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Side table from

a single board,

p. 58

TAUNTON’S

Side table from

a single board,

p. 58

TAUNTON’S

Fine W oodw orking 243 Dec. 2014 No. 243 www.finewoodworking.com

Greene and Greene

blanket chest

Tricks for tough glue-ups

Make custom

moldings by hand

Midsize routers

Build a desk

into any dresser

MASTER CLASS

An easier,

stronger

chair joint

TOOL TEST

ONE-BO ARD SIDE T

ABLE BLANKET CHEST T

OUGH GLUE-UPS DESK IN A DRA

WER R OUTER TEST No vember/December 2014 Dec. 2014 No. 243 www.finewoodworking.com

Greene and Greene

blanket chest

Tricks for tough glue-ups

Make custom

moldings by hand

Midsize routers

Build a desk

into any dresser

MASTER CLASS

An easier,

stronger

chair joint

(2)

S T A N D B E H I N D Y O U R W O R K

T M

5 5 0 + S E R V I C E C E N T E R S N A T I O N W I D E I N D U S T R Y - L E A D I N G W A R R A N T I E S E X P E R T T E C H N I C A L S E R V I C E SEE MORE AT

JETTOOLS.COM/17

INTRODUCING THE 17"

WOODWORKING DRILL PRESS

DESIGN THAT

PERFORMS

5 INCH

SPINDLE TRAVEL

QUICK & EASY

SPEED CHANGES

INTEGRATED

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EFFICIENT

POLY-V BELT DRIVE

(3)

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N O V E M B E R / D E C E M B E R 2 0 1 4

3

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TOOL TEST

contents

up front

NOVEMBER/DECEMBER 2014

ISSUE 243

features

30

Build a Greene and Greene

Blanket Chest

It’s all about the details. Our expert shows how to get them right

B Y D A R R E L L P E A R T

38

Tame Tricky Glue-Ups

Custom cauls can handle every angle and curve

B Y M I C H A E L F O R T U N E

46

Desk in a Drawer

Add a pull-out desk to any chest of drawers

B Y C H R I S T I A N B E C K S V O O R T

52

Midsize, Fixed-Base Routers

Great combination of power and control

B Y M A R C A D A M S

58

Make a Table from a Board

Stylish side table is a great lesson in getting the most out of your lumber

B Y M I C H A E L P E K O V I C H

66

The Why of the Windsor

A veteran maker explains the roots, the rationale, and the powerful appeal of America’s classic chair

B Y C U R T I S B U C H A N A N COVER STORY

6

On the Web

8

Contributors

10

Letters

14

Methods of Work

Easy jig for squaring tablesaw

miter gauge

■ Rubber-band brush wiper

18

Tools & Materials

■ Stout contractor’s saw

with smart features

Self-cleaning vacuum is quiet

and efficient

■ Tenon saws are a great value

24

Handwork

Custom moldings with hand tools B Y C U R T I S B U C H A N A N

18

NEW TABLESAW FROM RIKON

Cover photo: Steve Scott

14

MITER-GAUGE SQUARING JIG

(5)

74

Readers Gallery

78

Q & A

■ Fix for a wandering handsaw

Router table is better for small shops ■ Seal your project with dewaxed

shellac

82

Master Class

Powerful new joint: Housed double tenons are strong and simple to make

90

How They Did It

The back cover explained

Back Cover

Chair Story

in the back

ONE-BOARD TABLE PROJECT

38

CAULS FOR TRICKY GLUE-UPS

52

MIDSIZE ROUTERS

58

46

PULL-OUT DESK IN A DRAWER

Your feedback is valuable to us LIKE THIS APP?

(6)

on the web

THIS MONTH ON

FineWoodworking.com/extras

Visit our website to access free online extras, available October 1. While you’re there, don’t miss our collection of free content, including tool reviews, an extensive project gallery, and must-read blogs.

Become an online member

Access more than 1,000 exclusive project and technique videos by subscribing to FineWoodworking .com. You’ll also get nearly 40 years of magazine archives at your fingertips, including 1,400-plus articles and project plans.

VIDEO WORKSHOP

Veneered Boxes with a Twist

Follow along as furniture maker Adrian Ferrazzutti creates dazzling patterns in veneer while making a custom box that’s sure to earn its stripes. In this eight-part series, Ferrazzutti takes you through every step of the process, including how to:

Design and create your own geometric and

mosaic veneer patterns

Build strong boxes quickly and efficiently

using simple rabbet joints

Mount quadrant hinges and make your own

keyholes from solid brass.

Rethinking the Cabriole Leg

Learn how Michael Pekovich (p. 58) reimagined the classic cabriole leg, transforming it into a modern masterpiece with simple lines.

Chisel Tricks from a Master

Your chisels are a lot more versatile than you might think. Period furniture pro Philip Lowe demonstrates a variety of tips and tricks for this humble benchtop tool.

Get free plans, videos, and articles by signing up for our FREE eLetter

at FineWoodworking.com/ newsletter.

Free eLetter

Flawless Finish for

Greene and Greene

Unlock the secrets of Darrell Peart’s simple finish for Greene and Greene furniture (p. 30).

