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October/November 1982 $1.50

A ThinnerSaw Blade

Synergismand Chairs Ed Lombard

Prize Winning Wood Sculptor

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2 Pacific Woodworker

Pacific Woodworker (ISSN 0277-576X I ispublished six times a year by Charles Harris.Box 4881. Santa R08II . CA 95402.Copyright © 1982 by Charles Harris. Re­~roduction without prior perm ission isJ rohibited.

I

ISubscription rates: SS.OO per year. SI 4.00for two years. Single copy: S1.50. Addresssubscription inquiries to Subscrip tion Dept..Pacific Woodworker. Box 4881. Santa R08IICA 95402. Canada add S3.00 per year. Ratesfor subscriptions outside North America on~uest . Unless a claim is mad e for non­receipt of an issue within six months ofmailing da te. that issue will not be replacedfree of charge. Allow 6 weeks for addr esschanges.

Unsolicited manuscripts. photograp hs. artwork and other materials are encouraged. butPacific Woodworker cannot assume respon­sibility for these materials. Submissionsirmst be accompanied by a sell-addressed.stamped envelope for retur n.

The opinions expressed by the au thors do notnecessarily reflect the policy of Pa cificWoodworker. Edi torial correspo nde nce is~ncouraged . and may be edited for pub lica­tion.IDirect all ad vert ising inquiries to:Advertising Ma nager. Pacific Woodwor ker.Box 4881. Sams ROlla . CA 95402.17071 525·8494.

IDeadline for I88ue 10: October 25. 1982Bulk mail postage paid at Santa Rosa. CA.Printed in U.S.A.

Jean M. Davis, EditorContributing Editors:Steve AquilinaSpike BoydBill FarnsworthSheldon HarrisJ.J. Wilson

Book Reviews, Alan MarksCartoons, Bill AthertonMark Hallock

Illustrations, Mark HallockCharles HarrisAdvertising Manager

Nickels GraphicsTypography

Barlow Press, PrintingCharles Harris, Publisher

October/November 1982

PacificW ood-w-orker

Volume 2, Number 3October/November 1982

(Issue 9)

Contents4 Book Review by Alan Marks

A Century ofChair Design

5 Publisher's Note

5 Letters

6 Ebony and Icarus by Jean M. DavisWood Sculptor Ed Lombard

10 Staining Woodby Robert D. Books

12 Woodworking Weekend in Mendocinoby Chod Harris

14 Calendar & Announcements

17 Shop Tip

18 The Quest for the Thinnest Bladeby Richard Silvera

20 Synergism in Chair Making by Chod HarrisDifferentBackgrounds Help Chair Makers Win A wards

24 Amazonian Hardwoods, Part 2by Howard L. Waldron

28 The Del Mar Show by Sheldon HarrisSan Diego Fine Woodworkers Stage Successful Exhibit

30 News and Notes

31 Marketing by Thomas Kline

32 The Fourth Comer by Bill FarnsworthDealing With an Ordeal

40 Power Hand Tool Wood Carving by Spike BoydLesson 7: Sanding and Grinding

43 Classified Market

3

Book Review

by Alan Marks

A Century of Chair Design edited byFrank Russell. Rizzoli InternationalPublications, Inc., 712 Fifth Avenue,New York, N.Y. 10020, 1980,537.50.

Consider this a reference book andyou won't be too shocked by theprice. Almost anything you'd want toknow about the history of chair de­sign during the period 1850 to 1950 iscovered here, in 160 pages including16 pages in color. Because this bookis so specialized and so complete itprobably won't be found in just anybookstore. As an alternative, requestit from the library.

This outstanding book divides thecentury chronologically into the fol­lowing periods: Arts and Crafts, ArtNouveau, Art Deco, and the ModernMovement. Under each of these head­ings, period designers representingparticular geographical regions areexamined in perspective. Some of thenames are familiar: Thonet, Stickley,Rietveld, Le Corbusier, Charles Ren­nie Mackintosh, Wegner. But thebook also explores the relatively un­known chairs of people like CarloBugatti, Victor Horta, Georges deFeure, Richard Riemerschmid, andOtto Koloman Wagner, to name onlya handful.

We are introduced to each periodwith a short historical overview ofthe philosophies and influences pre­vailing at the time. Names of signifi­cant personalities appear in properperspective. The following section ineach case then presents in detail themost influential pieces of designersand schools previously mentioned.

The book's many line drawings inink show the subject matter advan­tageously. Its large format (9Y2" x

4

12Y2") provides enough space forlarge illustrations and photographs,very helpful in assessing a chair'svisual impact. At least 2/3 of thepages consist of illustrations andphotos.

What text there is conveys impor­tant information in unemotional text­book style. I would have preferred,however, a more lively, inspired' ap­proach to the subject, similar to thefervor with which I imagine manyof these designers pursued their ca­reers.

Some of them, however dedicated,were unable to realize their ideals.For example, despite William Mor­ris's altruistic plans to produce in­expensive Arts & Crafts furniture forthe masses, the book points out thatMorris's interest in "the selfish plea­sure of creation" outweighed his de­sire to help "the people" attain ahigher aesthetic standard. The ex­pense of handcrafted production andhis exacting requirements of work­manship placed his chairs far beyondthe reach of the common wage-earner.Ironically, his work beautified only thelives of the wealthy. The motivatingphilosophy of the Arts and Craftsmovement, for which Morris wasspokesman, thus may have defeatedits own purpose; but we see how theperiod that succeeded it at the turnof the century more than made up forthis failure.

Though it can't rightfully be saidto have had an underlying philoso­phy, the Art Nouveau period certainlyburst upon the scene with a spurt ofindividualized creativity. , It ran thegamut from organic exuberance tostylized elegance, from the sinuousforms of Gaudi's chairs on the one

hand to the restrained vertical dignityof Mackintosh's on the other. Itssuccessor, the exotic Art Deco, ac­cording to the book's editor, wasessentially a French phenomenon. Heplaces the chairs of the Dutch db­signer Rietveld, however, within thisperiod, a placement which seems un­warranted to me because Rietveldjsgoals seem so obviously in line withthose of the Modern Movement.During the latter, the designer dfchairs shifted his focus from self­expression to the requirements of theproduction line and stressed the mostefficient possible use of new materialscomposed according to a functionalaesthetics which relied on proportionand balance for effect. Rietveld ap­parently belongs to this "minimalist"school. I

To my knowledge no other bookoffers the detailed visual informationcontained in A Century of ChairDesign, and on this basis alone IIwould give it an unqualified recom-mendation. IALSO RECEIVED: The Furniture ofGustav Stickley: History, Techniquesand Projects by Joseph J. Bavaro an!!

IThomas L. Mossman, Van NostrandI

Reinhold, New York, 1982, $18.95.Polychromatic Assembly for Wood­turning by Emmett E. Brown andCyril Brown, Linden Publishing Corti­pany, Fresno, CA, 1982, $15.95.Woodturning Techniques by W.J .Wooldridge, Sterling Publishing Co.,New York, 1982, $10.95. Build ItUnderground by David Carter, Ster­ling, New York, 1982, $7.95. Makin~Wooden Toys byRichard Blizzard,Sterling, New York, 1982, $7.95.Fine Furniture Making and Wood­working by Geoffrey Endacott, Ster

l'­

ling, New York, 1982,$9.95.

, IPacific Woodworker

A Word From The Publisher

Woodworkers are always lookingIfor new sources of tools, hardware,wood and other supplies. An idealsource is a well run, local store with

Iknowledgeable and friendly employ­ees, who can help you determine ex­actly what you need. So Pacific Wood­

I worker will be highlightingIwoodworking stores on the WestCoast, beginning with the next issue.

I would like to reply to Mr. BartButell who inquired about the Belsaw910 saw. I purchased one of thesemodels approximately three years ago.t have been extremely satisfi ed withthe saw, I buy all of my hardwoodeither rough or S2S, 15/16" thick.1 run this wood do wn to an y re­quired thickness desired by my custo­mer on my Belsaw. I also run mould­ings, mostly oak, and although theBelsaw has onl y one knife for thebigger mouldings, it does a very nicejob. I purchased the 3 HP motorand have found it to be sufficient forall hardwoods, giving a very smoothcut. Subsequently I purchased theblower attachment and I have beenextremely pleased with that as well.

Leonard L. GriffinSonora, CA

Our thanks to Mr. Griffin for sharingthis recommendation .

October/November 1982

But not everyone lives close to awoodworking supply store. And nostore can carry everything a wood­worker is likely to need. So at one timeor another we all turn to mail ordersuppliers for at least some of ourneeds. Mail order companies run thegamut from wonderful to atrocious,and Pacific Woodworker ran across anexample of each recently.

We just received a copy of the 1982­3 catalog of The Woodworkers' Storemail catalog. Color photographs andclear drawings fill the 112 pages, andcapsule instructions cover topics suchas veneering and installing har dware.The range of specialty hardware, from

Letters...

I express my thanks and apprecia­tion for Pacific Woodworker's inten­tion to provide to the reader wideinformation... Feat ure articles on in­dividuals notable in the field ofwoodworking are excellent. However,there's one regret. .. You tend to di§­regard achievements from amateurssuch as junior and senior high schoolstudents . I att ended the State Fair inSacramento a year ago, and I'mamazed at the display of students'projects in the Industrial Educationexhibit... I th ink it would be in thebest interest of your readers to spot­light students' work, also.

Joe Z. SabrosoWoodland Hills, CA

concealed hinges to extension tableslides, is most impressive. The assort­ment of books, hand tools, veneers,plans and finishes looks excellent.And their "satisfaction guaranteed"promise helps remove some of theworry about the mail order process, Ican't wait to get in my first order.

On the other hand is U.S. GeneralSupply Corp., of Plainview NY. Ishould have been suspicious when Inoticed they didn't list their telephonenumber in the catalog. But I took achance that their low prices weren'tthe only service they offered. I am stillwaiting for an order mailed in May,and have never received an answer toany of my three letters inquiring aboutmy order. Maybe by Christmas... Buy­er beware, or, better yet, avoidU.S.Generai.

Have you had any particularly goodor bad experiences in the mail orderfield? Let us know and we'll sharethem with our readers.

Charles HarrisPublisher.

Over the last few years we havesubscribed to literally every publica­tion published that has as its centraltheme woodworking . We now takeonly yours and one oth~ . We findyour articles useful, asee i~Q ~­

ment with each iss-ue.

Pacific Woodworker well:omes lo0uropinions, pro or con, abou~ ,rticlesand information we pUb~ ~ ndLetters to Editor, Pacific Wood­worker, P .O. Box 4881, Santa .Rosa,CA 954«),2. Letters mlf' lYe e itedfor publication.

5

A Pacific Woodworker Profile

Ebony and Icarus

Wood Sculptor Ed Lombard

by Jean M. Davis

What are the ingredients of goodsculpture? Edwin Lombard mixes analmost child-like whimsy, inspirationfrom within, tons of elbow grease andan unbelievably high energy level toproduce prize-winning wood carvings.

Whether hard at work in his Car­mel, California studio or hard at playon Carmel valley tennis courts, the 71­year-old former speech professor dis­plays an energy and love of life thatshames men half his age.

Ed first became interested in sculp­ture about twenty years ago. While on

a Navy Reserve training exercise onTreasure Island in San Francisco hesaw some driftwood on the shore and,as he says, "fished it out, took it homeand made something." This first carv­ing of an animal head brought praiseand requests for more carvings, andEd started to carve seriously.

Well, perhaps this was not the firsttime Ed had laid knife to wood. Ed'swife Beth says that he has always beencreative and Ed admits to a little in­struction as a boy at summer camp,whittling with X-Acto knives. "The

II

lessons were mainly the counselor tell­t

ing the kids how not to cut themsel-ves," he recalls.

Later, during World War II, hepassed the time on ship or sitting in afoxhole whittling island woods. TwI

pieces of contrasting wood suggested achess set that he finished years later. I

I

The wood itself appealed to himfirst, he says, rather than the idea rir

Isculpture. "I do love wood the best,the feel of it," Edwin Lombard says,

Dr. Edwin Lombard and the modelfor his prize winning Torsosculpture.

6

Ed displays some ofhis impressive collection ofribbons andtrophies.

IPacific Woodworker

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"Torso" won First Place at the 1980 California State Fair. The 50 lb. carving started out asa 175lb. ebony log.

even though he has worked in otherIhedia including alabaster and, moreIecently, bronze.

Ed Lombard didn't start carvingwood with the idea of winning prizes6r selling his work, but he quickly be­dame successful at both. His successJame as something of a surprise to thertist, since Ed had at one time tried

Jreative writing for pay without sue­Jess. "I was never able to hit," he re­Ilates. "All I got for my trouble was abunch of rejection slips."I But the opposite has been true of hiswood sculpture. Ed's carvings have~on numerous awards at art festivals,Jounty and district fairs in LagunaI

Beach, Monterey, Fresno, Modesto,~nd elsewhere in California. And inI

1980 he won first prize for wood~culpture at the California State FairI

for his female torso, Ebony.I But Ed doesn't start a sculpture

ith the idea of winning prizes, oreven of selling his work, although he isJuccessful at both. "I just get started~nd I can't stop," he explains. "You~et going and it's exciting! But after Ifinish something, I do like to submitIthe work to a show for the critical re-~ction ."I Not only does this man not carvewith the idea of winning or selling. Of­len people want his prize-winningpieces, but in some cases he won't sellthem. Instead he is saving them for hisbhildren. Many of the things he reallylreasures he won't sell, such as Genie,~ four foot high redwood representa­lion of an oil lamp emitting wisps ofIsmoke. "That's mine," he explainsI. Isimp y.I Ed cannot predict which of hisworks will win a prize or where. Pieces~ejected at one show have won firstand second prizes at another. Nor canhe explain why others try year afteryear and won't win while he does, ex-I .cept that "I was able to catch on to~omething inside that seems to comeI .out through my hands."I Ed's approach to sculpting withIWOOd may be somewhat different

IOctober/No vember 1982

II

from the expected. He only rarelydraws a design first. "I don't reallyhave the ability to draw," he claims.But somehow working in three dimen­sions he gets his inspiration.

