the door.

Instead of cutting a mortise, you cut a rabbet inthe door. To determine the correct rabbet depth,position the hinge in the closed position with theleaves parallel to each other and measure thethickness of one leaf plus the barrel. Then cut therabbet to that depth (A). You can mill the rabbeton the table saw or with a router and straight bit.

Drill pilot holes for the screws and mount thehinge on the door frame by securing one leaf inthe rabbet. Hang the door by surface mountingthe opposite leaf onto the case (B).

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SHOPMADE HINGES


Knuckle Hinges

The surface-mounted knuckle hinge is a nicetouch on small cabinet doors or box lids andallows the door or panel to open slightly past 90 degrees. To keep the hinge strong, choose ahard, dense wood, such as rosewood, hardmaple, or wenge, as shown here. The hingeuses a brass rod for the pin.

To make a pair of hinges, lay out the knuckles ontwo pieces so that the grain runs parallel with thetongues. Then cut the tongues and notches inthe stock with a dado blade on the table saw. Forthe hinges to work correctly, it’s important thatyou set the height of the blade equal to the thick-ness of the stock. For safety, attach a tall auxil-iary fence to the miter gauge to guide the work-piece. Cut the notches first; then cut the tonguesso they fit tightly into the notches (A). After cut-ting the knuckles, rip the stock to width.

Now fit each hinge together and drill a holethrough the exact center of the knuckle for an 1/8-in.-diameter brass rod. Clamp the stock securely so it won’t wander as you drill (B).

To provide clearance for the leaves to pivot,round over the tongues on both sides with ablock plane and rasp (C). Smooth the curves withsome careful sanding.

Assemble the hinge by tapping the rod throughthe joint (D). Then crosscut the leaves to the fin-ish length and drill holes for mounting screws.Install the wooden hinge as you would an ordi-nary surface-mounted hinge.

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See “Surface-Mounted Hinges” on p. 151.➤

A

B

C

D

SHOPMADE HINGES


Brass Knife Hinges

Cabinetmaker Yeung Chan likes to make his ownbrass knife hinges, like the offset hinge shownhere in his Ming’s Cabinet (A). The process issatisfying, and it’s straightforward without requir-ing any specialized metal-working tools.

To make an offset hinge, start with a template foraccuracy. Using stiff paper or card stock, lay outthe contours of the hinge and mark centerlinesfor the screw holes. A draftsman’s circle tem-plate is handy for generating the rounded ends of the blades (B).

Use the paper template to transfer the outline ofthe hinge onto 1/8-in.-thick brass stock. Then cutas close as possible to your layout lines with ahacksaw. Don’t try to cut the rounded ends atthis point (C).

Drill for and install an 1/8-in.-diameter brass pinthrough both blades. The pin can be longer thannecessary for now. The fit should be tight, yetallow the blades to pivot around the pin. With thepin and blades together, drill and countersink thescrew holes on the drill press (D).

Keeping the blades together, use a mill file toshape the rounded ends and refine the edges (E).

Slip a brass washer between the blades and sawand file the pin flush to the surface of the hinge.Then take apart the hinge, sand the surfaces upto 320-grit to smooth and polish the brass, andyour hinge is ready for installation (F).

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D

A

F

WARNING Freshly cut brass

edges are very sharp. Handle carefully

and dull the edges with a file as soon

as possible.

▲ !

C

E

SHOPMADE HINGES


Wood Knife Hinges

This straight knife hinge (A), made from walnutby woodworker and designer Ellis Walentine,works on overlay doors when there are framemembers above and below, as shown in his CD cabinet (B).

There are four uncomplicated parts to eachhinge: a wood hinge blade, into which you gluean 1/8-in.-diameter brass post and a washer, and ascrew, which secures the blade to the case (C).

To install a pair of hinges, rout mortises in the topand bottom of the case to accommodate theblades. The blades should fit flush in the mor-tises. Then drill 1/8-in.-diameter holes in the topand bottom of the door for the posts. Slip theposts with their blades into the holes and slidethe blades into the mortises in the case (D).Position the door where you want it, making anyadjustments by sliding the blades left or right.When the door hangs evenly, open it gently anddrive screws through the blades and into thecase to secure the door.

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Door

1/4 in.

1/8-in.-dia. x 1-in.-longbrass rod

Washer

Hinge blade,1/4 in. x 1/2 in. x 2 in.

Cabinet bottom

A

B C

D

HIDING DOORS


Pocket-Door Hardware

Pocket and flipper doors are perfect for thosetimes when you want the doors in a cabinet tostay open without intruding into the room, suchas on an entertainment center that houses a TV.The hardware for pocket doors also works forlift-up or flipper doors, which open upward, per-haps for a stereo cabinet. In both applications,the door is hinged on cup-style hinges and openslike an ordinary door. But with a pocket door, likethis one built by cabinetmaker Hector Rodriguez,you can slide the door straight back into the cabi-net to get it out of the way (A).

Buy the hardware before you construct the cabi-net; then size the case and doors so you leaveenough depth in the case for the doors to retract.The best strategy is to plan on leaving 2 in. to 3 in.of the door protruding from the case so door knobsremain accessible. Once the doors are built, installthe hinges as you would ordinary cup hinges (B).

Attach the pocket-door mechanism into the caseby referring to the manufacturer’s instructions.The mechanism consists of upper and lowermetal slides, with either a metal or wood followeror a tension wire that attaches between theslides. The follower prevents the door from rack-ing as it’s pulled or pushed into the case. Oncethe case hardware is in place, slide the door andits hinges onto the hinge baseplates that comesecured to the slides (C).

To make the “pocket” for each door, install wiresupports in the case and mount a vertical divideron the wires. The wire supports allow you toremove the divider and get at the hardwareshould it ever need adjustment.

The door should slide smoothly into the cabinetbetween the divider and the case (D). To closethe door, pull it straight out of its pocket andpivot the door on its hinges (E).

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Pivot door on hinges to open.

Metal slide

Cuphinge

Cabinet side

Push door into pocket.

Allow 3 in. for door knobs.A

B C

D E

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SECTION 14 OVERVIEW

161

Once your door is swinging onwell-oiled hinges, you’ll need toadd pulls and latches to complete

the job. Like hinges, there’s a pull for everyneed. Luckily, commercial pulls are easy toinstall. Your biggest concern is choosing apull that complements the style of the doorand cabinet you’ve made. Or you can setyour own design standards and constructyour pulls from wood or other materials.

Although hinges and pulls will allow youto swing a door closed, chances are the doorwon’t stay there. You can build ledges intoyour cabinets so the door has something tostop against; but to keep it in the closedposition, you’ll need some form of catchhardware. If security is a concern, the catchcan come in the form of a lock with a sup-plied key to open it or it can be a simplelatch that grips the door.

Commercial Pulls

Like pulls and handles for drawers, com-mercial door pulls are available for practi-cally every application and style of cabinet.

➤ Pocket Pulls (p. 165)

➤ Shopmade AppliedHandles (p. 166)

➤ Cylinder Locks (p. 167)

➤ Mortised Locks (p. 168)

➤ Escutcheons (p. 169)

➤ Door Bolts (p. 170)

Pulls and Handles Locks

➤ Bullet Catches (p. 171)

➤ Double-Ball Catches(p. 171)

➤ Touch Latches (p. 172)

➤ Adjustable MagnetCatches (p. 173)

➤ Hidden Magnets (p. 174)

➤ Stops and Bumpers(p. 175)

Catches andBumpers

Door Pulls and Hardware

See “Drawer Hardware” on p. 119.➤

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SECTION 14 OVERVIEW

Door Pulls and Hardware162

It’s wise to buy all your pulls for a projectat the same time, for consistency’s sake, andbefore building your furniture. If one of thepulls doesn’t match or a tapped hole ormounting bolt is faulty, now is the time toreturn it for a new one. Once you’ve in-spected your hardware, store it in a cool, dryplace such as a drawer until you need it.

The drawing above shows some of themore typical varieties on the market and thevarious methods for attaching them. If youshop around, you can even find some thatare far from ordinary, such as pulls madefrom natural materials like stone and one-of-a-kind pulls made by jewelers and metalartisans. Expect to pay extra for more elabo-rate, fanciful pulls and handles.

Bolt passes throughback of door tosecure knob.

Glue tenon into hole in door.

Screw laginto door.

Hanger bolt engagesknob and screwsinto door.

Mortise doorfor box.

Surface mount plate to doorwith screws.

Traditional Teardrop

Ring Pull

Wire pull

Surface Mounted

Surface Mounted

TYPES OF PULLS

Knobs Drop Pulls Handles

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Door Pulls and Hardware 163

locks, and we can use these types of locks toduplicate faithfully our forebears’ work. Butwhen security is a premium or when youwant to keep a door out of bounds for chil-dren and general safe-keeping, choosing theright lock is important.

Locks for doors and drawers consist oftwo main parts: the lock itself, usuallyhoused in a metal box or a cylinder that youinstall in the door, and a mortise or a strikeplate, which becomes part of the cabinet.The lock engages the strike plate via a pin orbolt to lock the door in place. Generally, it’sbest to install the lock after assembling thedoor but before hanging it in the case. Oncethe door is on its hinges, you can easilylocate and install the strike plate, or cut asmall mortise in the case, by using the doorlock as a reference.

Handmade Pulls

If you’d prefer to make your own wood pullsor handles, you’ll take a satisfying detourthat will reflect your craftsmanship wherestore-bought hardware can’t. There’s nothingquite like the look and feel of a unique,hand-crafted pull. And the design possibili-ties are endless. Like other homemade hard-ware such as hinges, save your best stock foryour pulls. Hard and dense woods, such asebony, rosewood, and many of the tropicaltimbers, are perfect for pulls because theyhave the necessary strength to hold up touse and abuse when fashioned as relativelysmall parts.

Catches, Latches, Stops,

and Bumpers

Keeping a door closed can be a challenge ifyou haven’t installed locks or self-closinghinges. In a perfect world, a perfectly hungdoor would just stay put when closed. Butprying hands, drafts of air, or—more likely—the vagaries of furniture making all con-tribute to allowing a door to creep open,especially when you’re not looking. For-tunately, there are many ways to secure awayward door, from commercial catches toshopmade devices. Your choice depends onyour taste and the style of the project.

Locks

For most of the doors we make, we needn’tbother with locks. A simple catch will suf-fice to keep the door closed. Of course, cer-tain period pieces of furniture had mortise

The pulls shownhere, made by furni-ture maker EdwardSchoen, connect to a door via postsscrewed from theback of the door.The rod is eitherpinned to the posts(right) or the screwspierce the post andgrasp the back ofthe rod (left).

SECTION 14 OVERVIEW

SECTION 14 OVERVIEW


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Woodworker Ellis Walentine devised

this beautiful and ingenious pull. It works

particularly well on large cabinet doors or

on passage doors. Most of the parts are

turned on the lathe, and assembly consists

of drilling a series of holes and attaching

the pull with two carriage bolts.

When at rest, the handle remains ver-

tical and the strike protrudes from the

edge of the door, locking it into the strike

plate or mortise cut in the case.

When you pivot the handle to the

side, the strike pulls out of the mortise

and retracts into the door stile, releasing

the door.

Carriage bolt

Miter end of turned strike.

Drill hole through strike for bolt.

Spring

Drill oval hole to allow handle to pivot.

Turned handle

Wood plug

Dowel standoff

Counterborefor plug.

Drill through holefor carriage bolt.

Drill hole into edge of door for spring and strike.

PIVOT PULL PARTS

PIVOTING PULL➤

PULLS AND HANDLES


Pocket Pulls

The pull shown here lends an air of clean sophis-tication and works particularly well where youwant flush surfaces without visible hardware (A).The design works with door stock 7/8 in. or thicker. You can create the pull after assemblingthe door if you wish, but I find it easier to makethe cuts before assembly.

Start by drilling a half hole with a 11/2-in. Forstnerbit into a scrap fence clamped to the drill presstable. Center the bit about 1/16 in. in from the edgeof the fence. Lay out the location of the pull onyour stile stock; then align the stock to the holein the fence and clamp the stile firmly to thetable. Drill to a depth that leaves about 3/16 in. ofwood on the back side of the stile (B).

With a 1/2-in. mortising bit in a plunge router, routa 11/4-in.-deep mortise into the pocket to create anundercut for fingers to grasp. To make the cutsafely and accurately, clamp a block to the benchto support the router and use an edge guide tosteer the router (C).

The finished pull can be used alone or in pairswhere stile meets stile (D).

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2 in.

11/2 in.

1/2 in.

3/16 in.or more

11/4 in.

1/16 in.

3/4 in. radius

7/8 in.Door stile

Mortise

Door stileminimum

This pull works with stock 7/8 in. or thicker.

B C

D

A

PULLS AND HANDLES


Shopmade

Applied Handles

The handle shown here is made by cuttingcurves in two planes, which makes for interest-ing lines. Lay out the shape of the pull using twotemplates made from thin plywood. The firsttemplate outlines the side of the pull onto theblank and lets you mark a center point for a halfhole (A). Use the second template to trace thecontours of the top of the handle (B).

At the drill press, use a Forstner bit to cut thehalf hole through the blank by aligning the spur ofthe bit with your mark. An L-shaped fence pre-vents the work from spinning away from the bitas you drill (C).

Make two bandsaw cuts: The first cut follows thetop of the blank, slicing off each side (D). Tapethe marked side back onto the blank, turn theblank 90 degrees, and make the second cut byfollowing the marks on the side of the blank (E).Remove the saw marks and refine the shape byhand or with a light touch at the spindle sander (F).

Spread some glue on the underside of the pulland use small screws to attach the pull to theface of the door (G).

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A B

C D

E F

G

LOCKS


Cylinder Locks

Perfect for utility drawers or doors—or whereveryou need a sturdy, simple-to-install lock—thecylinder, or cam, lock can be mounted by drillinga single hole through the workpiece (A). A camlever engages the back of the cabinet’s frame ora wooden block attached inside the cabinet.

It’s easier if you drill and install the lock beforehanging the door. Choose a lock matched to thethickness of your work and use the suppliedtemplate to lay out the hole location (B). Thendrill a 3/4-in.-diameter hole through the face of the door (C).

Install the decorative ring and the cylinderthrough the front of the door; then add the camlever and the parts that secure the lock frombehind (D).

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Drill 3/4-in.-diameter hole through stile.

Cylinder

Ring

Cam leverWasher

Locknut

Locking screw

A

B C

D

LOCKS


Mortised Locks

Half-mortise locks, so named because theyrequire only a pocket or half mortise for fitting,work equally well on doors or drawers (A). Oncefitted, the lock is discreet, since all you see is akey hole or escutcheon. Half-mortise locks comein a variety of styles. In all cases, though, instal-lation of the lock body is the same.

The lock shown here is used for flush-mounteddrawers and doors; a key turns a bolt into a mortisethat you cut in the case. If you use this lock on adoor, be sure to specify whether the lock is for aleft-hand or right-hand door. Start by laying out thekeyhole location on the front of the door or drawer.Measure the backset on the lock and transfer thismeasurement onto the work. Drill a hole throughthe workpiece the same size as the hole in thelock. Note: If you’re going to install an insetescutcheon, do it now before installing the lock.

A half-mortise lock requires three mortises. Cutthe first mortise by positioning the lock on theback of the workpiece and scribing around thebox. Use a router and a small straight bit toremove the waste inside your scribed lines; then finish up by chiseling the shoulders to thelayout lines (B).

Turning the lock around, hold it with the backplate against the work and the selvage flush withthe top edge; then scribe and cut the secondmortise for the back plate. Next, transfer the sel-vage measurements to the edge of the work andchisel the third mortise. The lock should fitsecurely in all three mortises (C).

Finish up by laying out the wedged-shaped, lowerhalf of the keyhole on the face of the work andsaw out the opening with a coping saw (D).Install the lock with screws driven into the backside of the door or drawer.T

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Selvage

Bolt

Box

Back plate

Backset

Key slots

Pin

With its sliding bolt, this half-mortise lock will secure flush-mounted drawers or doors.

A

B C

D

LOCKS


Escutcheons

An inset escutcheon protects the keyhole-shaped opening for a lock, and it dresses up anotherwise plain door front or drawer. It’s impor-tant that you install the escutcheon before fittinga lock mortise. The first step is to drill a hole toaccept the escutcheon’s circular head. Use abrad-point bit or a Forstner bit for this operation,drilling to the same depth as the escutcheon (A).Then drill a second, smaller hole through the firsthole for the key, sized to the lock you’ll install.

Next, place the escutcheon onto the workpiece.If your escutcheon is tapered, place the smallerside down. Insert a dowel the same size as the keyhole through the hole and through theescutcheon to aid in positioning the escutcheon.Then scribe around the lower half of theescutcheon (B).

At this point, you’ll need to cut out the rest of thekeyhole with a coping saw.

Then use chisels and small gouges of the appro-priate sweep to cut a recess into the workpiece,chiseling up to your scribed lines. Chisel to thesame depth as the large hole (C).

To install the escutcheon, mix some sanding dustwith epoxy, line the recess with the mix, and tapthe escutcheon into the recess (D). If you’reinstalling an escutcheon that’s been colored orcoated with a finish, gently tap the escutcheonuntil it sits flush with the surface and wipe off any glue residue. For new, bright-brassescutcheons, level the surface with a file oncethe adhesive has cured; then smooth the metaland the wood with successively finer grits ofsandpaper wrapped around a felt block (E).

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LOCKS


Door Bolts

When two doors meet, you can lock themtogether with a mortise lock but you’ll need toprovide a catch on one of the doors so bothdoors stay secure.

A door bolt fits the bill and works with insetdoors. Installed on the back of one door, the boltholds that door and prevents the adjoining doorfrom being opened until the mortise lock isreleased. I like to install the bolt on the left door,so the door on the right becomes the primary, or“keyed,” door. The catch works best if installedat the top of the door, with a corresponding holein the top frame for the sliding bolt. This way, thehole for the bolt won’t accumulate debris.

The key to successful installation is to accuratelylay out for the three mortises that are needed tofit the catch. Draw the outline of the catch on theback and edge of the door; then draw the innermortise for the bolt mechanism (A). Rout theinner, deep mortise freehand, staying inside yourlayout lines. It doesn’t matter if the walls of themortise are rough. The aim is simply to providefree space for the sliding bolt to operate (B).

Next, rout the two shallow mortises, one on the back of the stile and one on the top edge.Stay inside your layout lines and use a chisel topare up to the walls of the mortise (C). The mor-tise depth should equal the thickness of thecatch’s plate (D).

Install the catch into the mortises and secure itwith two screws: one at the top and one at thelower part of the catch (E). Hang the door; thentransfer the bolt location to the case frame bytapping the bolt into the frame, which will leave a telltale mark. Finally, drill a hole on your markfor the bolt.

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See “Mortised Locks” on p. 168.➤

A B

C D

E

CATCHES AND BUMPERS


Double-Ball Catches

A double-ball catch is easy to install and allowsfor adjustment after the door is hung. Secure theball part of the catch to the case, either on theside, top, or bottom. If necessary, you can shimthe catch into the correct position relative to thedoor by mounting it onto a block screwed to thecase. This is a good technique to use wheneveroff-the-shelf hardware doesn’t fit into whatyou’ve built (A).

Transfer the center measurement of the catch inthe case to the back of the door and install thefinger, or strike, onto the door (B). Check the fit.If the catch grabs the door too tightly or tooloosely, you can adjust the tension of the balls by turning small screws located on the top andbottom of the catch (C).

Bullet Catches

Hidden at the bottom or top of a door, the smallbullet catch works on inset doors, where there’sa frame above or below the door. The catch con-sists of two parts: a bullet-shaped cylinder, whichcontains a small, spring-loaded ball, and a strikeplate, into which the ball catches. Tension fromthe ball holds the door in position when it’s closed.

Install the bullet in a stepped hole in the bottomof the door. First, drill a shallow 5/16-in.-diameterhole for the flange; then drill a deeper 1/4-in.-diameter hole for the cylinder. Tap the bullet intothe hole, adding a drop of cyanoacrylate adhe-sive (one brand is Super Glue) to secure it (A).The flange should be flush with the surface of the door.

Hang the door and mark the cabinet for the strikeplate by transferring the center point of the bul-let. Install the strike with small pins onto the sur-face of the frame (B).

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CATCHES AND BUMPERS


Touch Latches

When you want the sleek lines of a door withouthardware—including no handles or pulls—atouch latch is the answer. There are two parts tothe latch, a magnetized push-arm mechanismand a steel contact washer. First screw the armmechanism inside the cabinet, either on the topor on the case side. When locating the mecha-nism, be sure to allow clearance for the arm tomove inward about 1/8 in. without the door con-tacting the face of the cabinet. Position thescrews in the elongated holes first, so you canadjust the final fit of the hardware beforeinstalling the remaining screws (A).

Once the push arm is in place, measure its exactcenter and transfer this measurement to the backof the door; next, install the metal washer on thedoor. I like to drill a shallow mortise for the platewith a Forstner bit to give the hardware a neaterappearance (B). The magnet in the cabinet con-tacts the washer and pulls on it, keeping thedoor closed.

To open the door, simply push inward about 1/8 in. (C). The push-arm springs forward and pushes the door out of the cabinet about 1/2 in.,allowing you to grasp the edge of the door withyour fingers (D).

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A

B

C

D

CATCHES AND BUMPERS


Adjustable

Magnet Catches

One of my favorite catches is the inexpensiveplastic catch that houses an adjustable magnet.Although the style may not suit the finest of cab-inets, its greatest attribute is the ability to adjustthe magnet into or away from the face of thecase by simply turning the magnet with a wide,flat screwdriver. This arrangement lets you fine-tune the fit of the door to the case after it’shung—a great benefit.

To install the catch on paired doors in a frame-style cabinet, glue a spacer block underneath thetop of the case and drill a 3/8-in.-diameter hole intoit for the stub tenon on each catch (A). Install thecatch by squeezing the ribbed tenon into the holewith a clamp (B).

Drill a small hole in the back of the door for themetal pin and disk that attracts the magnet and,as you did for the catch, install the disk with aclamp (C).

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CATCHES AND BUMPERS


Hidden Magnets

A diabolical way to keep a door closed relies onthe attraction of magnets. Magnets installed inthe top and bottom of the door attract similarpairs fitted into the cabinet (A). By gluing themagnets in holes and covering them with woodplugs, no one will be the wiser.

Use strong, rare-earth magnets for the most pull.The size of the magnets depends on the size andweight of the door. And if you need more mag-netic pull, you can increase a magnet’s power byadding special thick washers below the magnet.

It’s best to drill the holes for the magnets in thecase before assembling the cabinet. For a 1/2-in.-diameter magnet, use a 1/2-in. Forstner bit on thedrill press and drill the hole about 5/16-in. deep.Then—and this is very important—make sure you set aside pairs of magnets and mark them to designate their “attractive” sides. Place a drop of epoxy or cyanoacrylate glue into the hole and press the marked magnet correct side up in the hole (B).

On the drill press using a plug cutter, cut plugs to conceal the magnets. For the grain to match,cut face-grain plugs for the face-grain holes in the case and cut end-grain plugs for the top andbottom of the door (C).

Line each hole with glue and install the plug overthe magnet, being careful to line up the grain ofthe plug with the case or door (D). When the gluehas dried, saw or pare the plug flush, and thehole will virtually disappear. When you close thedoor, it will gently pull itself into the case.

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Face-grainplug

End-grainplug

Door

Magnets attract each other, holding door closed.

Case top

Case bottom

CL

Magnet

Magnet

B C

D

A

CATCHES AND BUMPERS


Stops and Bumpers

Keeping a door closed is the role of the doorcatch; having the door close quietly without clat-tering is the job of the bumper. And in caseswhen there’s no door ledge, you’ll need to installa stop that halts the door flush with the case.

Attached to the back of the door or to the insideof the cabinet frame, a bumper can be madefrom any soft yet resilient material to cushion theblow from the wood-to-wood contact when adoor is closed. Commercial rubber bumperscome in all shapes and sizes, the most conven-ient being those with self-stick adhesive on theback. Just press the bumper to the back of thedoor, in line with the frame of the cabinet (A).

When you need a door stop, one option is to usea wood strip faced with leather to cushion thedoor, similar to how you could stop a drawer.

On cases with face frames, a simple solution isto glue a wood strip to the back of the frame (B).

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Bases, page 178 Feet, page 197 Stands, page 206

The basic box—whether it’s a floor-standing case piece,

a tabletop cabinet, or small jewelry box—needs a lift now

and then. Bases, feet, and stands accomplish that job with

aplomb. Even the smallest keepsake box can benefit from

the addition of feet or blocks to raise it above the surface it sits on. Or

you can wrap the bottom of a cabinet with molding to anchor it visually.

In practical terms, a base that’s raised on four points of contact is inher-

ently more stable than the underside of a wide, flat box. With large cabi-

nets, it’s important to allow room for someone’s feet as they access the

case so they don’t kick the face of the cabinet.

In addition to the visual benefits of bases and feet, a cabinet or piece

of furniture should sit solidly on the floor. Tables that tip or rock are

usually the result of an irregular floor surface. Although we can’t expect

our floors to be perfectly level and flat, we can take measures to ensure

that the furniture that sits on them stays level.