Editor Thomas McKenna Executive Art Director Michael Pekovich Special Projects Editor Asa Christiana

Senior Editors Matthew Kenney Jonathan Binzen Associate Editor Ben Blackmar

Assistant Editor Dillon Ryan Senior Copy/ Elizabeth Healy Production Editor

Deputy Art Directors Kelly J. Dunton John Tetreault Administrative Assistant Betsy Engel

Shop Manager William Peck Contributing Editors Christian Becksvoort

Garrett Hack Roland Johnson Steve Latta Michael Fortune Methods of Work Jim Richey

FineWoodworking.com Senior Web Producer Ed Pirnik

Web Producer Lisa Raleigh

Fine Woodworking: (ISSN: 0361-3453) is published bimonthly, with a special seventh issue in the winter, by The Taunton Press, Inc., Newtown, CT 06470-5506. Telephone 203-426-8171. Periodicals postage paid at Newtown, CT 06470 and at additional mailing offi ces. GST paid registration #123210981.

Subscription Rates: U.S., $34.95 for one year, $59.95 for two years, $83.95 for three years. Canada, $36.95 for one year, $63.95 for two years, $89.95 for three years (GST included, payable in U.S. funds). Outside the U.S./Canada: $41.95 for one year, $73.95 for two years, $104.95 for three years (payable in U.S. funds). Single copy U.S., $7.99. Single copy Canada, $8.99. Postmaster: Send address changes to Fine Woodworking, The Taunton Press, Inc., 63 S. Main St., PO Box 5506, Newtown, CT 06470-5506.

Canada Post: Return undeliverable Canadian addresses to Fine Woodworking, c/o Worldwide Mailers, Inc., 2835 Kew Drive, Windsor, ON N8T 3B7, or email to [email protected].

Printed in the USA

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F I N E W O O D W O R K I N G

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Group Publisher Anatole Burkin [email protected] VP, Advertising Sales Rick Straface

[email protected] Digital Ad Sales Manager Noelle Kennedy

203-304-3530

[email protected]

Custom Solutions Brenden Delaney

Manager 203-304-3590

[email protected] Senior National Linda Abbett

Account Manager 203-304-3538

[email protected] Advertising Sales Diana Mackey Assistant

Director of Advertising Karen Lutjen Sales Marketing

Advertising Marketing Laura Holt Associate

Member Audit Bureau of Circulation

Digital Marketing Sara Ezrin Larsen Director

Senior Director, Michael Stoltz Interactive

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Independent publishers since 1975 Founders, Paul & Jan Roman

President Timothy Rahr Chief Digital Oficer John Brown

Group Publisher Anatole Burkin Group Publisher Maria Taylor SVP, Creative & Editorial Susan Edelman

SVP, Operations Thomas Luxeder VP, Single Copy Sales Jay Annis

VP, Advertising Sales Rick Straface VP & Controller Wayne Reynolds VP, Human Resources Carol Marotti

VP, Fulillment Patricia Williamson VP, Product Engineering Nancy Kopfensteiner

Publishers of magazines, books, videos, and online Fine Woodworking • Fine Homebuilding Threads • Fine Gardening • Fine Cooking

taunton.com

contributors

We are a reader-written magazine. To learn how to propose an article, go to FineWoodworking.com/submissions. For more information on our contributors,

go to FineWoodworking.com/authors.

His earliest memories were of sawing and hammering, so it’s natural that Garrett Hack (Handwork: “Custom moldings with hand tools”) became a furniture maker. But first he studied civil engineering and architecture at Princeton University, and later attended Boston University’s Program in Artisanry. He is a contributing editor to FWW, former chairman of the New Hampshire Furniture Masters, and teaches throughout the United States as well as in Canada, England, Germany, Italy, Australia, Austria, and Japan.

Those who work with executive art director Michael Pekovich (“Make a Table from a Board”) at FWW know him as a talented furniture maker and graphic designer who is committed to bringing complicated subjects to our readers in the clearest way possible. He’s also the go-to guy for solutions to our own furniture-making snafus. But on his own time, Mike is building quite a resumé as a teacher. This year he’s taught a long list of classes, from weekend workshops on hand-tool skills to weeklong classes at Connecticut Valley School of Woodworking and the Marc Adams school. Our editors love visiting the expansive shop of contributing editor

Michael Fortune (“Tame Tricky Glue-Ups”), which sits on a quiet log-cabin homestead 100 miles outside Toronto. And everyone learns the rules. There are mandatory coffee breaks in the morning and afternoon, which include excellent cookies made by Michael’s wife, Janice. Coffee cups must be left by the shop door so they make it back to the house each night. And after all that coffee, if you need to head out the back door to the woods, you are not allowed back in without three pieces of firewood.

Curtis Buchanan

(“The Why of the Windsor,” How They Did It, and the back cover) makes chairs full time in the small shop he built behind his house in the heart of Tennessee’s oldest town, Jonesborough. He also tends a robust vegetable garden and occasionally sells some of his produce at the thriving weekly

Jonesborough farmer’s market, which he co-founded. He and his wife, Marilyn, have two daughters: Summer, a key employee at the Jonesborough library, and Maria, a singer and actor in Asheville.

What advice do you give to aspiring chairmakers? “You can do it! Find yourself a small town and settle down right in the middle of it; they’ll be happy to adopt you.”

F I N E W O O D W O R K I N G

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Festool coverage: Fair or foul?