Ed's designs include common ob­jects around his home, located a block

from the Pacific, and ideas from hisfertile and active imagination. Seals,starfish and seagulls populate his morerealistic carvings, while mythologicalfigures, pure forms and smooth sur­faces can be found in recent work.One realistic form not done from life

"Flight, " ofebony, represents Ed's more realistic hanging carvings.

Ed's vivid imagination shows through in the fanciful "Maelstrom " or " Voyage oftheDamned."

Iavailable," he says of his technique,"such as sanding discs. I'm not oAe

I

that has to work just with the chisel."But more important than specifictechniques, says Ed, is "the love thatyou're putting into it. If that doesn'tcome out, it's just a hunk of wood." I

Ed Lombard's style has evolvedI

over time from figures in the round towallhangings, and now back to theround. Some of his works show anOriental influence from childhoodyears spent in Japan. The whimsidaland humorous appear often in hissculpture as with his eagle "Superpa­triot." This child-like view of thingshas prompted some critics to compareEd's work to the early work of Calder.

I

Most recently Ed Lombard has beenworking with an interlocking mobiusform. A mobius, named for the Ger­man mathematician Moebius (1790­1868), has one single edge and one sin­gle surface joined as one continuousstrip. Normally a mobius is made with

I

a piece of paper twisted. But Ed's fas-cination with the mobius strip takesthe concept a step farther.

"My wife showed me a mobius stripand how wonderful it is, and I said I

IPacific WoodworkerI

energy comes in handy in his largercarvings. Ebony, for example evolvedfrom a 175- pound ebony log, sent toEd by his son from the Celebes Is­lands. Ed carved away more than twothirds of the log to reveal the black in­terior.

"I use any mechanical means that is

8

This energy flow is one of the mostoutstanding characteristics of Ed'swork and his personality. His handsand his body are never still. And his

is his Torso series. A thick stack ofPlayboy centerfolds hangs from a clipon his studio wall, providing modelsfor the series. Ed's wife periodicallyturns the stack to face the wall but Edturned it back around for PacificWoodworker to photograph. BethLombard feels that her husband's in­spiration comes from his working withthe wood to produce something beau­tiful. "It just has to come from inside,not from an exterior source," she ex­plains. In talking to both Ed and Bethit becomes clear that she, too, is oftena source of inspiration.

In addition to inspiration, though,Ed puts considerable time and energyinto his work. "I will work sometimesa thousand hours on a piece and agood part of that is the blood at theend of the fingers just from the sand­ing. The final finishing is very diffi­cult-to find just the movement andthe shape that hits. I do feel I get myinspiration from the energy flow with­in."

The Icarus Dream-Phallic Phantasy walnutcarving blends the two subjects in a delight­fully whimsical manner.

Several years worth ofpotential carvings fill the back yard ofEd's Carmel home.

Ed considers his "Loving Encounters" Mobius carving his best work. The shapes shift andcluzngeas the viewer rearranges the interlocking loops.

was going to carve one. Then 1 said,~ot only was 1going to carve a mobiusJtrip, 1 was going to carve one insideIthe other," Ed told us. The idea of do-ing something that at first appearedimpossible motivated him to createI h'omet mgnew.

Ed worked more than fifty hourswith strips of paper and a block of

wood to find a way to intertwine twomob ius strips carved from a singleblock of basswood.

"Different ways or keeping the es­sential mobius form of a single edgeand single surface kept emerging fromthe wood. Finally the two linked stripsformed many different abstract de­signs. Since they were no longer strips,

1 have called them Mobius Swirls,"says Ed. The wood sculpture of Mobi­us Swirls is titled "Loving Encoun­ters."

Particularly fascinating are the infi­nite number of positions in which theMobius Swirls can be placed, hung, ordraped. As he talks about his MobiusSwirls, Ed Lombard's hands turn andadjust the sculpture in front of him,holding it up. You can see his fascina­tion and enthusiasm for this idea ofactive sculpture. "I think it is the bestI've ever done," says Ed Lombard.

Since creating his Mobius Swirls, Edhas had the sculpture cast in bronzeusing the basswood carving as the pat­tern.

What does the future hold forEdwin Lombard? One hesitates toguess which direction his art will take,but no matter what the form, Ed'scharacteristic love of wood, his atten­tion to craftsmanship and his enthusi­asm for carving will show through. Welook forward to many more prize win­ning carvings.

Some of Edwin Lombard's sculpturecurrently is on display at The CanneryRow Gallery in Monterey, California.

October/November 1982 9

Staining Wood

by Robert D. Books

Staining can be either a very satis­fying part of a finishing project, orit can be an annoying and frustratingproblem. The difference lies in thekind of stain, type of wood, prepara­tion of the wood, and the techniquesused to apply the stain. This articleshould give you a better understand­ing of the different aspects of woodstaining so that your next staining jobwill be both easier and more reward­ing.

Why Stain Wood?

Staining often is chosen when fi­nishing lighter woods such as pine,maple, birch, and oak because wewant to make it match or resembleother types of wood, in order tocolor coordinate with other furniture,or just to emphasize the grain andadd additional beauty. These lighter

About the author: Robert Books ispresident of General Finishes Corp.in Milwaukee, Wisconsin. His in­terest in woodworking began at anearly age with the help of his grand.father, Oliver, a master wood crafts­man for over 50 years. A free book­let, "Your Guide to More BeautifulWood Finishes" may be obtained bysending a self-addressed stamped en­velope to GeneralFinishes, P. O. Box14363, Milwaukee, Wl53214.

10

woods need stain to give them colorand character and to highlight thegrain, while darker woods, such asmahogany, cherry and walnut, oftenlook best without stain.

Preparation of the Wood

No finish will be smoother thanthe wood on which it goes, and thereis no such thing as a good finish overpoorly prepared wood . Proper pre­paration of the wood is the first andmost important step before staining.

This preparation is even more im­portant when staining wood after anold finish has been removed. Beforestaining this type of wood, be surethat all of the old finish is out of thewood and that the wood is bare andclean of grease, wax or dirt. Oldfinish or other foreign material (suchas glue) left on the wood, could resultin an uneven staining job. To cleanthe wood, use any good grade ofmineral spirits or turpentine. Thewood should then be sanded to elimi­nate scratches or marks in the wood .

Sandpaper

Sanding is especially important inpreparing the wood for a beautifulfinish. There are many different typesof sandpaper on the market; most aresold in 9 x 11" sheets . There are also

many different grades of sandPapLclassified according to abrasi Jestrength. The size of the particlesdetermines the grit designation, whichcan range from "super-fine" (600 gritor 600 particles per square inch) to"coarse" (60 grit or 60 particles p~rsquare inch). The hardness and sharp­ness of the particles, the strength ofthe backing, and whether the backingand adhesive are waterproof, all de­termine how durable it will be. Con­sidering all these factors, "op~ncoat" garnet paper is usually the bestchoice. Garnet paper is the mostpopular sandpaper for sanding woodand is easy to recognize because ofits reddish-brown color. It comes ingrits from coarse to very fine and it isconsiderably more durable than flintpaper due to the hardness and com­position of its particles."Open coat"garnet paper has open spaces betweenthe particles so that wood dust andother abraded materials are less likelyto clog this type of paper. By cori­trast, flint paper is a light tan color,the most common and least expensivegrade of sandpaper. In the long run,flint paper is not the bargain it ap­pears to be. It does not cut as wellnor as fast as garnet paper; also fliAtpaper is more prone to clogging andwears out faster. Flint paper is abouthalf the cost of garnet. However,garnet paper will last almost five

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Name'Techniques recommended on stain

container labels vary from one pro­duct to another. There are, however.only two essential steps in staining all

Continued on page 36

Staining Soft WoodsWith very soft woods, such as pine

or mahogany, it is always best toapply a clear sealer to the surfacejust before you start to stain. Thismakes the wood equally absorbent sothat the stain will penetrate evenly,eliminating the dark blotches usuallyencountered in staining soft woods.The color will be lighter, and you mayneed to apply the stain a second timeto achieve the color you want. Re­member that the first coat of clearsealer on soft woods to be stainedshould remain on the wood only ashort time (5 to 15 minutes) beforeyou start to apply the stain.

Application Techniques

ent manufacturers most likely will bethree different shades. Likewise, thesame color stain on three differenttypes of wood will also result in threedifferent shades or colors becausedifferent woods take stain differently.It is always best to test the stain on awood sample or unseen area of thesame piece of wood to assure thedesired effect.

Color matching with differentcolored stains of the same type can beobtained by mixing the differentcolors together and/or by dilutingthem with the base from which theyare made. Different colored stainsmay be made from ground-in-oilartist's pigments by mixing them withan oil-basetI sealer such as Sealacell;or they may be added and mixedinto an oil-based stain to obtaindifferent colors and hues. Rememberthat color depth and tone will varywith the type and color of the naturalwood. The amount of stain applied,the extent of wiping, and the lengthof time the stain is left on the wood,also have an effect on the final color.

Color Matching

Mix the Stain Thoroughly

limes as long.

SandingSanding should always be done

I ith the grain of the wood, usingas heavy a grit paper as possible with­but leaving scratches. StainingIusually accentuates any scrape marksbr other imperfections in the wood~urface . So keep in mind that scratchespr imperfections you can just faintlysee on bare wood may show up sharp­I

ly after you stain. With softer woods,such as pine, always start with a 100grit garnet paper and finish with a 180grit. With the harder woods, startWith a 180 grit and then go to a 220grit for final sanding before staining.r en using a natural finish, com­plete sanding with a 280 grit. Byusing the proper grit of garnet paper,~he stain will be able to freely pene­trate the wood and prevent theII" blotchy" look which sometimeshappens when wood is polished by~sing too fine a grit. Hand sandinghas preference over vibrating or belt~anders ; however, if your project~eeds extensive sanding, then use one~of these sanders. Never use a disksander and always finish sanding byIhand. When sanding flat surfaces,use a sanding block and always sandI . h h .WIt t e gram.

In order to keep the stain mixtureuniform while staining, the first thing!You must do is to make sure that the'stain is mixed thoroughly. Stir the'stain until all the pigment is off thebottom. Pigment often settles on thebottom of the container, and unlessthis residue is blended in completelybefore and during applications, theIstain willdarken as the job progressesinstead of being uniform throughout.

I There are no standards in staincolors between manufacturers; there­'fore walnut stains from' three differ-

October/November 1982

II

11

Woodworking Weekend

in Mendocino

by Chod Harris

The tiny town of Mendocino, CA,was filled with woodworkers and theirwork on the last weekend in May. TheAmerican Craft Council's PresidentJack Larsen had brought the Council'sannual meeting to Mendocino, wherehe has recently restored the Mendo­cino hotel. Crafts exhibits filled thispicturesque coastal village and three ofthe exhibits were devoted to wood­work ing.

At the Mendocino Arts Center,Mendocino Woodworking Associationmember Tom McFadden (see below)led a hands-on demonstration on mak­ing Shaker boxes.

Gallery Fair turned its entire ground

12

floor over to Sam Maloof. (See PacificWoodworker, Issue 7.) On Saturdayevening, Sam shared some of his de­sign ideas and construction methodswith a crowded group of woodworkersand others amid the smooth flowingcurves and meticulous finish of hischairs, rockers, tables and musicstands.

Meanwhile, Gallery Fair organizerBill Zimmer filled the upper level ofthe building with finely crafted workfrom other woodworkers throughoutNorthern California. The piecesranged from clean, simple designs,such as Alan Marks's lazy susan tableto some that appeared ridiculous. The

di Ioutstan 109 example of the latter is theOverarmed Wheelchair, by MichaJICooper (see photo at left.) Bill Zirri­mer says, "The Wheelchair ha~brought in more people to the Galler~than any other piece I have ever hadhere. People come in the door andrush right upstairs, because they haveheard about it, or are dragged in byfriends who have seen it."

I

The Mendocino Woodworkers As-

sociation invited members of sevenother Northern California woodwork­ing associations to participate in ajoint exhibit. The enthusiastic re

l­

sponse from the associations over­flowed the Guild Store on Main Street

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IPacific Woodworker

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I

land filled the Heeser House behind.,Work from Bolinas, Butte County,Humoldt, Santa Cruz , Sonoma, Ta­hoe and West Marin , Californiaspanned a range from tiny spinningtops to conference tables.I Five years ago the concept of threewoodworking events in Mendocino onthe same weekend was unthinkable.IBut in 1982 interest in woodworkingruns so high that all the galleries werepacked. Woodworking has come ofage in Mendocino.I

Left: Tom McFadden of the Mendocino Woodworkersdisplayed his maple and walnut table at the HeeserHouse. The top is book matched. Top: Jim Bacigalupi'skoa desk graced the second floor at Gallery Fair. Aboveleft: The attention-grabbing Overarmed Wheelchair byMichael Cooper dominated the Gallery Fair exhibit.The piece features walnut arms, Zebrawood shoulders,laminated oak curves and purplewood tire rims whichgrow out into hands, complete with fingernails. Aboveright: Mendocino Woodworker Paul Reiber exhibitedhis quilted maple wall cabinet at the Heeser House.Bottom: Philip Gerstner of the Humboldt Wood­working Society showed a fine maple dining table atthe Guild Store.

IIIOctober/November 1982II

13

Calendar & Announcements

Events ofinterest to woodworkers...

Sept.18-0ct. 31. Mendocino, CA.Second Annual Western States InvitationalWood Show. Gallery Fair exhibit. ContactBill Zimmer, Gallery Fair, P.O. Box 263,Mendocino, CA 95460 or (707)937-5121.

Oct. 6. Anaheim, CA.How To Sharpen Hand Saws, class withCarl Westberg, 7-10 PM, fee $10. ContactGanahl Lumber ce., 1220 East Ball Rd.,PO Box 31, Anaheim, CA 92805 or (714)772-5444.

Oct. 8-Nov. 7. San Francisco, CA.Sculptural Expressions in ContemporaryFurnishings, juried show, Flood Gallery,3921 California St., San Francisco 94118.