Bases, Feet,and Stands

PART FOUR

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SECTION 15 OVERVIEWSECTION 15 OVERVIEW

178

Bases

Bases on cabinets come in twoessential forms. The first shape is arecess built in below the case, known

as a toekick. It’s a practical approach thatprovides room for your feet, so you can bet-ter access the case’s contents when you’restanding in front of the cabinet. The secondvariety, a molded base that usually projectsbeyond the case, is used for more aestheticreasons. Here, the bottom of the case isdefined by moldings or reveals (small gapsor lines) that are attached around the cabi-net. The effect visually lifts the case whileappearing to anchor the lower section to thefloor. The design possibilities for moldedbases are endless, whereas the parameters fora kick space are more narrowly definedbecause of its functional aspect.

Preventing Sag in Cabinets

Bases can also help support long spans orwide cabinets. If you build a box or casewith four sides, but no back, you’re likely toend up with a cabinet with a serious saggingproblem. The case bottom and possibly thetop will droop downward over time, espe-cially when you load the cabinet with cargo.Unless you make the top and bottom ridicu-lously thick, you’ll need to secure a back tothe case sides, top, and bottom to stiffen thecase and prevent sag.

Sometimes, the back itself isn’t enough tokeep things rigid, especially at the front ofthe case. This is particularly true on deep or

➤ Integral Base withToekick (p. 184)

➤ Inside Toekick (p. 186)

➤ Applied Base withToekick (p. 187)

➤ Biscuit Toekick (p. 188)

Toekicks

➤ Leveling Strategies(p. 189)

➤ Threaded Inserts (p. 191)

➤ Leveling a Cabinetwith an AppliedBase (p. 192)

➤ Built-In Cabinets (p. 193)

➤ Wall Cabinets (p. 194)

➤ Fillers for FramelessCabinets (p. 195)

➤ Scribing a Cabinetto a Wall (p. 196)

Installing Cabinets

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SECTION 15 OVERVIEW

Bases 179

A simple L-shapedfoot can be used forextra support undera base cabinet.

wide pieces, when the case spans 24 in. ormore, or when the case must support a heavytop, such as a slab of marble. Often, thequickest remedy is to add a 2-in. or widerrail underneath the case bottom, near thefront of the cabinet as shown at right. Forcases that have to support very heavy tops, atorsion-box construction solves the droopingdilemma.

If your design permits, you can let theback extend to the floor in the center of thecabinet to gain more support or you cansecure an L-shaped foot underneath the bot-tom. To make an L-shaped foot, use ply-wood for strength and make the foot fromtwo parts. Cut the vertical foot piece to theexact height that the case bottom sits abovethe floor; then add a 3-in.-wide nailing cleatto the foot. Join the two pieces together withglue and staples, or use screws. Make sure toattach the foot to the cleat—not the otherway around—for strength.

Mark the bottom to align the foot withadjacent cleats; then glue and staple the cleatto the underside of the cabinet. You can fin-ish off the base and conceal the foot byadding baseboard around the case or byattaching a kick plate over the foot.

Traditional Baseboard

A mitered baseboard works well for largecase pieces. Keep an eye out for the propor-tions of the baseboard in relation to the case.In general, as the case gets taller, the base-board should be wider. This approach will

See “Applied Base with Toekick” on p. 187.➤

Staples and gluesecure the foot tothe underside of the cabinet.

Add foot in center to keep bottom from bowing downward.

Glue rail under bottomnear front of case.

Torsion-box subtopsupports heavy top.

Extend back to floorin center of cabinet.

PREVENTING SAG

See “Torsion-Box Shelf ” on p. 73.➤

A subtle reveal and a purple-heart accent help give this base-board a distinctive look. (Photoby Paul Anthony.)

SECTION 15 OVERVIEW

Bases180

give the case the correct visual weight. Amitered baseboard has the visual effect ofgrounding the case, but it can also artfullyconceal the construction of the bottom ofthe case from view.

Contemporary Baseboard

The baseboard on the maple cabinet shownbelow was designed by woodworker PaulAnthony; it’s sleek, contemporary looking,and unobtrusive. A small gap or revealbetween the case and the base gives thebaseboard its distinction. To accentuate thereveal, Anthony inlaid a strip of contrastingpurpleheart in the gap.

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Molding

Case side

Flat board

Bottom

Glue and nail cleat underbottom to provide nailingsurface for flat board.

Flat boardwith molding edge

Top of baseboard falls below top edge of bottom to provide reveal on face of cabinet.

BASEBOARD ANATOMY

This sleek maple and purpleheart case isdefined by flush doors and a flush base-board. (Photo by Paul Anthony.)

One-Piece Baseboard

A mitered base-board is the simplest way to finish off the bottom of largecase pieces.

Two-Piece Baseboard

Cabinet

Appliedplywood base

Glue contrasting strip to baseboard.

Solid-woodbaseboard

Miter corners.

Applied base

Reveal

Position applied basebehind cabinet face by thickness of baseboard.

BASEBOARD

WITH REVEAL

Grain

Glue molding and step to cabinet at shaded areas.

4 in. or less

Attach moldingand step atrear of casewith bradsand screws.

STEPPED BASE

A built-up base pro-vides a classic touchto a small cabinet.

SECTION 15 OVERVIEW

Bases 181

molding above the flat step forms the transi-tion from step to case.

Instead of creating a solid base, make thestepped area at the bottom by mitering arectangular strip underneath the cabinet.Screw the strip to the underside of the cabi-net and plug the screw holes if you wish. Astrip of the same thickness at the rear keepsthe case level and provides a solid platform

The construction is based on an appliedbase; but instead of standing proud of thecabinet, the base is set back by the thicknessof a solid-wood baseboard. With thisarrangement, the baseboard is flush with the cabinet on the two exposed sides.

Molded-and-Stepped Base

For small or large case pieces, a stepped baseadds visual weight to bottom of the cabinet.The flat, rectangular area at the bottom canbe thick or thin, depending on how muchvisual mass you want to create. Mitered

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Bases182

on which the case stands. Be careful whenattaching the molding and the step: If youglue them fully across the case side, the gluewill restrict wood movement, and the cabi-net sides will likely split or crack. The bot-tom right drawing on p. 181 shows the areasthat are safe to glue.

Scrolled Base

Similar in looks to bracket feet, the scrolledbase shown at left has four feet that supportthe corners of large casework, such as blan-ket chests and boxes. The scrolled, inner

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A scrolled base can be as simple as a small radius ineach corner.

Boxor chest

Dovetail cornersfor strength.

Construct base widerthan case by thickness of molding.

Scrollwork canbe elaborate or plain.

Glue case intorabbet in base.

Rabbetinside edgeof base.

SCROLLED BASE

Keeping your hands and eyes on the

sawing action at all times makes it much

safer and more accurate when you’re

working on the table saw. And groping

underneath the table to turn off the saw

is asking for trouble, especially when you

need to make a stopped cut. This foot- or

knee-operated switch lets you turn off the

saw without losing your concentration.

The device, which can be mounted in a

matter of minutes, works with all types of

saws that have push-button switches.

TABLE SAW FOOT SWITCH➤

Drill 1-in.-diameter hole through bar to access “on“ button.

Align center of straight section with hinge barrel.

Pushing inward on bar contacts “off“ button, turning off saw.

Use 2 x 3 stock and saw profile on bandsaw.

Butt hinge, bolted to topof switch box and screwedto top of wood bar.

CL

On

Off

MAKING THE FOOT SWITCH

SECTION 15 OVERVIEW

Bases 183

side of the case. Then glue and miter mold-ing around the bottom of the case to make avisual transition from base to case.

edge profile can be simple or fairly elaborate,depending on your taste.

For strength, dovetail the corners of theframe, as shown in “Scrolled Base” (oppo-site). After assembling the base, rabbet aroundthe top edge and glue the base to the under-

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See “Designing Feet” on p. 197.➤

TOEKICKS

Bases184

Integral Base with Toekick

You have two options when incorporating a kickspace under a cabinet: Construct the base as aseparate assembly and then secure it to thecase, or make the base an integral part of thecabinet.

For cabinets with finished sides—where you’llsee the side of the case when it’s installed—you’ll need to construct the case sides so theyconceal the ends of the kick plate once it’sinstalled.

Once you’ve cut the case joints, but beforeassembling the cabinet, use a template to tracethe outline of the kick radius onto the side of thecase (A). Size the template to take into accountthe thickness of the subkick and finished kickplate, plus any face frame material or doors (B).For economy, the example shown here uses atwo-part sandwich for the toekick: 1/4-in. plywoodover particleboard or utility plywood.

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A

Door or face frameCut out kick spacebefore assembling cabinet, but be sure to take into accountthickness of door or face frame to calculatefinished depth of kick space.x y

A comfortable size for a kick space is when x = 21/2 in. and y = 41/2 in. You can adjust these measurements up or down by 1 in. to suit your furniture while still leaving room for stray feet.

See “Applied Base with Toekick” on p. 187.➤Sizing the Toekick

Door or face frame

Case bottom

Radius equals depth of cutout in case side.

Case side

Nail 3/4-in.-thick subkick to cleat.

Finish-nail 1/4-in.-thick kick plate to subkick.

Attach cleat to inside surface of case side.

Finished Toekick

Square cutout

Nail subkick to edge of case side.

Finish-nail plate to subkick.

If necessary, cut kick plateextra-wide and scribe to contour of floor.

Unfinished Toekick

B

TOEKICKS

Bases 185

Use a jigsaw to cut the profile on the corner ofthe case side (C). Cut on the waste side of yourlayout line; then clean up and smooth the surfaceon a spindle sander or with a half-round mill fileand sandpaper.

If the case side is plywood, you can cover theraw edge by adding a strip of commercial edge-banding. The thin banding will conform to thecurve of the kick with heat and pressure from an iron (D).

Mark the inside of the case side, taking intoaccount the combined thickness of the subkickand the kick plate, and then glue and staple a ply-wood nailing cleat to the case (E).

Attach the subkick—which can be made fromany 3/4-in.-thick material, such as plywood or particleboard—to the cleat (F). Then attach yourfinished kick material over the subkick with smallbrads or finish nails so it’s flush with the edge ofthe case side. Thin 1/4-in. hardwood plywood is agreat material for the kick plate, since it’s backedup by the thicker subkick (G).

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See “Commercial Edgebanding” on p. 79.➤

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Bases186

Inside Toekick

When you’re faced with an unfinished case side(one that will be covered up by adjoining casesor built into the corner wall of a room), buildingthe kick space is much simpler. Start by layingout the depth and height of the kick on bothsides of the case side (A). Remember to takeinto account the thickness of the subkick andkick plate plus any frame or door material.

On the table saw, set the rip fence to the heightof the kick, allowing for the blade’s thickness,and raise the blade to full height. Be sure to keepyour hands clear of the blade and use a bladeguard. Position the inside surface of the case soit’s facing up on the saw table and make a cross-cut to establish the height of the kick, cutting upto your layout line. Stop when you reach the line;then turn off the saw and let the blade spin to astop before backing the workpiece out from theblade (B).

With the blade still raised, adjust the fence to thedepth of the kick. Clamp a stop block to thefence to limit the cut about 1/4 in. shy of your lay-out line. Turn the case side over so the outsidesurface is facing up and push the workpiece intothe blade and up to the stop (C). Turn off the sawas before, remove the workpiece, and pry awaythe waste (D). A sharp chisel will remove anyleftover material.

On an unfinished case side, instead of positioningthe subkick on the inside of the case, you secureit directly over the edge of the side (E). Then coverthe subkick with your finished plywood kick (F).

A B

C D

E F

WARNING Safe practice on a

table saw calls for raising the blade

slightly above the work surface—unless

a specific operation calls for a higher

blade angle.

▲ !

TOEKICKS

Bases 187

Applied Base with Toekick

An applied base with a kick space is often easierto construct than an integral base. And it’s partic-ularly handy when you’re installing a built-in cabi-net, because it makes leveling the case a cinch.

To make an applied kick for a freestanding case,build the kick base and cabinet as separate assem-blies; then join them together with screws (A).

To extend the toekick around the corners on acase with finished sides, factor in the overhangof the case on the front and both sides whendetermining the width and length of the base, asshown. Don’t forget to allow for the finished toe-kick material. Then build the base from strips of3/4-in. plywood ripped to the correct width to raisethe case to the necessary height. Glue and nailthe parts together, making sure the interior stripsare square to the assembly (B). Always align theinterior strips in the base so they fall directlyunder any partitions in the case for support.Strips every 2 ft. are sufficient to carry theweight of even large cases.

After the basic frame of the base is assembled,add nailing cleats inside the frame, aligning themflush with the top edges of the base (C). Then lay the cabinet on its back and attach the baseassembly by driving screws through countersunkholes in the cleats and into the case bottom (D).

Complete the base by applying a finished kickplate made from 1/4-in. hardwood plywood ontothe front and sides of the base. For a seamlesslook at the corners, miter adjacent kick plates anduse glue and brads or finish nails to attach themto the base (E).

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Align base flushwith back of case.

Equal

Equal

Make baseshorter than case for kickspace at sides.

Align dividers in base with dividers in case.

1-in. x 1-in. cleat glued to inside of baseMake base from

3/4-in. plywood.

Screw base to undersideof case through cleats.

Apply 1/4-in. finished plywood to base, mitering at corners.

Make basenarrower thancase for kickspace at front.

B C

D E

A

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Bases188

Biscuit Toekick

Similar to the integral toekick, the biscuit toekickworks well for narrow cases such as a bookcase,where the sides meet square to the floor.

You can use several types of joints to hold theparts together, but one of the simplest approachesis to use biscuits to join the shelf and the kick tothe case sides. To stiffen the connection, housethe kick plate in a shallow groove cut in theunderside of the case bottom, as shown here (A).You can use the case side and bottom to lay outand cut the joints. Once you’ve grooved the bot-tom for the kick plate, clamp it square across the case side at the correct toekick height; thencut slots for biscuits into the ends of the bottom.The base of the biscuit joiner registers on thecase side (B).

Without changing the joiner’s setup or theclamped parts, hold the joiner vertically to slotthe sides, registering the joiner against the end of the case bottom (C).

Insert the biscuits into glued slots in the kick andbottom (D) and use clamps to pull the joints tight.To keep the case from rocking on an unevenfloor, size the kick so it rises above the floorabout 1/8 in., which is enough to keep the sidesfirmly planted without letting small objects rollunderneath. The look is simple and refined (E).

1/8 in.

Side

Join shelf toside withno. 20 biscuit.Join kick toside withno. 20 biscuit.

Leave small reveal betweenkick and floor to preventcase from rocking.

Kick,3/4 in. thick

1/8-in.-deep groove in shelfhouses kick.

B C

D

E

A

See “Integral Base with Toekick” on p. 184.➤

INSTALLING CABINETS

Bases 189

Leveling Strategies

Leveling a table or a cabinet—whether it’s free-standing or built-in—is the final step before youput it to use. If you don’t take the time to dothis, your tables can rock or tip because ofuneven floors. Heavy cases can rack for thesame reason.

If you’re planning to attach your furniture or cabi-nets to the walls or floors of a room, such as arow of kitchen cabinets or a wall-hung case, lev-eling the work becomes even more important.Before you even build the piece, you’ll want totake some logical steps that will ensure the caseinstallation goes smoothly.

The bracket-and-bolt assembly shown here makeit a cinch to level a cabinet even after the case isinstalled. Screw one bracket at each corner of thecabinet and into the case side, directly under-neath the case bottom (A). Then mark for theadjusting hole through the bracket and onto thebottom (B).

Remove the bracket and drill a 3/8-in. clearancehole through the bottom (C). Then reinstall thebracket and screw the bolt, or foot, into thebracket. Once the cabinet is in place, you canadjust the foot from inside the cabinet with theturn of a screwdriver (D).


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INSTALLING CABINETS

Bases190

Adjustable feet work fine on cases, boxes, andtable legs; and the bearing surface of the feetglide easily over rough surfaces. The hardwareconsists of nylon-padded bolts and T-nuts. Installthe feet by drilling a hole in the bottom of eachleg or corner of the case to a depth equal to thelength of the bolt (E).

Tap the T-nut into the hole. The spurs on the nutgrab into the work and keep the nut from spin-ning or coming loose (F). Complete the foot bythreading the bolt into the nut. Flats on the endof the bolt allow you to adjust the height of thepiece with a small wrench (G).

Another technique relies on threaded inserts andcarriage bolts and works well under legs or casesides. For ease and accuracy, drill for and installthe hardware before assembling the piece. First,in the bottom of each leg drill a hole of the rec-ommended size for the insert and to the depthequal to the length of the carriage bolt. Thenlightly countersink around the hole (H).

Install the insert into the leg, flush to the surface.Now spin a carriage bolt into the bottom of theleg (I). The rounded head of the bolt makes agreat surface for the bottom of the leg, and youcan adjust the length of the bolt by turning it witha wrench when necessary.

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I

F

A

B

C

INSTALLING CABINETS

Bases 191

Threaded Inserts

Threaded inserts are notoriously difficult toinstall. To make installation foolproof, use the drillpress. Start by drilling the correct size hole forthe insert; then countersink around the hole. Thecountersink prevents the stock from mushroom-ing and blowing out around the hole. Next, use ahacksaw to cut off the head of a bolt with thesame thread as the insert and chuck the bolt inthe drill press. Thread a nut and washer onto thebolt and spin the insert onto the bolt under thewasher, hand-tightening the assembly (A).

Center the countersunk hole under the insert andclamp the workpiece to the drill press table. Withthe drill press unplugged, advance the insert intothe hole by hand while turning the nut with awrench (B). Keep turning the insert and nut untilthe washer bottoms out on the workpiece. Thenback off the nut with the wrench and spin thechuck in reverse until the bolt comes out of the insert (C).

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INSTALLING CABINETS

Bases192

Leveling a Cabinet

with an Applied Base

For wide, built-in cabinets and long case runs,such as a row of kitchen cabinets, it’s often easi-est to build an independent base and level itbefore adding the cabinet. Once you’ve built thebase, position it on the floor; use wedges under-neath to shim the base level front to back andside to side.

A single level will let you check when the base islevel, but a pair of levels is a little easier, becauseit lets you read both planes at once (A).

Once the base is level, secure it to the wall orthe floor and cut any protruding shims flush tothe outside of the base. Then install the cabinetby placing it on top of the base and drivingscrews through the inside of the case into thebase (B). Secure the cabinet permanently by driving screws through the back of the case atthe top and into the wall. Then wrap the base on three sides with finished kick material.

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D

INSTALLING CABINETS

Bases 193

Built-In Cabinets

When you’re installing a cabinet, it pays to planthe job carefully before installing or even buildingyour piece. Also, make a scale drawing of thecabinetwork and the room it goes in, includingdoors, windows, and any other permanent fea-tures of the room (for example, switch and outletlocations) (A).

If the piece is going onto a wall, you’ll want tosecure it to something more substantial than justthe wall sheathing, especially if it’s a panel of dry-wall. Use wood screws and plan on screwingthrough the cabinet and into the studs behind thesheathing. If the wall or floor is masonry, usemasonry anchors and a masonry drill bit (B).

[ TIP ] Locating masonry screws when

hanging wall cabinets can be difficult

unless you follow a specific procedure.

First, drill clearance holes through the

work; then position the cabinet and drill

pilot holes with a carbide-tipped bit

through the holes in the case and into the

masonry. Without repositioning the cabi-

net, drive the screws and you’re done.

Once you’ve selected the right hardware, you’llneed a reliable level to mark the wall and to readthe cabinet for level as you install it. Start bymarking a horizontal level line on the wall to indi-cate the finished height of the case (C).

Then, still working with the level, find the highspot on the floor and run another level line fromthe high spot all along the wall, providing a refer-ence line for the rise of the floor. The installationis then shimmed to the high spot.

If you’re working with a stud wall, locate the cen-terline of the studs (D) and transfer the stud loca-tions to the case. Then drill clearance holesthrough the hanging strips on the case for thescrews. Use wedges to shim the case level and plumb.

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INSTALLING CABINETS

Bases194

Wall Cabinets

When hanging a wall cabinet of considerablesize, first remove all doors, drawers, and shelvesto lighten the case as much as possible. If help-ing hands are hard to come by, make a set ofadjustable supports. Wedges driven under theblocks raise the cabinet in small, measurableincrements (A).

Before attaching the cabinet permanently, useyour level to check that the case is level with thefloor and, for wall-hung units, plumb with (parallelto) the wall. Don’t cheat here. A case that’s notinstalled plumb and level will invariably rack,twisting the case opening and making doors mis-align and drawers stick. Use the level to read twoplanes: the case’s top (or bottom) and its face (or front) (B).

When both planes read level and plumb, drivescrews through the holes in the case and into thestuds in the wall. Make sure to secure the top (C)and bottom of the case (D). Note that when youare installing multiples of cabinets, you’ll want to drive screws to join the individual cabinetstogether before securing the run of cabinets tothe wall. Otherwise, it’ll be difficult to get theface frames flush.

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Fillers for Frameless

Cabinets

On built-in cabinets without face frames, youoften need to create a dead space between thecase and the wall or ceiling so that doors ordrawers can operate freely without obstruction.

Instead of leaving a gap, the best approach is tofill the space with a strip of wood that matchesthe front of the case. To make the strip, build atwo-piece, L-shaped assembly, called a filler. The face of the assembly should be made fromthe same material as your cabinet. You can makethe face piece any width, but a 1-in.-wide pieceusually provides enough clearance between thecase and the wall as long as the wall itself has noobstructions. Make the filler by gluing the facepiece at right angles to a backing piece (A). Letthe face piece extend beyond the backer by atleast 1/4 in. so you have some extra material toscribe to the wall if necessary.

Attach the filler with screws to the side of thecabinet (or the top, depending on the installation)so the face of the filler aligns flush with the dooror drawer fronts (B). If you discover that the fillerneeds scribing after leveling the case, mark theamount of scribe, unscrew the filler from the cabinet, and cut it to the contours of the wall onthe bandsaw. Then reattach the filler and installthe cabinet.

See “Built-In Cabinets” p. 193.➤A

B

INSTALLING CABINETS

Bases 195

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INSTALLING CABINETS

Bases196

Scribing a Cabinet

to a Wall

Attaching a cabinet to a wall sometimes leavesyou with one or more exposed ends, where theside and the wall are in plain view for all to see.Because walls are rarely dead flat, you often endup with small unsightly gaps between the caseside and the wall due to small dips and bumps in the wall. Scribing makes the cabinet fit theuneven contour.

When you build the cabinet for scribing, it’simportant to allow an extra 1 in. of material forthe exposed or finished side; then mill a rabbetfor the back that’s 1 in. wider than all the otherrabbets in the case (A). When you attach theback to the cabinet, you should have 1 in. ofscribe material extending past the back (B).

Position the cabinet on the wall and use shims atkey points to shift the case until it’s plumb andlevel (C). Then use a compass set to the width ofthe scribe (roughly 1 in, but adjusted to leave thecorrect finished cabinet depth) and run it evenlydown the cabinet side, following the contours of the wall (D).

Remove the cabinet from the wall, lay it on itsside, and use a jigsaw to cut to the scribed line.Make an angled cut to the waste side so you cre-ate a slight back bevel, which will fit the wall bet-ter. I find it easier to simply tilt the saw ratherthan the baseplate. The 1-in.-wide scribe sup-ports the jigsaw as it’s tilted, and angling the sawto the waste side avoids marring the finished sur-face (E). Clean up any rough spots with a blockplane. After cutting the scribe, you’re ready toinstall the cabinet permanently with screws.

A B

D

E

Read face for plumb.

Use wedged-shaped shims to adjust cabinet until both planes read plumb and level.

Read top or bottom for level.

C

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SECTION 16 OVERVIEW

197

Feet

Adding feet to furniture is agood method for getting cases offthe floor, and it’s an effective way to

personalize an otherwise ordinary leg. Thefeet you build can be contemporary lookingor have a traditional feel. Or, for simplicity’ssake, you can add small buttons under a caseto create a reveal or gap. If mobility is yourgoal, feet with wheels is the way to go.Casters and other rolling devices can helpmove furniture from spot to spot.

Designing Feet

If the piece you’re building is based on frameconstruction, where there are extended legsthat meet the floor, you can leave them asthey are or give them a flourish by wrappingmoldings around them. Case pieces thatdon’t have bases need feet of some sort—and the options here are plenty. Traditionalchests and bureaus often have some form ofbracket foot to elevate the case itself andgive the piece a unique style. Simpler de-signs, such as turned or scrolled feet, can be just as effective.

The most basic approach is just to let the leg of the piece run straight to the floor.The only structural problem with this ap-proach is that the sharp edges of the feettend to snag carpets and other floor cover-ings. And if the piece is ever moved, you’relikely to chip the feet. You can easily over-come this by planing a small chamfer aroundthe bottom of the leg. The chamfer not only

➤ Scrolled andMitered Feet (p. 201)

➤ Ogee Bracket Feet(p. 202)

➤ Turned Feet (p. 204)

➤ Brass Casters (p. 204)

➤ Roller Balls (p. 205)

Feet and Casters

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reduces the chances of splitting or chippingbut also looks much better than leaving theedges sharp.