I was pleased to see your recognition of the Festool Domino (“Domino Changes the Game,” FWW #242). In the past three years, I have seen many articles in many woodworking publications addressing methods of joinery. I couldn’t believe the Domino wasn’t mentioned again and again.

The Festool Domino has all the makings of a fantastic product when compared with other mortise-and-tenon techniques. It saves time. It delivers a more uniform, accurate result. It is quite easy to understand. And it enables joinery of large and small pieces.

Kudos for finally delivering a much overdue article on the Domino. — J AC K V I T E L L I , M e n d o t a H e i g h t s , M i n n .

A six-page ad for Festool? Really? Geez, you should have put them on the cover, too. Next time put an “advertisement” bug on each page.

— G E O R G E D E N N I S , D e nv e r, C o l o .

Nail drawbore offset with a punch I look forward to every opportunity to learn from Steve Latta, and his method for drawboring tenons was no exception (“Drawbore Your Tenons,” FWW

#241), but I might suggest one modest refinement. Rather than marking the offset hole in the tenon with the drill bit, and then having to eyeball a second mark with an awl, I make a single mark with a suitable size transfer punch. So, for example, if the dowel hole is 38 in. dia., I use a 1964-in.-dia. punch, making sure it’s firmly pressed against the shoulder side of the hole. I then have a single mark that’s offset the “fat 32nd” Steve recommends. And I certainly agree that drawboring tenons makes glue-ups less stressful. I would be confident in the long-term integrity of those joints, even if I wasn’t sure I had remembered to glue them.

— H OWA R D S K I L L I N G T O N , W i n s t o n - S a l e m , N . C .

Anatole Burkin, Fine Woodworking’s publisher, has decided to leave the company and head back home, to the West Coast. Some people here speculate that he wanted to leave Connecticut before the next harsh winter hit, but the truth is he wanted a change and to be closer to family. Anatole has strong roots at the magazine, starting as an associate editor and quickly moving up the ranks to the chief editor position. As the lead editor, he noticed my interest in woodworking and encouraged me to take a chance and jump from copy editor to associate editor, a move that I’ve never regretted. He was a great mentor, and a strong leader and advocate for our franchise. Most of all, though, he is a friend who will be missed.

— T O M MCK E N N A , e d i t o r

FOND FAREWELL

When I was hired by The Taunton Press in 1996, I immediately hit the road, documenting the work of the folks who put the “fine” in Fine Woodworking.

Oh, it wasn’t all gossamer shavings and dust-free finishes, mind you. There were times when just getting to the author’s shop was a trial, be it from delayed flights, broken light kits, or poor directions (or sense of direction)—at least before we all had GPS in our pockets.

Capturing the detail of a woodworker’s progress required countless requests to make yet another spare part and one more awkward slow-motion movement to get just the right photo. Fair to say, on photo shoots patience was a virtue tested to the limit.

Imagine then coming back from the shoot and anxiously waiting for the film to be developed (in the old days when we used film) only to realize that the author was wearing orange and green plaid. My first art director thought I was color blind.

Paring the author’s precious words into an article that fit the constraints of a magazine wasn’t always a picnic, either. I still remember receiving a chilling fax message from an author with a drawing of Dirty Harry, revolver in hand, and the scrawled words: “Go ahead, make one more change!”

Well, it is time for one more change. I am leaving The Taunton Press and moving back to the West Coast, where I’ll put to good use all the tips and techniques provided by woodworkers patient enough to work with editors like myself.

Thanks for the memories.

— A N AT O L E B U R K I N , p u b l i s h e r

Spotlight

letters

F I N E W O O D W O R K I N G

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To contact us: Fine Woodworking The Taunton Press 63 South Main Street PO Box 5506 Newtown, CT 06470-5506 Tel: 203-426-8171 Send an email: [email protected] Visit: inewoodworking.com To submit an article proposal:

Write to Fine Woodworking at the address above or

Call: 800-309-8955 Fax: 203-270-6753 Email: [email protected] To subscribe or place an order: Visit inewoodworking.com/fworder or call: 800-888-8286

9am-9pm ET Mon-Fri; 9am-5pm ET Sat

To ind out about Fine Woodworking products: Visit inewoodworking.com/products To get help with online member services: Visit inewoodworking.com/customerservice To ind answers to frequently asked questions: Visit inewoodworking.com/FAQs

To contact Fine Woodworking customer service: Email us at [email protected] To speak directly to a customer service professional: Call 800-477-8727 9am-5pm ET Mon-Fri

To sell Fine Woodworking in your store: Call us toll-free at 866-452-5179, or email us at [email protected] To advertise in Fine Woodworking: Call 800-309-8954, or email us at [email protected] Mailing list:

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Visit careers.taunton.com The Taunton guarantee:

If at any time you’re not completely satisied with Fine Woodworking, you can cancel your subscription and receive a full and immediate refund of the entire subscription price. No questions asked.

Copyright 2014 by The Taunton Press, Inc. No reproduction without permission of The Taunton Press, Inc.

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(12)

letters

continued

letters

continued Waterproofi ng Fortune’s chair Michael Fortune’s garden chair (“Comfortable Outdoor Chair,” FWW #241) is outstanding, quite

beautiful, and undoubtedly sturdy. One minor improvement I’d suggest is to coat the bottom of each leg and the chamfers with epoxy resin, such as West Systems or one of the many others. It makes the exposed end grain in contact with the ground waterproof and will prevent water migrating up the legs and deteriorating the wood.