Oct. 9. Anaheim, CA.Chain Carving class with Jim Rahm, 9 AM-4PM, fee $25 . Contact Ganahl Lumber Co.,1220 East Ball Rd., PO Box 31, Anaheim,CA 92805 or (714) 772-5444 .

Oct. 9. Palo Alto, CA.Inside Bill Horgos, workshop with"Whittlin' Bill" Horgos, 9 AM-S PM, fee$45. Contact Palo Alto Woodworking, 820Ramona St., Palo Alto 94301 or (415)327-5335.

Oct. 9-31. Mendocino, CA.Show, Bill and Mary Hunter, lathe turnedand hand carved wooden art, Artisan GuildStore, 45050 Main St., Box ISIS, Mendo­cino 95460 .

Oct. 9, 16, 23, and 30. Corona, CA.Ganahl Lumber School of Woodworkingclasses: l-Power Tool Carving taught byGeorge Child, 9 AM-2 PM, fee $60;2-Beginning 3-D Woodcarving taught byChet Langan, 9 AM-noon, fee $50; 3-DecoyCarving taught by Chet Langan, I PM-4PM, fee $50. Contact Ganahl Lumber Co.,155 East Rincon, Corona, CA 91720 or (714)737-5142.

14

Oct. 13. Anaheim, CA.How To Sharpen Circular Saw Blades, classwith Carl Westberg, 7-10 PM ContactGanahl Lumber Co., 1220East Ball Rd., POBox 31, Anaheim, CA 92805 or (714)772-5444.

Oct. 16. Palo Alto, CA.Introduction to Wood Turning, workshopwith Steve Johnson, 9 AM-S PM, fee $45.Contact Palo Alto Woodworking, 820Ramona St., Palo Alto 94301 or (415)327-5335.

Oct. 16. San Diego, CA.Fall Swap Meet, free. Contact The CuttingEdge, 7626 Miramar Rd. Suite 3500, SanDiego, CA 92126 or (714) 695-3990 .

Oct. 16 and 23. Anaheim, CA.How To Do Power Tool Joinery, class withCarl Westberg, 8 AM-3 PM, fee $45 . Con­tact Ganahl Lumber Co., 1220 East BallRd., PO Box 31, Anaheim, CA 92805 or(714) 772-5444 .

Oct. 16, 23, and 30. Anaheim, CA.Beginning 3-D Woodcarving with JackKlempner, 9 AM-I PM, fee $50. ContactGanahl Lumber Co. , 1220East Ball Rd., POBox 31, Anaheim, CA 92805 or (714)772-5444 .

Oct. 18 & following. Palo Alto, CA.Woodworking for Beginning Beginnerscourse, taught by Brian Burns, five Mondayevenings, 7-9:30PM, fee $65. Contact PaloAlto Woodworking, 820 Ramona St., PaloAlto, CA 94301 or (415) 327-5335.

Oct. 18-20. Richmond, CA.Seventh International Wood MatchingSeminar . Contact R. Szymani, University ofCalifonia Extension, 47th and HoffmanBlvd., Richmond, CA or (415) 231-9582.

Oct. 20 and 27. Anaheim, CA. IHow To Use Japanese Hand Tools, classwith Carl Westberg, fee $20. Contact Ganjahl Lumber Co., 1220 East Ball Rd., PqBox 31, Anaheim, CA 92805 or (714)772-5444. I

Oct. 21. San Francisco Bay Area. IThird Thursday Spotlight and Shop Talks,7:30 PM, Bay Area Woodworkers' Associajtion , Contact BAWA at PO Box 421195San Francisco, CA 94142 for details.

Oct. 23. Palo Alto, CA.Steam Bending and Laminating workshopwith Art Espenet Carpenter, 10 AM-4 PMfee $45 . Contact Palo Alto Woodworking ,820 Ramona si ., Palo Alto, CA 94301 of(415) 327-5335.

Oct. 23-24. San Francisco, CA.Grew-Sheridan Studio Chairmaking Seminar, 6-9 PM Saturday & 10 AM to 5 PMSunday . Fee $50. Contact The Cutting EdgJ

IWorkshop, 1836 Fourth St., Berkeley, CA94710 or (415) 548-6011 .

Oct. 24. Palo Alto, CA.A Radical Approach to Woodworkinlecture-demonstration & hands-on course]taught by Brian Burns, IOAM-6PM, fee $45,Contact Palo Alto Woodworking, 820Ramona si., Palo Alto, CA 94301 or (415327-5335.

Oct. 30. Anaheim, CA.Plain and Decorative Wood Finishes, c1as~

with Ed Ernst, 9 AM-4 PM, fee $25. ContactGanahl Lumber Co., 1220East Ball Rd., POBox 31, Anaheim, CA 92805 or (7141772-5444 .

Pacific Woodworker

IOct. 30. Los Angeles, CA. and Berk-

eley, CA. Fall Swap Meet, two locations ,free. Contact The Cutting Edge, 3871 GrandView Blvd., Los Angeles, CA 90066 or (213)390-9723; or 1836 Fourth St., Berkeley, CA94710 or (415) 548-6011.

Oct. 30 and Nov. 5. Palo Alto, CA.Furniture Design workshop with MerryllSaylan, two part course Saturday 9 AM-5PM and Friday, 10 AM-5 PM, fee $75. Con­tact Palo Alto Woodwork ing, 820 RamonaSt., Palo Alto 94301 or (415) 327-5335.

Nov. 1. Sacramento, CA.California Crafts XIII exhibition, deadlinefor slides, entry form, and fees. Jur ied ex­hibit sponsored by Creative Arts League ofSacramento . Accepted works to be on dis­play March 12-April17, 1983, open to Cali­fornia craftspersons. Further information,entry blanks available from Crocker ArtMuseum, 216 0 St. , Sacramento, CA 95814.

Nov. 3. Anaheim, CA.How To Use Power Jo inters and SurfacePlaners, class with Jim Nash, 7-10 PM, fee$10. Contact Ganahl Lumber Co. , 1220EastBall Rd., PO Box 31, Anaheim, CA 92805or (714) 772-5444.

Nov. 4 & following. Palo Alto, CA.Plane Making course, five Thursdays,7-9:30PM, fee $80. Contact Brian Burns,Palo Alto Woodworking, 820 Ramona St. ,Palo Alto, CA 94301 or (415) 327-5335.

Nov. 5-6. San Diego, CA.Toshio Odate Lecture and Seminar, "TheTraditional Japanese Craftsman and HisTools." Lecture Friday 7 PM, Seminar Sat­urday 9 AM-5PM and Sunday 9AM-2PM.Seminar attendance limited to 25, $90 fee in­cludes admission to lecture. Lecture only fee$10. Reserve in advance at The CuttingEdge, 7626 Miramar Rd., Suite 3500, SanDiego, CA 92126.

Nov. 5-28. Davis, CA.Artery Woodworke r' s Joint Show, piecesranging from fine furniture to musical in­strumen ts, The Artery, 207 G St. , Davis.

Nov. 6. Anaheim, CA.How To Install Entr y Doors, class with CarlWestberg, 8 AM-3 PM, fee $20. ContactGanahl Lumber Co., 1220East Ball Rd., POBox 31, Anaheim , CA 92805 or (714)772-5444.

Nov. 6. Palo Alto , CA.Beginning Casework workshop with LewisBuchner, 9 AM-5PM, fee $45. Contact PaloAlto Wood working , 820 Ramona St., PaloAlto , CA 94301 or (415) 327-5335.

Nov. 6-28. Mendocino, CA.Show, Robin Thompson, Woodworker.Reception 3-5 PM Nov. 6. Artisans GuildStore , 45050 Main St., Box 1515, Mendo­cino 95460.

Nov. 9 & following. Palo Alto, CA.A Radical Approach to Woodworking,Lecture-Demon stration & Hands-on coursetaught by Brian Burns, five Tuesday eve­nings, 7:30-9:30PM, fee $50. Contact PaloAlto Woodworking, 820 Ramona St., PaloAlto, CA 94301 or (415) 327-5335.

Nov. 10. Anaheim, CA.How To Do a Hand Rubbed Oil Finish, classwith Jim Nash , 7-10 PM, fee $10. ContactGanahl Lumber Co., 1220East Ball Rd., POBox 31, Anaheim, CA 92805 or (714)772-5444.

Nov. 13. Palo Alto, CA.Advanced Casework workshop with LewisBuchner , 9 AM-5 PM, fee $45. Contact PaloAlto Woodworking, 820 Ramona St. , PaloAlto, CA 94301 or (415) 327-5335.

Continued

The Plane Facts

from Brian Burns

Palo Alto Woodworking

cutting edge, rather than a variableheight above it.

Another advantage of the woodbodied planes our students make isthat the student can true up the plane

In our plane making classes the stu- himself, in his own shop. For a planedent makes two wood bodied planes, to be in really good tune, the bottom7" smoothing plane and an 18" jointer has to be absolutely flat. Typical castplane. We provide all materials includ- iron planes are not aged castings, anding top quality Japanese steel for the often contain unrelieved stresses. Thusplanes. We also provide instruction in metal planes tend to warp. It is virtu­making modified Krenov-style planes, ally impossible for the individualwith a double bevel system in place of woodworker to correct an iron bodya chip breaker. A secondary level pro- plane in his own shop, except for aduces the cutting angle . The chip very small plane. But he can true upbreaker is a compromise method of his wood bodied plane in minutes.varying the cutting angle, but it can- We use Japanese steel in our plane­not produce a smooth surface on diffi- making course, because Japanese steelcult woods such as curly maple or has a finer grain than US or Europeanbutcher block with the grain going steel. It is harder, stays sharper longer,every which way. Our plane has a bev- ,and provides a better quality edge. Weel on the top side as well as on the bot- recommend the gold Japanese sharp­tom. By varying the angle of the top ening stone. Compared to a 1200 gritlevel, you can change the cutting an- for the finest Arkansas stone, the goldgle. Then this plane does a better job Japanese stone has about an 8000 grit.than a smoothing plane does, as the The sharpened blade has a mirror fin­cutting angle goes right down to the ish, and no burr. The chief drawback-,;,,;;.;-_.:.

e ct ob er /Novem b er 1982I

I

of the Japanese stones is their soft­ness, so they're more easily nicked.But that same softness means thestones are easy to resurface. A piece offine sandpaper drawn over a sheet ofglass restores the surface in a jiffy. Asimple jig and a set of shim locks var­ies the cutting angle.

15

Nov. 13 and 20. Anaheim, CA.Intermediate 3-D Woodcarving, class withJack Klempner, 9 AM-4 PM, fee $50. Con­tact Ganahl Lumber Co ., 1220 East BallRd., PO Box 31, Anaheim, CA 92805 or(714) 772-5444.

Nov. 15, Berkeley, Los Angeles, andSan Diego, CA. Closing date forChristmas Ornament Contest , The CuttingEdge stores. Contact the stores for detailsand rules: 1836 Fourth St. , Berkeley, CA94710 or (415) 548-6011; 3871 Grand ViewBlvd. , Los Angeles, CA 90066 or (213)390-9723; and 7626 Miramar Rd . Suite 3500,San Diego, CA 92126 or (714) 695-3990.

Nov. 17. Anaheim, CA.How To Use Hardwoods, class with JimNash, 7-10 PM, fee $10. Contact GanahlLumber Co., 1220 East Ball Rd., PO Box31, Anaheim, CA 92805 or (714) 772-5444.

The 1981 Gift Fair at Ganahl Lumber, Los Angeles, CA.

Nov. 20. Corona, CA.How to Install Entry Doors class with CarlWestberg, 8 AM-3 PM, fee $20. ContactGanahl Lumber Co., ISS East Rincon,Corona, CA 91720 or (714) 737-5142.

Dec. 3-4, Berkeley, CA.Sam Maloof Lecture and Workshop.Lecture/Slide Show Friday, 7-8:30 PM,tickets $10. Workshop Saturday, IOAM­3PM , $55, limited to 30 people. Register inadvance by contacting The Cutting Edge',1836 Fourth St., Berkeley, CA 94710.

Nov. 20. Palo Alto, CA.The Designing Process workshop with ArtEspenet Carpenter, 10 AM-4 PM, fee $45.Contact Palo Alto Woodworking, 820Ramona St., Palo Alto 94301 or (415)

327-5335. INov. 27. Palo Alto, CA.

American Windsor Style, 1725-1825, work­shop with John Kassay, 9 AM-4 PM, feb$45. Contact Palo Alto Woodworking, 820Ramona St., Palo Alto 94301 or (415)327-5335.

Dec. 11-12. Anaheim, CA.Gift Fair. Space available for craftspersons,tables and chairs provided, cost $30. Partici­pants must show both days . Contact JimNash, Project Coordinator, Ganahl LumbetCompany, 1220 East Ball Rd., PO Box 31,Anaheim 92805 or (714) 772-5444. I

IPacific Woodworker will publicize

events of interest to woodworkers.Send complete information to PacifibWoodworker Calendar, P.O. BOf4881, Santa Rosa, CA 95402. Deadiline for Issue 10 is October 25, 1982.

We would especially like to hea~more from Western woodworkersand woodworking organizations outtside of California. Let us help publi

rcize your events, shows, and Classes.,

Pacific Woodworker

Recane or re-rush heirloom chairs- for YOilrself 01 for others as a .profitablehobby- with our full lineof materials & instruction books,

Since 1934 Amer ica's largestselection of caning & basketrymaterials & supplies -• Superior quality weninl cane

& machine WDYen cane• Flat, oul & round reeds• Fibre & lenuine rush• Danish seat cord• Raffia, rattan, sealrass

Illustrated catalogwith complet e how­to -do-It informa­t ion, prices. orderform: $1 (r ef und­able with 1st order)

Nov. 20. Anaheim, CA.Tool Fair. Representatives from tool manu­facturing companies will demonstrate prod­ucts . Ganahl Lumber Co., 1220 East BallRd., PO Box 31, Anaheim, CA 92805 or(714) 772-5444.