A simple solution to lifting a leg or rais-ing a box is to add plastic or rubber blocksunderneath. The blocks provide a no-slipgrip, and they’re quick to install. Simplyscrew them to the underside of your project.On a case, position the blocks at the outsidecorners for stability. Once they’re installed,the blocks are inconspicuous from above.The result is a slight lift to the box and anelegant dark line, or reveal, below.

Tenon

Cut profile on inner edge only.

Contour inner and outersurfaces.

Stile

Rail

FOOT DESIGNS

Planing a smallchamfer on the bottom of a leghelps prevent split-ting or chipping.

Blocks installed on the outside corners are asimple way to elevate a small case.

When the case is turned right side up, aslight rise creates an attractive shadow line.

Feet198

Tenon

Chamfer Molding and Block Turned

Bracket Ogee Bracket

Scrolled and Mitered Extended Stile

SECTION 16 OVERVIEW

Feet 199

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Swivelling casterslock to stabilize case. Conceal casters by

attaching to raisedbottom in cabinet.

Notch leg to fit cap.Casters with caps

fit around legs.

Fixed casters under largedrawer lets you pull out drawer from under bed.

Drill hole in leg for housing.

Roller balls fit into housing.

Dowel pin

Notch leg for wheel.Fixed wood wheels

allow trundle bedsto stow away.

Turned wheel

TYPES OF WHEELS

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of the piece. There are many types of glidesavailable in different materials, and some canbe screwed to the underside of a piece orsimply nailed in place. These plastic glidesmove smoothly over rough surfaces, wearwell, and can be installed by tapping theminto the bottom of a case side or leg.

For heavy pieces that don’t need to bemoved frequently, a plastic or rubber coasterplaced under a leg is a painless solution thatprotects floors.

Caps, Casters, and Wheels

If you need to move your furniture often,consider adding wheels (see the drawing onp. 199). Wheels are a boon for heavy cases,such as loaded filing cabinets, making themeasy to move without straining your back orgouging your floors. Wheels don’t have to beseen, either. You can conceal them under-neath a large cabinet, yet they’re ready to bepressed into service when you need them.

On smaller pieces, such as tea trays andserving tables, you can introduce some flairby adding brass wheels to the bottoms oflegs while making them more practical tomove around. Wood wheels have a tradi-tional look and feel, and you can turn themyourself on the lathe.

When making your furniture mobile,consider whether you want the wheels toswivel and whether they should lock. Swiv-eling casters make it easier to maneuver alarge piece in a tight space. If the piece isheavy or large, look for locking casters thatkeep the piece stationary when you don’twant it to move.

Furniture Glides

Making furniture that slides or glides overfloors prevents scratches and dings. Butwood furniture won’t glide naturally. Addinga low-friction material to the underside ofyour pieces, such as a high-density plastic, isone solution. The other approach is to placethe legs of your furniture onto protectivepads or coasters.

If a piece is going to be moved often, it’sbest to install furniture glides to the bottom

Small plastic furniture glides are simplynailed in place.

Plastic and rubber coasters come in a variety of sizes and shapes and protect thefloor as well as the furniture.

SECTION 16 OVERVIEW

FEET AND CASTERS

Feet 201

Scrolled and Mitered Feet

The mitered foot design shown here is very sim-ple in form and is reminiscent of the bare-bonesapproach used by Shaker furniture makers of thepast (A). Construction is uncomplicated (B).

Use the jigsaw or bandsaw to cut a scrolled pro-file on the case sides before assembling the cabi-net. For the front scrollwork, it’s easiest to gluethe mitered feet and rail to the case after thejoints are cut but while the stock is still square(C). Once the glue has dried, trace the profile onthe assembly and use the jigsaw to cut to youroutline (D). Clean up and smooth the sawn con-tours with a round-bottomed spokeshave or asanding drum chucked in a portable drill.

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Glue top railto case bottom.

Glue foot toside of case. Miter rail and foot,

then secure jointwith biscuit.

Cut out sidesto repeat scrollpattern at front.

A

B

C

D

FEET AND CASTERS

Feet202

Ogee Bracket Feet

Bracket feet are appropriate for traditional casepieces, such as eighteenth-century secretariesand the like (A). This type of foot seems to defy gravity. With its swooping ogee, it appearsto have insufficient strength to support a cabi-net. But don’t be fooled: The bracket foot is very strong.

Construction is straightforward for the front feet.(B). First, miter two feet blanks on the table saw.A crosscutting sled helps control the cut andguide the work (C). With the blade still angled to45 degrees, slot each miter for a plywood splineto reinforce the joint. Then lay out the scrolledbracket profile on each blank. Using a plywoodtemplate makes the job easy and accurate whenyou’re making multiple feet (D). Saw the bracketcontours on the bandsaw, following the lines as closely as possible to keep cleanup to a mini-mum (E). Smooth the sawn contours with a drumsander or by hand, but don’t get too fussy—mostof the underside of the scrollwork won’t be seen.Glue up the two halves, gluing in the spline tokeep the joint strong and checking that theblanks are square to each other.

Once you’ve glued the blanks together, lay outthe ogee profile on one face, and saw out thatprofile on the bandsaw. You’ll need a box-type

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D

Plywood splinereinforces miter joint. Glue plywood gusset

into rabbeted edge;screw through gussetinto cabinet.

Nail or screwfoot to case here.

Glue stacked blockto inside cornerfor support.

Cut profile on each outside face on bandsaw.

Grain

Grain

Dovetail back piece to side piece.

E

Rear Foot

Front Foot

B

Glue and nailjoints.

Make height slightly more than foot's length.

Reinforce box with45 braces.

Clamp the foot securely to this box jig when sawing the ogee contour.

F

G H

I J

FEET AND CASTERS

Feet 203

jig to support the foot as you saw, as shown (F).As before, follow the layout line as closely as youcan (G). Once you’ve sawn the first face, cut thesecond face. No layout is necessary; the outlineis revealed by the first cut (H). Simply follow theoutline to saw the second face (I).

To further strengthen the foot, glue a stackedblock of wood—the grain oriented with thefeet—into the inside corner. The stack strength-ens the miter and helps support the weight ofthe cabinet above. Then add a plywood gusset to provide a means of screwing the foot to the cabinet (J).

Constructing the rear feet is similar to the front,except for the back of the foot, which remainsflat so the foot and case can be placed against awall. After sawing the bracket profile on the inneredge of the side piece, join the two pieces withlarge dovetails. Then bandsaw the ogee profileon the side piece only, using the same techniqueyou used for sawing the profiles on the frontfeet. (For more on making a bracket foot, seeThe Complete Illustrated Guide to Shaping Wood,by Lonnie Bird, The Taunton Press.)

[ TIP ] Relying on your machine’s angle or

bevel gauge to provide you with an accu-

rate 45-degree setting will often disap-

point you, especially when cutting large

miters. A better way is to cut miters in

two blanks, then hold the miter joint

together and check that the combined

angle equals 90 degrees. If the joint is off,

adjust the angle of the blade by half that

amount and check again with the square.

Keep checking and adjusting the blade

until the joint is dead on.

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FEET AND CASTERS

Feet204

Brass Casters

The refined-looking casters shown here aresmooth running and made of solid brass. Theycan add an elegant touch to small tables andbases (A).

Installation is a snap: Drill for the lag screw, cen-tering the hole on the bottom of each leg. Amasking tape flag gauges the correct hole depth(B). Install the lag screw, using a nail or awl tocoax the plate tight to the bottom of the leg (C).Secure the caster by driving pan-head screwsthrough the plate and into the leg (D).

Turned Feet

Simple, tapered feet are great for small boxesand chests (A). Turn the feet between centerson the lathe, forming a tenon at one end of eachfoot. Cutting the shoulder dead flat with a partingtool ensures the foot will sit tight to the base (B).Then drill holes into the underside of the box toaccept the tenons and glue and clamp the feetto the box (C).

Great for larger boxes or chests, bun feet have awonderful, bulged feeling to them if you get theirshape just right (D). The secret is to leave a smallflat and a pad on the bottom of each foot whereit touches the floor, and another flat or shoulderat the top, where it comes in contact with thecase. The flats make the foot appear to swellattractively under the weight of the piece it sup-ports. You can screw the foot to the underside ofthe piece or turn a tenon on one end and glue itinto a hole drilled in the case.

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Turn groove, thenburn decorative ring by holding copper wire in groove.

Drill hole through case bottom for tenon on foot.

Leave flat areas at top and bottom.

Attach footwith screws through bottom.

1/8 in.

A B

C D

A B

C D

A B

C D

E

FEET AND CASTERS

Feet 205

Roller Balls

A roller ball, housed in a metal sleeve, is heavyduty and great for roll-around carts and butcherblocks. It’s easiest to drill for the rollers beforeassembling the piece. For the neatest appear-ance, counterbore the bottom of each leg to con-ceal the majority of the hardware. To drill thecounterbore, turn the drill press table 90 degreesand chuck a 11/8-in. Forstner bit into the press.Clamp the workpiece square to the bit, which ismade easy by drawing parallel lines on the table.Now drill a 1/2-in.-deep hole (A).

Without moving the work or the drill press setup,bore a 1/2-in. hole in the center of the counterborefor the ball pin and housing. A piece of maskingtape tells you when you’ve reached the correctdepth (B).

The housing has serrated teeth that bite intothe end grain of the leg (C). Use a stout stick to tap the housing into the hole inside the counterbore (D).

Slip the pin and ball into the housing and getready to roll (E).

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SECTION 17 OVERVIEW

206

Stands

Stands can have a dramatic effecton furniture by elevating a piece to eyelevel. They can display art objects or

hold plants and other items on their top sur-faces. Even small chests or special containerscan benefit from being placed on a stand. Amore sophisticated approach is to build astand for holding and displaying a cabinet,incorporating a framework of shelves ordrawers as part of its design, as seen inMing’s Cabinet opposite.

You can use solid wood, plywood, or acombination of the two for stand construc-tion. There are two basic methods for build-ing stands. One approach is to use wide,solid panels joined at the corners, creatinglots of mass and visual weight. Frame-typestands rely on more delicate-looking framemembers and are usually constructed withmortise-and-tenon joinery. These types ofstands elevate a piece and provide a lightoverall texture and feel.

Designing Stands

Stands can hold all sorts of work, from smallboxes, chests, and artwork to larger itemssuch as cabinets. You’ll need to decidebetween carcase or frame construction, thelater having a lighter feel with its openframework. On tall stands with relatively

➤ Chest Stand (p. 208)

➤ Pedestal Stand (p. 209)

➤ Plant Stand (p. 210)

Making Stands

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SECTION 17 OVERVIEW

Stands 207

thin frames, be sure to add lower rails to theconstruction to strengthen the assembly andto keep the frame from racking.

Stands made from wide panels offer moresolidity and can be made from solid wood or hardwood plywood. The former can bebutted and glued together at the corners,although chances are you’ll see contrastinggrain at the joints. A better-looking solutionwith solid wood and plywood is to miter all four corners. Plywood, with its thin anddelicate face veneers, must be mitered veryaccurately and then glued at the corners toconceal the inner plies.

Ming’s Cabinet, by Yeung Chan, is madefrom kwila and spalted maple and incor-porates a framework for drawers into thestand design.

TYPES OF STANDS

Mid railstiffens legs.

Miter molding around top of frame to hold box.

Wide rails keeplegs from racking.

Mid rail tieslower assembly together.

Case is held by extended legs at top of stand.

Small BenchRabbeted Box

Top registers into box with ledger strips.

Lower railsstiffen assembly.

Pedestal Plant

Cabinet

MAKING STANDS

Stands208

Chest Stand

The small frame-type stand shown here can holdboxes or small chests (A). Make the stand from11/2-in. or thicker stock to provide support for thechest on the top of the frame (B). Wide 3-in. or 4-in. rails keep the joints strong and preventracking.

Adding molding around the perimeter on the topof the frame keeps the chest from shifting, with-out having to secure it with screws or other hard-ware. Center the container on the frame andmark for the miters in succession by wrappingthe molding around the container (C). Then useglue and brads to secure the molding to the topof the frame (D).

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Make stand largerthan chest by width of molding plus 1/16 in. to 1/4 in. each side.

Thick frame provides surface for bottom of chest.

Miter moldingaround chest.

Chest or box

A

DC

B

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MAKING STANDS

Stands 209

Pedestal Stand

The pedestal stand in this example has a heavier,more solid feel than typical frame-type designs.Its height makes it ideal for displaying objects(A). The removable top fits into the case vialedger strips secured to its underside, whichmakes fitting the top easy (B). You can add a bottom if you wish, so you can remove the topand fill the base with weight for stability.

The key to building a pedestal is to miter andspline the long edges of the sides. The splineshelp position the joints and prevent slippagewhen you glue up the case. First rip 45-degreebevels on the panel edges, using a boardclamped to the fence to close the gap at thetable to prevent the tip of the miter from slippingunder the fence. Exert downward pressure nearthe blade to maintain an accurate cut (C). Withthe blade still at 45 degrees, turn each panel overand ride its mitered edges against the rip fenceto groove the opposite miter for a spline (D).Then rip some long-grain strips of wood forsplines, making sure to size them so they slideinto the grooves easily without binding.

Gluing up the pedestal can be frantic, becauseyou have to glue all four panels at the same time.It’s wise to get help from a friend. At the veryleast, make sure to rehearse the assembly pro-cedure first and check that you have enoughclamps. Then spread glue on all joints, slip thesplines into the grooves, and stand the panelsupright. Use cauls and deep-throat clamps to pull the joints tight (E).

A

House plywood bottom in dadoescut in sides.

Miter and spline corners.

Hardwood plywood top with edging

Size frame to fitcase opening and secure under top.

B

C D

E

MAKING STANDS

Stands210

Plant Stand

The delicate plant stand shown here was madeby woodworker Yeung Chan. It’s constructed ofrelatively thin and narrow frame members, joinedwith miters and mortise and tenons (A). With somany interconnecting joints, the assembledstand is incredibly strong (B).

Although you can use power tools to cut themiters and most of the mortises and the tenons,it’s best to make the final fitting cuts by hand,especially with the mitered and through-tenonedjoints, such as on the tops of the posts. To finishthe joint, Chan uses a homemade, 1/16-in.-widechisel to clean up some of the inner waste material in the narrow confines at the tops of the legs (C).

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Tongue fits into grooveof adjacent panel.

Fit panels into groovescut in edging.

Glue wood keys into mortises cut in top of frame and bottom of edging.

Glue miter and through tenon of post into frame.

Glue tenons of upper rail into posts.

Glue miters and through tenons of lower rail into posts.

Post

Rail

Half tenonprotrudesthrough post.

Tenon fromadjacentrail

Haunchedtenon

Cut miter on outside face of rail.

B

C

A

Detail

D

E

F

G

MAKING STANDS

Stands 211

Once all the joints are cut, it’s important toassemble the stand in the correct sequence.First, put together the lower frame by connectingall the rails to the posts (D). Then assemble themitered upper frame and carefully lower it ontothe miters and tenons of the posts (E).

Next, assemble the top by fitting the tongue-and-groove top boards together and installing theminto the edging pieces (F). Finally, insert woodkeys, or slip tenons, into the mortises in theupper frame; then lower the top assembly ontothe keys to secure it in place (G).

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Legs and Aprons, page 214

Frame and Panel, page 256

Face Frames, page 247Chairs and Stools, page 231

When you start to think beyond boxes in

woodworking, you quickly discover the world of

frame construction. Instead of joining wide panels

to construct a box or carcase, frame construction

involves connecting relatively narrow members such as stiles, legs, rails, or

stretchers to form the basic structure. A table is an obvious example. The

frame is composed of legs connected to rails or aprons that support a top.

Frame-and-panel construction also serves to solve a basic woodworking

problem. Built in the same fashion as paneled doors, frame-and-panel

assemblies solve the problem of wood movement, allowing you to use

wide, solid-wood panels without the risk of joints blowing apart. Used to

dress up the front of a cabinet, face frames are another form of narrow

members joined together.

One of the key elements when building any kind of frame is the use

of appropriate joinery to fortify the connection and keep the narrow

members free from rack or twist.

FrameConstruction

PART FIVE

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SECTION 18 OVERVIEW

Legs and Aprons

214

Tables, desks, beds, chairs—mostof these frame-type constructionsrequire legs that connect to apron

or rails. Although chair construction, withits angles and curves, is worthy of a sectionall its own, learning how to put together abasic leg and apron allows you to build anynumber of furniture projects that require aframework for support.

Using the appropriate joinery is impor-tant, because many legs are subject to a lotof sideways stress and narrow aprons won’toffer sufficient support to prevent racking.The styling of a leg and apron can affect thepiece’s structure and will certainly have aneffect on the overall feel and look. You’llhave many options for leg and apron styles,from simple rectilinear forms to turnings,tapers, and curves.

Designing a Leg and Apron

One of the first questions you face with leg-and-apron assembly is the type of joineryyou’ll need. While there are many joints thatwork well for this type of connection, a tra-ditional mortise and tenon is one of the bestchoices for strength and convenience. (Formore on joinery, see The Complete IllustratedGuide to Joinery, by Gary Rogowski, TheTaunton Press.)

For strength, the tenon on an apron mustbe long. How long? The answer is the longer

See “Chairs and Stools” on p. 231.➤

➤ Reinforcing anApron (p. 220)

➤ Mitered Wood Brace(p. 220)

➤ Metal Brace (p. 221)

➤ Scrolled Bracket (p. 222)

Strong Joints

➤ Beaded Rail (p. 223)

➤ Cutout for a Drawer(p. 224)

Aprons and Rails

➤ Quirk Bead onSquare Leg (p. 225)

➤ Two-Sided Taper (p. 226)

➤ Four-Sided Taper (p. 227)

➤ Compound-CurvedLeg (p. 228)

➤ Turned Leg (p. 229)

Legs

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SECTION 18 OVERVIEW

Legs and Aprons 215

the better. At a minimum, make your tenons1 in. Unless your leg stock is unusually nar-row, milling a mortise to this depth poses noproblem. But when it comes to the otherhalf of the joint, you’re often faced with twotenons from adjacent aprons that meet inthe same leg. The tenons interfere with eachother, making it impossible to use a longtenon in either piece. There are two solu-tions to this problem: One is to offset thetenons to the outside of the stock, whichprovides more room in the leg for the joint.How far can you offset the joint? Let yourmortises inform you. Generally, it’s best toleave some meat in the leg between the wallof the mortise and the outside of the leg, say1/4 in. or so, as shown above right.

An alternative solution is to leave thetenons centered on the stock’s thickness(which generally makes it easier to mill thetenons themselves) and then miter the endsof the tenons where they meet. The result isa significantly longer tenon. Be sure to leavea small gap at the miter joint to ensure thatthe shoulders of the aprons close fully ontothe leg during assembly.

Apron and Rail Styles

Although rails and aprons form an essentialstructural ingredient to a frame, they don’thave to force you into rectilinear boredom.There are plenty of design options to selectbeyond the basic straight rail. Keep in mindthat you’ll need to keep the area at the joint,or the shoulders of the rails, as wide as pos-sible for strength—especially for large con-structions, such as tables or desks. As a ruleof thumb, a minimum width of 4 in. is suffi-cient for a strong, rack-free joint.

On large frames,such as tables,a 4-in. or wider rail keeps the leg-to-railjoint strong.

1/4 -in. bead

RAIL STYLES

Straight with Bead

Arched

Stepped

Rail with Drawer Cutout

Narrow Rail with Brackets

Twin Rails

45Aprons

Cut tenontowardoutside face of apron.

Outside of legLeave 1/16-in. gap between tenons so shoulders of apronsfit tight to leg.

WHERE TENONS MEET

Offsetting Tenons Mitering Tenons

SECTION 18 OVERVIEW

Legs and Aprons216

Details such as beads and roundovers canadd flair without added work, or you canemploy tapers and curves for a distinct signature.

Usually, it makes sense to mill any jointsbefore shaping the leg stock. This lets youset up fences and blades by referencing themto the still-square stock, a much easier taskthan trying to accomplish joinery once thestock is no longer rectilinear. For turnedlegs, most styles provide square sectionswhere the aprons and rails intersect. But it’sbest to lay out the joints before turning andleave the mortising for later.

Assembling a Frame

Gluing up a complicated frame can be a realheadache if you don’t have time to get all theparts clamped before the glue starts to set.And even if you’ve milled your stock and cut

Constructing an apron or rail is a straight-forward task, providing you use suitablejoinery methods.

Rails can be straight or curved, dependingon your design; or you can introduce detailsthat add a design flair to the work, such asbeads, inlays, and grooves.

Leg Options

Beautiful legs are a hallmark of fine furni-ture, plus they’re just great to look at. Onutilitarian pieces, a straight-sided leg is fine.Strong and stout, it provides a solid feel tofurniture.

But like rails, your tables and other framefurniture can look more vibrant and excitingif you branch out from the basic square leg.

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RAIL ACCENTS

Rail Leg

Routed bead Shape curvewith plane.

Glue molding to rail.

Glue inlay intoshallow grooves.

Cut series of rabbeted ledges on table saw.

See “Reinforcing an Apron” on p. 220.➤

Beaded Curved Molded

Inlaid Rail Stepped Rail

SECTION 18 OVERVIEW

Legs and Aprons 217

your joints accurately, with flat, straight sur-faces and square shoulders, the clampingpressure can twist an assembly out of square.

The first step is to divide a major assem-bly into subassemblies. Glue up one side of aframe, which will require fewer clamps, andcheck that the clamps align over the centerof the joints. Then use a reliable square toread intersecting parts. If a joint is out ofsquare, shift the clamps and recheck withyour square until you’re satisfied. Make asecond check using a straightedge to readthe surface for flat, placing the straightedgeat various points across the frame. Any day-

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Outside of leg

Leave flat area for apron.

Quirkbead

Initial stockis square.

Turned areastarts below pommel.

LEG STYLES

Glue up complex frames as subassemblies.Keep checking alignment with an accuratesquare as you work during the glue-up.

It’s also important to check the surface witha straightedge to ensure the parts remainflat and in alignment.

Two-Sided Four -Sided BeadedTaper Taper

Compound Curve Turned

Bring subassem-blies together intoone final unit. A flatsurface, such as agood workbench, is essential for glue-up.

SECTION 18 OVERVIEW

Legs and Aprons218

light between the straightedge and the workmeans you’ve introduced twist, and you’llneed to reclamp.

Once the subassemblies have dried, jointhem together to create the final assembly(see the bottom photo on p. 217). Here, it’scritical to glue up on a dead-flat surface,such as the top of your table saw or a flatbenchtop, to ensure the assembly goestogether flat.

Adding Support to Bed Rails

While thick bed rails are strong and can eas-ily resist deflecting under a load, the spacebetween the rails offers no support for amattress. This arrangement is fine if you’reusing a mattress atop a box spring, since theframe of the box is stiff enough to supportitself and the mattress. You can simply letthe rigid box spring rest on ledger stripsglued or screwed to the sides of the rails.

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Bed hangers screw to the frameand support the box spring fromunderneath.

By allowing you to drop the boxspring below therails, bed hangerslet you to adapt thelook of a traditionalbed to moderntastes in mattressfoundations.

Screw or clamp and glue top to beam.

Orient grain curving upward.

Extend top beyond beam; then fit into pocket cut in bed rail.

Handplane or jointslight belly on top edgeof beam before capping with top piece.

2 in.1/8 in. 1 in.

3/4 in.

CURVED BED BEAM

SECTION 18 OVERVIEW

Legs and Aprons 219

But for narrow rails, such as in traditionalpencil-post beds, there’s not enough depthto hold the box without it raising obtrusivelyabove the rails. Here, you’ll need to use bedhangers, which are made from thick steeland have a 90-degree bend. Screw the hang-ers to the insides of the rails, allowing themto drop below the rails so the box spring andmattress are at the correct height.

For “soft” mattresses—futons and mat-tresses without box springs—you’ll need aconsiderable amount of support between theframe of the bed to keep the mattress flat.Rigid beams can serve to hold the weight.Cut or rout pockets in ledger strips and gluethe strips to the insides of the bed rails.Then make a set of curved beams to fit the pockets.

Install the beams into the pockets; thenplace sheets of plywood or particleboard overthe beams. Cutting the sheets into thirdsallows for easier assembly, and a cutout ineach sheet helps you drop them in place andavoid pinched fingers.

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Ribs that arenotched into ledgerstrips glued to therails provide a sturdy foundationfor a mattress.

Three panels withcutouts for yourhands make assem-bling and disassem-bling a bed platformquick and easy.

STRONG JOINTS

Legs and Aprons220

Mitered Wood Brace

One of the simplest methods for strengthening a rail joint is to brace it from the inside. Chair-makers use this method on seat frames to keepthe legs of the chair securely joined to theframe, but it works equally well on large pieces,such as tables and desks. Using 2-in. or thickerstock, cut 45-degree miters on each end (A).

Chuck a countersink bit into the drill press andbore a hole in the center of the block. Also drilltwo holes through each miter by holding thestock at 45 degrees to the bit (B).

Spread some glue on the miters; then secure the block to the inside of the frame by screwingthrough the block and into the leg and bothaprons (C).