— J A M E S S . WA L D R O N , S t . J o h n s R i v e r, F l a .

Keep wood out of the oven, or else I have been having troubling thoughts concerning a recent Q&A item (“Dry small parts in your oven,” FWW #243). Just wondered if Fine Woodworking is now offering marriage counseling and discount divorce lawyers as part of its customer service?

Use the oven for woodworking? For a few days? I shudder to contemplate the consequences.

— A L L E N N E F F, B r u n n e r, O n t . , C a n a d a

Rust attacks tools inside cabinet I built the hanging tool cabinet in Tools & Shops Winter 2014 (“A Cabinet for Hand Tools,” FWW #237). The cabinet is beautiful and improved my woodworking skills in many areas.

I did experience one problem. After finishing and hanging the cabinet, I placed my planes on the plane till. They all rusted. Fortunately, I was able to remove the light rust by sanding.

I finished the cabinet with boiled linseed oil and two topcoats of shellac. The cabinet hangs on a concrete block wall with the back contacting the blocks.

inhibitor (VCI) or desiccant inside the cabinet to fight moisture. With both VCIs and desiccants, you need to keep the cabinet closed; otherwise they lose their effectiveness fairly quickly. For more information on both, see “Other ways to manage moisture,” FWW #227, p. 34. Router bit for relieved rabbet

How did Gerald Curry make the “curved rabbet” on the drawer bottoms (“Build Perfect Drawers,” FWW #242, p. 43)? I assume that was a router bit, but I am not sure which type and size was used. By the way, that was an excellent article. I plan to study it thoroughly and put those techniques into practice.

— T I M O T H Y C A L D E R WO O D, C r o f t o n , M d .

Asa Christiana replies: Curry forms these curve-cornered rabbets with an old shaper bit that he custom-ground. But he says a router bit would also work, like one designed for dish-carving (Item No. 91144 from Rockler), or a panel-raising bit with a rounded profile.

Wrong price in sprayer article

The price listed for Apollo’s ECO-3 spray system with the E7000 gun was incorrect (“Spray for Less,” FWW #242). The price is $649.

The tools have never rusted in my garage workshop prior to placing in the cabinet.

Your advice is urgently appreciated.

— J O H N S C H E E S S E L E , P i t t s b u r g h , Pa .

Editor replies: It sounds like you’re locking the moisture inside the cabinet, where it can attack your tools. There are a few things you can try. First, you can treat your tools with a rust-proofer, such as CRC Industrial 3-36 or Moovit, which performed best in a test of a variety of products (“Got Rust?,” FWW #227). I’d also recommend using a volatile corrosion

About your safety

(or elsewhere) until you’re certain they are safe for you. If something about an operation doesn’t feel right, find another way. We want you to enjoy the craft, so please keep safety foremost in your mind. Working wood is inherently dangerous. Using hand or power tools

improperly or ignoring standard safety practices can lead to perm anent injury or even death. Don’t perform operations you learn about here

Revisions to robust table In the illustration on p. 71 of “Robust Kitchen Table” (FWW #241), the bit diameter should be 12 in., not 112 in. Also, on the same page, the slot in the template for the stretcher mortise should be 314 in. long to yield a flat that is 234 in. long.

The corrected drawing is shown here. Guide bushing, 1 in. dia. Straight router bit, 12 in. dia. 314 in. 234 in.

Two rust fighters. VCIs (left) emit molecules that settle on metal surfaces and form a protec-tive barrier against moisture. Desiccants (right) remove moisture from the air. VCIs have a shelf life and need to be replaced periodically while some desiccants can be recharged and reused.

About your safety

F I N E W O O D W O R K I N G

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N O V E M B E R / D E C E M B E R 2 0 1 4

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methods of work

E D I T E D A N D D R A W N B Y J I M R I C H E Y

I used to use a framing square against the blade to set my tablesaw’s miter gauge to 90°, but I found this method awkward because you have to rotate the blade or raise its height to make sure the square isn’t touching the teeth. This jig makes it easier.

Rip a snug-fitting runner for the right-side miter-gauge slot and attach it to a piece of 12-in. MDF that extends past the blade. Push the MDF through the saw to cut off the excess, and you have a perfect reference surface for setting the miter gauge. Now I use a large plastic drafting triangle, which is easier, lighter, and more accurate than a framing square.

You can use the same jig to adjust the rip fence parallel to the blade. Flip the jig around, bring the rip fence up against it, and adjust the fence until it is flush with the edge of the jig.

— L A R R Y S C H A L L E R , E d g e r t o n , W i s .

Easy jig for

squaring tablesaw

miter gauge

Larry Schaller has been a woodworker for 40 years. Self-taught, he loves making furniture for his family, including cradles for his grandchildren. His favorite tool in the shop? His tablesaw—a gift from his wife.

B

est

T

ip

Send your original tips to fwmow@ taunton.com or to Methods of Work, Fine Woodworking, PO Box 5506, Newtown, CT 06470. We pay $100 for a published tip with illustration; $50 for one without. The prize for this issue’s best tip was a 48-tooth Forrest Woodworker II sawblade.

Rotate jig so reference edge is on right. Runner snug in slot. Use reference edge to square miter gauge with triangle. Cut off one side to

create reference edge.