Nov. 20, Berkeley, Los Angeles, andSan Diego, CA. Power Tool Demon­stration Day featuring Inca , Hegner, Henni­ker, Makita and Lurem stationary powertools, free. The Cutting Edge stores : 1836Fourth St., Berkeley CA, (415) 548-6011;3871 Grand View Blvd., Los Angeles CA ,(213) 390-9723; and 7626 Miramar Rd. Suite3500, San Diego CA, (714) 695-3990.

Wood ToyParts &Patterns

*Largest Selection*The "Standard of theIndustry"

since 1972

Nov. 17 & following. Palo Alto, CA.Snug the Joiner's Basic Skills course, taughtby Brian Burns , eight Wednesdays, 7-9:30PM, fee $100, enrollment limited to 12.Contact Palo Alto Woodworking, 820Ramona St., Palo Alto 94301 or (415)327-5335.

16

Wholesale

Catalog Free

I~.LtWe-Built'Toys, Inc.

Dept. C8, Tahoe City,CA 95730-5459

Pacific Woodworker's

Shop Tip

Pacific Woodworker would like tocontinue its Question and Answercolumn, but we need your questions.Do you have all the answers to everywoodworking problem? If not, sendus your stumpers, and we'll try tohelp. Write Pacific WoodworkerQuestion and Answer, P.O. Box4881, Santa Rosa, CA 95402.

IThere are times in woodworking

Iwhen you want to shut off your tablesaw quickly, without letting go of youri,ork, or without taking your eyes offIthe blade. Steven Higbee shared his so­Ilution to this problem recently withImembers o f the Sonoma CountyI

)Voodworker's Association and PacificWoodworker at the Association's pic­I

nic. (Pacific Woodworker will havemore to say about Steve's magnificentcustom house in Guerneville , CA,where the picnic took place, in a futureissue.)

Steven Higbee 's Kick Offquick shutoffismade ofa scrap ofplywood.

1October/November 1982I

II

Steven 's idea was to add a kickboard to the power box of his Unisaw.He suspended the board on the hingefrom a block of wood clamped aroundthe power conduit, but the innovativewoodworker can adapt this system toany saw. A hole in the board allowsaccess to the On button, and the boardrests on the Off button. To turn offthe saw, the operator need only kickout with his knee, and the boardpunches the protruding Off button! Ametal guide near the bottom keeps theboard in place, and the Off buttonprovides enough spring action to holdthe board in proper position for easykicking.

Steve notes only one problem withthis system: "I constantly bang myknee on my jointer, which isn'tequipped with this kick cutoff!"

The first book inover sixty years that is devotedexclusively to polychromatic wood assembly forthe beginner or advanced turner. It providesprofessional guidance by two internationallyknown masters of the art with over seventyyears of combined experience.

Includes plans and instructions for the con­struction of necessary jigs for polychromaticassembly. One hundred and thirteen pages ofdetailed instructions and illustrations. plus morethan fifteen projects for the wood turner.

The Kick Offhangs from a crude clamparound the po wer conduit. The hole pro videsaccess to the Start button.

POLYCHROMATIC

ASSEMBLY for

WOODTURNINGBy Emmett E. Brown & Cyril Brown

Introduction by Frank KnoxNewly revised and enlarged edition, 8V2" x11" spiral bound for the workbench.$15.95 California residents add 6% salestax. At your bookstore . or order from:

LINDEN PUBLISHING CO.3845 North Blackstone

Fresno, California 93726

17

The Quest for the Thinnest Blade

by Richard Silvera

~i.~%J ~ ~n

55'%.X2.2

IAbove: The Tsumura trademark on their 10'1'blade. Below: The Tsumura blade islessthan halfthe thickness ofEuropean saw I

blades.

The Tsumura blade in the 10" and 12'1'sizes leaves a kerf of 5/64 of an inch.These blades are particularly well suit~ed for resawing stock with the tablsaw and channeling the edges of wid~boards for aid in resawing on the band

I

TheTsumura Blade

When I mentioned my long-standingneed for a quality, narrow-kerf blade,my friend took me to the TsumuraCompany which has developed a car­bide tipped circular saw blade that isincredibly thin. As we toured the mod­ern facilty where the Tsumura bladesare produced, I grew even more ex­cited over this discovery.

have been searching for a high-quality,thin table saw blade. I believe I havefound that saw blade.

Miki, Japan

A trip to Japan has long been on mywish list, to study Japanese architec­ture first hand and hopefully meetsome of the renowned Japanese crafts­men. This Spring I finally fulfilledthat dream. In my week in Tokyo, Iasked where the best tools were made.Invariably, the answer was Miki, asmall town near Osaka. Railpass inhand, I hastened to Miki, and was for­tunate enough to run into an Englishspeaking international representativeand distributor of fine tools. He be- .friended us and took us on a two daytour of the town's tool companies, in­cluding a visit to one of the best chiselmakers I have ever seen.

Author's Note: Richard Silvera hasworked in the furniture industry foreleven years, woodcrafting for WalterJacobi and Sons and several small pro­duction shops in the Chico area.

,

Closer book matches are another benefit ofthe narrow blade, used here to channel edgesprior to bandsawing. Notice the normal kerfin the block on top.

I live in an area which produces someof the most beautiful walnut in theworld. Along with other woodcrafts­men, I have grown to love and respectthis fine claro walnut , as I strive to re­veal the full beauty of the wood andgrain patterns in my work. But as thisand other fine hardwoods become rar­er and more expensive, I hate to seesuch a large proportion of my woodend up as useless chips and sawdust.Laser technology will one day providepaper-thin cuts, but that day is not yethere. So for more than two years I

18 Pacific Woodworker

sL. The Tsumura's kerf Is only halfI

that of my thinnest Freud blade,~hich translates as half the waste, and

I

closer bookmatches . The narrow kerfI

also reduces cutting resistance. Asmall table saw breezes through 2"

I

thick oak with a Tsumura blade.I purchased a 12" 40 tooth " rough

rip" blade which I now use for 90070 ofall my cutting. It not only slipsthrough the thick Butte County (CA)carlo walnut with ease, but it also

Icrosscuts plywood more cleanly than

Imy 80 tooth European panel blade!

Sharpening and Warping The Tsumura blade makes a very clean cut.

The narrow kerf reduces friction, and the Tsumura blade breezes through 2 " sto ck withoutheat buildup.

October/November 1982I

II

The Tsumura rip blade features aslight alternate top bevel (see Pacific

I

Woodworker's Table Saw Q & A, Issue5l page 29). The face bevel, combined~ith the reduced size of the removed

I

chip s, renders little potential forI . ftearout. I have not seen this type 0

face bevel grind on any other carbidetipped blade; it makes a big differencein achieving a smoother cut. There isno trouble in jigging up to resharpenthe blade , and it takes no speciale6uipment or extra time. I would cau­tion you, however, to use a fine gritsharpening wheel and keep a lighttouch.

I

My initial concerns about possiblebending and warpage with a blade thisthin proved to be completely ground­less. The Tsumura blade tracks asstraight as any thicker blade I have ev­er used. The narrower cut and reducedfriction cut down on heat buildup, andeliminate warpage. Yes, you can makethe blade bend in a trim cut, with pres­sure on only one side of the blade , butif this is a serious concern, the Tsu­mura trim blade , about 3/16" thick,will handle the problem. I have neverneeded the thicker blade in my experi­ence.

More recently I have acquired some10" Tsumura blades. The 60 toothcrosscut blade exceeds the perform­ance of any other blade I have tried onmy Dewalt miter saw. It produces a"paper edge" clean cut on all sides ofmy test pieces. The 80 tooth plywoodblade produces a cut so clean it is hardto tell top from bottom!

This is not a specialty blade in Ja­pan. It is a high quality, industrialgrade tool that is now commonthroughout the Japanese woodwork­ing industry. The blades are availablein sizes from 7 1/4 inch to 24 inches,with from 35 to 140 teeth. The largerblades are slightly thicker (3-4mm) butstill very thin by Western standards.The power necessary to drive thesethin blades is greatly reduced, andtheir light weight is an important fac­tor in the durability of any saw.

I am very excited about this techno­logical advance, and until the portablewoodworking laser is perfected, I'llstick with my Tsumura blades.

I have arranged with the manufactur­ers of these blades to distribute themin the American market. Anyone whowishes to acquire a Tsumura blade, orwho requires further informationshould contact me at: R. Silvera FineTool Imports, 9063 Lasell Lane, Dur­ham CA 95938.

19

Synergism in Chair MakingDifferent backgrounds help

chair makers win awards

by Chod Harris.

It would be hard to find two moreconstrasting personalities sharing awoodworking shop than Jeff Dale andDennis Young of Petaluma, CA. Jeffeffuses high energy, pouring forthwords in a flood, bouncing around theshop, never still. It's like being in aroom with a perpetual motion ma­chine. On the other end of the shopDennis works quietly and efficiently,with hardly a wasted motion. Hiseconomy of movement and placid, un­pretentious style suggest the tranquili­ty of traditional Japan.

Yet their different personalities anddiverse backgrounds blend in a raresynergism. They share ideas, sugges­tions and criticism as well as space andtools, and produce award winningchairs as different as their back­grounds.

Dennis You ng has been designingand building furniture for eight years,specializing in traditional chairs . Heblends Oriental philosophy and wood­working techniques with traditionalEnglish designs to produce high quali ­ty Windsor chairs and other furniture.

Dennis turned to woodworking inthe late 60s, as he began to appreciatethat a truly independent, self sufficientindividual needed a marketable craft.The question arose, where would helearn the craft? His brother had stud­ied pottery in Japan, so Dennis tookthe unusual step of searching for awoodworking apprenticeship in Ja­pan. The process of locating a positionand obtaining the necessary visas tooktwo years .

His efforts were finally rewardedwhen he located a small rnanufactur-

ing plant run by an older craftsmanwho wanted to preserve the tradition~1Japanese methods of making fine fU~­niture. The owner reasoned that an~­one who would come all the way to Ja­pan to study woodworking showed the

I

proper desire for the job. DennisI

joined 10 other apprentices workingunder several Japanese master craft s­men as part of the lengthy process oflearning Japanese woodworking. (Seebox.)

Dennis learned chair-making be­cause his Japanese teacher was a chairmaker. Nowadays more Japanese areusing chairs, especially to eat. While,the design of the chairs is slightly dif-ferent from a Western chair, the con­struction is similar.

Four years after he arrived in J ­I

pan, Dennis took his hand made tools

Hand made Japanese woodworking tools cover the walls behindDennis Young, as he finishes a California Maple dining table.

20

Jeff Dale produces award-winning furniture with an Orientalflavor in his Petaluma, CA shop.

P a cifi c w oodworkJ

Some thoughts on design by Dennis Young

A selection ofhand crafted chairs by Dennis Young.

"Furniture should be spiritually sat­isfying as well as technically well craft­ed.

"My own designs are very close tothose I picked up overseas. But I con­tinue to work with the designs, makingthe shapes evolve. I am beginning to

relate to the piece as a whole ratherthan looking at each part separately. Ihave the crest in mind as I shape thelegs; I have the arms in mind as I formthe seat. I am beginning to introducesome of my own visualizations."

ImllI

"Craftsmen should study the evolu­tion of design in furniture, such as theimportant introduction of curvilinearshapes in the Queen Anne chair in theearly 1700s, for example. That influ­ence is still being felt today. But toomany furniture makers fail to take thetime to study the tradition of furnituremaking, and instead practice self in­dulgence in design.

"I feel that there are very few of uswoodworkers, myself included, whoare in the genius category, and able tobe wonderful designers and wonderfulcraftsmen all at once. Perhaps aftermany years of experience this can oc­cur, but even the finest craftsman to­

day is part of an evolution of designwhich has been going on for hundredsof years.

and woodworking skills to England toI

find out more about traditional West-ern chair making. Through a gallerydwner, Dennis wangled an introduc­t on to a chair maker in High Wyck­ham. The wages were meager and the

Ichair factory always cold but DennisJ as willing to put up with the poorI di fcon mons or two more years.

Dennis returned to the States withs x years of study and practice in tradi­tional chair design and manufacturetiehind him. He had never seen tradi- .tionally made Windsor chairs pro­duced in the States, so he knew he had~ marketable skill.

His six years of arduous living con­

lilionsand difficult study began '0

October/November 1982

payoff as soon as he returned toNorthern California. Dennis bor­rowed a shop, put every cent he hadinto wood and began making chairs ona speculative basis. One chair soldright out of the shop, to a person whowandered in the front door. Twoothers sold through galleries.

Within months Dennis bought a carand more wood for more chairs. Withhis own hand tools and a borrowedband saw, he began to produce chairsto sell in San Francisco's Japan Town.More recently, awards at" the MarinCounty (CA) Woodworkers Associa­tion exhibit and a First Place at theMarin Fair in the woodworking divi­sion produced commissions. Now,

word-to-mouth and gallery exhibitsprovide continuing business.

Dennis attributes his initial successto his hard-won skills, and some luck.But he also feels his choice of specialtyhelped considerably. "My furniture isrecognizable in style, so it does not re­quire an astute connoisseur to tell thatthe chairs are lasting, quality pieces of

furniture."

His Oriental training reflects Den­nis's reverence for wood and tradition­al woodworking methods. "I workwith wood to work with wood," hesays. "Because there is no motor be­tween you and wood you can see thewood; you can hear what the wood issaying to you." This close association

21

Dennis Young swears by hide glue. "It's well worth the extra trouble . ..

between the craftsman and his productcombines with wood's tiny irregulari­ties to give a warmer feel and hand­made spirit to each finished piece."Besides," Dennis concludes, "Tradi­tional tools keep you physically fit.There are no overweight woodwork­ers."

Jeff Dale, Dennis's colleague, hasbeen "making things" since he was 8years old. His interest in painting andsculpture induced his parents to fi­nance his study at the Maryland Insti­tute of Art, but Jeff rapidly becamedisillusioned with the fine art field aspresented there. "The classes were afarce" recalls Jeff. "The art was ridic­ulous neon, Plexiglass and stainlesssteel. Nothing was functional, practi­cal."