Reinforcing an Apron

To keep a frame strong, you need a solid connec-tion between the legs and rails. You can achievethis by keeping the joint relatively wide and usinga strong joint, such as a long and deep mortiseand tenon.

If you want to use a fairly narrow apron in apiece, you can still make a joint of sufficientwidth where the apron joins the legs or posts.Start with wide stock and mill the joints while thestock is still square. Lay out a curve in the centerportion of the rail, leaving the shoulders fullwidth; use the bandsaw to cut to your lines (A).

When you assemble the frame, the wide shoul-der supports the connection, making the jointstrong and resistant to racking (B).

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B

A

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STRONG JOINTS

Legs and Aprons 221

Metal Brace

Identical in function to a wood brace, a commer-cial metal brace has the added advantage of let-ting you use biscuits or dowels to connect theaprons to the legs. The brace is useful for knock-down frames; it lets you assemble the partswithout glue, if you need to, relying on the braceitself to hold the joints tight. Once you’ve cut thejoints, cut a narrow groove across the inside faceof the rails with a standard sawblade (A).

With the rails dry-fitted to the leg, position thebrace into the grooves in the rails and drillthrough the brace and into the leg for a hangerbolt (B). A masking tape flag notes the correcthole depth. Disassemble the frame and install the bolt into the leg. Lock a pair of nuts on thethreaded end of the bolt to help with driving thelag screw portion into the leg (C).

Assemble the leg and rails; then install the braceby bolting it to the leg and screwing it to theinside of the rails (D).

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STRONG JOINTS

Legs and Aprons222

Scrolled Bracket

If your aprons must be narrow, you can beefthem up and add some visual interest at thesame time by adding a wood bracket betweenthe leg and rail connection. Crosscut some bracestock with one dead-square corner; then tracethe desired pattern onto the stock. You can sawthe shape on the bandsaw, but for really intricatecuts—especially inside cuts—it’s best to use ascrollsaw (A).

Spread glue on the inner edges of the leg and apron and on the mating surfaces of thebracket; then clamp in place (B). The finishedbracket adds strength to the joint while embel-lishing the frame (C).

[ TIP ] Getting into nooks and crannies to

clean up tool marks can be a challenge.

Save your kids’ Popsicle sticks and use

contact cement to stick a piece of sand-

paper to the surface. Then shape the stick

to the job at hand. For circular openings,

try wrapping a dowel of the appropriate

diameter with sandpaper.

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APRONS AND RAILS

Legs and Aprons 223

Beaded Rail

Simple to make, but eye-catching in detail, abead routed along the bottom edge of a rail addsa nice touch (A). You can buy piloted beading bitsin sizes ranging from 1/8 in. to 1/2 in. or larger. Thesize refers to the diameter of the bead itself (B).It’s important to set the height of the cutter sothe bit cuts the full bead in the stock or you’llend up with flat spots. A nice trick is to raise thebit a few thousandths of an inch above the table,which leaves a small fillet on the edge of the rail.A few swipes with a handplane brings the edgeflush to the bead. Try the setup on some scrapfirst; then rout the workpiece on the router tablefor maximum control (C).

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APRONS AND RAILS

Legs and Aprons224

Cutout for a Drawer

Placing a drawer in the middle of an apron is agreat way to use what is often wasted space,especially if the apron is part of a work surfacesuch as a kitchen table. Just make sure to re-inforce the apron as shown (A), so the draweropening doesn’t compromise the frame’sstrength. You can cut out the apron and fit theopening with an overlay drawer; but a slicker wayto go is to build a flush-fit drawer using the apronitself as the drawer front. The idea is to rip theapron into three pieces and reassemble it withoutthe section for the drawer opening, which yousave for the drawer front. The result is a drawerthat blends seamlessly with the grain of the apron.

Start by squaring lines across the face of the rail,using double lines at one end. The lines will helpyou reassemble the parts later in the correct orientation (B).

Once you’ve decided on the finished height ofthe drawer front, rip a strip from both edges ofthe rail stock on the table saw. The center stripwill equal your drawer height (C).

On the center piece, lay out the location andlength of the drawer and crosscut it from theblank. Then reassemble the pieces with glue andclamps, using the freed drawer front as a guide.Adjust the opening in the apron so the drawerfront barely fits from end to end (D). Once you’vemade the drawer, you can plane it to fit the open-ing exactly.

Once the glue has dried, pass the apron through athickness planer to clean up both sides of the rail(E). The finished apron and drawer front shouldmatch very closely in grain pattern and color, andnobody but you will know how it was done (F).

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See “Full-Overlay Drawer” on p. 110 and“Flush-Fit Drawer” on p. 111.

➤➤

Orient grain of block with aprons.

Tabletop clipsscrewed to top and rails stiffen rail.

Glue and screw blocks to divider; then glue and screw divider between aprons.

Align dividers flush with drawer opening.

Attach drawer guideto divider with glueand screws.

A

B C

D E

F

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Legs and Aprons 225

LEGS

Quirk Bead on Square Leg

A bead centered on the sharp edge, or arris, of aleg adds a nice touch (A). You can use a conven-tional piloted beading bit for this operation, butthe setup is somewhat different from when rout-ing a bead in one face.

On the router table, instead of positioning thefence flush with the bearing on the bit, you needto move it away from the bearing by half thediameter of the bead, or its radius. Rout one sideof the leg stock, pushing the stock at an evenfeed speed past the bit (B).

Then turn the workpiece end for end and rotatethe stock 90 degrees; make a second pass tocomplete the cut (C).

See “Beaded Rail” on p. 223.➤A

B

C

LEGS

Legs and Aprons226

Two-Sided Taper

Legs that taper on two faces or sides work wellwith all sorts of furniture designs, from tradi-tional to contemporary. To cut the tapers effort-lessly and safely, use a dedicated jig to push thestock past the sawblade on the table saw (A).The jig produces a specific size taper in a pre-determined size of leg. I have several of thesejigs for a variety of styles and leg sizes. By vary-ing the depth of the rear notch, you can alterhow much flat area you’ll leave at the top of theleg for the apron joint. Once you’ve made the jig,mark it permanently with important setup infor-mation, such as the width and length of the legstock and the distance you need to set the ripfence from the blade.

Place the square leg stock between the notchesin the jig and raise the blade slightly higher thanis customary. The tall blade helps keep the stockfirmly on the table as you push it past the blade.Make the first cut on one face of the stock (B).Then turn the leg 90 degrees and make the sec-ond cut in the same manner as the first (C).

Finish the leg by handplaning the sawn surfaces.As you plane, pay attention to the transitionbetween the taper and the flat area at the top of the leg. The goal is to leave a crisp line at this point (D).

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Trace handle fromold hand saw;glue to jig.

Notch at back equalto width of stockplus about 1/16 in., depending on how much of a flat you desire at top of leg.Distance

equalslength of leg.Notch at front

equals desired width of leg's foot.

Set rip fenceto this distance.

Saw tapered openingon bandsaw.

B C

D

A

LEGS

Legs and Aprons 227

Four-Sided Taper

A leg that tapers on four sides seems to danceon its toes and is suited for small tables and deli-cate frames. Like the two-sided taper, you canleave flat areas at the top of the leg to facilitatejoining the leg to aprons or taper the leg the fulllength. Be warned: tapering full length willrequire some tricky fitting, since the shoulder ofthe rail has to angle to match the taper of the leg.

Taper the leg on the jointer, which is a safe pro-cedure as long as you follow some common-sense guidelines. Set the depth of cut 1/16 in. orless, never place your hands directly above thecutterhead, and use a push block whenever possible. Mark a line with masking tape on thejointer’s fence to indicate where you’ll start theleg. Then position the top of the leg to your mark;edge the cutterhead guard out of the way; andslowly drop the leg onto the spinning cutterhead,keeping your hands well in front of the spinningknives (A).

Make several passes on one face of the leg untilyou have the desired amount of taper and notethe total number of passes. On the last pass,don’t drop the leg onto the jointer. Instead, startwith the tapered face held firmly on the infeedtable and make a full-length pass (B).

Taper the remaining three faces by turning thestock 90 degrees for each side, repeating thetapering procedure and taking the same numberof passes. Using this technique will leave a crisptransition between the flat at the top of the legand the taper below (C).

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WARNING Never place your

hands directly over the spinning cutter

when operating a jointer. Apply pres-

sure before and after the cutter when

hand-feeding the workpiece.

▲ !

LEGS

Legs and Aprons228

Compound-Curved Leg

There are all sorts of complex curves you canintroduce into your leg-making repertoire; butone of the simplest is a shallow compound curvein which the two adjacent faces of the leg curvegently away from each other in separate planes.(For more on curves, see The Complete Illus-trated Guide to Shaping Wood, by Lonnie Bird,The Taunton Press.)

The first order of business is to cut all the joinerywhile the stock is still square. Then use a thintemplate of your desired shape to lay out thecurve on one face (A).

Use a narrow blade in the bandsaw to cut to yourlayout lines (B). Then flip the stock 90 degreesand draw the curve again by bending the tem-plate onto the sawn outer surface of the leg. Besure to orient the joints correctly before position-ing the template (C). Saw the adjacent side asyou did the first, this time keeping the work incontact with the saw table directly below theblade to prevent the stock from rocking (D).

Finish the sawn surface by cleaning up the sawmarks and fairing the curves with a flat-bottomspokeshave (E). For more severe curves, use around-bottom shave. The finished leg curvesgracefully outward in two planes (F).

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A B

C D

E

F

LEGS

Legs and Aprons 229

Turned Leg

The design possibilities are endless when itcomes to turning legs for furniture. However,you should follow some basic guidelines toensure success. Generally, it’s best to leave thetop section of legs square, as woodturner MikeCallihan has done here. This flat transition area,or pommel, makes fitting the legs to the apronsor rails much easier, since you can referencesquare rails and cut more conventional joinery,such as square-shouldered tenons. You can layout for these joints in the square stock and cutthem after you complete the turning work.

Start by squaring lines around the blank at theshoulder; then mount the blank between centers.Begin by using a roughing gouge to round thestock, stopping about 2 in. below the markedpommel (A).

To keep the junction between the pommel andthe turned area crisp, use a backsaw to sawabout 1/8 in. deep around the blank, just belowyour marks. Note that you can cut deeper at thecorners (B).

With the blank spinning, use the long point of askew on the waste side to relieve the roughshoulder of the pommel (C). Then use the cornerof the roughing gouge to round the stock up tothe shoulder (D).

Next, use a parting tool and calipers to establishthe finished round below the pommel (E). Finishthe pommel by using the long point of the skewto refine the shoulder, taking light cuts up to yourmarked line (F).


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LEGS

Legs and Aprons230

A turning pattern comes in handy for making multiples, and it’s practical for laying out themajor diameters of the leg. Once you’ve roughedout the leg to round, hold the pattern up to theshoulder of the blank and transfer the importantdiameters (G). Use a parting tool to cut a seriesof grooves in the leg on your marks, wideningeach cut as you go to prevent binding. To gaugethe correct depth, use calipers set to the correctdiameters shown on your pattern. To avoid catch-ing, make sure the tips of the calipers are roundedand hold them only on the side opposite the cut-ting tool (H).

Once you’ve defined the diameters, work thelarge diameters before turning the smaller onesto prevent flexing. Use a gouge or the skew tocut the straight sections and roundovers, refer-ring to your pattern by eye. The skew takessome skill to master but leaves the smoothestsurface. To cut a bead, draw a centerline on thestock and try rolling the skew over with the longpoint up (I). Use the tip of a small gouge to turnthe hollows, keeping the bevel rubbing on thestock to prevent catches. Judge the fairness ofthe curve as you turn by eyeballing the profile atthe top, not at the cut (J).

Finish up by removing the tool rest and sandingthe leg while it’s spinning, starting with 180-gritand working up to 220-grit sandpaper.

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G H

I J

SECTION 19 OVERVIEW

231

Seating is an essential form of furniture; and while chairs and stoolsare known for their complex angled

joinery, you shouldn’t let this aspect of chairmaking intimidate you. Finding thenecessary angles and cutting them to fit areeasier than you might think. Some of thetools and methods you’ll use have beenaround for centuries. Most are simple to use, yet very effective.

Chair types generally fall into two cate-gories: plank chairs, in which the upper andlower carriage of the chair emerges from theseat plank, and frame chairs, in which thelegs, rails, and stretchers form the basicstructural unit and the seat becomes second-ary to the construction.

For comfort, most chairs will have curvedplanes and surfaces so they cradle the body.And when it comes to curves, the seat andback are the two essential forms. You cancarve these parts by hand, shape them onthe bandsaw, or use laminating techniques.For added comfort, you can consider uphol-stering the chair seat or back or weaving apliable seat from fabric, rush, splints, orother materials.

Once a chair is built, it should sit firmand solid on the floor. The chairmakingprocess often leaves one leg short or long, soleveling a chair is the final step before put-ting it to use. You can also add rockers to achair for the ultimate in sitting pleasure.

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➤ Shaved RoundTenons (p. 237)

➤ Turned RoundTenons (p. 238)

➤ Round Mortises (p. 239)

➤ Angled Mortisesand Tenons (p. 240)

Chair Joints

➤ Curved andBandsawn Back (p. 241)

Chair Backs

➤ Sculpted Seat (p. 242)

➤ Woven Seat (p. 243)

➤ Upholstered SlipSeat (p. 244)

Chair Seats

➤ Leveling Chairs andStools (p. 245)

➤ Adding Rockers (p. 246)

Hitting the Floor

Chairs and Stools

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Building for strength involves usingappropriate joinery as well as choosing andselecting your wood carefully. (For more onjoinery, see The Complete Illustrated Guide to Joinery, by Gary Rogowski, The TauntonPress.) Keep in mind that chair parts aregenerally quite thin, so taking the time toselect straight-grained wood adds to a chair’sability to withstand use and abuse over time.An important and often neglected touch isto nail furniture glides to the bottom of achair’s legs. Glides can cushion the blow that legs receive from the weight of the sit-ter, and they allow the chair to be draggedacross a floor without damaging the legs orthe floor.

Plank Chairs

The overall structure of a plank-type chairrevolves around the seat itself. Windsorchairs best describe this arrangement. Seatblanks must be thick—about 2 in.—so thatthe posts that connect to them have enoughdepth for a strong union. The strongest seatjoint is when the post is tapered and thenwedged in a tapered hole or mortise cut inthe seat. Adding stretchers below the seatcan significantly increase the overall strengthof the chair.

Frame Chairs

The frame-type chair relies on its framemembers—not the seat—for its structuralintegrity. This type of chair can have a plankseat, or you can drop in a slip seat or a tradi-tional upholstered seat inside the seat frame.While legs, posts, and rails can be round, a

Designing for

Comfort and Strength

Chair design involves three basic goals: com-fort, durability, and good looks. Althoughthe aesthetics of a chair involves some uni-versal design principles and personal choices,building for comfort and strength requiresmore stringent guidelines.

While there are no precise numbers,a chair’s dimensions and the angle of theback to the seat play vital roles in comfort.The drawing below shows average dimen-sions based on a dining chair. You can usethese numbers as a starting point for otherstyles of chairs, such as task chairs andlounge chairs.

SECTION 19 OVERVIEW

Chairs and Stools232

95–102

Depth, 16 in. to 18 in.

Between arms,19 in. minimum

Seat

Arm,22 in. to 26 in.

Increase angle for easy or lounge chairs.

Stretcher,4 in. minimum

Seat16 in. to 18 in.

Back width,14 in. to 20 in.

Front width,18 in. to 20 in.

CHAIR DIMENSIONS

See “Furniture Glides” on p. 200.➤

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SECTION 19 OVERVIEW

Chairs and Stools 233

frame chair generally consists of many rect-angular rails and posts joined at a variety of angles.

Seats and Backs

Ultimately, the acid test of a successful chairis whether the seat and back are comfortableto the sitter. Once you’ve defined the rightdimensions of the seat and back, you’ll wantto add some contours to these surfaces. Forbacks, you can use a series of curved slatstenoned into the chair seat or frame or youcan make a solid panel sawn to the appro-priate curve. Seats can be deeply scooped orwoven from pliable materials that give andconform under the weight of the sitter.Upholstered seats add a look of refinementwhile providing a cushioned surface for themost delicate of derrieres. (For more exact-ing curves, including laminated seats andbacks, see The Complete Illustrated Guide to Shaping Wood, by Lonnie Bird, TheTaunton Press.)

Anti-Tip Feet

Realizing that everyone at some point in hisseated life will rock back on a chair—oftenwith disastrous, leg-breaking results—theShakers devised a clever wood mechanismthat installed on the two rear legs. Called a tilter, it consists of a pivoting, wooden ball captured inside each leg. Its moderncounterpart, a metal tilter that slips over therear legs, can be seen next to the original inthe top photo on p. 234.

If you examine the anatomy of the originalwood tilter, you can see how to make it. Use amodified spade bit to drill the concave holesin the legs. You’ll get good results if you drill

Crest rail

Back spindle

Arm

Thick plank seat issculpted for comfort.

Back and arm supports fit through seat and are wedged.

Leg fits through tapered hole in seat and is wedged.

Center and side stretchers brace leg assembly.

PLANK CHAIR ANATOMY

Crest rail

Curvedback post

Seat frame

Corner block stiffensseat frame and supports seat.

Frontstretcher

Sidestretcher

Front legis tenonedthrough arm.

Install upholsteredseat over corner blocks inside frame.

FRAME CHAIR ANATOMY

SECTION 19 OVERVIEW


the hole on the drill press, tilting the presstable to 90 degrees and clamping the leg par-allel to the bit. Match the concave hole byturning the tilter ball on the lathe. Beforesecuring the tilter with the leather thong, rubthe tilter and the inside of the leg hole withpaste wax to reduce friction.

Using Rived Stock

Incorporating rived stock into your chair-making, when the blank has been cleft froma billet of wood rather than sawn, can addstrength to a leg or spindle. And rived stockis much easier to work with hand toolsbecause the grain runs straight withoutrunout. Chairmaker Drew Langsner ofCountry Workshops in Marshall, NorthCarolina, starts by laying out squares on theend grain of a freshly sawn billet; then hesplits to one of the lines using an ax and abig wooden club.

The next step is to section the split billetinto individual squares, using a froe and afroe club, which is a smaller wooden mallet.Position the blade of the froe roughly centeron the stock; then give it a hard

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The Shakers usedwood ball-and-socket chair tilters,while modern furni-ture makers may usemetal ones. (Collec-tion of the UnitedSociety of Shakers,Sabbathday Lake,Maine. Photo byJohn Sheldon.)

Glue wedge into hole to secureleather thong.

Drill straightand then angled hole for thong.

Pull thong tightagainst shoulder.

Back leg

Bore concavehole with modified bit.

Modify spade biton grinding wheel.

TILTER FOOT

The sections aresplit into smallersections with a froeand mallet. The froehandle providesleverage that allowsyou to control thesplitting action andget straight billets.

Riving stock beginswith laying out agrid and splittingthe log into regularsegments with an ax.

SECTION 19 OVERVIEW


horse, and use a drawknife to shave twoadjacent faces roughly straight and square.With two faces square, use a shopmadegauge to mark the width of the stock.Continue shaving with the knife to squarethe blank, cutting to your layout lines.

blow with the club. Once split, use the froeas a lever to separate the halves. Continuesplitting and separating until you have indi-vidual squares.

To bring the rived square to round, clampthe stock in a bench vise, or on a shaving

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I first spied a variation of this stop on a workbench in the shop of friend and

cabinetmaker Frank Klausz. If you screw a

fixed, horizontal piece to the end of the

bench and then attach a flip-up stop at

both ends, you can use the stops for hold-

ing work while you plane or saw. The two

stops accommodate two styles

of saws, one for traditional Euro-

pean saws, which cut on the

push stroke, and the other for

Japanese saws, which cut on the

pull stroke.

The two top pieces swivel and butt against the bottomsection for a simple but effective stop system. You canuse either stop, depending on the direction of cut.

A shaving horseprovides a quickway to hold thesquares as youwork them. Firmfoot pressure tightens the headon the workpiece.

Used as a lever, the froe quickly separatesindividual squares from the blank.

Once two adjacentfaces are workedsquare, Langsneruses a simple shop-made gauge tomark out the widthof the piece.

HOMEMADE BENCH STOP➤

SECTION 19 OVERVIEW


Once the stock is square and to width,use the drawknife to shape the blank into an octagon by shaving off the corners. Thenswitch to a flat-bottom spokeshave to refinethe eight facets. Finish the leg or spindle by knocking off the facets with the spoke-shave, checking by feel and eye to see thatthe leg is round.

Cover Your Chopping Block

A chopping block or stump is a versatilework surface for all sorts of woodshop tasks,from chopping billets and slicing blanks tohammering hardware on its hard end-grainsurface. But a shop block likely suffers onemajor drawback: The porous grain of theblock will collect all sorts of edge-dullingfragments, including dust particles, sandinggrit, and dirt from the casual passerby whomistakes the block as a ready-made seat.Chop on this stuff and you can kiss yourkeen knife and hatchet edges good-bye. Tokeep the block clean and ready for use—andto dissuade sitters—chairmaker Langsnerkeeps a lid on it, cobbled together from plywood and scrap wood.T

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Use the drawknifeto trim the billet tothe layout lines, creating a squareworkpiece ready for final shapinginto a round.

Start rounding overthe square billet byfirst knocking off thecorners to make anoctagon.

Finish rounding byknocking off thehigh points with thespokeshave; useyour fingers to feelfor subtle bumpsand hollows.

A plywood top protects your chopping blockfrom dirt, helping your axes stay sharp.

Switch to a spoke-shave while workingon the octagon toensure smooth,even facets.

Shaved Round Tenons

The oldest, and often the best, method of mak-ing round tenons is to shave them by hand withedge tools. Using a gauge block will help youdetermine the correct tenon diameter. Once thestock has been rounded with a drawknife andspokeshave, chamfer the end of the blank with a mill file (A).

After chamfering, rotate the end of the blank tocheck its fit in a simple graphite-filled gauge blockwith a hole drilled to the correct diameter (B).Drill three holes in your gauge, reserving one forthe final fitting.

Use a spokeshave to round the stock, taking offthe areas that are marked with graphite (C). Con-centrate on keeping the tenon straight as youshave and keep checking the fit of the tenon inthe gauge block. When the tenon almost fits intothe block, use a strip of cloth-backed 80-grit sand-paper to round fully and reduce the diameter,wrapping the strip around the tenon and pullingback and forth (D).

When the tenon fits snug and firm in the tenongauge, you’re there (E).

A

C

B

E

D

See “Using Rived Stock” on p. 234.➤

CHAIR JOINTS


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CHAIR JOINTS


Turned Round Tenons

The most straightforward approach, and arguablythe fastest and most economical, is to turn yourtenons between centers on the lathe. For a sim-ple tenon, mark the shoulder and use calipers tocheck your work frequently as you turn. Thecalipers should just slip over the tenon.

If you’re making a tapered tenon to fit a taperedhole the lathe is the way to go. You can gaugethe correct amount of taper by cutting two groovesin the stock to the depth of the major and minordiameters of the tenon. Then check your depthfrequently as you rough out the tenon (A).

Taper the tenon using a 3/4-in. roughing gouge.Work at the tailstock end of the lathe to preventthe tool edge from accidentally hitting the lathe’sdrive spur (B).

For long or large-diameter tenons, a commercialtenon cutter chucked in a drill works fast and canmake tenons up to 41/4 in. long, depending on themodel. The trick to keeping tenons straight is toclamp the work horizontally; then hold the drilllevel and in line with the axis of the work (C). The tool works well in green or dry wood and isbest suited for rustic-type work for which thestock is irregular and you don’t mind the look of a rounded shoulder.

There are also several specialized tools you canuse for making round tenons. One of the sim-plest is to cut a shouldered tenon using a plug ordowel cutter chucked in an electric drill or brace.A bubble level taped to the drill helps align the bitto the work (D). Tenon length is limited with thistype of tool.

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(Photo by Drew Langsner.)

D

CHAIR JOINTS


Round Mortises

Making a tapered hole to fit a tapered tenon isone of the strongest methods for connectinglegs to a seat.

The joint naturally locks together as the chair is used, since the weight of the sitter—and gravity—forces the tapered parts together (A).Chairmaker Drew Langsner starts by laying out theholes in a seat blank using a full-size pattern (B).

Once the holes are laid out, drill them at the correct angle using an auger bit chucked in abrace. Homemade gauges—one square and onebeveled to the slope of the leg—help you eyeballthe correct angle of the bit as you drill (C). Stopdrilling when the lead screw of the bit just pokesthrough the bottom of the seat blank; then flipthe seat over and finish the hole from the bottomto minimize tearout.

Still working from the bottom of the seat, taperthe straight walls of the mortise with a reamerchucked in a drill or brace. As before, gauge the angle with a bevel gauge and square (D). Adummy leg allows you to check when the ream-ing is deep enough (E). Test the final fit with thereal leg until the major diameter of the tenonmeets the bottom of the seat.

Compound angles for mortises in legs andstretchers are another problem. A solution is to build an angled platform on the drill press (F).But drilling through round stock at a compoundangle can also be done with the legs in place.Using a Powerbore bit and an extension, you candrill through adjoining legs in one operation (G).Guide cleats clamped to the legs stiffen theassembly and help visually guide the bit.