Plastic drafting triangle 12-in. MDF, attached to runner Align fence with edge of jig. 1. CREATE ALIGNMENT JIG

2. ALIGN MITER GAUGE

3. ALIGN RIP FENCE

A Reward

for the Best Tip

F I N E W O O D W O R K I N G

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3 GREAT SHOWROOMS!

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• Motor: 3 HP, 220V, single-phase, 12.8A • Blade tilt: Left • Table height from floor: 34" • Table size with extension: 27" x 743

4"

• Arbor speed: 4300 RPM • Arbor size: 5 8"

• Maximum dado width: 13 16"

• Maximum depth of cut @ 90°: 31 8"

• Maximum depth of cut @ 45°: 23 16"

• Maximum rip capacity: 50" • Distance from front of table to center of blade: 171 4" • Overall dimensions: 40" H x 41" W x 82" L • Approximate shipping weight: 557 lbs. G0691 $159500ONLY$

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• Motor: 3 HP, 240V, single-phase • Cutting capacity: 8" left, 255

8" right of blade

• Maximum depth of cut @ 90°: 3" • Maximum depth of cut @ 45°: 21 8"

• Assembled table size: 48" W x 27" D • Base dimension: 201

2" x 201⁄2"

• Precision-ground and heat-treated solid cast iron table • T-slot miter gauge • Dust port: 4" • Magnetic safety switch • One-piece steel cabinet type stand

• Poly-V serpentine drive belt • CSA certified

• All sealed ball bearing construction • Approximate shipping weight: 550 lbs.

• Motor: 5 HP, 220V, single-phase

drum motor drives 2 aluminum sanding drums • Surface speed of drum: 2300 FPM • Handles stock up to 2312" wide and 414" thick

• 14 HP conveyor motor provides 11 FPM feed rate

• Sandpaper installs easily onto the drums • All steel and ball bearing construction • Sandpaper size: 6" x 9512"

• Two 4" dust ports for easy hook-up to a collection system • State-of-the-art, computer balanced drums • Powder-coated finish • Approximate shipping weight: 442 lbs. 24" DRUM SANDER • Motor: 2 HP, 110V/220V, single-phase, TEFC • Precision-ground cast iron table size: 17" sq. • Table tilt: 45º R, 10º L • Cutting capacity/throat: 1614"

• Max. cutting height: 1218"

• Blade size: 13112" L (18"–1" W)

• Blade speeds: 1700 & 3500 FPM • Quick release blade tension lever • Approx. shipping weight: 342 lbs.

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(16)

methods of work

continued

Rubber-band brush wiper

When applying finish from a can, most of us dip the brush into the finish and then wipe off the excess on the edge of the can. This invariably leaves some finish in the rim. Not only does this waste finish, but the finish also hardens in the rim and prevents the lid from getting a good seal, which

speeds up the deterioration of the remaining finish.

Here’s a better way. Stretch a hefty rubber band around the open can so that it is taut and centered over the opening. Now you can wipe the brush on the rubber band, and the surplus finish will drip back into the can, keeping the rim clean.

— E L I S A D E C H E C A , B a r c e l o n a , S p a i n

Extra finish falls back into can, not into the rim. Stretch rubber

band over mouth of can.

Magnetic vise-jaw pads prevent bite marks

I use a cast-iron machinist’s vise for a lot of woodworking projects. To keep the steel jaws from damaging my workpiece, I always used a couple of pieces of scrapwood between the jaws. But I often fumbled to keep them in place while I secured the work.

To solve the problem, I cut two pieces of plywood, drilled two shallow 12-in. holes into each one, and glued in rare-earth magnets. Now the protective pads are held securely in place on the jaws while I’m working with wood, and can be quickly removed when I’m working with metal.

— B I L L W E L L S , O l y m p i a , Wa s h . Rare-earth

magnets hold pads in place.

Plywood pad keeps metal jaws from damaging woodworking.

Black walnut makes it hard to see pencil lines. White

address label

Address labels highlight layout marks on dark woods

Precise and clear layout lines are essential for crisp joinery. But layout lines are notoriously hard to see on walnut and other dark woods. To help, I attach an address label to the wood and lay out the joinery on that. The white label gives me a nice contrasting background to lay out my joinery, making it easy to read later on.

Address labels are cheap, come in a variety of sizes, don’t leave a residue on the wood, and can be found at any office-supply store.

— J AC Q U E S B R E A U , O t t a w a , O n t . , C a n a d a

F I N E W O O D W O R K I N G

(17)

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tools & materials

Big table. With 40 in. of cast iron, the saw’s table is wide enough to support just about every cut a furniture maker normally makes.

No-hassle throat plate. Held in place by magnets, the insert pulls up easily. And it’s 1

2 in.

thick, so making shopmade inserts is no problem.

Quick-change riving knife. Accessing the mounting hardware is easy, and it’s a snap to switch to the guard assembly.

locks securely, and has an easy-to-read cursor. Dust collection was exemplary for a small contractor’s saw, with a dust port centered in the bottom of the enclosed cabinet.

There also are a bunch of convenient features such as storage for the T-square rip fence and blade wrenches on the base, a paddle switch that can be located anywhere along the rip fence rail, a built-in mobile base, and an easy-to-remove throat plate.

With its robust construction and smartly designed features, this saw is a great value.

