0068.pdf

4 Letters

8 Methods ofWork

12 Questions & Answers

Blade stabilizers; wooden water pump; tarnish-free finish

Bar-clamp gluing rack; doweling guide; universal bending form

18 Folow-up

Killer drill press; a gritty tip; laminated bracelets revisited

106 Events

110 Books

112 Notes and Comment

Factory tablesaw rp fe nces can be annoyingly

inaccurate. On p. 41, we test five replacement

fe nces, including the Vega shown above. Cover:

Up holsterer Aarne Read begins work on one of

John Dunnigan's dining chairs. Dunnigan tells

how he designs upholstered furniture on p. 52.

Tool auction impressions; art turning; wooden view camera

ARTICLES

36 Building a Chest of Drawers by Christian Becksvoort

Joinery and design considerations

41 Replacement Rip Fences by Sandor Nagyszalanczy

Bolting new precsion to your old tablesaw

46 A Shop-Built Rip Fence by Marshall R. Young

Aluminum construction requires no welding

48 Production Tips from an Architectural urner

by Mark A. Knudsen

Working fast without sacrficing quality

52 Upholstered Furiture by John Dunnigan

Flling out the frame

56 Adjustable Dovetail Jig by Douglas Schroeder

Let your router do the hard part

58 Buying and Drying by Todd Scholl

How to find and season your own lumber

62 Dust Colle ctor Switch by Robert Terry

An electronic sensor automatically turns the trick

64 Building automatic gate valves by Reid Samuelson

66 Glueless Joinery by Russell Jason Beebe

Furniture fastened with interlocking pins and wedges

70 Shading, Glazing and Toning by Donald M. Steinert

Three ways of using color with lacquer

72 Sharpening Handsaws by Harold H. Payson

It's a matter of knowing all the angles

76 Handsaws and how to use them by Henry T. Kramer

78 Aircraft Cabinets by Doug Hechtor

Editor

Paul Bertorelli

Art Director

Roland Wolf

Assoei.te Editors

Jim Cummins, Dick Burrows

Assist.nt Editors

Sandor Nagyszalanczy, Roy Berendsohn

Copy Editor

Cathy McFann

Assist.nt Art Director

Kathleen Creston

Editori.' Secret.ry

Mary Ann Colbert

Contributing Editors

Tage Frid, R. Bruce Hoadley,

Michael S. Podmaniczky, Graham Blackburn

Consu'ting Editors

George Frank, Otto Heuer, Richard E. Preiss,

Norman Vandal

Methods of Work

Jim Richey

Fine Woodworking is a reader-written magazine. We wel

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There's no winging it when weight really counts

81 Current Work by Glenn Gordon

Galley Fair mounts a national show

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Leners

Richard Raffan's article on the two turning shows in your No

vember issue is excellent. I do not know Raffan's credentials,

but I like his critique and philosophy.

His statement that "spectacular wood grain ...is frequently

mistaken as art ..." and his concerns about the mistaken equality

of technical skill to art are truisms. We frequently speak of a

process as an "art," when we really mean skill. Art is produced

by men and woman, not nature, and natural features may be

esthetically appealing, but they are not art (of themselves). To

confuse the issue more, there are creations that are merely de

signs, and the dividing line between design and art is tenuous.

I believe many turnings are merely designs, even though some

shapes are very striking.

I admire the turnings shown. I wish I had the skill to make

them. I would rate most of the pieces as fine designs, not art,

even though they are meant to be looked at and not used.And,

if some of the pieces are art, they are not very high on the

artistic listing compared to other art forms.

-Henry

WW #67) about the 32mm system, I measured a num

ber of construction and systems holes on my bookcases and

sure enough, I found the 32mm grid in use.

However, please note that what Masciocchi describes is

most definitely not fi ne woodworking. It seems to me that

Fine Wo odworking should be leery of promoting a new form

of lifeless mass production for making lifeless (or "austere" if

you insist) kitchen cabinets. Let the furniture trade journals deal

with that and save your pages for celebrating, preserving and

expanding on the general knowledge of quality craftsmanship.

That, after all, is what you indisputably do better than any other

magazine published today. -Roger Keeling, Davis, Calf .

. Fisher, Columbus, Ohio

Raffan states that pricing of turned objects should be affected

by the fact that turning is a fast process. Having served a wood

turning apprenticeship to a production turner, I know that

turning is a relatively fast process. A turner who makes hun

dreds of the same shape can and should price his work according

to the time it takes to make the objects. But there are turners

who take their time to interpret the materials, to bring out the

inherent beauty of each piece.And there are those turners who

use the material to make an object of their own design, regard

less of wood's inherent beauty. These turners are using the

lathe to make a personal statement. In the case of producing a

well-lidded box in less than an hour, Bob Krause spends up to

a year to complete one of his boxes. They go through several

stages of turning and drying to ensure a secure fit that does not

change with the humidity.