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Ideal taper is around8 to 10 for tenon to wedge firmly into mortise.

Split top of leg and drive in taperedwedge. Orient wedge 90 to grain in seat.

Weight of sitter pushes seat into tenon.

Tapered tenon wedges into tapered hole as weight is placed on seat.

B

D

C

E

A

See “Shaved Round Tenons” on p. 237.➤


F G

CHAIR JOINTS


Angled Mortises

and Tenons

The mortise-and-tenon joint is the essential jointfor chairmaking, and in chairs you often have to cut these joints at one or more angles. It’salways best to cut the mortises first, so you canfit the tenons accurately to them. When the mor-tise angles from the face of the work, lay it outand cut it on the drill press. Use a Forstner bitwith a diameter equal to the mortise’s width anddrill a hole at each end of the mortise; then drill aseries of overlapping holes to drill out the wastein the center (A).

Square the drilled mortise by hand with benchchisels. Use a narrow chisel to cut the ends flatand square and then pare the walls with a widechisel (B).

When it comes to the angled tenons, you’re bestoff laying them out with the aid of a full-sizedrawing of the chair and the joints. Instead of calculating the angles mathematically, use bevelgauges to find the necessary angles by layingthem directly over your drawing (C).

Once you’ve set the gauges, use them to trans-fer the angles to the stock. Square off an angledshoulder to mark the cheeks using a flat squareheld against the gauge (D).

With the stock clamped vertically, use a backsawto rip the cheeks by sawing to your layout lines(E). Then crosscut the angled shoulders by tiltingthe saw and holding the stock flat on the benchagainst a bench stop (F). Clean up any irregulari-ties on the cheeks with a shoulder plane, makingsure to keep the cheeks flat and parallel to each other (G).

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C

B

D

E

F

G

CHAIR BACKS


Curved and

Bandsawn Back

You can make a wide, curved chair back by saw-ing the curve on the bandsaw, even on a rela-tively small bandsaw. Start by ripping separateboards that, once glued together, will make upthe desired width of the back. Joint their matingedges. Then lay out the desired curve on theedge of each board using a plywood templatenailed to the stock (A).

Carefully square your bandsaw blade to the stock(which is more accurate than squaring the tableto the blade) and saw out the curves in eachboard, cutting right to your layout lines (B). Aftersawing, glue and clamp the boards edge to edge,being careful to line up the curves as much aspossible (C).

Finish by smoothing the back on both faces,using flat- and round-bottom spokeshaves, ascraper, and minimal sanding (D). Periodicallycheck the surface with a straightedge to maintaina flat surface across the face.

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CHAIR SEATS

242

Sculpted Seat

Making a seat from a solid blank isn’t difficult,but it requires a fair amount of elbow grease,especially when trying to contour deep areas likethe seat of a Windsor-style chair. ChairmakerDrew Langsner starts on the top of the seat bysculpting the deepest areas with an inshave, tak-ing quick, short strokes and working diagonal tothe grain. For more control, use an inshave withradiused corners and a flat in the center of theblade (A). You can shave freehand to the desireddepth or drill two small holes at what will be themost deeply scooped-out areas of the seat. Thenshave until you reach the depth of the holes.

Quicker than an inshave but a little trickier to con-trol is an adze, which removes a lot of stock in ahurry. Hold the seat blank against a scrap blocknailed to the floor and clamp it with your foot.Swing the adze toward you and between yourlegs, taking chopping cuts across the grain (B).

To refine the surface and even out the tracks leftby the inshave or adze, use a fenced tool called a bottoming shave, or travisher. The blade andthe bottom of the travisher body curves in twoplanes, affording great precision and control ofthe cut (C). Set the blade for a light cut and pushor pull the shave downhill or with the grain. You’llget shavings similar to those made by a hand-plane (D). Use your eyes and fingers to checkwhen the surface is smooth and fair. Finalsmoothing with a pad sander completes the contours.

To shape the edge of the seat, tilt the bandsawtable and saw around the perimeter of the blankto create a bevel, or undercut (E). Then refine thebeveled edge with a drawknife. For best control,skew the knife and take slicing cuts (F). Smoothand refine the bevel and round it slightly with aflat-bottomed spokeshave (G).

A

C

F

G

E

Chairs and Stools


B

D

CHAIR SEATS


Woven Seat

Weaving a seat or chair back is a fast way tomake a comfortable surface for post-and-rungchairs, whether the chair is new or old. The tech-nique is similar for many types of seat materials,from fabric tape and nylon webbing to cane,rush, and wood splint. Seat weaver Pat Boggs of Berea, Kentucky, starts with splints, or strips,of hickory, cut from the inner bark of the tree.

After soaking the strips in hot water for about 1/2 hr., begin with the warp, tying or tacking a stripto a side seat rung and wrapping it around therungs from front to back, keeping it taut (A, B).When you near the end of a strip, start a newstrip by tying it to the previous one. When you’vefilled the opening, wrap the strip around the backrung; then turn the corner and tack it to the adja-cent side rung.

For the weft, or woven cross strips, start at theback of the chair and wrap around the side rungs,weaving over and under the warp strips (C). De-pending on the look you want, you can arrangethe weft across single strips, or weave over andunder pairs or multiples of front-to-back strips (D). Use a block of wood to tap the edge of thesplints, keeping them tightly together (E). Finishthe final loose end by weaving under severalcross strips underneath the seat. As the barkdries, it will shrink and pull the weave tight, leaving a tough and resilient seating surface.

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E

Fill in open triangleswith piece tacked at back of rung.

Wrap from front to back.

Start with strip tacked tounderside of side rung. Strips can be nylon webbing, fabric tape,rush, or wood splints.

With webbing or tape, insert foam or cloth bag filled with shavings between strips.

B

Tack final end to front rung.

Tack end of weft strip onto back rung.

Weave over and under warp strips on top and bottom of seat.

C

CHAIR SEATS


Upholstered Slip Seat

Making a padded slip seat is a simple way toprovide cushioned support for your chairs. Startwith a seat blank, which can be a piece of solidwood contoured to shape, or use a flat piece ofplywood fit to the chair. Then gather a piece of 1-in.-thick foam, some cotton or polyester batting(cotton produces a more “natural” feel), somefabric, and a few upholstery tacks, all availablefrom fabric stores. Cut the foam just inside theoutlines of the seat and lay it on top; cut the bat-ting to fit over the foam (A). You can saw thefoam to size on the bandsaw, tilting the sawtable to bevel the edges slightly.

Cut the fabric, leaving a 3- to 4-in. margin allaround. Place the foam and batting on the seat,center the fabric over them, and turn the pileover. Use a couple of upholstery tacks to tem-porarily tack, or “baste,” the fabric to the under-side of the seat, working at the center of thefront and back edges. Concentrate on stretchingthe fabric tightly as you work and check that thepattern or weave is straight and even (B). Thentack the sides in the same manner, stretching thefabric from side to side and tacking the fabric inthe center (C).

Use a staple gun to secure the fabric perma-nently to the seat. Start at the center of the front and back edges and then work toward the corners (D).

Staple the sides as you did the front and back,working from the center out to the corners. Asyou progress, constantly flip the seat over tocheck that the fabric pattern is even. Keep a pairof nail pullers handy to remove staples if youneed to realign the fabric; then restaple. At thecorners, you’ll have to fold and tuck the fabric tokeep it stretched tight to the seat, especially ifthe seat blank is severely curved (E). T

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HITTING THE FLOOR


Leveling Chairs and Stools

Most chairs and stools won’t sit solidly onceyou’ve made them. You usually end up with atleast one leg that’s a hair too long, and the resultis a slight wobble to the chair or stool. The fix isan easy one. Place the chair on a dead-flat sur-face, such as a large square of medium-densityfiberboard (MDF) or the table saw, and let theoffending leg hang over the edge. Make sureeach of the remaining legs sits firmly on the sur-face. Mark a line around the leg, using the edgeof the table to guide your pencil (A).

Use a backsaw to saw to your marked line (B).As a final check, place the chair back on the flatsurface. It should sit square and firm.

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HITTING THE FLOOR


Adding Rockers

There are no hard-and-fast rules for the shape of runners, but the drawing (A) shows somegeneral guidelines that work for a variety of rocker styles.

To test a proposed curve, draw a full-size runneron scrap and cut it to shape. For the runner torock properly, it’s important that it be a perfectarc with a fair curve—no flats, hills, or valleys.Paper-faced foam board, about 11/2 in. thick, is aninexpensive material to use for the mock-up andsaws easily on the bandsaw (B). Test the rockingmotion on your pattern by rocking it back andforth on a flat surface. The bigger the radii, thelonger the rocking action. A smaller curve resultsin a faster, harder rock (C).

Once you’re satisfied with the rocking move-ment, saw a second pattern that’s identical to thefirst and temporarily clamp both to the chair legsto judge the resting angle, or pitch, of the seatand back and to recheck the rocking action. Youcan change the angle by shortening or lengthen-ing the back legs or by moving the rockers for-ward or backward in relation to the legs. Onceyou have the appropriate pitch, mark the locationof the leg joints on the runner patterns (D).

Use the patterns to make the runners, sawingthem out on the bandsaw and fairing the curveswith spokeshaves and sandpaper. Join the run-ners to the legs by referring to your marked pat-tern, using mortise and tenons, dowels, or slipjoints, depending on your chair design. The fin-ished rockers can be shaped however you like,but rounding the edges and gradually tapering therockers from front to back give the chair a morerefined appearance (E).

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Runner radius equals 36 in. to 42 in.,or measure from sitter's chinto floor. Shorter runners producea fast rock; longer runners have slower rocking motion.

Good pitch of seat to floor is 90 to 120 . Alter pitch by shortening back legs or by moving runners foward or back.

Taper runner from front to back.

34 in. to 42 in.

A

B C

D E

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SECTION 20 OVERVIEW

247

Built from narrow stiles and rails joined together and glued to the face of a cabinet, a face frame

can stiffen a case opening to help preventracking. It also provides a handy surface forinstalling hinges or other hardware for doorsand drawers.

There are several styles of frames you canchoose from, and various methods of joineryto consider, from simple biscuits and screwsto more elaborate mortise-and-tenon joints.And you can use a frame on practically anytype of cabinet, from conventional kitchencasework to curved or angled boxes such ascorner cabinets.

Designing Face Frames

Face frame stock can be as wide and thick as you wish, but generally a stile and rail that are 11/4 in. to 2 in. wide are sufficient for stiffening the carcase without encroach-ing on valuable space inside the case. Frames 3/4 in. to 1 in. thick provide plenty of supportfor attaching hardware. Joinery can be downand dirty, such as screws or biscuits, or moreexacting, such as dowels or mortises andtenons. Your choice of joints can be tailoredto your tooling and style of woodworking.One important consideration: Make sure to size the rails so the assembled frame

Face Frames

➤ Attaching FaceFrames (p. 250)

➤ Simple SquareFrame (p. 251)

➤ Beaded Frame (p. 252)

➤ Mitered Frame andCase (p. 254)

Making Face Frames

➤ Angled Frame (p. 255)

Corner units

SECTION 20 OVERVIEW

Face Frames248

Keeping Biscuits Fresh

Biscuit, or plate, joinery is a very simplemethod for face frame construction.

But a common problem is that the bis-cuits swell up over time as they absorb mois-ture and then fail to fit as designed whenneeded. They need to be kept dry, since

is slightly wider than the case. This leavessome material for trimming the frame flush to the sides of the case after gluing it in place.

When designing a cabinet that will bebuilt into a room, you’ll want to leave somescribe material in the frame so you can fitthe cabinet tight to a wall or ceiling.

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See “Simple Square Frame” on p. 251.➤

Rail

Stile

Mortise and tenon

Divider rails

Paired dowelsfit into holes.

Biscuit fits into slots;trim protruding biscuitafter assembly.

Length of stileequals height of cabinet.

Make total width of assembled frame about1/8 in. wider than case opening.

Screw through pocket hole drilled at angle from back of stile and into rail.

FACE FRAME ANATOMY

See “Scribing a Cabinet to a Wall” on p. 196.➤

SECTION 20 OVERVIEW

Face Frames 249

them in a jar with a tight-fitting lid. Drop apacket or two of silica, a natural desiccant,into the jar along with the biscuits. You cancollect little bags of silica from all sorts ofcommercially packaged products, such askitchenware and tools, or any item that’sprone to rust. Place the bags in the oven ona regular basis to remove excess moisture.

they’re compressed during manufacture and want to swell in the slots once glue isapplied. Leaving your biscuits lying aroundthe shop will encourage them to pick upambient moisture, making for a too-tight fitwhen you try to install them in their slots.

You can overcome the tendency for bis-cuits to swell before their time by keeping

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1 in.

1 in.

Equal

Equal

Scribe to wall;then trim excess.

Extend frame past case slightly, then trim flush after assembly.

1/16 in. Extend stile past side of case for scribing to a wall.

Extend stile and rail past top of case for scribing to ceiling.

EXTENDING A FACE FRAME

Drop a bag or two of desiccant into a jarfilled with plate biscuits to keep them dry .

MAKING FACE FRAMES

Face Frames250

Attaching Face Frames

Although you can certainly nail a face frame tothe front of a case, gluing the frame with clampsis a cleaner alternative. Because of the frame’srelatively thin and narrow members, it can be dif-ficult to apply sufficient clamping pressure overthe frame for tight joints. The trick is to usesome scrap cauls, about 2 in. wide, between theclamps and the frame to distribute the pressure.Spread glue on the edges of the case and care-fully align the frame to the case. There should be about 1/16 in. of overhang on either side. Nowposition the cauls and apply clamps every 6 in. orso (A). If you see any gaps at the joint line, addmore clamps.

Once the glue has dried, clamp the case on itsside and use a bench plane to trim the smalloverhang (B). By keeping the body of the planeon the work and skewing the plane so the cutteris over the frame only, you avoid planing into theside of the case. Smooth any difficult spots andremove plane tracks with a hand scraper (C).

Finish by sanding the edge with 180-grit sand-paper wrapped around a felt block. If you’re careful with your grain selection when picking the stiles of the frame, you can make the jointalmost disappear (D).

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MAKING FACE FRAMES

Face Frames 251

Simple Square Frame

One of the easiest ways for constructing a frameis to mill square stock; then join it using biscuits.This technique works well when the case won’tbe seen at the top and the bottom, such as abase cabinet that will be covered with a counter-top or a wall cabinet hung at eye level. Cut all thestiles and rails to length; then dry-fit the partsand use a biscuit to lay out the joints. If youdraw a centerline on the biscuit, you can markthe stiles and rails by eye if you position the bis-cuit so it won’t protrude inside the frame (A).

Cut half slots for the biscuits with a plate joiner.On such narrow pieces, use a shopmade fixtureto secure the stock so your hands are out of theway (B). Slot all the stiles and rails using the fix-ture, aligning the center mark on the joiner withthe marks you made on the stock (C).

Spread glue in the half slots, insert the biscuits,and clamp the frame together (D). Then saw theprotruding biscuits flush with a backsaw (E).

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Block, glued and nailedto base.

Align joiner with mark on stile.

Plunge joiner into stock to cut half slot.

Clamp end of railflush with block.

Clamp stileto block.

Clamp 3/4 -in. x 12-in.x 18-in. MDF base to benchtop.

B

DC

E

Slotting Stiles Slotting Rails

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MAKING FACE FRAMES

Beaded Frame

Introducing a bead on the inner edge of a faceframe can add some extra spice, especially ifyou’re reproducing traditional cabinets on whichbeads were often a common detail. The key to asuccessful beaded frame is to miter the beadswhere they meet in a corner (A).

Instead of cutting the miters by hand, I use atable saw and a simple mitering jig that indexesthe tricky inside miters (B). Start by cutting thestock to length; then bead all the rails and stileson the router table with a beading bit. A 1/4-in.beading bit gives a nice proportion to mostframes about 11/2 in. wide. Be sure to rout doublebeads on interior divider members (C).

After beading the stock, cut all the joints, makingsure to take into account the depth of the com-bined miters on the ends of the rails. Then crankthe sawblade to 45 degrees and use the ripfence to register the work as you miter the endsof the rails (D). If you need to cut very largemiters—when the blade is high above the table—then play it safe and clamp a block to the ripfence well before the blade. Use the block asyour reference surface instead of the fence.

Stile

Mortise

Tenon Rail

Chisel wasteafter sawingmiters.

5/16 in.

5/16 in.Depth of miter equals combined width of bead and fillet.

Bead and miter bothsides of divider rail.

1/4-in. bead

1/16-in. fillet

Rail length = opening between stiles + combined mortise depth + combined width of beads and fillet.

45

A

45

Screw fence to mitergauge so distance from index stick to blade equals width of stock.

Fence, 3/4-in. x 2-in. x 14-in.hardwood plywood

Glue 1/8-in. x 1/4-in. x 13/4-in.hardwood indexing stick into kerf.

Kerf, miter in plywood with saw-blade on table saw.

4 in.

5/16 in.

Plane bottom of stickflush with bottomof fence.

B

Face Frames252

MAKING FACE FRAMES

Face Frames 253

Once you’ve sawn the rail miters, use the samesetup to cut the miters at the ends of the stilesas well as to cut one side of each area thatreceives a divider rail. For accuracy and safety,always work with the short end of the stileagainst the fence (E).

Use the mitering jig attached to the miter gaugeto cut the opposite side of each interior, ordivider, miter. Move the rip fence out of the wayand register the opposing miter cut on the index-ing stick in the jig. Then hold the work againstthe jig and push it through the tilted blade (F).

Once you’ve cut all the miters, chisel out thewaste in between the divider miters and at theends of the stiles, and dry-fit the frame. Thenassemble the frame with glue, clamping acrossall the joints and checking for square (G).

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G

MAKING FACE FRAMES

Face Frames254

Mitered Frame and Case

When you want the joint between a face frameand case to disappear, miter the edges of boththe case and the frame, join the two withclamps, and glue (A). This eliminates the buttjoint on the side of the cabinet and fools the eyeinto thinking the cabinet is constructed fromextra-thick sides. Before assembling the case,miter the case sides to 45 degrees on the tablesaw with the panel face side down (B). Makesure to size the sides as shown.

Assemble the case; then glue up the face frame,holding it with pipe clamps and quick clamps (C).Check to see that the width of the frame is about1/8 in. wider overall than the case, protruding 1/16 in.on each side. Once the glue dries, saw the miteralong the face frame to a knife edge. Stabilize thework with a tall fence secured to the rip fenceand use featherboards (D).

Glue the frame to the cabinet, using caulsbeneath the clamps to distribute pressure. Toprevent slippage at the miter joints, place clampsboth side to side and front to back (E).

Trim the overhanging frame with a plane or witha sanding block (F). Then ease the sharp cornersby rounding them over gently with some 220-gritsandpaper.

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Make case side1/16 in. less thanfinished cabinetdepth.

Make frame 1/8 in. widerthan case. Plane cornersflush after assembly.

Cabinet top and bottom extend 1/16 in. beyond miter on case side.

1/16 in.

1/16 in.

CB

E

D

F

A

Top View

CORNER UNITS

Face Frames 255

Angled Frame

Angled frames, such as you find in corner cabi-nets, are usually mitered at the edges to fit thecase—and gluing the joint together can be tricky.To build the frame for a corner cabinet, constructthe frame as you would a conventional faceframe; then rip 221/2-degree miters on both sidesof the frame on the table saw to correspond tothe angled sides of the cabinet (A). A boardclamped to the rip fence closes the gap at thetable to prevent the long point of the miter frombinding under the fence. To help in ripping such a large frame, use a featherboard or hold-in tokeep the frame firmly against the fence (B).

Even with a good-quality rip blade, chances areyou’ll get some scoring or burning making thisbevel cut. Before gluing the joints, clean up anyirregularities in the miters with a block plane (C).

The challenge when attaching angled frames isgluing them to the case sides, because the partswant to slip as you apply clamp pressure. Theshopmade cauls shown here give purchase tothe clamps so they apply pressure at 90 degreesacross the center of the joint. Position the caulsaround the frame and use opposing cauls aroundthe mitered case side; then draw the joint to-gether with quick clamps (D).

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Apply clamping pressure over center of joint.

221/2 miter

Case side

Bandsaw angled notch in 3/4-in. plywood, equal to thickness and width of frame and case side.

B

C

D

A

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The frame and panel is a brilliantdesign solution for solid-wood fur-niture, because it so aptly solves the

problem of wood movement. Take a wide,solid-wood panel and house it in grooves cutin a frame so it can expand and contractfreely and yet be restrained flat. That’s theessence of a frame and panel. And yet thedesign goes so much further, since the lookof a panel in a frame has a broad visualappeal for many different styles of furniture.Used for making frame-and-panel doors,case sides and backs, chest lids, dividers, dustpanels, and even wall paneling, the frameand panel is indispensable for general furni-ture making.

Frame-and-panel construction is, for themost part, identical to making paneleddoors. If you’re going to attach the paneldirectly over a case surface, such as a cabinetside, you won’t have to pay much attentionto the back surfaces of the frame and thepanel—since tool and machine marks won’tbe seen. And the construction isn’t limited tosolid-wood affairs: A frame and panel canjust as well be incorporated into plywood orother sheet-good constructions when youwant to impart the look and feel of solidwood. Best of all, a frame and panel addsdetail and depth, because the offset surfacesoffer facets of light and shadow.

SECTION 21 OVERVIEW

256

Frame and Panel

See “Building Doors” on p. 132.➤

➤ Flat Panel withReveal (p. 261)

➤ Solid-Wood RaisedPanel (p. 262)

➤ Veneered RaisedPanel (p. 264)

Making Panels

➤ Removable PlywoodBack (p. 265)

➤ Grooved-and-Splined Back (p. 266)

➤ Frame-and-PanelBack (p. 267)

Back Strategies

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SECTION 21 OVERVIEW

Frame and Panel 257

assembly more stable and adds stiffness tothe frame. You can add visual appeal by off-setting the stiles and rails, using differentthicknesses of stock. Or add “legs” to aframe by simply extending the stiles beyondthe bottom rail and then using the legs inyour furniture design.

Frame-and-Panel Construction

Like doors, frame-and-panel assemblies forcabinets can be constructed in a variety ofways, as shown below. Design choices in-clude the style of panel, from flat or moldedto raised. When your design requires a wideor tall panel, it’s better to divide the frame toaccept two or more panels. This keeps the

Rabbet back of panel to fit groove in frame.

Miter molding;nail to frame.

Stiles thicker than rails.

Extend stile belowbottom rail.

Middle rail

Two panels with a middle rail produce a stiffer assembly.

TYPES OF FRAMES AND PANELS

Flat Panel Raised Panel Flat Panel with Molding

Divided Frame Offset Frame with Leg

SECTION 21 OVERVIEW

Frame and Panel258

tenons, dadoes, biscuits, grooves, and dove-tails. When designing a frame and panel, besure to orient the stiles and rails so theyalign with the connecting members of thecase to avoid cutting joints in the panel.

Attaching Panels

A frame-and-panel assembly can be used asa conventional panel in casework, as shownabove. You can use standard joinery to attachthe panel to the case, including mortises and

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Screw throughcase and into frame.

Plywood case

Rabbet top, bottom, and back edge and glue to case.

Rabbet backedge.

Rout mortisefor tenon.

Extend stilesbelow rails.

ATTACHING FRAME-AND-PANEL ASSEMBLIES

Applied Panel Integral Panel

Integral Panel with Legs

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SECTION 21 OVERVIEW

since it will look good on both the insideand the back of the case. And a frame andpanel allows you to use relatively wide solid-wood panels without worrying about woodmovement. For special projects, or when theback of the case will be seen, the extra effortrequired to install a good-looking back isworth it. Many times, we need a back that

And if you’re joining a frame and panel to aplywood panel, glue or screw the frame tothe case, not the panel. This approach leavesthe panel free to expand and contract.

Backs for Cabinets

Frame-and-panel construction really shinesif you want to dress up the back of a cabinet,

Frame and Panel 259

Spline fits groovesin boards.

Mill tongue halfthickness of board.

Glue frame to case; panel floats in grooves.

Groove top and sides.

Glue panelinto grooves.

Rabbet or cove top and sides to fit grooves in case.

Secure panel with screws into bottom.

Rabbet top and sidesto fit grooves in case.

Plywood panel Individual boards grooved for splines

Shiplapped boards Frame and panel

Plywood panel slidespast narrow bottom.

Solid-wood panel shaped on three edges

Frame and panel

TYPES OF BACKS

Backs That Fit into Rabbets in Case

Backs That Fit into Grooves in Case

SECTION 21 OVERVIEW

Frame and Panel260

and rabbet the edges of the back to fit thegrooves. With this approach, it’s best to cutgrooves in the top and sides only; then makethe case bottom narrower so the back canslide past the bottom and into sides and top.You can groove all the case parts for theback; but this makes assembly tricky, becausethe back must be installed at the same timeas you assemble the case. And if you everneed to remove the back, you’re out of luck.

looks good from the inside of the case only.Hardwood plywood with a high-quality faceveneer on one side is a good choice for theseapplications.