—Roland Johnson is a contributing editor.

Stout

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Tablesaw by Rikon

10-201 $1,000

■ M A C H I N E S

T

HERE IS A LOT TO LIKE about Rikon’s left-tilt contractor’s tablesaw. It has a big cast-iron table, a powerful motor, stout trunnions, a smooth belt-drive system, and a well-designed riving knife.

The three-piece tabletop is 27 in. deep by 40 in.

wide with a rigid understructure that’s easy to adjust if you need to level the top (the saw I tested did not need to be adjusted after assembly). Under the table is a beefy arbor assembly and trunnions. A short flat-belt drive, much like you’d find in a cabinet saw, provides smooth, accurate power transfer from the 112-hp motor to the arbor. The motor has ample power, letting me rip a bunch of thick hardwood with a fairly brisk feed rate.

The riving-knife mount is easy to access and switching from the knife to the guard is painless. The T-fence moves easily,

F I N E W O O D W O R K I N G

(19)

For building cabinets and fi ne furniture, nothing beats Forrest saw blades.

Craftsmen appreciate the way our blades deliver smooth, quiet cuts without splintering, scratching, or tearouts. They know our unique grade C-4 micrograin carbide, proprietary manufacturing process, and hand straightening produce exceptional results. In fact, independent tests rate us #1 for rip cuts and crosscuts.

“From the fi rst cut on, I realized that this blade was a bargain at any price! Nothing else I have cuts comparably.”

Calvin Brodie, Spanaway, WA

Forrest Quality Shows

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Chop Master—Perfect for tight,

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Order from any Forrest dealer or retailer, online, or by calling directly. Our blades are manufactured in the U.S.A. and backed by our 30-day, money-back guarantee. www.ForrestBlades.com 1-800-733-7111 (In NJ, call 973-473-5236) Woodworker II Fine Woodworking Chop Master Woodshop News Duraline Hi-AT Woodshop News Dado King WOOD Magazine © 2014 Forr est Manufacturing Code FW

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(20)

tools & materials

continuedcontinued

other units we tested. Convenient

features include a cord wrap, onboard storage for optional tools, and an effective hose wrap. The unit comes with a 15-ft., 114-in. inside-diameter hose but will also accept 212-in. and 112-in. hoses.

—Bill Peck is FWW’s shop manager.

T

HE NEW BOSCH VACUUM is a compact, efficient unit with airflow as good as the top-rated Bosch Airsweep from our most recent review (“Shop Vacuums,” FWW #223). We repeated the test used in the review, adding the optional HEPA filter ($106) and seasoning it before testing.

The Auto Filter Clean feature activates automatically every 15 seconds and was very effective at keeping the airflow through the seasoned filter to about 70 cfm. This feature can be deactivated if the thumping noise bothers you, but don’t leave it off too long.

In Power Tool Activation mode, the vacuum runs for 7 seconds to clear the dust from the hose after the tool is turned off. The power draw was only 9.5 amps, leaving almost 5.5 amps for the onboard tool outlet, more than other units we have tested. A “power broker” feature allows you to dial back the vacuum power to 7.5 amps for use with a larger tool or if you don’t want to suck a sander down too tight.

The vacuum is quiet, too (77 db.), comparing favorably with

VERITAS IS NOW SELLING TWO

large tenon saws (16-in. blades), a 12-tpi crosscut

saw and a 9-tpi ripsaw. To test them, I used both to cut joints for a chest of drawers from white oak and yellow pine.

With both saws, the height of the saw plate helped me keep cuts plumb. The teeth have minimal set, which is a benefit when sawing accurately to a line, a crucial component of joinery work. I also successfully used the crosscut saw for general bench tasks such as cutting off excess stock length and

■ H A N D T O O L S

Tenon saws are a great value

mitering with my shopmade miter box.

Both saws, especially the crosscut, benefit from a light touch. Fortunately, the saws made quick progress through the work with minimal downward pressure. Overall, I was pleased with their performance. They are a great value.

—Zach Dillinger, a furniture maker in Charlotte, Mich., works exclusively with hand tools.

■ A C C E S S O R I E S

Self-cleaning vacuum

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$119 for crosscut $119 for rip

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F I N E W O O D W O R K I N G

(21)

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21

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Match the centers. With the workpiece flat on the table, set the bit’s height by aligning the centerlines on the jig and workpiece.

Magnets hold fast. They’re strong enough to keep the jig on the bit, but not so strong that you can’t adjust it perfectly.

I HAVE USED LOCK-MITER ROUTER BITS for years. But setting up the cuts for this exacting joint requires precision. The workpieces must be perfectly flat and have perfect edges, and the router table must have very good hold-downs and perfect infeed and outfeed faces. Finally, the bit’s height and protrusion from the fence must be exact, and dialing it in requires a lot of trial and error, which eats up test pieces. Infinity’s Lock Miter Master Jig greatly simplifies the setup job. The jig, which attaches to the bit with magnets, has engraved lines that help align the centerline of the bit with the workpiece’s centerline for both horizontal and vertical cuts (a video on infinitytools.com shows clearly how to do this). You still need test cuts to dial in the setup to perfection, but Infinity’s jig gets you closer from the start.

The jig comes in two sizes. The smaller one (LMM-002) works with stock between 38 in. and 34 in. thick, while the larger jig (LMM-003) is for stock 58 in. to 1316 in. thick.