I do agree with Raffan that some pricing is out of line. Turn

ers have to be careful in pricing their work. There are many

factors in pricing: longevity in the field, uniqueness of work,

cost of materials and gallery markup. It is the last factor that

has caused a lot of work to be priced so high. I am not sure

that because these objects are being bought justifies the high

prices; only time will tell.What is true, though, is that turned

objects are being well received. If any of your readers are in

terested in seeing the entire show, a 90-slide portfolio and

a catalog of the Craft Alliance show is available from the gal

lery at 6640 Delmar Blvd., St. Louis, Mo. 63103 for $39.95 and

$10, respectively.

I have peered into many mortises on antique furniture and the

chisel marks on the walls of the mortises are always the same.

They run all the way from top to bottom, no matter how deep

the mortise is. The marks are not vertical, but run at a slight

angle for one half the length of the mortise and at the opposite

angle for the other half, forming a V in the middle,

Michael Podmaniczky's method (

WW #66) would leave

marks of a much different nature. To chop a mortise with

marks like I've seen, you start in the middle and chop to the

bottom first, with the chisel alternately angled toward you and

away and the face of the chisel always angled up. Once the

bottom is reached, the rest of the waste on either side is

removed by "biting off" a small amount and chopping from

top to bottom with a series of mallet blows.

There is also a problem with Podmaniczky's layout of the

joint shown in the photo on p. 67. The mortise-and-tenon joint

is a mechanical joint as well as a glue joint, and much more

wood should be left between the end of the mortise and the

end of the stile. Also somewhere in the article the word "peg"

deserved a mention.

MICHAELPODMANICZYREPLIES: I, too, have seen the inside of a few

18th-century joints, but what I have found is not quite so uniform.

Although the cutting of mortises as reader Coles describes was com

mon, it was by no means universal. First off, having to clear waste

out of a narrow cut all the way down to the bottom just to get the

mortise started is difficult. Then, having to direct a perfectly straight

cut top to bottom each time the chisel enters the work-and not suc

ceeding-is what creates the marks he refers to. I favor the method I

describe because of the self trueing nature of waste-clearing sweeps

that don't need to remove material to the full depth of the mortise.

Coles is right on the mark with his observation about layout: More

material should be left at the end of the mortise, and a haunch

should have been cut to fill the panel groove. Unfortunately, in try

ing to keep this an abstract exercise in mortise chopping and chisel

use, we overlooked this important point. Look for more on specific

types and applications of mortise and tenons in a future article. It

will cover draw-pegs.

EDITOR'SNOTE: Albert LeCoff curated the Craft Alliance show.

I am writing to make a correction to Raffan's article. He

erred in stating that the tulipwood bowl in the upper left cor

ner on p. 94 was done by Ed Moulthrop. This bowl was in fact

turned by me, as this shape and the rounded edge which cuts

back under are styles I use. The actual piece is 8. in. high by

14; in, wide.

-Albert LeCo, Philadephia, Pa.

-Philp Moulthrop, Marietta, Ga.

I've read quite a number of articles on rustic furniture, but all of

them have been about men.In fact, not all rustic furnituremakers

are men. I have been making and selling rustic furniture from my

little farm in Oregon for the last three years. I took over the busi

ness from my husband when he died.There s a pile of orders,

and not much else for me to do but finish them, so I did.

My husband had been a "willow bender" for five years and

had begun to teach me. My first chair was a lopsided wonder,

which is still decorating our patio. When he first saw it (I had

made it while he was away), he walked all around it, looked at

my dejected face and said, "It's not too bad you know .. ,did

you measure the height of the arms?" And in that way I didn't

get discouraged, and made another one, which was better. I use

Good news for gardeners

from the publisher of Fine Woodworking

Just a quick note to let you know our new gardening mag

azine, Fine Gardening, is right on schedule, The premier

issue will be coming off the press April 1. We'll give you

full information in our next issue of Fine Wo odworking.

- Paul Roman, Publisher

4 Fine Woodworking

Living in an apartment has forced me to buy rather than build

some furniture and I have turned to cheap, attractive Danish

teak-veneered pieces. I was curious about what kind of factory

made this stuff and now I know. After reading John Masciocchi's

article (

-Tom Coles, Stoneham, Mass.

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