To avoid seeing the edges of the backpanel, you need to recess it into the casesides. The easiest approach is to rabbet theback of the case and then glue and nail theback into the rabbets, as shown on p. 259.Another option is to cut grooves in the case

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A “sacrificial” plywood fence can

be used with most box-style rip fences,

which lets you make cuts where you

need to bury the blade (such as when

rabbeting the edge of a board) without

cutting into your existing fence. The

fence installs in seconds by dropping it

over your rip fence—no tools or hard-

ware. To use the fence, lower the blade

and move the rip fence until the ply-

wood fence is above the blade; then

slowly raise the blade into the ply-

wood. When one side gets too chewed

up, you can turn the fence around to

use the opposite side.

DROP-DOWN RABBETING FENCE➤

Make equal to width of rip fence.

Make equal to height of rip fence.

Position ends equal to length of rip fence.

Sawblade cuts into this face. 4 in.

This box-style fence made from 3/4-in. hardwood plywood lets you bury the sawblade without damage to your rip fence.

SACRIFICIAL FENCE

MAKING PANELS

Frame and Panel 261

Flat Panel with Reveal

The most basic of all frame-and-panel construc-tion is a flat panel captured in grooves cut in theframe. Instead of using a thin panel that can rat-tle around in the frame, it’s best to use a thickerpanel; then rabbet its edges to fit the grooves.Technically, the panel isn’t flat at this point, sinceyou’ve introduced a stepped edge along itsperimeter. For a traditional flat panel, you simplyorient the rabbet on the inside of the case so theshow side displays a flat, uninterrupted surface.However, you can use the rabbeted edge as adesign element if you reverse the panel andshow the stepped edge on the panel’s face. Toallow for wood movement, dimension the panelabout 1/4 in. narrower on its long-grain edges, asshown here (A).

Once you’ve milled a rabbet in the panel to fit thegrooves in the frame, bevel the shoulders of therabbet with a sanding block or a small plane (B).

During assembly, insert thin shims between theframe and the panel to keep the panel centeredbefore applying pressure with clamps (C). Makesure no glue migrates from the frame joints andonto the edges of the panel or into the grooves.

After the frame is assembled, you’re left with adistinctive gap or reveal between the stile andthe panel on the long-grain edges. Note that therail fits tight to the end-grain edges of the panel,since wood movement in this direction is not an issue (D).

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1/2 in.

1/2 in.

1/2 in.

Groove frame,1/2 in. deep

Assembled panelhas 1/8 -in. revealon long-grainedge.

Panel is tight torails afterassembly.

Dimension panel 1/4 in. narrowerthan depth between grooves.

Gaps between panel and stileallow for wood movement.

1/8 in.

1/8 in.

Grain

B

C

D

A

MAKING PANELS

Frame and Panel262

Solid-Wood Raised Panel

The easiest method of raising panels is on therouter table, using a panel-raising bit and a sturdyfence. You’ll need a powerful (3 hp or more)router with an base opening large enough for thediameter of the cutter. If the cutter exceeds 2 in.in diameter, be sure to use a router with speedcontrol so you can lower the speed of the motorto around 10,000 rpm for safety. To preventblowing out the edges, make a series of cuts byturning the panel counterclockwise after millingan edge, orienting the next edge against thefence. Rout with the face down on the table,starting with the end-grain edge and then routingthe long-grain edge (A).

Make successively deeper passes instead ofrouting the bevels in one shot. The last passshould be a light, skimming cut at an even speedfeed to remove any burning or tearout (B). Thefinished edge of the panel should fit snugly intothe groove in the frame (C).

If you don’t have access to a raised-panel cutter,you can raise a panel on the table saw. The firststep is to groove the panel to the depth of thedesired field, creating a shoulder on all four sides. Raise the table-saw blade to the correctheight; then push the stock face side down over the blade (D).

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A

B

C

D

MAKING PANELS

Frame and Panel 263

Tilt the sawblade to the desired angle of thebevel—15 degrees to 25 degrees is optimum;the smaller the angle, the wider the bevel. Makesure the blade tilts away from the fence to avoidtrapping the offcut; use a throat plate that fitsclosely around the blade to support the narrowedge of the work. Attach a tall fence to your ripfence and raise the blade until it barely intersectsthe depth at which you cut the grooves (E).

The surface quality on a sawn bevel is never per-fect, particularly in hard or dense woods. You canuse a hand scraper to clean up saw marks andremove any burning (F). For greater accuracy anda flatter surface, use a shoulder plane. Refine thefield’s shoulder by holding the plane level with thepanel (G); then smooth the face of the bevel (H).

[ TIP ] You’ve raised all the panels and

milled the grooves in your frames and

now you find one or more panels are

slightly too tight to fit into the frames.

Instead of going back to reshape the

panel, you can fix the thick edge with a

few swipes from a plane. Turn the panel

face down and use a block plane to shave

the offending edge on the back face. By

holding the plane at a slight angle, you

can shave the edge until it fits the groove,

and no one will notice the slight taper on

the back of the panel.

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MAKING PANELS

Veneered Raised Panel

Here’s a neat trick I picked up from woodworkerPaul Sapporito for making raised panels from ply-wood or MDF combined with narrow strips ofsolid wood and a couple sheets of veneer. Theresult is a panel that’s stable and bypasses theproblem of wood movement. It’s a great tech-nique for producing really wide panels or whenyou want to incorporate fine veneer into yourwork. First, rip some solid-wood edging about 1/8 in. wider than of the width of the bevel you’llbe cutting, using the same species as yourveneer. Then miter and glue the edging to theedges of the panel (A). When the glue dries, levelthe banding flush with the surface of the panel.

Before veneering the panel, make a referencemark on one edge to indicate the show side. Cut your face veneer so that it overlaps the inneredge of the banding by 1⁄4 in. or more. Let theveneer for the back of the panel extend beyondthe assembly (B). Press the veneer onto bothsides of the panel using cauls and clamps, aveneer press, or a vacuum and bag. A vinyl caulover the veneer prevents glue from sticking tothe bag (C).

Once the veneer has dried, trim the overhang on the back with a flush-trimming bit (D). Thenscrape and sand the veneer smooth. Wiping thesurface with a damp sponge helps loosen anyveneer tape (E). Raise the panel on the shaper orrouter table.

The raised panel differs visually from a conven-tional, solid-wood panel since there’s long grainrunning around all four edges (F).

A B

C D

E F

See “Solid-Wood Raised Panel” on p. 262.➤

Frame and Panel264

See “Flush-Trimmed Lippings” on p. 75.➤

BACK STRATEGIES

Frame and Panel 265

Removable Plywood Back

Using plywood for a case back has the advan-tage of stability, allowing you to use a wide panelwithout the concern for wood movement. Andscrewing the back into rabbets in the case letsyou remove it for applying a finish. Before youassemble the cabinet, rabbet the sides 3/8 in.deep and make the rabbet width equal to thethickness of the back panel. Use a stacked dadoblade and attach an auxiliary fence to the ripfence so you can bury the blade (A).

Once you’ve assembled the case, countersinkthe back for screws and secure the back withoutglue into the rabbets and into the top and bottomof the case. Temporarily clamp across the case tokeep the sides tight to the back. Then toenail thescrews at a slight angle for good purchase intothe rabbets (B).

When it comes time for applying a finish, removethe back and lay it horizontally for more controlover the finishing process. Finishing the insidesof the cabinet without the back in place is mucheasier, too, since you can reach the very backsurfaces without running into abrupt corners (C).

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See “Drop-Down Rabbetting Fence”on p. 260.

➤

BACK STRATEGIES

Frame and Panel266

Grooved-and-Splined Back

A splined back panel is made from several sepa-rate boards fitted edge to edge and then let intorabbets in the case. Grooves along the edges ofthe boards accept wood splines, which stiffenthe assembly and conceal gaps between adja-cent boards. Start by routing a narrow groovealong the edges of each backboard. You can usea thin 1/16-in. slotting cutter to rout grooves of anywidth by simply adjusting the bit height aftereach pass (A).

Rip some splines to fit the grooves. The width ofthe splines should equal the combined depth oftwo grooves. Fit the backboards together, slip-ping the splines between the boards withoutusing glue (B).

Install the boards as a discreet panel into rabbetsin the back of the case, screwing them in placethrough countersunk holes. Make sure to leave asmall gap between each board for expansion (C).

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A

B

C

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BACK STRATEGIES

Frame and Panel 267

Frame-and-Panel Back

For a back that looks as good as the front of thecabinet, you can glue a frame-and-panel backinto rabbets milled in the case. This is a ton ofwork, so it’s worthwhile only if the piece is reallyhigh end or it will be freestanding and seen from the back.

Mill the rabbets slightly deeper than the frame isthick; then assemble the case. The key to a tight-fitting joint is to build the frame slightly largerthan the rabbet opening in the case and thenplane a very slight back-bevel on the edge of theframe until it just fits the case (A).

Grab your bar clamps, because you’re going toneed all of them to attach the back to the case.Brush glue into the rabbets; then drop the backinto them and clamp the sides, top, and bottomof the case to pull the joints tight. Cauls betweenthe case and the clamps help distribute theclamping pressure (B).

You’ll have some cleanup work to do once theglue has dried. Use a handplane to level theslightly raised rabbeted edges of the case flushto the back panel (C).

A

B

C

Making Tops, page 270 Attaching Tops, page 292

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Making and attaching a tabletop or counter is

the defining point in a cabinet or table’s construc-

tion. An open framework or case is transformed

into a useful work surface, and you’re ready to pre-

pare a meal, arrange a reading lamp, or any one of the myriad other daily

tasks that a horizontal surface accommodates.

Tabletops and work surfaces share two important construction require-

ments: They must be flat and provide a usable surface. If the framework

that will support the top is flat, then your main concern is in flattening the

top itself. This is relatively simple if you’re making a plywood or plastic

laminate top. Solid wood is more challenging, especially if the top is wide.

Once you’ve made your top, you’ll need to attach it to the base. The

easiest approach is to screw into the top from underneath, and this is

fine for man-made materials such as plywood and medium-density fiber-

board (MDF). Solid-wood tops require a different approach that takes

wood movement into account.

Tabletops andWork Surfaces

PART SIX

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Ahorizontal surface or top maybe the most useful of all everydayobjects. Whether it’s a tabletop, a

desktop, a countertop, or the lid of a chest,the surface has a vital function: It may closeand seal a chest, it may give us a place towork, or it may simply provide a place tospread out our stuff. Tops should be flat, andthey should be smooth and well finished sowe can enjoy their surfaces comfortably. Ifyou choose a man-made material for yourtop, such as plywood or plastic laminate, youcan construct broad surfaces quite easily andwithout much labor. If solid wood is your cupof tea, then making a wide top will involvesome special considerations, such as woodmovement and how to cope with it and find-ing a way to flatten and smooth such a largeexpanse of natural material.

Tops come is all shapes and sizes, fromround and elliptical to long and wide. Thefinal surface will often depend on your needs.For special work areas, such as an executivedesktop, using leather is a great way of em-bellishing a top with a very refined surface.If you need a durable workstation, such as akitchen counter, covering a top in plastic laminate makes sense.

When company arrives, you might want toexpand a small tabletop into something moreaccommodating. Tables with drop-in leaves,or leaves that pull out, can quickly transform

SECTION 22 OVERVIEW

270

Making Tops

➤ Wide Solid-WoodTop (p. 276)

➤ Wood-EdgedPlywood (p. 278)

➤ Easing HardCorners (p. 279)

➤ Round Top (p. 279)

➤ Filling Holes (p. 280)

➤ LaminateCountertop (p. 281)

Top Construction

➤ Leather Desktop (p. 284)

➤ Tooling Leather (p. 285)

➤ Lift-Up Lid (p. 286)

➤ Using NaturalDefects (p. 287)

Top Options

➤ Breadboard Ends (p. 288)

➤ Biscuit BreadboardEnds (p. 290)

➤ Drop-In TableLeaves (p. 291)

Leaves and Ends

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Making Tops 271

Slide cleats to support top. Opposite leaf

folds down.

Swing out leg to support leaf.

Breadboard end

Breadboard end

Pull out dividers to support top.

Backsplash

Coffee table with square top

Card table with folding top

Fall-front desk Bow-front sideboard Kitchen cabinet with countertop

Gate-leg table with elliptical top Dining table with solid-wood top

Candle stand with round top Work table with octagonal top

TOPS ON FURNITURE

SECTION 22 OVERVIEW

Making Tops272

complex structures, such as a fall-front deskor a gate-leg table, require tops that move orseparate to create changing surfaces, depend-ing on each use of the piece.

Grain Up, Down,

or Alternating?

How should you orient the annular ringswhen you edge glue planks to form a top?The correct approach is to arrange yourboards so the growth rings all face in thesame direction—an easy task by looking atthe end-grain pattern on the end of eachboard. There are two reasons to avoid alter-nating the grain: The first is that, as individ-ual boards move and cup, the top takes on awashboard-type surface. Second, alternatingboards results in a visual light and dark con-trast between different boards, most notice-able as strong light rakes across the top. Withmatched boards, you’ll get an overall curve,which will be held flat by the frame or casethat supports it. Plus you’ll achieve an evenreflection or contrast as the light plays overthe surface.

Once you’ve arranged the boards facing thesame direction, you need to decide which faceto show. Whenever possible, avoid the “out-side” of the tree. You’ll find it best to displaythe inside of the tree on all the show faces.This surface has a richer grain pattern and adeeper reflection.

a small utility table into an expansive surfacefit for a feast. To keep your guests comfort-able, yet still retain a sense of style, youshould consider the treatment you give theedge of your tops. A small bevel or roundoveralong the edge of a tabletop will invite restingarms and add flair to a design; sharp edgesare jarring.

Basic Top Design

Tabletops and work surfaces come in manyflavors and styles, from utilitarian counters tohigh-end, inlaid masterpieces covered in rareveneers or exotic materials. The particularfurniture’s function plays an important role indeciding the style and construction of the top.Low tables, such as a coffee table, need a sim-ple surface for drinks, books, magazines, andother paraphernalia or a pair of feet. MoreT

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Outside of tree

Alternating grain results in sharp contrast.

Showing the same faces evens out reflection. For best effect, display inside face of tree.

Inside of tree

Inside of tree

ARRANGING BOARDS

FOR GRAIN PATTERN

SECTION 22 OVERVIEW

Making Tops 273

Tabletop Edge Treatments

Treating the edges of your tops with specialconsideration will add style to your furniture,plus make it more pleasing to the eye andmore comfortable to use. Unlike shelving, forwhich it’s usually easiest to rout or shape anedge by bringing the work to the tool, it’sgenerally best to rout a profile on a large topby moving a router and the appropriate bitaround the edges. Make sure to use a bitequipped with a ball-bearing pilot to makethese freehand cuts. Or mold a separate pieceand attach it to the top with tenons or atongue-and-groove joint.

Two Ways to

Generate an Ellipse

Oval or elliptical tops offer and intriguinglook and feel unlike any other curve. Basedon an accelerating curve, an ellipse seems toflow with a natural rhythm all its own. Cut-ting and shaping an elliptical top is a simpleaffair and can be done with handheld powertools, such as a jigsaw, or on the bandsaw. Butlaying out an ellipse can’t be done by hand;you’ll need a mechanical method to figure itout. The simplest method is to use a compass,some string, and a pencil to draw the ellipse(see the drawing on p. 274). The downside isthat inconsistent tension on the string cancreate a slightly distorted shape. For a moreaccurate oval, you can use a trammel andframing square.

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20

1/8-in. to 1/4-in. beads

Large radius

Chamfer

Reeded Cock beaded

Raised and molded Breadboard end

Wide chamfer

Roundover Bullnose

TABLETOP EDGES

SECTION 22 OVERVIEW

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y axis

axisy

x axis

x axis

b

Foci

a

a

Tabletopblank b

Cut out topalong line.

TrammelNotch for pencil

Drive two brads through stick.

a

b

Step 1. Cut a rectangle to outer dimensions of the desired ellipse. Draw x and y axes through its center.

Step 2. To locate the foci, set compass for a distance a and swing two arcs from point b.

Step 3. Attach push pins or small brads at each focus; tie a string to pins so that a pencil placed at point b pulls string taut.Step 4. Move pencil around foci while keeping string taut to draw the ellipse.

Step 3. Hold pencil in trammel notch, with brads against square, and draw one-quarter of ellipse. Reposition square to draw remaining quarters of ellipse.

Step 1. Cut a rectangle to outer dimensions of desired ellipse. Draw x and y axes through its center.

Step 2. Hold framing square or plywood sticks along one quandrant of x and y axes.

b

TWO WAYS TO GENERATE AN ELLIPSE

String and Pencil

Trammel and Square

SECTION 22 OVERVIEW

Making Tops 275

Installing Rule Joint Hinges

On drop-leaf tables, where the leaves folddown, a rule joint is one of the best ways ofarticulating the leaves. Construction of thetop and its leaves is straightforward: Use aroundover bit to rout a thumbnail profile onthe two long edges of the top, leaving an 1/8-in. shoulder. Then use a matching cove bitto cut a cove on the edge of each leaf. Testyour setup first on some scrap of the samethickness as the leaf to ensure a perfectmatch. Now comes the tricky part: Layingout and cutting for the hinges. You’ll needspecial rule joint hinges, also known as drop-leaf hinges (available at some hardware storesand from common woodworking catalogs).

Lay out for the hinges first, allowing a 1/32-in. offset to avoid binding the leaf as it’srotated over the top. Then rout or chisel themortises for the hinge leaves and a secondary,deeper channel for the hinge knuckle. Installthe hinges and check the action. If any spotsrub, adjust the fit with a block plane or somesandpaper.

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Matched cove androundover bits cre-ate the rule jointused in drop-leaftables. The jointgets its name fromthe traditional fold-ing rules that havebrass joints of thesame design.

Offset, 1/32 in.

1/32 in.

Tabletop Hinge knuckle

Leaf

Depth of hinge(to center point of knuckle) equalsradius of roundover.

Depth of hinge(to center point of knuckle) equalsradius of roundover minus 1/32 in.

RULE JOINT HINGE LAYOUT

TOP CONSTRUCTION

Making Tops276

Wide Solid-Wood Top

Constructing a wide, solid-wood top is straight-forward if you follow a few basic steps. The same procedure can be used for making all sortsof wide panels, from case sides, tops, and bot-toms to shelves and other horizontal surfaces.Begin by crosscutting rough stock oversize inlength by 4 in. or so (A).

Flatten one face of each board on the jointer (B).Then thickness plane the opposite face (C) andcontinue planing equally on both sides until you’vereached the desired thickness. Joint one edge oneach board (D); then rip the opposite edge on thetable saw and joint that edge, too.

Here’s a technique that saves time and effort:Before you glue the boards together, handplanethe show surfaces to remove any machine marks.This way, all you’ll need to do is flush up the jointsafter glue-up, instead of planing or sanding theentire surface (E). Arrange the boards for the bestpossible grain pattern across the joints and mark aV to help you orient the boards during glue-up (F).

To keep the boards flat and aligned with eachother during gluing, clamp stout battens across theends. Wax paper under the battens prevent themfrom sticking to the glue. First, apply light pressureacross the joints with bar clamps. Then clamp thebattens to the ends and go back and fully tightenthe bar clamps (G). Once the glue has dried, ripboth long edges to remove any marks or dings andto ensure that the edges are parallel (H).

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Making Tops 277

There are a couple of options for squaring theends of the glued-up panel. The first methodinvolves clamping a straightedge across the end of the panel to act as a fence. One commercialstraightedge, available from many woodworkingcatalogs, has integral clamps; but a stout, straightpiece of wood clamped to the workpiece will workjust as well. Make sure the fence is square to thelong edges by checking with a large square (I).Use a circular saw to crosscut the edge square,making sure to account for the width of the saw’sbaseplate when you position the fence (J). Toclean up the saw marks, reposition the fence anduse a router and a straight bit to rout about 1/16 in.off the sawn edge. Equipping your router with anoversize baseplate helps stabilize the router andkeeps the bit square to the work (K).

Another alternative for squaring up the ends of alarge panel is to use a sliding table on the tablesaw. There are many great aftermarket slidersavailable for relatively low cost, and they workwith most types of saws (L). Finish up by lightlysanding the top, leveling the edge joints, andsmoothing the entire surface. Thanks to your pre-vious efforts with the handplane, there won’t bemuch sanding work at all.

[TIP] Machine fences and tables need to

be dead square to register the work accu-

rately. Instead of relying on machine stops

and screws, it’s more accurate to mea-

sure the tool at the source. A small 6-in.

machinist’s square is usually sufficient for

the task. Hold the square tight to one sur-

face and look for daylight between the

square and the adjacent surface. When you

can’t see light, the two surfaces are square

to each other.

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Making Tops278

Wood-Edged Plywood

Plywood is an excellent choice for wide topsbecause you won’t have to worry about woodmovement and it needs only light sanding.

To conceal the raw edges and add durability, you’llneed to edge the panel with solid wood. Mill theedging stock; then miter one end of each strip,keeping all the strips long for now. To locate theopposite miter accurately, hold two mitered cor-ners together, clamp the piece to be marked, andmark for the miter on the free corner (A). Markand cut the long strips to final length in this man-ner, using the miter saw.

Biscuits will help align the strips when gluing themto the plywood. Mark for the biscuits along thelonger plywood edges and on the longer strips,and cut slots every 8 in. or so (B).

Glue the two long strips first. Use a dry shortpiece to help with positioning each long strip byholding its miter against the glued strip (C). Use asmany clamps as necessary to pull the joints tightalong the entire edge (D).

As the first strips dry, make the final miter cuts inthe shorter strips by holding each strip against thetwo long strips. Keep mitering one end of the stripuntil it just fits between the miters (E). Then markand cut for biscuits and glue and clamp the re-maining strips in place, clamping the miters toclose these joints (F). Finish up by leveling theedging flush with the veneered surface.

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TOP CONSTRUCTION

Making Tops 279

Round Top

Cutting a panel into a circle can be done on thebandsaw or with the jigsaw. But the results areoften far from accurate. You can cut a precise cir-cle of practically any diameter using a plungerouter, a straight bit, and a trammel made from 1/4-in. plywood. Fasten the trammel to the router’sbase; then measure from the edge of the bit anddrive a screw through the trammel to the desiredradius. Any bottom-cutting straight bit will work,but I find a four- or six-flute end mill bit makes thecleanest cut, especially when working on endgrain (A).

Clamp a piece of scrap to the bench, apply stripsof carpet tape (double-sided tape) to the top of theworkpiece, and flip the work over to adhere it tothe scrap (B). Screw the trammel to the undersideof the top in the center and set the bit depth about1/4 in. deep. Rout in a counterclockwise direction,pivoting the trammel and router around the screw(C). Continue making successively deeper passesby lowering the bit with each pass until you’verouted through the work and into the scrap (D).

Use the dull edge of a putty knife to pry the fin-ished top off the scrap; then remove the carpettape from the top surface (E). Light sanding on theedges is all you need to complete a perfect circle.

Easing Hard Corners

The first time you bump into a sharp corner on atabletop, you won’t think kindly of the craftsmanwho made the piece. Don’t let this happen to yourfurniture. A quick way of softening an edge is toplane a small chamfer on the corner with a blockplane (A). Then follow by easing the facets toround with 180-grit sandpaper attached to a block(B). Your friends will thank you for being sothoughtful.

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Making Tops280

Filling Holes

Making solid-wood tops often involves workingwith small knots and other minor defects. You canconceal them with epoxy, which makes a greatfiller for knotholes and other blemishes because itdries hard and, more important, doesn’t shrink.For small defects, use a two-part, 5-min. epoxy,which sets up in—you guessed it—5 min. Biggerjobs require an epoxy with a longer open time, letting you fill the crevice completely before itstarts to harden. Mix the epoxy thoroughly; then combine it with sanding dust from the proj-ect you’re working on until you get a creamy consistency (A).

With cracks that go right through a board, you’llneed to mask the underside of the workpiece withtape to prevent the thin epoxy from flowing out of the crevice. Fill the hole by letting the epoxymound over (B). It may take two or more applica-tions before you completely fill the defect.

When the epoxy mixture has cured hard, level itwith a scraper and sanding block (C).

A

B

C

TOP CONSTRUCTION

Making Tops 281

Laminate Countertop

Particleboard is the substrate, or core material, ofchoice for plastic laminate countertops. Particle-board is inexpensive, dimensionally stable, and rel-atively flat; and its hardness and density are greatattributes for withstanding the abuse that counter-tops receive. Make sure you select industrial-grade particleboard, which is denser and moreuniform than builder’s sheets, known as flake-board or chipboard. Typical countertop construc-tion involves using a solid 3/4-in.-thick panel for thetop of the counter, with narrow, 3/4-in.-thick cleatsunderneath (A). The cleats thicken the showedges to 11/2 in., stiffen the overall assembly, and provide support for securing the top to a cabinet below.

Begin by cutting the panel about 1/8 in. oversize onthe table saw and cut all the cleat stock to width.Glue and staple a cleat to the long front edge,using clamps to help position it flush with theedges of the panel (B). Then glue another cleat atthe back edge and add short cleats perpendicularto the long cleats, roughly every 12 in (C). Onceyou’ve attached all the cleats, cut the panel to fin-ished size, trimming the edges perfectly flush andsquare on the table saw (D).