—Peter Breu is a woodworker in Manchester, N.H.

tools & materials

continued

■ A C C E S S O R I E S

Simple setup jigs for

lock-miter joints

Lock-miter jigs by Infinity

$30 each

Our experts, your topics!

Tune in to our Shop Talk Live podcasts to hear

our editors interview experts and answer

reader questions.

ShopTalkLive.com

© 2014 The Taunton Press

F I N E W O O D W O R K I N G

(23)

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© 2014 The Taunton Press

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M ARK BAKER

(24)

A

pplied moldings have a long history in furniture making, and for good reason. A molding can be the aesthetic crown that tops a piece of furniture. Moldings create a play between light and shadow, adding visual interest. They also can serve as a visual grounding, or provide a sense of termination.

Head over to your local home center and you’ll find a big selection of moldings, but those are all sized for architectural work. To get moldings proportioned for furniture, you need to make them. Perhaps the most common approach is to rout them, but then you’re stuck using the profiles and proportions of the bits.

A better solution is to forgo the router altogether and create moldings with hand tools. It’s not as hard as you might think.

With a few planes, you can easily create

graceful

and beautiful custom profiles for your furniture that would be difficult or impossible with router bits. And there is no size limit, which allows you to dial in the proportions to complement the piece of furniture perfectly.

For a piece of furniture, you probably won’t need more than several feet of molding. I’ve been making moldings this way for most of my career. Here, I’ll show you how I do it.

handwork

E L L I P S E O G E E A N D A H A L F - RO U N D 3 ⁄4 in. 11 8 in. C OV E A N D B E A D 15 ⁄16 in. 5 16 in. 23 16 in. 1 ⁄2 in. 3 16 in. 15 ⁄8 in. 1 ⁄4 in. 23 16 in. 7 ⁄16 in. 5 ⁄8 in. 3 16 in.

Make custom moldings

WITH JUST A FEW PLANES,

YOU CAN CREATE BEAUTIFUL PROFILES

NOT FOUND IN THE ROUTER-BIT RACK

B Y G A R R E T T H A C K

F I N E W O O D W O R K I N G

(25)

Check the profile. To ensure consistency, Hack relies on a template made from a thin piece of wood. Lay out the profile. Hack does this on the

molding blank’s leading edge, so he can gauge his progress as he removes waste at the tablesaw.

Power up. Angle the tablesaw blade to remove as much waste as possible in a single pass.

Plane away the facets. Start with thick shavings along the grain, and finish up with light shavings, which create smaller facets, resulting in a smoother curve.

A block plane works great on convex curves. It’s the only tool you need to transform the common quarter-round into a graceful quarter-ellipse.

Elegant ellipse

with everyday tools

A block plane works great on convex curves. It’s the only tool you need to

Use hand tools where it counts The majority (if not all) of the moldings you’ll make will require you to remove a fair amount of waste material before you get to the task of shaping the profile. You could do that by hand, with a shoulder or rabbet plane, but I don’t recommend it. Instead, use your tablesaw. This will let you get to the important job—creating the graceful lines of the molding—much faster.

Begin with a blank wider than the molding (you’ll cut

(26)

Refine the cove with a round plane. Match the plane’s radius to the cove’s as closely as you can. If the cove’s radius changes across the profile, switch out planes accordingly.

More cuts remove more waste. Speed up the work by taking several cuts with a tablesaw. To keep the molding stable throughout the process, remove the large chunk of waste on the bottom last.

handwork

continued

Begin the bead with a block plane. Roughing out the outside edge this way greatly speeds up the process of cutting the bead. Hack works to a layout line to rough in the bead.

Complete it with a scratch stock. This is the most accurate way to form a small bead. The cove needs to end in a narrow flat, as wide as the cutter.

Clean up with a scraper. To remove any ridges or tracks left by the round plane, use a gooseneck (shown). Rotate and angle the scraper to match the cove’s curve.

Cove and bead

are a refined pair

All it takes is a scratch stock to give the common cove a bit of panache. Size the bead to complement the cove’s proportions.

the molding free after it’s made). After the tablesaw has eaten the waste, it’s time for the handplanes to turn the roughed-out shape into a beautiful molding. The easiest profiles to handle are fillets and convex curves. Fillets are really just rabbets, and you can clean them up with a rabbet or shoulder plane. The right tool for convex curves is a block plane. (I rarely use hollow planes. They’re troublesome to sharpen and set up.) Use a coarse setting to quickly remove material and get close to the final profile, and then switch to a fine cut, which leaves a smaller facet, making it easier to get a smooth curve from a tool that cuts flat surfaces.

Concave curves are no more difficult than convex ones, except that you need

All it takes is a scratch stock to give the common cove a bit of panache. Size the bead to complement the cove’s proportions.

F I N E W O O D W O R K I N G

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(28)

Clean fillet. A rabbet plane removes machining marks left by the tablesaw blade and creates a crisp line where the fillet transitions to the ogee.

Prop up the molding. Resting the molding on a piece of scrap brings the cove section of the ogee closer to vertical, making it easier to plane.

handwork

continued

Back to the block plane. Fair the convex curve, and create a smooth transition into the concave section.

Make the half-round on a separate piece. This allows you to create the entire curve with a block plane, rather then needing a specialized plane or a very large scratch stock.