But Jeff found that independentstudy of old Japanese and Chinese artwas more satisfying. "If the teachershad only looked back, they wouldhave seen that it was all done back inthe Sung Dynasty." A quick trip to theOrient confirmed his Eastern leanings."Maybe I'm reincarnated Oriental. Ilike their attitude toward life," hemuses. This love of the Orient carriesover into design elements in his work.

22

Almost ten years after coming toCalifornia with a hundred dollars inhis pocket, Jeff began branching outfrom his trade as a carpenter to designand make fine furniture. He continuesto work on home restoration and inte­riors while making chairs as a form ofself expression.

"I want to make furniture that willstand the test of time, future heir­looms," says Jeff. Starting with tradi­tional designs, Jeff introduces uniqueelements, striving for good balance inesthetically pleasing, functional ob­jects. "Ideally I would like to make atherapeutic chair, one which wouldsupport the part of the back that need­ed it, that would heal the sitter." Jeffcontinues, "I would like to have acommission to create an environment,an entire room, including the furnitureto coordinate and harmonize the inte­rior and the furniture."

Jeff pulls design elements from avaried background with a lot of trialand error. "I collect all the things I

Right: Jeff's cherry chair won First Place inthe Sonoma County Woodworker's Associa­tion show in May.

have in mind-photographs, draw­ings-and mix them up in my head. IIset up the parts of a chair, for exa~­

ple, and play with them, adding differ­ent legs, changing curves, and see whatworks together. I really dig doing thi,not knowing exactly what I will be d -ing. I never get bored." I

Simple, clean shapes predominate inJeff's furniture. "I try to keep my fedton the ground and not go into never­never land with weird shapes. I like thb

-------1- natural organic feel of rounded shap~sand human proportions." The simplid-

Pacific WoodworkJ

The Woodworking

Apprentice

in Japan

ity of Jeff's work allows the naturalbeauty of the hardwoods to showthrough. Oriental elements frequentlyappear in his work, but not just asIcopies of Eastern furniture. The topof a wardrobe, for example, mightIsuggest the sweeping curve of a pago­Ida, but the original Oriental wardrobe

ould have no such addition.A thoroughly practical streak runs

I

throUgh Jeff's work. "I appreciate therestrictions of economic necessity. If itisn' t economical to build, I can't buildit ." So Jeff uses shortcuts such as

October/November 1982

Plexiglass templates and power toolsin addition to hand tools, although heis using more hand tools , not becauseof dogma but because he realizes theireffectiveness. "Technique really boresme when that 's all there is to a piece.It's as transient as our California soci­ety."

The checks and balances inherent insharing their small shop ensure thatboth Jeff and Dennis avoid this pitfall.While their work is separate and dis­tinct , inevitably they discuss theirwork with each other, and often influ­ence each other's designs. Each con­tributes his distinct background, ap­proach and personal style to therelationship. Commenting on the syn­ergistic relationship between himself

Few American woodworkers enterapprentice programs at all, much lesspack off to Japan for a few years tolearn a traditional craft. PacificWoodworkerasked Dennis to describethe Japanese apprenticeship program.

"Working and living conditionswere arduous. The apprentices lived ina nearby museum, caring for the ex­hibits, cleaning the building and main­taining the garden, all while working8-10 hours a day at the shop. Duringhis first two years of apprenticeshipthe apprentice worked at menialchores, from cleaning toilets to sand­ing and cutting wood."

After about two years, the appren­tice is assigned to a master craftsmanto begin learning the basic woodwork­ing skills and tools. Dennis remem­bers, "For your first two years youlooked forward to that day when youwere actually taken to work with the

x

and Dennis, Jeff says, " I would like tohave more woodworkers working to­gether. It helps keep up morale."

Judging by the awards and financialsuccess these two have achieved, per­haps other woodworkers should con­sider the benefits of sharing a work­shop.

This is the second in our series ofarticles on successful woodworkingshops. We will be highlighting someother shops in future issues, as we askwoodworkers to share their methodsand ideas with Pacific Woodworkerreaders. If you know of a shop thatshould be considered for this series,please let us know.

teacher. The work would not get lessintensive, but after those two yearsyou were reasonably secure in yourcommitment to learn. You had a lot ofhard knocks behind you."

Dennis doesn't recommend the ex­perience to the average Americanyouth. "Working under the masterJapanese craftsmen was a humblingexperience. These skilled workersdidn't blow their own horns, and actu­ally put down their skills until they had10-12years experience. Further, the in­dividual personality of the woodwork­er is expected to be totally suppressed.The apprentice has to be most respect­ful to the masters at all times." Dennisacknowledges that this attitude is verydifficult for a Westerner to accept. ButDennis mastered this Oriental philoso­phy at the same time that he developedhis woodworking skills.

23

Amazonian Hardwoods, Part 2

Their Properties

by Howard L. Waldron

© by Howard Waldron 1982

In the last issue, I introduced youto some of the Amazonian hard­woods and their extreme durability.This installment considers woods as ascientific material, focusing on thetropicals. I will discuss what we knowabout wood from an engineeringpoint of view and what we can infer,focusing on the tropicals.

'on,jeniia.D ... WeaKe.st

RaJiaP

'r» iJuJinQP •.. Sironjest

WhatDo WeKnow?Fig. J: The three directions for wood are tangential (TJ, radial (R) and longitudinal (L).

Density and Specific Gravity

D = Weight (Ib/ftl or pef)Volume

SpecificGravity (G) is the ratioof the density of a given wood to thedensity of water (62.4 pcf):

These are two ways to express theheaviness of wood. Density (D) isweight per unit volume:

= 1.28

(no units-purenumber)

806.24

D62.4

G=

G=

The heaviest wood I know of isLignumvitae (Guiacum, various species), for which D = 80 pcf', Thus,for Lignumvitae we can calculate:

(R),/and longitudinal (L). (See Figure1.)

As builders and miners long haveknown, wood is strongest longitudi­nally (L) and weakest tangentially(T).

The values, or magnitudes, of themain engineering properties of hard­woods tell us a lot about the in­service performance of each. But it isconfusing to look at an array of eightor more numbers for each species.To simplify the task and reduce thisconfusion, I've boiled down the sys­tem of numbers to two indices thatreflect two main considerations of thewoodworker: durability and stability.The Relative Durability Index wasdiscussed in Pacific Woodworker Is­sue 8 (Aug.lSept. 1982), pp. 22-25.The Stability Index will be discussedlater in this installment.

But first, let's consider wood'seight main properties, one at a time.

About the author: Howard L. Waldronis Managing Director of HardwoodLumber Wholesalers, San Francisco,CA, importers of Amazonian hard­woods.

Wood starts out in the tree as awaterlogged structure of solid mater­ials flooded with water. As it dries,wood shrinks in three directions (thesolids move closer together) and airbegins to fill most of the space for­merly occupied by water. Thus thewood grows lighter in weight. As itcomes to the woodworker, wood is anairy castle. Its solid materials tend toweigh about 94 pounds per cubicfoot (pet). However, varying amountsof air and water mixed with this solidmaterial result in woods that varyfrom less than 20 to a maximum ofabout 80 pcf',

There are three directions on ourcastle's map, tangential (T), radial

24 Pacific Woodworker

Since Lignumvitae (80 pcf) consistsof solids (94 pcf), water (62.4 pcf)Jnd air (0 pcf), we can see that it con­tains almost no air and very little water.

Bending Strength or Modulusof Rupture

Bending strength is measured bybreaking a specimen in bending (see

igure 2).

We measure the force to producefjupture and calculate the strength (psior pounds per square inch) of the6uter (maximally stressed) fibers (topnd bottom in the diagram above).

IFailure in bending occurs when outerI

fibers break in either tension orJompression; but shear along sur­I

faces parallel to the neutral surfaceImay cause or help to cause suchI

failure. Thus bending strength is not6nly easy to measure but also rich intneaning, for it tells us something~bout the tensile, compressive, andIshear strengths of the wood tested.

Modulus of Resilience

The Modulus of Resilience, ex­pressed as foot-pounds per cubic inch,Imeasures how well wood acts as aJpring. It indicates the amount ofI ork the piece of wood can store upto its elastic limit. This stored energyleturns when the wood is released;the action is much like that of a bow""hich bends and then releases its~nergy to send the arrow on its way.I

Figure 3 shows the Modulus of Resi-I

lienee measured for a piece of woodI

in compression.

I

Fig. 3: Modulus ofResilience and Stress­Strain curve

IOctober/November 1982

Fig. 1: Bending Strength

Several different Moduli of Resi­lience can be measured: in compres­sion (as in Fig. 3), tension, shear,torsion, bending, and perhaps others.The Modulus in bending tells us a lotabout how the material will performas a bow. For example, the bow-and­arrow wood preferred by the Ama­zonian Indians is Ipe, which has anextremely high Modulus of Resiliencein bending. Incidentally, when thePortuguese first saw the Indians usingIpe, they named it Pau d'Arco, mean­ing "wood of the bow. "

Fig. 4: Stiffness. The steep slope means littlemovement for a given force. the flat slopemeans more movement

Stiffness or Young's Modulus

Stiffness of wood, or Young'sModulus, is measured in pounds persquare inch (psi). It represents theratio of stress to strain within theelastic limit. In other words, it is theslope of the straight-line portion ofthe stress-strain curve (See Figure 4).

Use of a stiff, strong wood such asCumaru (vanillawood) frequentlyallows the designer to make a partthinner. For example, the designercan create a thinner table leg or alonger table.

Crushing Strength

Crushing Strength represents thestress (force per unit area or psi)required to destroy the specimenwhen it is crushed parallel to the grain.(See Figure 5.)

Figs. 5 and 6: Crushing Strength, and failurewith shear and splitting

Crushing failure of wood usually isaccompanied by much shear andsome splitting, as shown in Figure 6.

Short blocks of wood fail in crush­ing, while longer columns (whoselength is 10 to 30 times their thick­ness) fail in bending.

Toughness

Toughness, expressed in psi, isusually measured in an Amsler test­ing machine, which has a pendulumhammer that swings and breaks ahorizontally held specimen. The ham­mer breaks the wood dynamically.The wood's toughness is then calcu­lated as the stress in the extremefibers (see diagram under BendingStrength). A schematic of Amsler

testing is shown in Figure 7.

Toughness is a major considerationin the selection of wood for bowlingpins.

25

hammer

specimen

Fig. 7: The Amsler test of toughness

Janka Hardness

Several kinds of wood strength areindicated by the Janka hardness test.In this test, a 0.444" diameter ball ispushed into the side grain of aquarter-sawn specimen to a depth ofone radius (or half a diameter). Toget that deeply into the sidewall, theball breaks in tension quite a fewwood fibers and crushes others, asshown in Figure 8.

A high Janka hardness (expressedin pounds) tells us that the wood willresist denting, scratching, and muchof the surface distressing that dam­ages the looks of fine furniture.

Fig. 8: Janka test, pushing a 0.444" ballone half diameter

Shrinkage

Finally, Shrinkage usually is mea­sured from green (high MC or mois­ture content) to oven dry (0070 MC).The three primary measures of shrink­age are T, R, and L, shown inFigure 9.

A fourth measure, V or Volu­metric, can be calculated as follows:

l = (1:.!1 (l -l!!(l -lJ100 100 100 100

But the following is very nearly true:

V=T+R+L

And since L is very small, it is verynearly true that:

V=T+R

Cuts from most woods are dis­torted by shrinkage, the distortiondepending on where in the cross­section the wood came from (seeFigure 10).

But if T = R, then no distortionoccurs during shrinkage. A square cutfrom any part of the cross-sectionremains a square after shrinkage, acircle remains a circle, and so forth.

What Can Welnfer?

Shrinkage of incompletely curedlumber causes its worst stability pro­blem. But wood cured to equilibriummoisture content will still swell ashumidity rises and will shrink as itfalls. Such in-and-out, cyclical move­ment is called movement in service.Wood's movement in service urgentlyneeds more study, by measuring T,R, L, and V under different condi-

tions of relative humidity and tem­perature. However, there are somefacts we do know. Movement in ser­vice usually involves shrinkage duringdrying, so woods with low shrinkagetend to have the least movement inservice. Thus, given values of T, R,L, and V, we can infer that the moststable woods usually will have lowvalues for these four shrinkages.More specifically, we can infer thatthe most stable woods tend to havethe following three measurable pro­perties:

T=R

v = Minimum

Density = Maximum

Let's discuss each of these separately.

T=RIn practice, this is never the case,

so we look for the ratio T/R to beas close to 1.00 as possible. An ex­ample of a wood with a very lowT/R is Macacauba (Platymiscium,various species), where T = 3.5% ,R = 2.7070, and T/R = 3.5/2.7 or1.30. In the Amazonian woods I havestudied, T/R ranges from 1.21 (Ipe)to 2.53 (Pau Ferro-Machaerium).Macacauba's 1.30 is third from thelowest.

v = Minimum

V is approximately equal to T + R,so we look for either low V or lowT + R.

Fig. 9: The three directions ofshrinkage

Fig. 10: Shrinkage and distortion depend on the cut

0/.--,---- R

--- - - 1-

(3.5-12.0010)

(2.6-6.0%)

(Less than 1%)

T R

lliUJIIDJnJ ~T R

26 Pacific Woodworker

Excellent

IpeTatajubaCocoboloHonduras MahoganyYellow Satinwood

Some of the worst movement inwood results from different longi­t dinal shrinkage. This causes crook­iI~g, bowing, and twisting. Concern­idg these distortions, we can say that

I

i~ volumetric shrinkage V is a mini-mum, all shrinkages will tend to belqw. To obtain an index for V thatwill be compatible with that for T/R(~bove), I divide V for each wood by6Js. (6.5 represents the V = 6.5%fJr Macacauba, which has the lowestv,1for any wood I have studied.) Thus:

v = VIndex6.5

Wood

Tops

Macacauba

Average

Teak

Worst

Eucalyptus

Table 1. Some representative stability indexes.