To cover the surface with laminate, you’ll need tocut all the laminate pieces about 1 in. oversize;then trim them after gluing to the substrate.


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Plastic laminate

Laminate ends first,then front, and finally top.

Industrial-gradeparticleboard, 3/4 in. thick

Glue 3/4-in. x 31/2-in.particleboard cleatsunder top.

12 in. o.c.

B

D

C

A

TOP CONSTRUCTION

Making Tops282

Ordinary carbide-tipped sawblades do a fine job of cutting plastic laminate on the table saw. Theproblem comes when the thin sheet starts to slipunder the rip fence and bind or skew in the cut. Toovercome this alarming tendency, make a slip-onfence that closes the gap between the fence andtable (E). A clear acrylic strip above the laminatehelps prevent the sheet from climbing or lifting upand out of the cut, especially when cutting narrowstrips. As you feed the sheet into the blade, bow itupward to maintain consistent pressure againstthe saw table (F).

Generally, it’s best to cover the edges first; thenlay the laminate on the top surface. This way, theglueline won’t be exposed on top. Start by brush-ing the edges of the substrate and the back of thelaminate with contact cement (G). On porous sur-faces, particularly with particleboard, it’s best togive the surface a second coat of cement once the first coat has dried. Look for an even, shinysheen over the entire surface. Let the cement dryfor 10 min. to 30 min., or until it doesn’t stick toyour finger.

Adhering parts with contact cement is a one-shotaffair. Once the two surfaces make contact, youwon’t be able to move them. With relatively nar-row pieces, you can simply eyeball the position ofthe laminate and place it onto the edge, makingsure there’s an overhang all around (H). Then use a rubber roller to press the laminate firmly to thesubstrate, ensuring a good bond (I).

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Rout or saw1/8-in. x 5/8-in. groove.

Make plywood box-typefence to fit over rip fence.

Glue 1/8-in. x 7/8-in. x 16-in. acrylic into groove with epoxy.

Screw 11/4-in.-wide strip of plastic laminate to bottom of fence.

1/2 in.

E

F G

H I

TOP CONSTRUCTION

Making Tops 283

Trim the overhang with a flush-trimming bit in therouter. Flush-trimming routers are great because oftheir light weight and maneuverability, but any typeof router will work for this operation (J).

When attaching a big piece of laminate, you’llneed to take a slightly different approach. Afteryou’ve applied the adhesive to both parts and let itdry, position slip sheets of scrap laminate, strips ofthin plywood, or any thin material on top of theglued substrate; then position the laminate on topof the sheets (K). The slip sheets let you positionthe laminate for an even overhang without acci-dentally sticking it to the substrate. Once the lami-nate is in position, press it to the substrate withyour hands, working from the center out. As youprogress, remove the slip sheets from beneath (L). Then press the laminate with a rubber roller—again working from the center out—using as muchpressure as you can muster. A J-type roller makesit easier to tackle large surfaces (M).

Once more, trim the overhang with a flush-trimming bit (N). This particular bit is designed to cut a very slight chamfer when trimming adja-cent laminate surfaces (O). Finish up by easingover sharp edges and removing any overhang with a mill file; then soften the edges with a sanding block (P).

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Making Tops284

Leather Desktop

For a luxurious writing surface, leather can’t bebeat. You can lay leather onto practically any sub-strate, but unfinished plywood is best. When con-structing the work surface, make sure to build aperimeter edge that’s about 1/16 in. above the sur-face on which you’ll be laying the leather. Beginby cutting the leather 1 in. oversize, using astraightedge and a large square to lay out yourcuts. Then trim the leather with scissors. Wet the back of the leather by lightly misting it withwater. Then roll it up and let the leather sit for 5 min. to 10 min., allowing the water soak evenlyinto the fibers.

While you’re waiting for the leather to absorb themoisture, use a razor knife to incise all around theraised perimeter of the desk surface (A). Blendabout 9 parts white glue with 1 part water to makea mixture with the consistency of light cream. Usea small paint roller to apply an even coat of theglue mixture onto the entire surface; then followby laying a bead of full-strength glue around theedges, flattening and leveling the bead with abrush (B). The thinner glue in the center of thepanel ensures the leather stays supple.

At this point, your leather should be moist andready to go. Center the roll over the desk surfaceand unroll it onto the glue (C). Use your palms toflatten the leather from the center out, removingany wrinkles or trapped air pockets (D). Then runyour fingernail or a blunt stick around the perime-ter to crease the leather where you previouslymade the incision (E). Carefully trim the leather atthe creased line with the razor knife (F). Let thedesktop dry overnight before putting it to use. Asthe moisture in the glue and the leather evapo-rates, the leather will shrink, pulling tight to thedesktop and removing any leftover wrinkles.T

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Making Tops 285

Tooling Leather

Tooling, or embossing leather, gives any work sur-face a classy look (A). The technique is straight-forward and involves a few simple tools: a smallhammer and one or more leather punches in thedesign of your choice. The tips of leather punchesare made from hardened steel with patternsground into their ends, and you can pick them up from leather suppliers (B). Be forewarned:They’re expensive!

Tooling must take place during the process ofapplying the leather, since the glue below shouldbe wet as you work the surface. Start by tappingaround the perimeter of the leather with a punch,keeping your hammer pressure firm and consis-tent (C). As you tap, apply slight sideways pres-sure on the punch to push the leather up againstthe edge of the border. Use your eye to lay out thepattern as you go, looking to see that the puncheddesigns are evenly spaced. To incorporate a sec-ond row of tooling parallel to the first, clamp astraightedge in line with the first pattern and use it to guide your punch (D).

Use enamel paint or gold leaf to highlight andemphasize the punched pattern. Gold-coloredenamel works well, or you can apply gilder’s sizing(a type of glue) and lay gold leaf onto the designs(E). Before the paint dries fully, load a pad of 0000 steel wool with paste wax and vigorously rub the painted areas, removing excess paint andgiving the tooling an aged look and feel (F).

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Making Tops286

Lift-Up Lid

Hinged lids are great for chests and other lowstorage boxes, because they make rooting andrummaging inside a chest easier. An importantconcern when making a wide, unsupported lid isto support and stiffen it, to prevent it from warp-ing. Cleats attached to the lid usually do the trick.Screw—don’t glue—the cleats on the bottom sideto keep the top flat without restricting woodmovement (A).

To attach the lid to a rather narrow box side, glue asecondary cleat at a right angle to a top strip; thenattach the assembly to the box with glue andscrews (B). Secure the lid to the strip with crankedstrap hinges (C).

To prevent the lid from inadvertently closing on theuser—particularly for small children—attach a pairof spring-loaded chest hinges inside the case,screwing them to the undersides of the top and tothe sides of the box (D). Now rooters can safelyroot to their hearts’ content!

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Making Tops 287

Using Natural Defects

Rather than sawing away or concealing certain“defects” in your wood, take the opportunity tohighlight them instead. A large knot fell from thecherry board shown here, and the resulting hole isunsightly—not to mention impractical (A). Withcareful sanding around the edges of the hole, youcan clean up loose debris and soften any sharpedges. On the underside of the top, attach a smallpainted panel or a strip of precious wood to sealthe hole from the bottom (B).

On the top side, what was once a defect is now afocal point that draws and intrigues the eye (C).

Another approach is to glue an inlaid dovetailedkey, or butterfly, across cracks or splits. The inlayis an appealing element, and it prevents furthersplitting. Cut the inlay from hard, dense wood onthe bandsaw; then mark its outline onto the work(D). Make the inlay two-thirds the thickness of thetop. Set a small-diameter straight bit to a depth ofabout 1/16 in. less than the thickness of the inlayand excavate a pocket, routing freehand insideyour layout lines. Then shave right to the lines witha chisel (E).

Apply glue into the pocket and on the edges of thebutterfly and tap it home (F). Once the glue hasdried, level the inlay flush to the surface with aplane and scraper (G).

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A B

C D

E F

G

LEAVES AND ENDS

Making Tops288

Breadboard Ends

Breadboard ends add a nice touch to a top, con-cealing its end-grain edges and offering an air ofdistinction. It also serves to hold a wide solid-wood surface flat. When constructing a bread-board end, the trick is to attach it in such a man-ner as to allow the solid top to expand and con-tract. If you glue the end piece entirely across thetop, the top will eventually split due to woodmovement. The traditional approach is to cuttenons on the end of the top; then mill mortisesinto the breadboard end. By gluing only the centertenon, the top is free to expand and contract (A).Start by cutting the end piece about 1 in. longerthan the width of the top and then mill three mor-tises in the end, about 1 in. deep by 3 in. to 4 in.wide (B). After cutting the mortises, rout or saw a1/4-in.-deep groove between them (C).

To ensure a tight fit of the breadboard to the top,plane a few shavings from the center of the piece.This “springs” the breadboard so the ends—whichwon’t be glued—remain tight to the top (D).

On the table saw, use a stacked dado blade to mill a 1-in.-long tongue on the tabletop. Make thetongue in two passes on each side of the top. Forthe first pass, use double-sided tape to attach asubfence to the rip fence and push the panelacross the blade (E). Then remove the subfenceand cut the tongue to full length by running thepanel against the rip fence (F). This way there’s no need to move the rip fence, reducing thechance for error.

Next, lay out the three tenons on the tongue, sothat the two outer tenons are about 1/2 in. narrowerthan their respective mortises are long. Then layout the 1/4-in.-deep tongue for the groove youmilled in the breadboard. Cut the tenons and the

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Solid top will expand and contract across grain.

1/4-in. x 1/4-in. tongue

Elongate hole for peg to allow tenon to move as top expands and contracts.

Peg joints throughholes in mortise and tenon.

Glue center tenon only.

Rout outer mortises 1/2 in. longer than width of tenons.

Leave end piece proud so top won't extend past it when moisture content is high.

1/4 in.B

C

D E

A

F G

LEAVES AND ENDS

Making Tops 289

tongue with a jigsaw, following your layout lines(G). Saw the outer shoulders with a backsaw (H).To ease the transition between the breadboardend and the top, plane a slight chamfer on theinner edges of the end and along the shoulders ofthe top (I).

Temporarily fit the breadboard to the top andcrosscut it to length. If you suspect the top willexpand, depending on its current moisture con-tent, it’s best to cut the end about 1/8 in. or solonger than the top is wide. Once you cut the endto length, clamp it to the tabletop and drill for 1/4-in.pegs from the underside of the top, through thecenter of each tenon (J). Then remove the bread-board and elongate the two outer peg holes with acoping saw (K).

[TIP] A piece of masking tape wrapped

around the drill bit makes a quick depth

stop. Leave a flap hanging off to serve as

a conspicuous flag.

Brush glue on the center mortise and tenon only(L); then attach the breadboard with a single clamp(M). Drive the pegs through the tenons and intothe top from the underside, adding a drop of glueat the end of the peg to keep it from falling out(N). For now, the finished breadboard end, with itsnicely chamfered edges, protrudes slightly pastthe tabletop (O). As the top expands, the ends willalign flush. With a change in seasons, the endsonce again protrude. This is a better-looking solu-tion than having the top extend past the bread-board ends.

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LEAVES AND ENDS

Making Tops290

Biscuit Breadboard Ends

Another, more expedient, method for attachingbreadboard ends is to use biscuits. This techniqueis best used on relatively narrow breadboards—say, less than 2 in. to 3 in. wide. Spring the jointby taking a few shavings from the center of thebreadboard edge. Slot both the breadboard endand the end of the tabletop for pairs of biscuits.Make sure you reference the biscuit joiner fromthe same side as you cut the second series ofslots and cut the four center slots no longer than4 in. to 6 in. apart (A). Once you’ve cut the slots,glue all of the biscuits into the top (B).

When the biscuits in the top are dry, brush glue inonly the four slots in the center of the breadboard(C) and then clamp the end to the tabletop (D).

Flip the top over and drill 1/8-in.-diameter stoppedholes through each pair of unglued biscuits for 1/8-in. pegs in the breadboard. The best pegs aremade from bamboo skewers, which you can pickup at the grocery store (E). Pin the biscuits withthe pegs; then saw them flush to the surface (F).As the top expands and contracts, the bamboopegs will flex without breaking, keeping the jointtight without cracking the top.

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LEAVES AND ENDS

Making Tops 291

Drop-In Table Leaves

Look in common woodworking catalogs and you’llcome across table extension slides. These cleverwood or metal pieces of gear attach to the under-side of a tabletop and let you separate the top intotwo halves. Dropping a table leaf into the gapbetween the two halves provides you with extratable surface. Table pins or biscuits in the top andleaves serve to line up the parts and keep the sur-face flat. The pins, available in brass, wood, andplastic, are essentially dowels with rounded ends.Biscuits work just as well when glued on one sideonly—so that the exposed biscuit can fit into theslot in a leaf. Whether using the table pins or bis-cuits, the first order of business is to build thetable frame as two separate halves, being carefulto check the free rails for square as you glue upthe frame (A).

Next, secure a half top to each frame with table-top clips. Be sure to brace the free ends of theaprons with plywood gussets (B). Glue the tablepins or biscuits in only one table half (C). Push thetwo halves together and screw the extensionslides to the underside. Pull out each slide byabout 1/4 in. to ensure the two tabletop halves willfit tightly once they’re closed (D).

Now make your leaf, or leaves, in a similar mannerto the two halves. You can attach aprons to theleaf for a seamless look once it’s installed, or keepthe leaf flat. Just remember that an apron makesstoring the leaf more problematic. Make sure tobrace the aprons with corner blocks and slot bothends of the leaf, including the aprons. Glue thepins or biscuits in only one end (E).

To add a leaf, spread the table apart and lay theleaf over the extended wood rails, aligning the pinsor biscuits into their respective slots (F). Now pushthe table halves together (G).

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Some tabletops are nailed to theirbases, but there are more elegant solu-tions for attaching tops to frames or

other support structures. All of them offer asecure method of attachment, while conceal-ing the connections underneath the top. Andwhen you’re dealing with a solid-wood top,you must allow for expansion and shrinkageacross its width. The trick is to hold the topsecure to the frame while allowing it to move.Sound impossible? Several strategies accom-plish this in simplicity and style.

Strategies for Attaching Tops

The material you choose for your top willaffect the way you attach it. With solid wood,you’ll have to allow for wood movement.Metal clips and wood buttons fit into slotscut in the aprons and are screwed to the top;they let the top move while holding it tight tothe frame. Another option is to use screwsdriven through the aprons in oversize holes.

Plywood, MDF, and other man-madematerials can be screwed from underneathwithout regard to wood movement. The easi-est method is to drill through the apronsthemselves; then drive the screws through theaprons and into the underside of the top.Stone and other natural tops must be allowedto move in a similar fashion as solid wood,

SECTION 23 OVERVIEW

292

Attaching Tops

➤ Wood Buttons (p. 294)

➤ Splines and Glue (p. 296)

➤ Wood Cleats (p. 296)

Allowing forMovement

➤ Metal TabletopFasteners (p. 297)

➤ Deep Screw Holes(p. 298)

➤ Pocket Holes (p. 299)

Hardware Solutions

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SECTION 23 OVERVIEW

Attaching Tops 293

but screws won’t work here. Instead, run abead of flexible silicone caulk around theframe’s perimeter; then gently clamp the topto the frame until the caulk has set.

Glue Blocks

Even when attached with buttons or clips,solid-wood tabletops will often shift on theframe because of wood movement, especiallywhen the top is wide. To keep a large topcentered, use wood glue blocks at each end ofthe frame on the underside of the top. Onceyou’ve attached the top with buttons, clips, orscrews, run a generous bead of glue on twoadjacent faces of a 3-in.-long block and rub itinto the tabletop across the grain, centeredagainst the apron. Then clamp the block tothe top until the glue dries. Follow the sameprocedure to attach a block at the oppositeend of the frame.

Apply small glue blocks underneath the topto keep it properly aligned as it expandsand contracts from season to season.

Long-reach clampscome in handy formany gluing chores.

Run bead of caulk along top edge of frame.

Screwinto tabletop.

Inside of table frame

Metal tabletop clips Wood buttons Pocket holes, screws, and washers

Counterbored holesand screws

Silicone caulk

ATTACHING TOPS

Solid Wood

Plywood and MDF Stone, Marble, Etc.

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ALLOWING FOR MOVEMENT

Attaching Tops294

Wood Buttons

An effective and simple method for attaching atabletop to a frame is to use wood “buttons” (A).I always make a batch of buttons and save theextras for later use. Start by cutting a series of 1/2-in.-wide notches in a long length of 3/4-in. by 1-in.-wide stock on the table saw (B). Space thenotches about 1 in. apart.

On the miter saw, crosscut individual buttons byaligning the blade with the left shoulder of eachnotch (C). Taking into account the 1/8-in. saw kerf,crosscutting in this manner produces a 3/8-in.tongue on each button. Finish the buttons bycountersinking and boring a pilot hole througheach button for a screw.

Once you’ve made the buttons, groove the insideof the aprons before assembling the frame. Use a1/4-in.-wide dado blade and adjust the height to cuta groove 3/8 in. deep. Set your rip fence so theresulting groove will be offset about 1/32 in. with thebutton’s tongue, as shown in the drawing. Anarrow drawn on a strip of masking tape indicatesthe correct edge to run against the fence (D).

WARNING Don’t gauge cross-

cuts directly from the rip fence. The

work can bind and kick back. For safety,

clamp a block to the rip fence; then use

it to gauge the correct distance of the

stock to the blade.

▲ !

1/4 in.

1/8 in.

Apron

1/2 in.

1/32 in.

1/4 in. 3/8 in.

Tabletop

Leave 1/8-in. gapswhen button is located along long-grain of top.

Cut 1/4-in. groove in aprons for wood buttons; 1/8-in. groove for metal clips.

B

C

D

A

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Attaching Tops 295

Assemble the base; then place your tabletop up-side down and center the base over its surface.Position the buttons into the grooves in theaprons, keeping some near the corners to re-inforce the joints. Make sure to leave a gap be-tween each button and apron when they fall on a long-grain surface. Position adjacent buttonstight to the aprons (E). Drive a screw through each button and into the underside of the top (F).The gaps on the long-grain areas allow the top to expand and contract freely, while the buttonshold the top tight to the aprons.

[TIP] Mistakes happen. You glued up your

table frame, but forgot to groove all the

aprons for tabletop fasteners. For an easy

fix, use a biscuit jointer to cut slots inside

the aprons. A standard biscuit cutter will

cut a slot the correct width for metal

tabletop clips.

E

F

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Attaching Tops296

Splines and Glue

On veneered or plywood tabletops—where woodmovement is not an issue—you can glue an aprondirectly to the underside of the top. To stiffen theconnection and ensure exact alignment, Collegeof the Redwoods student and furniture makerKonrad Leo Horsch used short plywood splines fit-ted in both the curved aprons and the top of hisLady’s Writing Desk.

Rout grooves in the underside of the top and intothe top edges of the aprons; then glue the splinesinto the aprons every 3 in. or so (A).

Assemble the top to the base with glue, usingplenty of clamps to draw the joints tight. Theresult is a perfect fit of base to top with no visibleconnections (B).

A

B

A

B

Wood Cleats

An effective and elegant way to attach a tabletopis to secure wood cleats to the top of the frameand then screw through the cleats and into theunderside of the top. Half notches cut in the topsof the legs and aprons and in the cleats let youlock them flush with the top of the frame.Countersunk screws hold them fast (A). Thecleats that run along the center of the top can bedrilled with an ordinary hole for a screw; cleatsalong the perimeter of the frame need to haveslotted screw holes to allow the top to expandand contract.

With the tabletop upside down, center the baseover it and drive screws through the cleats andinto the top (B).

HARDWARE SOLUTIONS

Attaching Tops 297

Metal Tabletop Fasteners

Also called Z-clips because of their shape, metaltabletop fasteners are installed in a similar fashionas are wood buttons.

Cut all your apron joinery first; then cut a 1/8-in. by1/2-in.-deep groove in each rail on its inside face,using a standard sawblade (A).

With the tabletop upside down on the bench, center the base over it and carefully arrange theclips. Like wood buttons, be sure to leave roombetween each clip and the rail when it’s positionedacross the grain (B). Predrill for screws and usepan-head screws to secure the clips to the tabletop (C).

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See the drawing on p. 294.➤

HARDWARE SOLUTIONS

Attaching Tops298

Deep Screw Holes

Securing a tabletop with screws is a legitimateapproach, as long as you follow a few simpleguidelines. First, make sure your screws passthrough no more than 1 in. of rail or apron width.On rails wider than 1 in., simply counterbore tothe correct depth with a Forstner bit (A). Then drilla clearance hole through the rail for the screw.Keeping the screw area of the rail rather thinensures that the screw won’t loosen over time asthe rail swells or shrinks as a result of woodmovement.

Another wood-movement issue is when you’rescrewing into a solid-wood tops. You must allowthe top to move or you risk cracking the top orpulling apart the frame joints. The easiest way toaccommodate the top’s natural movement is toslot the screw holes in the rails (B). On the topside of each rail, angle a drill bit back and forth toenlarge the hole. Make sure to orient the slot inthe direction that the top will move (C).

Lay the top upside down and center the base overit. Then drive the screws into pilot holes drilledinto the top (D).

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A

Keep this area 1 in. thick or less to minimize the effects of wood movement in the apron or rail.

Tabletop

Rail

Counterbore 1/2-in.-dia.hole to recess screwinto rail.

When screwing a rail that runs with the long grain of a top, slot the top of the hole to allow screw to move.

C

D

B

HARDWARE SOLUTIONS

Attaching Tops 299

Pocket Holes

When using a pocket hole, you angle the screwslightly, allowing it to start much closer to the sur-face of the top. There are many excellent com-mercial pocket-hole jigs that you can use or youcan make your own from a hard, dense piece ofwood. The idea is to use an angled guide block todrill a 1/2-in. counterbore into the apron and finishup by extending a shank hole through the apron.The oversize counterbore gives the screw room tomove as the top expands and contracts with varia-tions in seasonal moisture content.

Start by sawing a wedge of scrap material to a 20-degree angle on the bandsaw or table saw.Then clamp a 11/2-in. by 2-in. square of hardwoodto the wedge and to the drill press table. Use a 1/2-in. Forstner bit to drill an angled hole through the center of the block, allowing the bit to exit onone side (A).

After drilling, cut one end off the block so thepocket hole is the correct distance from the end ofthe block (B). Then clamp the block to the insideface of the apron and flush with its top edge.Using the same bit you used on the drill press, drillthrough the block and into the face of the apron.Use a piece of masking tape to gauge the correctdepth (C).

Remove the block and extend the hole throughthe apron, starting with a jobber’s bit or any extra-long drill bit (D). Then finish by drilling through theapron from the top edge with a 1/4-in. bit (E). Theoversize hole will allow the screw to move as thetop expands and contracts. Secure the top to theapron with a #6 pan-head screw, using a washerunder the head (F).

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Sources

SOURCES

300

Chris Carlson at Bosch (800-815-8665)

Frank Pollaro at Flamingo Veneer (973-672-7600)

Carlo Venditto at Jesada (800-531-5559)

The folks at Woodworker’s Supply (800-645-9292)

Bruce Halliburton at Georgia Pacific (404-652-4000)

Ron Snayberger at DeWalt (800-433-9258)

Phil Humfrey at Exaktor (800-387-9789)

Lisa Gazda at American Clamping (800-828-1004)

Cynthia Van Hester at Wetzler Clamp (800-451-1852)

Torbin Helshoji at Laguna Tools (800-234-1976)

Brad Witt at Woodhaven (800-344-6657)

Marcello Tommosini at CMT (800-268-2487)

Darrel Nish at Craft Supplies (800-373-0917)

Jim Forrest at Forrest Mfg. (800-733-7111)

Greta Heimerdinger at Lignomat USA(800-227-2105)

Jim Dumas and Greg Engle at Certainly Wood (716-655-0206)

Ken Grizzley and the lads—even Mark—atLeigh Industries (604-464-2700)

Leonard Lee, president, and Wally Wilson at Lee Valley Tools (800-871-8158)

Todd Langston and Scott Box at Porter-Cable and Delta (800-321-9443)

Tom Lie-Nielsen at Lie-Nielsen Toolworks(800-327-2520)

John Otto at Jet (800-274-6848)

George Delaney at Powermatic (931-473-5551)

Dave Keller at Keller & Co. (800-995-2456)

Carol Reed, The Router Lady (760-789-6612)

Gary Chin at Garrett Wade (800-221-2942)

Harry and Henry at Harris Tools (506-228-8310)

Jim Brewer at Freud (800-334-4107)

Zack Etheridge at Highland Hardware(800-241-6748)

Ann Rockler at Rockler Hardware (800-279-4441)

Kurt Wilke at Wilke Machinery (800-235-2100)

Fred Damsen at The Japan Woodworker(800-537-7820)

Daryl Keil at Vacuum Pressing Systems(207-725-0935)

Vince Barragan at Eagle Tools (626-797-8262)

Mike Peters at Shady Lane Tree Farm (610-965-5612)

For technical tool expertise, support, and friendly helpfulness spanning many years, my thanks goto the following tool and material suppliers and manufacturers.