Glue on the half-round. Yellow glue and a few clamps are all you need. Hack glues the part together on a piece of plywood, making it easier to keep the two parts flat and properly aligned.

Beauty built from an

ogee and a half-round

a specialty plane to create them efficiently. Ideally, you’d use a round plane with a radius that closely matches the molding’s profile, but it doesn’t have to be perfect. Get as close as you can, and then use a gooseneck scraper to get the rest of the way. The trick with the scraper is to find the section that matches the profile most closely, and then rotate it on its vertical axis until the scraper’s edge is a perfect match. Or, if you’re up for it, file a scraper to match the molding.

Finally, hand-sand the molding to remove any facets or bumps that are left. □ Garrett Hack, a longtime

contributing editor, is a professional furniture maker in Vermont.

Step away from the standard ogee by varying the curve’s radius, and create greater depth by adding a half-round at the bottom.

F I N E W O O D W O R K I N G

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FIRST IN SO MANY THINGS

THAT MATTER.

AM ER I CA ’ S #1 C A BI N E T S A W 2 0 0 4 T O 2 0 14

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YEARS

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Build a Greene and Greene

Blanket Chest

It’s all about the details.

Our expert shows

how to get them right

B Y D A R R E L L P E A R T

I

’ve long been drawn to the work of the brothers Henry Mather Greene and Charles Sumner Greene, the early 20th-century architects who designed and furnished some of the country’s most important Arts and Crafts bun-galows. Their furniture stands apart for its elegant fusion of Japanese-inspired detail with solid, practical Craftsman design.

The brothers designed blanket chests for two California homes—the Pratt House in Ojai and the Thorsen House in Berkeley. When I designed my chest, I used details from each of these two pieces, including the proud, pegged finger joints and the lid with raised breadboard ends, along with one from a smaller piece by the Greenes—the Ford House letter case. On that piece, two leather straps wrap the bottom so it won’t scratch the table it sits on. I thought a similar detail, rendered in wood, could lend visual weight to my chest’s base. Taken together, these details make for a fun and beautiful project.

F I N E W O O D W O R K I N G

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Edge-glue the strips. To assemble each template, clamp two straight cauls to the glue-up surface at a right angle to create a square reference corner (above). Spacer blocks help ensure that the finger sockets are uniformly deep. Apply clamping pressure on top of the glue-up (left) so the surfaces are flush for smooth router travel.

Router jigs nail the finger joints

M A K E T WO T E M P L AT E S

Peart glues up a pair of router templates, one for each half of the finger joint, from plywood strips. To ensure a precise friction fit, he carefully mills the strips for the finger sockets slightly wider than those for the fingers. Each template captures the workpiece between a pair of registration blocks that are screwed in place and provide a platform for toggle clamps. 1 in. Fence Use spacer blocks to align strips. Use clamps to hold workpiece for routing. 51 2 in. 15 16 in. 1516 in. 11964 in. 119 64 in. FOR CASE FRONT AND BACK FOR CASE SIDES

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The case comes together with finger joints

To create the large finger joints on the case, make a pair of routing templates by edge-gluing strips of 34-in. Baltic-birch plywood or MDF. For a snug fit, cut the strips for the template fingers about 164 in. narrower than the strips for the gaps.

After the glue dries, the templates may need flat-tening with coarse-grit sandpaper. I use a wide-belt sander here, but a belt sander would also work. Then attach the registration blocks and toggle clamps that lock in the workpiece. Be sure to cut some test joints before using the templates on your project.

To start the joinery, mark the finger locations on the blanks and jigsaw away the bulk of the waste between them. Clamp each blank to the template and rout, using a 14-in.-dia. spiral flush-trimming bit with a bottom bear-ing. This leaves the inside corners on each finger with a 18-in. radius. To create a matching 18-in. roundover on the mating fingers, remove the workpiece from the template and rout the finger edges with a miniature bearing, 18-in.-radius roundover bit (Amana MR0112). The joints should close on dry-fit with medium clamp-ing pressure. If not, carefully clean up the inside corners with a rat-tail file.

The finger joints are reinforced with screws hidden by square ebony plugs. To cut the square holes, I use a hollow punch from Lee Valley. To help align the holes, I clamp a straightedge to the workpiece. After laying out the peg locations, register the punch against the straightedge and strike it with a steel hammer to set it in place. Then use a twist bit inside the punch and drill about 38 in. deep. Remove the bit and punch the tool to the depth of the drilled hole. You can re-insert the bit to remove debris, but don't make the hole any deeper.

Now sand the case parts to P220-grit. I bring the case together in stages, first assembling the two opposing

Punch the peg holes. To create

the square mortises for the decorative ebony plugs, Peart uses a hollow punch, which he aligns with a clamped-on straightedge. After seating the punch with a single strike, drill through it to the desired depth. Afterward, strike the punch again to drive it to the full depth of the mortise.

Cut the joints

Soften the edges. Peart uses a

bearing-guided roundover bit to ease the edges on each finger.

Rout the fingers. After removing the bulk of the

waste with a jigsaw, clamp the workpiece into the template jig and use a 1⁄4-in.-dia. flush-trimming bit to complete the finger pattern on the end of each piece. Flush-trimming bit 1 8-in. radius roundover bit Template Workpiece F I N E W O O D W O R K I N G

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References

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