T/R V/6.5 73.5/D

1.30 1.00 1.15

1.21 2.03 1.041.27 1.57 1.47

1.59 1.31 1.431.37 1.20 1.791.12 1.97 1.30

2.32 1.08 1.84

1.50 3.23 1.36

St index

1.00

1.241.251.261.261.30

1.52

1.77

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27

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little surprised to find that the ForestProducts Laboratory people 'way upthere in Madison had published moreand better information about Amazo­nian woods than had the Amazoniansthemselves!

In the next installment of this seriesI will consider some specific Amazo­nian hardwoods.

St = T/R + V/6.5 + 73.5/D

Stability Index

T/R index. Teakjfor example, with aD of 40.0, has a Dindex of 73.5/40.0= 1.52.

But the total, always 3.45 or more,is awkward to use. A better index,St index can be obtained by dividing allthe totals (the values of St) by 3.45(the lowest possible St). This resultsin a series of values of St index rangingupward from 1.00 for Macacauba.Table 1 shows some representativestability indices, not a complete tabu­ation of results. I invite commentsfrom woodworkers and technologists.

The stability numbers I have derivedare available for the first time in thisarticle. For those who would like tofind values for the other propertiesmentioned here, the best source of in­formation on the Amazonian exotics isTropical Timbers of the World pub­lished in 1980 by the Forest ProductsLaboratory, P.O. Box 5130, MadisonWI 53705. I also have a copy of anexcellent two-volume Brazilian work,Catalogo da Madeiras da Amazonia(Catalog of the Woods of the Amazon)published by SUDAM, 1968. I was a

A good stability index St involvesadding the three indices T/R, V, andD:

Density = Maximum

Use of this formula gives us a rangeand direction compatible with the

IOctober/November 1982

I

D = 73.5 = 1.00Piratinera g.

73.5

In the woods I have studied, V. din ex

varies from 1.00 in Macacauba to3123 in Eucalyptus diversicolor, a

Inotably unstable wood.

The number 73.5 in this formularepresents the density of Piratinerag~ianensis, which has the highestdensity of any of the hardwoods IHave studied. Thus:I

VTatajuba = 10.2 = 1.576.5

For example, the index for Tata­juba, with V = 10.2010 is calculated:

Di

d = 73.5o ex --

D

Such a wood has less space formoisture absorption and movement.

I

Dense woods are more stable thanp'orous woods. To obtain a compa­tible density index for the variousIhardwoods, I calculate as follows:

I

The Del Mar Show

San Diego Fine Woodworkers

stage a highly successful exhibit.

by Sheldon Harris

The newly formed San Diego FineWoodworkers Association tackled amajor exhibit this summer, with theirown building at the Southern Califor­nia Expo, more commonly known asthe Del Mar Fair.

Nearly 100 entries competed forspace in the show by passing throughthe San Diego Cutting Edge store

28

where Association President Lynn Ry­barczyk took color slides in a studiosetting . Morris Shepard of Fine Wood­working magazine helped select the 45pieces which made up the show. Selec­tion was made on the basis of designas well as craftsmanship.

More than 50 members of the Asso­ciation manned the exhibit throughout

II

the fair. And all of the pieces that werefor sale were sold. I

Among the highlights at the showwas a cherry harpsichord by 20-year­old Craig Woodward. Craig says he

I

put more than a thousand dollars ofmaterials into the instrument, whichhe cannot play. If fact, he had to invit~a friend over to tune it. "My objectwas not to make money. I did it for thelove of woodworking," Craig said.

Long time wood carver Clay John}ston said of the show, "More tha nthree quarters of the work is of profestsional quality, way up from only a fewyears ago."

The San Diego Fine WoodworkersAssociation started only a year agoIprompted by the enthusiasm of LynRybarczyk and Jim Sherry, with the

Ihelp of Chuck Masters of the SanDiego Cutting Edge store. Before theDel Mar Fair, the Association boastedmore than 140 paid members, makij

II

IPacific Woodworker.

it l ne nf the largest in the country. Theofficers of the SDFWA deserve heartycongratulations for pulling the San

I

Diego woodworkers "out of the wood-work" and for producing a top-notchexhibit.

II

PI . B· d·revtous page: ob Bnggs an MikeI

Roxy produced this wall cabinet ofmahogany and imbuia. Top: Queen

I

Anne Desk in koa by John Goff,I

with book matched drop leaf ande,tposed dovetails. Right: Craig

I

Woodward's cherry harpsichord.

Below right: Holger Laubmier blend­ed teak, mahogany and Formica inthis bathroom cabinet. Below left:Spiral table of Pacific pine byRocky Cross.

I

III

I

IOctober/November 1982

I

II

29

News and Notes

Pocket Moisture Meter

Dry your own wood? Lignomatnow offers a pocket sized handheldmoisture meter. LEDs indicate percentmoisture from 6 to 200/0. A two-posi­tion switch improves accuracy for dif­ferent wood species. Contact Ligno­mat USA Ltd., 14345 NE Morris Ct.,Portland, OR 97230.

Love-Built Toys

Love-Built Toys has launched a mailorder supply shop. Their new catalogfeatures toy parts and patterns, as wellas books on making toys and chil­dren's furniture. Write them at P.O.Box 5459, Tahoe City, CA 95730.

Woodworking Calendar

Wood 83 is a calendar tribute towoodworking. The calendar featuresprominent wood artists including SamMaloof, Bob Stocksdale, Rudy Vargasand others. The calendar includes abrief biographical sketch and a photo­graph of a piece of each artist's work.$9.95 postpaid from P.O.Box 6248,Los Osos, CA 93402.

New Wood Finishes

New Products

Watco-Dennis Corporation has add­ed four new colors to their popularline of wood finishes. Cherry, GoldenOak, Fruitwood and English Oak jointhe Natural and Walnut tone Danishoil finish line. See your local dealer orcontact Watco-Dennis, 1756 22nd St.1

Santa Monica, CA 90404.Continued on page 42

I

Marketing

Mail Order Marketing

by Thomas Kline

Gaining exposure for one's finehandcrafted wood products has al­ways been a problem for the seriouswoodworker. Design and construe­tibn traditionally have absorbed sucha Ilarge portion of time that oftenlittle time is left to develop a mar­kJting plan. Such was the problemf~ced by Marlen Kemmet, San Diegocraftsman.

Kemmet, a logistic engineer forGeneral Dynamics, makes qualitywood items at night and on week­ends . But, like many other part timewoodworkers, he has found little time

Ifor even a small scale marketing

I

program.I"We were making wooden toys and

a Itwelve piece kitchen set," statedKemmet, "And having excellent suc­cess selling to friends and fellowworkers. But we found little time toget involved in an in-depth marketingplan. As a member of the San Diego

IFine Woodworking Association, Inoticed this problem was quite com­

Imon among other woodworkers, too."

IIBecause both he and his wife have

other full time commitments, Kern­met began investigating the idea ofmail order marketing for wood pro­ducts. He looked through severalpublic and college libraries to find

I

information to use in launching suchI •

a project.'''Most of the literature was either

qJite basic or outdated," reportedKemmet, "but we gathered enoughinformation to get us on our way. Wesoon realized that we would not haveenough time both to build and sellour products. So we decided to mar-

IOctober/November 1982

ket other woodworkers' products,allowing sufficient time for market­ing and a little time to build formyself."

With this in mind, the Kemmetswrote to craftsmen throughout theUnited States who were known fortheir quality toys.

"We were quite surprised at theresponse we got," said Kemmet. "Wehad literally hundreds of toys tochoose from. We had no idea somany quality wooden toys were beingmade. After a great deal of delibera­tion, we selected 20 toys. We decidedto make a small catalog with these20 toys as well as parts for those whowanted to make their own."

Working weeknights and weekendsfor several months finally paid off.The catalog was finished in mid-Maythis year. "We did as much as possi­ble ourselves to cut costs," saidKemmett. "I did all the photographyand my wife did all the layout work.We even stapled the catalogs our­selvesto save a few cents per catalog."

Kemmet added, "Although we didas much work as possible ourselves,printing and ads in national maga­zines can get really expensive. Thecatalog by no means compares toSears' or Penney's, but it is a start.It contains a five piece train, pulltoys, puzzles, banks, etc. Our goal isto incorporate other fine handcraftedwood items into next year's catalog.We would like to include kitchenitems, jewelry boxes, turnings andother small wood items. There are somany beautiful items being made. Wehope to achieve a better exposure for

these products for everyone to appre­ciate through our catalogs. We knowit won't be easy, but few fullfillingthings in life are!"

Kemmet added that the catalogssell for $1.00 apiece from WoodWizard, 3666 Mt. Acadia, San Diego,CA 92111.

31

- )THEL--/

FOURTHCORNER

Dealing With an Ordealby BillFarnsworth

On July 3rd, the eve of this year'sIndependence Day, a fire broke out inthe building where my shop waslocated. Less than five minutes elapsedbetween the time flames burst out thefirst window and alerted a workeracross the street, and the time firetrucks began to arrive . From ignitionto extinction, the fire could not haveburned more than fifteen minutes .But in that brief interval two wood­working businesses and a sail-makingloft were shut down, a dozen jobs

(lito,'$' Note: We heard about theire in Bill Farnsworth's shop shortly

after it occurred, when Bill's letter ­on singed paper salvaged from thei~t~1l - rived at Pacific Wood-

w.o,ker's office. Later I asked Bill if.e would mind sharing his experi­

en~e, unpleasant as it has been, withour readers. The manuscript for thisissue's column is also charred andsmells of smoke, adding even morMvid impact to his words ' for ushere. Perhaps Pacific Woodworkenreaders may wish to take the tim

ow to assess your own shop's firrecautions and take the preventive

measures Bill suggests.

32

were interrupted, a third of a 7000square foot building turned into char­coal, and tens of thousands of dollars'damage were done .

It happened at about five P.M. ona Saturday, while my wife and I wereoff buying shoes for our son. Wearrived home to a ringing telephoneand the bad news. The fire fighterswere already drying out their hosesand hauling out debris when I reachedthe scene. The TV Eyewitness cameracrews were already gone with 20seconds of air time on tape. Thebuilding's ceiling joists were so badlyburned I was not allowed to enter myshop area to survey the damage. Es­corted by a fire department lieuten­ant, I was permitted to examine themessin my smoke-and water-darnaged,but luckily unburnt, office. At leastthe browned and soggy records werereadable. Asked then to leave the pre­mises while the mopping-up opera­tion proceeded, and with feelings ofnumbness, confusion and a mountingsense of loss, I stood in the streetwhile firefighters dumped load afterload of my ruined tools, lumber andhardware into curbside piles. The fireinspector had many questions to askme and the other owners of businesses

I

in the building. The report wouldclaim an electrical cause. I suspeotthey just threw up their hands andpicked that explanation out of a ha ,however, since the power had beepoff at the breaker box when the firestarted. The building was newlywiredto commercial code, too. To me th1e

I

cause remains a mystery. Perhaps itwas some wild kid with a firecrackef,who knows... ?

Things could have been worse, Isuppose: no one was hurt, losses werenot insurmountable, I was absolvedof any contributing negligence, m~grandfather's lathe was salvaged. l,My business now has risen from theashes in a new location, and thanksto the help and patience of friendtrelatives, suppliers, clients, other

Iwoodworkers and my new landlord,it looks like my woodworking careerremains intact. I

IBut setbacks take their toll. Sud­

Idenly I feel much older, more para-noid, and very tired . I have worked

Itwo months of 80 to 100 hour work­

I

weeks, including a number of all-nighters spent getting month-late work

Iout the door, and long weekends get-ting the door itself built. I do ndt

Pacific Woodworker

recommend a fire as a way to startI

over fresh!IAfter a catastrophe of any sort,

one either makes the best of it orjust gives up. At times, I could stepback from calamity and get philoso­phical. For example, I would reflectthat my losses wouldn't add up tomuch if spread over a lifetime ofearnings. But I was underinsured forfire, and after a seven week waitrecovered only about thirty cents perdollar of loss. Even then my claimpayment did not take into account afull month's business interruption;n6r the time spent cleaning, oilingarid rewiring salvaged equipment; northe monumental hassle of movingand starting over in a new shop. Istill have tax records, drawings, con­tracts and piles of receipts in card­board boxes, which will take monthsof moments stolen from other tasksto sort out. These boxes of mildewedpaper are beginning to smell likecompost.

II''1 do not recommenda fire as a way to startloverfresh!"

I

/My new shop space is in manyways a vast improvement over theolld. It is twice the size, part of anold Seattle millwork factory with aftill complement of woodworkingequipment in place, wired in, andducted to a massive dust-collectionsystem. Once I had signed the newlease (a better deal than the previousone), I was able to go back intoproduction more or less immediately.But still there was an office to build,new doors to cut in the existing walls,workbenches and storage spaces toconstruct. My office walls are stillbare plasterboard staring at me, witha door yet to hang in order to close

I

off my paperwork and telephonefrom the sawdust beyond. My work­btnches still consist of plywood sheets

II

October/November 1982

over sawhorses. Sooty, half-restoredtools remain in piles in the corners.Perhaps in six months or a year I willbe back to square one.

"Bringing designed or­der to chaotic space isone of the prime func­tions of cabinetmaking,one of its intangible re­wards. "

Re-establishing a woodshop fromscratch has been expensive, time-con­suming and exhausting, but in certainways it is a rewarding experience.Most of us accrue our equipment andtools gradually, buying what we canafford at the time, what's on sale atSears, what we successfully bid on atbankruptcy auctions, what we comeacross by accident, inheritance orshrewd bargaining. Many of mywoodworker friends still struggle withnine inch table saws or $19.00 drills,waiting for these beginner tools to fall 'apart so they can run to the industrialtool suppliers and upgrade. Though Ididn't quite know where all themoney was coming from, I was likea kid in a candy store the day I madethe rounds to suppliers and pickedout an entirely new set of tools (ab,blessed credit!). I wandered the cata­combs of Builder's Hardware andSupply Company pushing a shopping

"Every woodworkershould have a compre­hensive insurance pol­icy, a trusted agent andreputable company.Don 't get burned twiceby afire."

cart, carefully weighing quality againstprice as I chose new screwdrivers,squares, saws and hammers. Laterthat day, at T and A Supply, I foundmyself purchasing many of the same

Bosch and Makita power tools thathad served me well before - an in­dication, I would later realize, of myfaith in their quality. I finally boughtthe Bosch jigsaw I had eyeballed forthree years while waiting for my ineptbut functioning Skil cheapie to die (itmelted in the fire instead). The Bosch#289 orbital sander I replaced withsame is also a gem. I'd buy severalMakita HPI030 hammer drills if Icould afford duplicate tools at thispoint - the HPlO30 is the most ver­satile, economical and high-qualityVariable Speed, Reversible model onthe market, and one can safely abuseit in masonry.