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FURTHER READING

301

Further ReadingLee, Leonard. The Complete Guide to Sharpening.

The Taunton Press.Mehler, Kelly. The Table Saw Book. The Taunton

Press.Nagyszalanczy, Sandor. The Art of Fine Tools. The

Taunton Press.———Woodshop Jigs and Fixtures. The Taunton Press.

WOODSHOPS

Landis, Scott. The Workbench Book. The TauntonPress.

———The Workshop Book. The Taunton Press.Nagyszalanczy, Sandor. Setting Up Shop. The

Taunton Press.———Woodshop Dust Control. The Taunton Press.Tolpin, Jim. The Toolbox Book. The Taunton Press.

WOOD FINISHING

Charron, Andy. Water-Based Finishes. The TauntonPress.

Dresdner, Michael. The New Wood Finishing Book.The Taunton Press.

Jewitt, Jeff. Great Wood Finishes. The Taunton Press.———Hand-Applied Finishes. The Taunton Press.

CABINET MAKING

Joyce, Ernest. Encyclopedia of Furniture Making.Sterling Publishing.

Krenov, James. The Fine Art of Cabinetmaking.Sterling Publishing.

Tolpin, Jim. Building Traditional Kitchen Cabinets.The Taunton Press.

WOOD TECHNOLOGY

Forest Products Laboratory. Wood Handbook: Wood asan Engineering Material. Forest Products Laboratory.

Hoadley, R. Bruce. Identifying Wood. The TauntonPress.

———Understanding Wood. The Taunton Press.

DESIGN

Aronson, Joseph. The Encyclopedia of Furniture.Crown Publishing.

Editors of Fine Woodworking. Practical Design. TheTaunton Press.

Graves, Garth. The Woodworker’s Guide to FurnitureDesign. Popular Woodworking Books.

Morley, John. The History of Furniture: Twenty-FiveCenturies of Style and Design in the Western Tradition.Bulfinch Press.

Pye, David. The Nature and Aesthetics. CambiumPress.

TOOLS AND MACHINERY

Bird, Lonnie. The Bandsaw Book. The Taunton Press.———The Shaper Book. The Taunton Press.Duginske, Mark. Mastering Woodworking Machines.

The Taunton Press.Hack, Garrett. Classic Hand Tools. The Taunton Press.———The Handplane Book. The Taunton Press.

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AAdjustable shelves, 58–59, 61, 68–72Air guns, 16, 81, 85Anthony, Paul, 180ApplePly, 34Aprons, 214–24

drawers in, 107–8, 224reinforcing, 220tops and, 293, 294, 297

Assembly tables, 10

BBacks

for cabinets, 259–60of chairs, 232, 233, 241for frame and panel construction, 259–60, 265–67

Baltic birch plywood, 34, 105Banding. See Edge treatmentsBandsaws, 14–15Bar clamps, 20, 21, 94Barrel hinges, 146, 147, 155Baseboard molding, 95, 179–82Base cabinets, 50, 57Bases, 177–96

applied, 181, 187integral, 183–85joints for, 182, 183molded, 95, 178, 179–82scrolled, 182–83stepped, 181–82toekick for, 178, 184–88

Batting, 244Beaded edges, 62, 217, 223, 225, 252Beams, 20–21Bed rails, 87, 218–19Beds, 214, 218–19Belt sanders, 15–16Bench dogs, 9Benches, 207Bench stops, 235Benchtop planers, 14Bentzley, Craig, 107Bessey K-body clamps, 93Bevel gauge, 17, 203Billets, 234–36Biscuit joints, 15, 249

for breadboard ends, 290for cases, 48, 52for doors, 133for drop-in table leaves, 291for face frames, 248–49, 251for lippings, 77

for solid-wood edging, 278for toekicks, 188

Block planes, 17Blocks

chopping, 236glue, 293riser, 90

Board-and-batten doors, 133, 141–42Boggs, Pat, 243Bolt connectors, 86, 87Bolts, for doors, 170Bookcases, 40, 59, 68–69, 188Bottoming shave, 242Bow fronts, 114, 271Boxes. See CasesBox nails, 84Braces, for rails and legs, 220–21Bracket-and-bolt hardware, 189Bracket feet, 197, 198Brackets, 67, 222Brads, 81, 84, 85Brass hardware, 83, 149, 158, 200, 204Breadboard ends, 288–90Built-in cabinets, 47, 195, 196Bullet catches, 171Bumpers, for doors, 163, 175Bureaus, feet for, 197Butt hinges, 147, 150, 152Butt joints, 48, 52, 104Buttons, wood, 292, 293, 294–95

CCabinets, 40, 46–52, 107. See also Cases

backs for, 259–61, 265–67base, 50, 57bases and feet for, 177, 178built-in, 47, 195, 196corner, 47, 255Euro-style, 110, 132, 154frameless, 47, 195installing, 189–96kitchen, 132, 154, 269, 270, 271, 281–83preventing sag in, 178–79scribing, 196stands for, 206, 207television, 116tool, 10wall-hung, 47, 50, 57, 194

Calipers, 17, 18Candle stands, 271Caps, for feet, 200Cases, 44–129. See also Cabinets

assembling, 88–94back for (See Backs)

Index

INDEX

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Index 303

basic, 46–57clamping, 90–94dividers for, 51–52, 72dust panels for, 51–52, 56, 256face frames for, 247, 254fasteners for, 81–87feet for, 190, 197frame-and-panel (See Frame-and-panel construction)installing, 189–96interior of, 51–56joints for, 46–52knockdown, 48, 81, 86leveling, 189–94mixed wood, 46, 49molding for, 95–100plywood vs. solid wood, 48–50squaring, 89–90torsion box construction for, 179

Casters, 12, 199, 204–5Catches, door, 163, 170–71, 173–74Cauls, 20–21, 73, 91, 92–93Chairs, 231–46

anti-tip, 233–34backs of, 232, 233, 241curved surfaces for, 231, 241designing, 40, 232–34frames for, 231, 232–33joints for, 237–44legs for, 214leveling, 231, 245plank, 231, 232, 233rocking, 231, 246seats for, 231, 233, 242–44Shaker, 233–34upholstered, 231, 233, 244Windsor, 232, 233, 238, 242

Chamfered edges, 62, 66, 197–98, 279Chan, Yeung, 158, 207, 210Chests, 40, 197, 256

stands for, 206, 208tops for, 270, 286

Chipboard, 34, 281Chisels, 16, 17, 18Chopping blocks, 236Chop saw, 15, 23, 97Circles, cutting, 279Circular saws, 15, 37Clamping

cases, 90–94corners, 92–93doors, 133–35miter joints, 93molding, 96–97solid-wood tops, 276–77

Clamps, 9–10, 20–21, 74, 93, 94Cleats, 68–69, 296Clips, for attaching tops, 292, 294, 297Compartments, hidden, 106–108

Compass, 17, 18, 273, 274Computer keyboard trays, 115, 126Confirmat screws, 83Continuous hinges, 147, 156Cope-and-stick joints, 135Coping moldings, 100Corner cabinets, 47, 255Corners, 92–93, 104, 279Countertops, 269, 270, 271, 281–83Cove profiles, 62, 275Crosscut jigs, 13–14Crown moldings, 95, 98Cup hinges, 147, 154Curved surfaces, 217, 228, 231, 241Cut nails, 84Cut-off sleds, 145Cutting lists, 36–37Cylinder locks, 167

DDadoes, 48, 53, 59, 63–65Dead-blow mallets, 90Designing furniture, 40–43, 46–52, 102–109, 131–33,

214–18, 232–34, 272–74Desks, 40, 214, 271, 296

tops for, 270, 271, 284–85, 296Dial indicators, 18Dividers, 52, 72

for cases, 51–52, 72for doors, 143–44for drawers, 55, 108–109, 118for frames, 257

Dollies, 12Doors, 130–75. See also Frame-and-panel construction

arched top, 139–40board-and-batten, 133, 141–42clamping, 133–35designing, 131, 132–33, 132–33divided, 143–44edge treatments for, 136face frames for, 247fitting, 145–48flat panel, 132, 134, 136, 257, 261flush-fit, 146, 148frame-and-panel, 132, 133, 134, 136–40, 256–67glass-light, 143–44gluing, 133–35hanging, 148hardware for, 146, 148–60, 161–75inset, 147joints for, 132, 134, 135, 258man-made wood products for, 133, 136moldings for, 133movement in, 133overlay, 146, 147pocket, 160raised panel, 134, 137–38types of, 132, 133

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for tops, 272, 273, 278, 288–90veneer, 79–80

Electrical wires, hiding, 102Ellipses, 273–74Epoxy, 280Escutcheons, 168, 169Europly, 34Euro-style cabinets, 110, 132, 154Euro-style hinges, 147, 154Eye protection, 22

FFace frames, 213, 247–55

joints for, 247–49, 251, 252–54Face-jointing, 25Fasteners, 48, 81–87. See also Nails; ScrewsFeatherboards, 11, 23Feet, 177, 197–205

adjustable, 189–90anti-tip, 233–34bracket, 197, 198chamfer cut, 197–98extended stile, 198hardware for, 191, 199, 200, 204–205L-shaped, 179mitered, 201molding and block, 198ogee bracket, 198, 202–203scrolled, 198, 201turned, 198, 204

Fences, squaring, 277Files, 16Fillers, for frameless cabinets, 195Finishes, 23, 43Finish nails, 84, 85Fixtures, light, 8Flakeboard, 34, 281Flat panels, 132, 134, 136, 257, 261Flush-fit doors, 146, 148Flush-fit drawers, 105, 111–12Forstner drill bits, 17Frame-and-panel construction, 213, 256–67

backs for, 259–60, 265–67divided, 257for doors, 132, 133, 134, 136–40, 256–67flat panel, 132, 134, 136, 257, 261offset with legs, 257raised panel, 134, 137–38, 257, 262–64

Frameless cabinets, 47, 195Frames, 49, 213–67. See also Frame-and-panel construction

angled, 255for chairs, 231, 232–33dividers for, 257face, 213, 247–55joints for, 132, 135, 213, 247–49, 251–54, 258web, 51–52, 53–54

Froes, 234–35

Double-ball catches, 171Dovetail joints, 65, 91

for bases, 182, 183for cases, 48, 50, 52, 53–54for drawers, 103, 104, 111half-blind, 104for molding, 96for shelves, 59, 65sliding, 65, 104through-dovetail, 104

Dowels, 48, 82, 134Drawers, 101–18

in aprons, 224bottoms of, 112, 122–23bow-front, 114designing, 102–109divided, 55, 108–109, 118extended frame face, 55felt-lined, 117fitted, 105–106flush-fit, 105, 111–12gluing, 54grain and, 103, 105hardware for, 117, 119–29hidden, 106–108inset, 105joints for, 103, 104, 105, 111, 133large, 112overlay, 105, 110, 113plywood, 105pull-out, 114runners for, 53–54, 55–56, 120–22, 124slides for, 113, 114, 120–22, 124–25stops for, 112, 119, 122–23types of, 105web frames for, 53

Drawknives, 236Drill bits, 17, 83Drill press, 15, 69, 71Drills, 15–16, 81Drop-leaf tables, 275, 291Dust, 22–23Dust panels, 51–52, 56, 256

EEar protection, 22Edges, 26, 60Edge tools, 16–17, 28–30Edge treatments

banding, 79–80, 136beaded, 62, 217, 223, 225, 252breadboard, 288–90chamfer cut, 62, 66, 197–98, 279for doors, 136flush-trimmed, 74for man-made wood products, 74–80for shelves, 62, 74–80solid wood, 278

INDEX

Index 305

IInlays, 287Inset doors, 147Inshaves, 242

JJack and jointer planes, 17Jigs, 10–11

for adjustable shelves, 71for case assembly, 89crosscut, 13–14for dovetail joints, 65for mitered joints, 99, 252–53for plywood cutting, 37pocket hole, 299for sharpening tools, 18, 19for tapers, 226Veritas, 71for web frames, 53

Jigsaws, 15–16, 196Joiner’s bench, 9Jointers, 14, 25–26, 145, 226, 276Joints, 48–51, 52. See also Biscuit joints; Dovetail joints;

Mitered joints; Mortise-and-tenon jointsbutt, 48, 52, 104for cases, 46–52, 53–54for chairs, 237–44cope-and-stick, 135dado, 48, 53, 59, 63–65dowels for, 48for drawers, 104, 105, 111, 133for face frames, 247–49, 251, 252–54for frames, 132, 134, 135, 213, 258for legs, 214, 216, 220–22, 228loose-tenon, 135nailed, 50, 84–86rabbet, 104, 260for shelves, 59, 63–65for stands, 206, 207, 210tongue-and-groove, 52, 78, 104

Jorgenson edge clamps, 74

KKerf and spline joints, 48Keyboard trays, 115, 126Keyhole slots, 57Kick space, 178, 184–88Kitchen cabinets, 132, 154

countertops for, 269, 270, 271, 281–83Klausz, Frank, 235Knife hinges, 146, 147, 153, 158–59Knives, sharpening, 18Knobs, 119, 120, 127–29, 161–66Knockdown hardware, 48, 81, 86

LLaminate tops, 270, 281–83

GGlass-light doors, 143–44Glides, 200, 232Gloves, 23Glue, 38–39, 42, 79, 97Glue blocks, 293Gluing

cases, 88–94doors, 133–35drawers, 54face frames, 250molding, 95, 96–97tops, 296

Grain, 25–26, 28, 42, 50–51, 140in chairs, 232in drawers, 103, 105in tops, 272

Grinders, 18–20Grommets, 102

HHammers, dead-blow, 90Handles, 162, 166Hand tools, 17, 18–20, 27–28Hanging cleats, 57Hardboard, 34Hardware. See also Fasteners; Hinges

brass, 83, 149, 158, 200, 204for doors, 160, 161–75for drawers, 119–29for keyboard trays, 126for leveling, 189for shelves, 59, 61, 67, 68–69, 70–71for tops, 292, 294, 297–99

Hardwood plywood, 33, 35, 136, 260Hidden compartments, 106–108Hinges, 148–60

barrel, 146, 147, 155brass, 149, 158butt, 147, 150, 152continuous/piano, 147, 156Euro-style/cup, 147, 154homemade, 157–59knife, 146, 147, 153, 158–59knuckle, 157no-mortise, 152rule joint, 275spring-loaded chest, 286surface-mount, 146, 147, 151, 157wood, 157, 159

Holdfast clamps, 9Holes, filling, 280Honing stones, 18, 19–20Horsch, Konrad Leo, 296Humidity, 23–24, 42–43Hygrometers, 24

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for molding, 95, 181for stands, 207, 210

Miter gauges, for table saws, 13–14Miter saws, 15, 27, 97Moisture content, 23–24, 42–43, 249Molding, 95–100

base, 95, 178, 179–82clamping and gluing, 95, 96–97crown, 95, 98for doors, 133joints for, 95, 96, 181large, 100for stands, 208

Molding and block feet, 198Molding planes, 16Mortise-and-tenon joints

for breadboard ends, 288–89for chairs, 237–40for doors, 133, 134for stands, 206, 210

Mortised locks, 168Mortiser, hollow-chisel, 16Movement (wood), 133, 269, 292–93, 298

planning for, 42–43, 50–51MSDS (Material Safety Data Sheets), 23Muntins, 143–44

NNail guns, 16, 81, 85Nails, 81, 84–86, 95, 96No-mortise hinges, 152

OOffset frames, 257Ogee profile, 62, 198, 202–203Open shelves, 66–69Oscillating sanders, 16Overlay doors, 146, 147Overlay drawers, 105, 110, 113

PPanels. See also Frame-and-panel construction

back, 260–61for doors, 132, 133, 134, 136–40, 256–67flat, 132, 134, 136, 257, 261grooved and splined, 266raised, 134, 137–38, 257, 262–64veneered, 264

Particleboard, 33, 34, 35–36, 83Parting tools, 230Partitions. See DividersPedestals, 207, 209Pencil-post beds, 218–19Phillips-head screws, 81, 82Piano hinges, 147, 156Picture framer’s vise, 93Pilasters and clips, 61, 70

Langsner, Drew, 234, 236, 238, 242Latches, 163, 172Lathes, 15. See also TurningLayout, 17–18, 26, 36–38Lazy Susans, 115Leather desktops, 284–85Ledges, for shelves, 66Legs, 214–18, 225–30, 234, 257

beaded, 217, 225braces and brackets for, 220–21, 222curved, 217, 228as feet, 197–98joints for, 214, 216, 220–22, 228tapered, 216, 217, 226–27turned, 216, 217, 229–30

Lids, lift-up, 286Light fixtures, 8Lippings, 74–80, 278. See also Edge treatmentsLocks, 163, 167–68Loose-tenon joints, 135L-shaped feet, 179Lumber, 22–37, 287. See also Man-made wood products;

Solid woodflattening, 25–28moisture content of, 23–24, 42–43, 249movement of, 42–43, 50–51, 133, 269, 292–93, 298plainsawn vs. quartersawn, 42, 103rived, 234–36warped, 25–28

MMachines, 13–21, 23Magnetic door catches, 173–74Mallets, dead-blow, 90Man-made wood products, 33–37. See also Medium-

density fiberboard (MDF); Plywoodfor doors, 133, 136edge treatments for, 74–80for raised panels, 264for shelves, 58for tops, 269, 270, 278, 292, 293, 296

Marble tops, 292–93Marking gauges, 17, 18Masks, 22–23Material safety data sheets (MSDS), 23MDF. See Medium-density fiberboard (MDF)Measuring tools, 18Medium-density fiberboard (MDF), 11, 33, 34

for tops, 269, 292, 293Melamine-coated particleboard, 34, 35–36Mitered joints, 98, 209, 252–53

for baseboards, 179–80clamping, 93cutting, 97, 99, 203, 252–53for doors, 133, 134for face frames, 252–53, 254for feet, 201

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Routers, 15–16, 262, 277, 279safety for, 137, 141

Router tables, 15, 71Rulers, 17, 18Runners, for drawers, 53–54, 55–56, 120–22, 124

SSafety, 22–23

for air guns, 85for drill presses, 69for finishes, 23for jointers, 226for routers, 137, 141for table saws, 13–14, 183, 294

Sanders, 15–16Sanding, 30–31, 32, 140, 222Sapele plywood, 35Sapporito, Paul, 264Sawblades, 13, 18–20Saws, 15–16, 17, 27, 97. See also Table sawsScale models, 41Scrapers, 17, 30Screws, 76, 81–83

for attaching tops, 292–93, 298–99countersunk, 76, 82, 83

Scribing cabinets, 196Scrollwork, 182–83, 198, 201, 222Seats, 231, 233, 242–44Seremeth, Joseph, 107–8Shaker chairs, 233–34Shapers, 16Sharpening equipment, 18–20Shaves, 242Shelves, 58–80

adjustable, 58–59, 61, 68–72edge treatments for, 62, 74–80fixed, 58–59hardware for, 59, 61, 67, 68–69, 70–71, 72joints for, 59, 63–65man-made wood, 58, 74–80open, 66–69plugs for, 63solid-wood, 58strengthening, 59, 60, 63, 73

Shops, 8–12Shoulder vise, 9–10Sideboards, bow-front, 271Skews, 230Slides, drawer, 113, 114, 120–22, 124–25Smoothing planes, 17Solid wood, 48–51, 58, 278

raised panels, 262–63for tops, 269, 270, 276–77, 292, 298

Spindles, 234Splines, 209, 266Spokeshaves, 17, 236, 237Square-drive screws, 81, 82

Pinch rods, 17, 18, 89Pins, 59, 61, 71, 291Pipe clamps, 20, 21, 94Pivoting pulls, 164Plainsawn lumber, 42Planers, benchtop, 14. See also Thickness planerPlanes, 16, 18, 27–28, 29, 98Planing, technique for, 29–30, 145–46Plank chairs, 231, 232, 233Plant stands, 207, 210–11Plastic edgebanding, 79Plastic laminate tops, 270, 281–83Plugs, 63, 76Plywood, 33–38, 207, 260

backs, 265Baltic birch, 34, 105cases, 48–50drawers, 105hardwood, 33, 35, 136, 260joints for, 48–51shelves, 74–80tops, 269, 278, 284, 292, 293, 296veneer core, 33, 34

Pneumatic guns. See Nail gunsPocket-door hardware, 160Pocket holes, 293, 299Polishing, 19Polyvinyl acetate glue, 38, 79, 97Pommels, 229Power tools, handheld, 15–16Pull-out drawers, 114Pulls, 119, 120, 127–29, 161–66Purpleheart wood, 180Push sticks, 23

QQuartersawn lumber, 42, 103Quirk beads, 225

RRabbet joints, 104, 260Rabbet planes, 17Rails, 215–16, 218–19, 220–21, 222, 223Raised panels, 134, 137–38, 257, 262–64Random-orbit sanders, 15–16Rasps, 16–17Respirators, 22–23Reveals, 178, 180, 181, 261Rip fences, plywood, 260Rived stock, 234–36Rocking chairs, 231, 246Round tops, 279Router bits, 17, 18–20, 57, 141

flush-trimming, 283laminate, 74panel-raising, 137

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elliptical/oval, 273–74extending, 270, 272folding, 271gluing, 296hardware for, 292, 294, 297–99laminate, 270, 281–83leather, 284–85lift-up, 286man-made wood products for, 269, 270, 278, 292, 293,

296movement in, 292–93, 298round, 279solid-wood, 269, 270, 276–77, 292, 298stone, 292–93wide, 276–78

Torsion box construction, 60, 73, 179Trammel points, 17, 18, 273, 274, 279Travisher, 242Trays, 115, 116Turning

feet, 198, 204legs, 216, 217, 229–30tenons, 238

Twisted lumber, 25, 27

UUpholstered chairs, 231, 233, 244

VVeneer, 16, 79–80, 136, 264Veneered plywood, 33, 34Veritas Jigs, 71Vises, 9–10, 93

WWalentine, Ellis, 164Wall-hung cabinets, 47, 50, 57, 194Warped lumber, 25–28Waterstones, 19–20Wax, 14, 29Web clamps, 93Web frames, 51–52, 53–54, 119Wheels, 199, 200Windsor chairs, 232, 233, 238, 242Wires, hiding, 102Wire supports, 52, 61, 72Wood. See Lumber; Man-made wood products; Solid

woodWorkbenches, 9–10Workshops, 8–12Work surfaces. See TopsWoven seats, 243

ZZ-clips, 297

Squares (tool), 17, 273, 274Stands, 177, 206–11

candle, 271for chests, 206, 208joints for, 206, 207, 210pedestal, 207, 209plant, 207, 210–11tops for, 271

Staple guns, 85Stones, sharpening, 18–20Stone tops, 292–93Stools, 231–46. See also ChairsStops

bench, 235door, 163, 175drawer, 112, 119, 122–23

Straightedge (tool), 17Surface-mount hinges, 146, 147, 151, 157Swivels, for televisions, 116

TTables, 40, 177, 190, 213. See also Tops

drop-leaf, 275, 291legs for, 214leveling, 189–94shop, 10, 12

Table saws, 13–14, 27, 183, 277for laminate, 282for mitered joints, 252–53for raised panels, 262–63safety for, 13–14, 183, 294

Tabletops. See TopsTail vise, 9Tape measures, 18Tapered legs, 216, 217, 226–27Television cabinets, 116Tenons, 215, 237, 238. See also Mortise-and-tenon jointsThickness planer, 14, 25, 26, 28, 276Thumbnail profile, 62, 134, 275Tilters, 233–34T-nuts, 190Toekicks, 178, 184–88Tongue-and-groove joints, 52, 78, 104Toolboxes, 10Tools, 3, 6–7, 11–12, 13–21

cabinets for, 10edge, 16–17hand, 15–16, 18–20, 27–28layout, 17–18sharpening, 18–20

Tops, 268–99attaching, 269, 292–99clamping, 276–77corners of, 279counter, 269, 270, 271, 281–83drop-in leaf, 291edge treatments for, 272, 273, 278, 288–90

The COMPLETE ILLUSTRATEDGuide to

ABOUT THE AUTHOR

Andy Rae has been woodworking for over two decades. He worked withGeorge Nakashima and Frank Klauszbefore founding his own woodworkingbusiness. In 1990, the New Jersey StateCouncil on the Arts granted him a fellow-

ship for his furniture designs. Rae wrote over 100 articles forAmerican Woodworker magazine during his six-year tenureand served as senior editor until 1998. He currently works inthe western Carolina mountains, making furniture as well asteaching and writing about woodworking.

ALSO AVAILABLE: two other books in this series—The

Complete Illustrated Guide to Joinery by Gary Rogowskiand The Complete Illustrated Guide to Shaping Wood byLonnie Bird. Together these three volumes are a com-prehensive library of woodworking techniques.

THIS COMPREHENSIVE, STEP-BY-STEP PICTORIAL

reference covers every practical technique for buildingfurniture and cabinets. Organized for quick access, thisbook illustrates the process in over 1,000 clear photosand drawings. All the essential information is here, fromdesigning the project to installing the hardware. Manyalternative ways to achieve the same results are included,enabling woodworkers to choose the methods that workbest for them. Every woodworker, whether beginner or pro, should have this indispensable reference handy in the shop.

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