For me there also was somethingthrilling about laying out a new shopon paper, organizing it efficiently,then slowly transferring the final planto three-dimensional actuality. Thiswas a joy usually reserved for payingclients. I had the luxury of 2100

I square feet of space (plus loft storageand a workyard) to manipulate. Even­tually my new space will be more

Aftermath 0/ a fire: charred posts and beamsremain in Bill Farnsworth 's devastated shop.

carefully organized than any kitchenor office space I have worked upon.Bringing designed order to chaoticspace is one of the prime functions ofcabinetmaking, one of its intangiblerewards. Because chaos has over­whelmed me lately, shop organizationhas soared from an infrequent pas­sion to a driving obsession. I will re­main restless until the last tool cabi­net and lumber rack are in place.

Continued

33

There are a number of lessons I'velearned from all this. For starters, I'dsay every woodworker should have acomprehensive insurance policy, atrusted agent and reputable company.Don't get burned twice by a fire, as Idid. Make sure you increase your cov­erage as you acquire equipment, in­crease inventory or expand opera-

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34

tions. It's surprising how one's left­over lumber, miscellaneous hardwareinventory and tool purchases can addup to many thousands of dollars,even in a small shop. I couldn't be­lieve I had over $500 worth of paintat replacement value, for example. Ifgrossly underinsured, one can bepenalized by a claim payment belowone's policy limit. Never let insurancecoverage fall below 800/0 of full valueof goods and equipment.

"Build and maintaineverything in your shopto code."

Secondly, build and maintain every­thing in your shop to code. The firemarshall's office with its ostensiblynitpicking rules is there to save lifeand property - don't look upon itsservices cynically. Proper wiring,building materials and safety devicesshould not be scrimped upon. Keepyour shop well swept, dusted andhazard-free. Have plenty of fire ex­tinguishers of the ABC multi-purposetype. Keep flammable chemicals inclosed metal cabinets, use them inventilated areas, and consider install­ing fusible-link sprinklers, dry chemi­cal or Halon-gas extinguisher systemswhere flammable chemicals are storedand used. For about $300 you canprotect a 1000 cubic foot storeroomnight and day unattended. Ask theguy who recharges your extinguishersabout the new Halon systems avail­able. I have gained a heightenedawareness of how flammable a wood­shop, by its very nature, is. Add toall the potentially combustible wood,explosive dust and sparking electricalequipment the many oils, lacquers,paints and solvents of our craft, andthe possibility of conflagration isterrifying. I was in a way fortunate ­most woodshop fires burn completelyto the ground! The purpose of safetyregulations and fire codes is to pre­vent a fire from igniting in the first

Re-establishing a wood­working business fromscratch is expensive. "

place, and secondly to slow a fire' sspread by precious minutes. FifteeJminutes put me out of business, near}ly permanently. I

Lastly, I'm learning that no matterhow far one gets thrown off track]things can and do return to normal]

Iparticularly when one's norm usuallyborders on frenzy anyway. The busi}ness of woodworking has been mostlya roller-coaster ride for me thus far; a

I

number of times I've found myselfscreaming down into setbacks, dislappointments and hard-knocks learn~ing experiences - but the ride doerrebound. Most woodworkers I've metare pretty resilient individuals, as the~early-on get used to the ups anddowns. We live daily under the Law~of Murphy . Our unpredictable medi

fum is prone to cracking, checking,delaminating and otherwise misbe~having at the worst possible times and

I

places. Our clients, suppliers andcashflow tend to be fickle. Yet alway~there is some way to fix things, t6make them right again. We use glu~

I

and putty, nails and screws, a di~-

ferent design or better method. Withresourcefulness, patience and stubrborn wills, we muddle through, eventhe worst of mishaps.

Bill Farnsworth is a custom cabinet(furniture-maker and a ContributingEditor. Bill's new address is Lens and

IHammer Woodworks, 4349 Leary

iWay NW, Seattle, WA 98107. Re-plies to The Fourth Corner and info+mation of interest to woodworkers in

Ithe Northwest should be sent to TheFourth Corner, Pacific Woodworke~,

IP.O. Box 4881, Santa Rosa, C95402.

Pacific Woodworker

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I

35

Types of Stains

Continued from page JJ

36

Wood Staining

IPacific Woodworker

I

There are many different types ofstains on the market: water based, oilbased, alcohol based, dye, pigmentlgelled, penetrating and non-penetra-ing.

Water based stains in most casesare stains that blend water solubleaniline dyes in water base. We atGeneral Finishes do not recommendwater based stains because water isone of wood's worst enemies. Waterraises the grain of wood, warps woodand often starts the mildew and rotprocess in wood.

Alcohol based stains are madeusing the same types of dyes in analcohol base. This has the advantageof not raising the grain, but generallythese dyes are not as color fast as thepigmented stains.

Non-penetrating oil stains or gelledstains are thick stains which usuallyhave a linseed oil base and do notpenetrate the wood. Non-penetratingoil stains are nearly opaque, likepaint, and will cover and cloud thegrain more than other kinds of stainl

IThis type of stain hides the grainrather than highlighting it. I

Penetrating oil stains are the most' popular stains among craftsmen be­cause of their ease in application andthe beautiful way they highlight the

I

grain of the wood. Penetrating oi~

stains often are a blend of dyes andpigments. Some penetrating oil stain~such as Sealacell, also have a sealer asa base and provide a wood seal at thesame time. I

Wood finishing and stainingshould be rewarding because you addcharacter and beauty to your project ]

I

Just as you develop different waysand techniques in woodworking soyou will develop different methods

Iwith staining and finishing. I hopeyou have found this article to b~informative. In a future issue I willdiscuss the different types of finishesand appropriate application tech~niques.

face then removes excess surface resi­due which has not been absorbed intothe wood, so that the true beauty ofthe grain can show. The darkness orintensity of stain is determined notonly by the stain color, but also byhow soon after application it is wipedoff. For a very light tone, wipe offthe stain as soon as it is applied.Leave the stain on longer for deeperpenetration and darker color. Youcan also apply a second coat of stainfor darker, richer color, but wait atleast twelve hours for the first coat todry. When wiping down, use a ragthat has been slightly dampened inthe stain . Remember that most pene­trating stains need 24 hours to drybefore applying the finish.

HIGH SPEED GRINDING WITH RIMA JIGWith this jig, the bottom lip holdsthe tool at the same bevel at alltimes. By using a light touch andsliding the jig from side to sideyou will find that the tool will notoverheat. It is not necessary toquench the tool in water.

HIGH SPEED GRINDING FREE·HANDWhen grinding chisels or planeIrons you tend to squeeze hard soas to not lose your position thatmay change the bevel. Now youhave a· tendency to bear hardagainst the wheel, causing thetool to overheat and burn .

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wood: applying the stain and wipingoff the residue. Although there aremany different ways with a variety ofequipment to apply stain, most crafts­men stain their projects by hand.Brushes and rags are good tools forhand applications. It is also handy tohave a rag ready for wiping off stainquickly. Since certain parts of thewood may be naturally darker thanothers, you can create a more uni­form appearance by wiping the stainfrom these areas soon after it isapplied. For best results in control­ling the depth and intensity of color,use a cloth to apply the stain. With acloth you can wipe the stain on care­fully, instead of flooding the woodsurface with stain as you would whenusing a brush. Wiping down the sur-

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IYou don't need anew table saw. Youneed a new saw fence.

Not even a new table saw will give the precision, increased productivity andease of ope ration that you can get with the patented T'Sq uare- Saw FenceSystem on your present saw. Irs the first major change in table saws in40 years.

So. maybe you really don't need a new table saw after all,especially when you can convert your saw into a precisionwooeJ.cutting instrument for much less money.

If you're still not sure, try one. We guarantee the'f-Squere - System will give your shop a newdimension in cutting , or we'll return every centof your money. Even shipping costs . You can 'tlose. Write or call for the name of the dealernearest you. While you're at it, look into our newmeasuri ng and stopping devises for cut-off, radia l-arm ,and motorized miter saws too .

EFFlCIErn'. Saves 50% or more on wasted cutting labor,ACCURATE. A sinqle -action handle locks the fence with aminimum of 1/64th·in, accuracy every time.FAST. Makes accurate set-ups and quick cha nges in seconds,Eli minates guess work, and hand meas uring for good.f1TS ANY TABLE SAW. Installs easily on any new or used

I table saw, Cutting capac ities available to suit your needs ­up to 98·in. to right. and 4Q.in. to left of blade.PROVEN. Thousands of TSquare" Systems are now on thejob throughout the industry,GUARANTEED. Qu ality constructed to handle commercialapplications . 12month parts and workmanship guarantee. Tryone for 2 weeks. If not satisfied . your money will be refunded.

,October/Novemb er 1982

BACK Issues ofPacific Woodworker

$1.50 each or complete set of eight foronly $8.00, postpaid.

Issue 8: Establishing a Successful WoodworkingBusiness, Made with Wood II Show, AmazonianHardwoods, Rockwell Sander.Issue 7: Interview With Sam Maloof, "how-to"advice from Sam , woodworking in Maui , restau­rant woodworking.Issue 6: Fifty Years of Wood Carving, MakingWooden Boxes, Table Saw Guide Part 2, TestReport of Sanding Belt Cleaner.Issue 5: Creation of a chair, Table Saw GuidePart I, Test of Rima Sharpening Jig, wood­work ing for love or money.Issue 4: Profile of sculptor Lucius Upshaw, mar­keting at crafts fairs, test of the Supportable,interview with a decoy carver.Issue 3: Special issue on dust. Test of Stanleydovetail fixture .Issue 1 and 2: Special package deal, two issues foronly $1.50! Noise and vibration and their preven­tion, wood par ts and accessories, solar heatedwood dryer, tests of Carter band saw guide andMilwaukee electric chain saw.

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37

And Now, Spike Has PublishedAn All New and Fantastic

"Complete Handbook of Power & Hand Tool Wood Carving"136 Jam-PackedPages 23 Fact·Fllled Chapters

108 Big Photographs 'D illustrations, Pattams & Detailed Plans

23 Chapters, Includ ing:" How to Succeed Financially in Wood Carving ""'How to Write and Publ ish Your Own Wood Carving Book and Make $250,000"" How Retirement Can Be tne Richest Years of a Wood CaNer's Life"" Foo l·Proo f MethOd lor Landing StOO-A·Oay Demonstrat ions "" W hich Power Tool Shou ld You Buy "" Shallow Relief Carving or Engraving "" Deep Aelief Carving · Concave or Convex"" Carving Huge Plaques and Murals""Carving Full Round or 3 Dim&nsionar"" Your High Speed Stee l and Tungsten Carbide cutters & How 10 Use Each""Sma ll Engravi ng Cutte rs'" Aluminum Oxides and Silleon Grinders"" Vises. Speed Contro ls. Sanders. Woodburning Kits & Engravers""The Complete Abrasive and sanding Story ""W hich Adhesives or Glues Are Best "" How to Achieve the Ultimale from Wood Stains & Finishes"

And 7 M()(e Information Filled Chapters !

27 Dltalled Plans and Patterns, Includ ing:" Spike's Own Personal Carving Island "" Our Own Personal Cutler Case layout with Numbers""Our Merit Professional Sanding Island "3-Vlew Palt erns of 5 Different Duck Decoys (Full Size)4-Vlew Patterns of 5" Cowboy 8001a-vt ew Patterns of Griu ly and HippoFloor Plan of Our 4,700 SQ. Ft. Earthen Insulated HomeJMuseurnlVv'ood Carvers ' Supply

And 20 More Instructional Illustrations

This superb, comprehens ive, encyclopadic·type handbook can be ordered bylending $11.45 ($9.95 plus $1.50 United Parcel Serlice charges) to " Spike Boyd,"Spike Boyd's Wood Carlers ' Supply, Route 1, Box 416, Highlandville, Missouri65669.

"This is the Power Carving Manual you have been asking for , and I have put my heart , sou l,and 16 years of wood carving and professional business experience into making this the finestwood carving reference book ever published. 11 contains everything we taugh t in our S200-a-dayprivate course, Dlus about 99% more. You will truly be exhile rated when you view all of the 108large pholographs and read its comprehensive contents." -Spike

It you desire I Iree catalog 01all 01the Dremel tools and accessor ies sold by ourWood Carlerl' Supply, send a 4" x 9" stampad (addresled) envelopa (your postolllce has these) to Spike Boyd at the above address.

Subscribe to .•.As a woodworker you are interested in many

facets of this fascinating and changing field. AndPacific Woodworker is your best way to keep upwith what is happening in wood carving and smallwood production shops. Regular features in PacificWoodworker include:• Spike Boyd on power wood carving.• Bill Farnsworth's The Fourth Corner, an interesting

column on woodwork ing in the Northwestern states.• Interviews with successful wood carvers and wood shop

owners : What are the secrets to success and financialreward?

• Calendar of woodworking events and shows.• New Products announcements and Test Reports.• Marketing for the small wood cra ftsperson: estimating,

closing a sale, adverti sing, and more .• Woods of the World• The Best in Woodworking Tools• Woodworking Exhibit s in the West• Book reviews and much, much more!

Don't Delay! Fill out the coupon on the back ofthis page and mail it off today. You don't want tomiss a single issue of the most exciting publicationin the field of Woodworking: Pacific Wood­worker!

P.O. Box 529, Paramount , CA 90723 1

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38 Pacific Woodworker

Rocking Horse Plan

ATTENTION! DADS, GRANDDADS, CRAFTSMENBuild this heirloom gift for your favorite child. Ourhorse is made from pine with a' comfortable paddedseat, flowing mane and tail, and leather bridle. Wssturdily built and measures 25" x 36". Great fun fortots. Popular seller at craft shows. Easy to build withour full size plan. Send for Rocking Horse Plan $5.50Catalog of plans & supplies .....•........ $1.00

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39

Power Hand Tool Wood·Carving

by Spike Boyd

Lesson 7

In our first six lessons we may haveled you to believe that Dremel has amonopoly on power wood carvingtools. However, there are a number ofother products that I also use and rec­ommend for power carving.

Merit Sand-O-Flex Model 350-RMerit's deluxe Sand-O-Flex flexible

sanding wheel has a metal wheel ordrum with eight flexible abrasive stripsand backing brushes. I have not usedsandpaper for 12 years, since it isprone to leave hundreds of deep

scratches in a carving. The Sand-O­Flex is designed expressly for use onrounded and intricately carved surfac­es. Its brushes force scored fingers ofindustrial-grade abrasive cloth overand around contours, and into surfac­es and small openings where otherabrasives or even fingers can't reach.

This cushioned abrasive action willnot harm intricate details , yet it re­moves all those splinters and trash,leaving a satin-smooth finish. This

40

tool distributes the abrasive pressureevenly over the work surface, so that abeginner can achieve fine finishes aseasily as an experienced professional.It is NOT one of those dangerous wirestrippers which can throw a wire rightinto your eye or throat!

When the Sand-O-Flex abrasivestrips get less than 112" beyond thebacking brushes, simply dial out freshabrasive, snip off the edge, and it is asgood as new. Refills are available; useeither "scored" or "plain" refills infine 180 grit or medium 120 grit. Be­cause the Sand-O-Flex is a finishingtool, avoid using a coarse refill.Slashed or scored refills are slit 1/8"wide and act as tiny fingers on irregu­lar shapes and curves. The plain refillsare more aggressive on flat surfaces,mild contours, or for paint stripping.

The Sand-O-Flex has a 6" overalldiameter, with a 33/4" diameter metalbody and 15/16" wide abrasive strips.It also features a 518" arbor hole with

. . /'an extra adapter for operating In a 114", 3/8" or 1/2" drill chuck. My spe­cialty is carving 6- and 8-foot muralsof Southwest art motifs, and I cancompletely finish-sand these huge mu­rals in 10 minutes using a scored, me­dium refill, without a single sandinkscratch on the entire piece. I receivb

I

more accolades about my velvety-pol-ished finish on my walnut carvingsthan you can imagine. For instance, incarving my 36" black walnut Federal­ist Eagle I used the Sand-O-Fle ,buffed with a muslin buffing wheelfaced with 180 grit compound, andthen waxed and buffed again.

Merit's Grind-O-Flex IAnother sanding aid is Merit js

Grind-o-Flex. This is a flexible abra­sive wheel designed to give you tho J ­sands of abrasive cloth flaps per miI~­ute and it is ideal for sandingcontoured shapes. The coated abrasi veflaps are secured to a hub and come infine 180 grit, medium 20 grit and

IPacific Woodwork~r

"Charlie sure carves realistic animals!"

turning 28,000 RPM in my Moto-Flex232. The fine sleeve is number 432and the coarse one is number 408.

Merit Safety Face ShieldFor safety's sake , always use a face

shield. This one has a handy flip-upfront shield and comfortably paddedhead band. It will completely protect,your eyes and face while reducing dustinhalation. The shield is lightweightand adjustable, with cushioned sweat­bands and ample room for glasses .This is an industrial-grade, not a retailstore item. At $8 it is one of the great­est bargains you'll find.

People sometimes ask me why I useall power in my sanding. My response

. is, for the same reason that you and Iuse power in so many things in ourhomes. And frankly, to be successfulin any business , you must produce aproduct expeditiously and receive a de-

Continued

41

the Merit disc, you had better have itplaced perfectly true to your metal discbecause when those two surfaces meet,it's gangbusters! Only a putty knifewill ever get them apart again. Now Isimply but firmly draw my carvingacross the edge at a 45 degree angleand the coarse 36 grit does the rest.The disc comes with a standard 1/2"bore and will fit any standard furnace­type appliance motor or 1/4 or 1/3HPmotor.

Dremel Model 407 1/2" SandingDrum

This little workhorse is the greatestthing since the invention of the powerbread slicer. It comes with either fineor coarse sleeves and is unmatched foredge sanding or rounding off full­round carvings or woodworking pro­jects. I also use it to put a razor edgeon my knives or chisels with a fine gritindustrial sleeve on the drum which is

IThe Merit Accessories: Sand-OsFlex, Grind-q.Flex and Safety Face Shield.

J arse 80 grit, for use in sanding, pol­ishing and grinding your work. Thet061's sanding action is easily con-

Itrolled by the amount of pressure youex~rt against the workpiece. With amWe MA-56 adapter it can be insertedin!o a portable hand drill for sanding

I I

large, flat surfaces. The faster the,RPM, the better it sands. However,d In' t exceed 5000 RPM with either theSand-O-Flex or the Grind-O-Flex.

he Grind-O-Flex has no match insanding woodwork, wood sculpture,or any type of metalcraft. (It's unex­celed for rust or paint removal, too.)Use a female FM-56 adapter to attachydur Grind-O-Flex to a 1/6, 1/4 or 1/3 flP motor (see the illustration of myS nding Island on page 31 of theJune/July issue of Pacific Woodwork­er) Use the fine Grind-O-Flex to put achrome-like razor edge on yourkilives, gouges and chisels.

iClesco 6" Aluminum Sanding DiscIThe greatest bulk or excess wood re­

mover in my studio ·is the Clesco 6"alhminum sanding disc with a peel-off

IMerit facing or sanding disc. This alu-minum disc is a commercial/industrialdduble set screw unit which is superbfo~ removing bulk wood as if it wereb~sa. Nothing upsets me more than ap~el-off disc that flies into space duetol faulty or poor adhesive backing. Ii assure you that wheu you peel off

1 ct ob er /Novem b er 1982

I

Power Hand Tool Carving News and Notes

Continued Continuedfrom page 30

·c· CLAM.P

Cherry Tree Toys Moves

Ban Chain Saws?

Fair Price Tool Catalog

Cherry Tree Toys has moved. TheirI

new address is simply Belmont, OH43718. (Must be a pretty small town.) ITheir retail and wholesale toymakingcatalog is $1.00. Say you read about itl

in Pacific Woodworker. I

The new Fair Price Tool catalog isout. It features common and hard-to­find tools, including a wide variety ofclamps , bench screws, wood planes,scrapers, chisels, gouges and more.$1.00, refundable with the first order,from Fair Price Tool Company, P.O.Box 627-PWA, La Canada, CA 91011

The Consumer Product SafetCommission has announced its Prioriity projects for 1983. Chain saws headthe list, but the CPSC is still pushing'for voluntary standards. And formal I.dehyde in plywood and particle boardis also under Commission review.1Send your comments to CPSC, Wash­ington, DC 20207.

cent price for it. I can turn out a full­sized black walnut, highly polishedmallard duck in 4 hours by using theClesco disc, the Grind-a-Flex, Sand-o­Flex and finally the Dremel Moto-Flex232 or 332. I believe in making onlysimple wing details in my walnut de­coys and not cutting in thousands ofsimulated feathers and flutes . Whenbeautiful wood grain is already pro­vided, why obliterate it with all thechips and cuts? Finish and buff it andthereby enhance nature 's fabulousimagination and beauty.

So there you have it. If wood carv­ing is your business, then power sand­ing can elevate your work to a profes­sional level and at the same timeprovide a net profit. The dollars perhour pay your creditors , not whichtools you choose.

More and more shows are removingrestrictions against power carvers­who in many cases are disabled orhandicapped people who may be phys­ically unable to use hand tools or mal­let. I have always believed in compati­bility among all wood carversregardless of tools or techniques, and Ifeel the field of carving is evolving inthis direction. I think that wood carv­ing is slowly but surely moving towardthe greatest art and craft renaissancein U.S . history, and power carving hasalready exploded worldwide.

More complete infor mation onthese sanding aids can be found inChapter 12 of my The CompleteHandbook of Power and Hand ToolWood Carving. See my advertisementin this issue of Pacific Woodworker.For a complete price list of the toolsand accessories mentioned here, and abonus template for setting up yourown Dremel cutting case, send a 4"x9"self-addressed, stamped envelope toSpike Boyd, Route 1, Box 416,Highlandville, MO 65669.

Cuts 30% more lumber from up to 30" Dia, x16V2 ' logs. Safe bandsaw carriage for smoothermore accurate lumber. Ready to operate.

Wood Carving DuplicatorAccurate , simple ,

1 to 1 wood duplicator3 models available,

easy to operate.

THISSPACE

FORRENT

ContactPacific Woodworker

Advertising DepartmentBox 4881

Santa Rosa, CA 95402(707) 525-8494

One Man ~p~~ableSawmill

~ ~.•~~...~ .~ ....

Bandsaw ~Large 24.5" throat, 9" verticalcut tilt table, wood and metalcutting, rugged construction,affordable .

Save - Buy Direct

r-----------::-lI

Dupll-Carver (317) 243·7565 I4004 West 10th St., Dept. 1106

I Indianapolis, IN 46222 Io Enclosed Is $1.00 lor 32 page catalog II and Information on 3O-DayFree Trial

I Name II Address IL~ ~t~_~p__ ...J

42 Pacific Woodworkeri

I (tASSIFIED MARKET~

JIG BOOK FOR WOODWORKERS

-~Makinlt and Usinlt

Sintple JiltS

MAKE WOODEN TOYS - Plans ­Hardwood Wheels, Parts, Dowels­Catalog S1.00. Cherry Tree Toys,Belmont, Ohio 43718.

HUNDREDS OfTiTlES 1IVllIabIe.world8 IargMtMIectIon-.d tor I_lat,BARK ServIceCo.PO.Boll 637TroutnW\.NC.28168

W d­worldBooks

Harpsichords you can build your­self . Catalog of parts, plans S2.00.Brochure of Hammered Dulci­mers and parts S1.00. InstrumentWorkshop, 318-P N36th, Seattle,WA98103.

WOODEN "RIDE-EM" TOYTRUCKS. Unique, nostalgic, funto make. Catalog of patterns S1.00(refundable). Rustic Creation Toys,Vineyard Drive, Templeton, CA93465.

The book for serious woodworkers. Sh owshow to duplicate parts & increase productio n.Over 80 j i gs descr ibed & i ll ust r at ed. Send f o r"Making & Using Simple Jigs" $4.25

Plans Catalog $1.00

ARMOR PRODUCTSBox 2 9 0

Deer Par k, NY 1 1729

BULLERI heavy duty pin router,1.5 hp, 15,000 rpm, turret depthstop, tilting head, S975.00. Philip­pine ebony, round, squared logs,6-7' long, S5.00/lb. 2091897-2757.WATER TUPELO

A fine wood for carvers and turn­ers. World champions like TanBrunet use Water Tupelo for theirwinning carvings. Turners like thealmost grain free white wood. Turn­ers should ask for the HARD TOFIND. Tell us what you are carvingor turning and we will send you thekind of wood you need. SendSI0.00 for a UPS prepaid samplemeasuring 4x6x12. KENT COURT­NEY'S WOODSHED, P.O. Box626, Broussard, Louisiana 70518.

WOODWORKING TOOLSHigh quality, fair prices. BandClamp, S8.90; Hold Down Clamp,S7.70; Black Hard Arkansas Shar­pening Stone, S27 .40; and muchmore. New illustrated catalog,S1.00 (refundable with order).FAIR PRICE TOOL COMPANY,Box 627-PCI, 1860 Foothill, LaCanada, California 91011.

ASHLEY-ILES woodcarving tools.Hermen miniature sets, Warrentools, hot tool woodburners, Buckpocket knives - whittle knives.The famous Kangaroo Pouch whit­tier's apron and much more. Cata­log, S1.00. _

ALLEN SCHAFFERThings for Woodcarvers

11793 La Bella Ave.Sunnyvale, CA 94087

OAK TABLE AND CHAIR KITS- ,PARTS - We stock all sizes.T~ble slides, locks, pins , levelers,bettt rims, claw foot carved blanks,

Iclaw foot table & pressed backch~ir kits. For free brochure, sendself addressed stamped envelopewith inquiry to: The original Oak

IFactory, 2904 A St. SE, Auburn,W~shington 98002.

IAUSTRALIAN TIMBER . Smallqtiantities. Huon Pine - extremelyrare, durable, very fine, pale work­ing lumber. Celery Top Pine ­very rare, durable, pale. Black­wood - Tasmanian, red to brown,h~rdwood. The above used & ad­mired by American, Canadian& IEnglish resident craftsmen inAustralia. Alan Wilson c/o (415)465-5637. Consider sale or tradefor timber to ship home.

II

MitRTLEWOOD LUMBER ANDCRAFT WOOD - Large accumu­lation of dry colorful Myrtlewood.H~ve sought out fine and fancymhterial - no junk or plain. Greatv~rietyof boards, blocks and superscrap suitable for carver/turnerlbdx 1music inst. 1clock 1 gunstockf

Iwoodenware/and other HOLZS-NITZER PROJEKTE Avg. atS2.00 per bd. ft. as per grade.

RICHARD ALBRECHTBox 936

Gold Beach, OR 97444(503) 247-2749 (evenings OK)

Classified Market Information: Rate: 25 cents per word, minimum of 25 words. Payment must accompany all classi­fied ads. Border, S3.00. Deadline for ads for Issue 10 is Nov. 1, 1982. Pacific Woodworker, Box 4881, Santa Rosa,Cft.95402 (707) 525-8494.

I

IMurphy's Laws of Woodworking:I

The band saw blade breaks only on Sunday morning, when the piece ispromised/or Monday morning.

October/November 1982 43

In the next issue...rT"

Guide to Router SelectionWoods of the WorldWood FinishingWoodworking StoresMore Woodworking Shows in Mendocinoand much more...

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Don't miss Issue 10 ofPacific Woodworker.

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