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Slam Dunk with this BASKETBALL CUTTING BOARD

Projects, Techniques, and Products

Mid-Century Modern

RECORD STORAGE CABINET Plus... ■

12 tips for success at craft shows

In the shop... ■

■ ■

Collect your cutoffs in a cart Make a scratch awl Get the edge on your sheet goods

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Table of Contents February/March 2020 | Issue 93 Projects

Basketball Cutting Board Hoops fans will have fun passing this game-time snack server. Epoxyﬁlled grooves stand in for “seams” on this ball-shaped cherry platter.

Rockin’ Record Storage Build this retro cabinet to store your vintage vinyl. In the process, learn a score of great techniques to add to your woodworking repertoire.

Awl in a Day’s Work Mix turning and metalwork to make your own scratch awl.

Super-Simple Cutoff Cart Leftovers tend to accumulate in the shop as quickly as they do in the fridge. Keep your precious wood spoils organized and accessible in this handy cart.

Tools & Techniques

Secrets to Success at Craft Shows Selling your handiwork at craft shows can be a great side hustle for earning extra cash. Start off right with these insider tips.

Edging Sheet Goods Sheet goods can be a very practical building material, but their exposed edges can be an eyesore. Here’s how to cover those unsightly cores.

48 Departments 04 Contributors 06 Getting Sharp 08 Proﬁle • Anne Briggs

10 News & Views 14 Reader Showcase 16 Hot New Tools

• Jet 13" Helical-style Benchtop Planer • Kensai 1000/6000 Water Stone

20 Tips & Tricks 56 Famous Furniture • Eames Molded Plywood Chairs

58 WoodSense • Eucalyptus

60 Great Gear • Lake Erie Toolworks Moxon Vise • Jevons 3D Squares • Work Sharp 3000 Tool Sharpener

66 Expert Answers • Installing an air ﬁltration system

69 Looking Ahead 70 Buyer’s Guide/ Ad Index 72 Outfeed • The 5 Stages of Gluing-Up Cover photo: Larry Hamel-Lambert

Feb/Mar 2020 | woodcraftmagazine.com

Contributors Edwards Smith is a retired physician and academician with a lifelong interest in wood. He started in furniture but soon developed a distaste for measuring, and found woodturning more palatable. At 81 years old, Edwards sells his creations at craft shows (See his tips for selling your work at crafts shows on p. 32) and art galleries near his hometown. He’s active online and writes a blog about his woodworking exploits, and has no intention of retiring. Edwards works in an unheated barn in Williston, Vermont.

Craig Bentzley has never been on the cover of Rolling Stone, but we think his reputation in the woodworking world approaches rock star status. Craig, usually accompanied by projects designed for our readers, has appeared on our cover five times. Over the span of his 48-year woodworking tour, Craig has also appeared on the covers of WOOD and American Woodworker. Working in a shop that’s a veritable woodworking museum, Craig’s antique restoration and furnituremaking skills keep him in high demand. When time permits, he enjoys teaching at Guilds and Woodcraft stores. Craig share his expertise on p. 45.

The basketball cutting board on page 28 comes from an impressive collection of man-cave projects that designer/woodworker Jim Harrold has developed since retiring as editor of Woodcraft Magazine a few years ago. Jim sells his creations through galleries in Hawaii, where he likes to vacation. Jim’s writing and editing career began in the early 1980s, when he joined Better Homes & Gardens Meredith Corporation to produce a series of DIY books and magazines. Later, he became the Executive Editor of WOOD magazine, and then joined Woodcraft LLC to head up its woodworking publication. When he’s not designing or building an original project, you’ll catch Jim on a Kona fishing boat in hot pursuit of marlin and Ahi (yellowfin tuna). ■

On the Web Join the community. Check out the Woodcraft family online and enjoy an active community of woodworkers. Whether from the magazine or a fellow maker, or on Facebook or Instagram, you’ll ﬁnd a rich mix of videos, project ideas, plans, tips, tool sales, and much more. Stop by anytime for inspiration, or to share your own woodworking ideas. 4

onlineEXTRAS! This issue is packed with extra content. The Record Stand (p. 36) comes with a cut list and information on drawer slide hardware. For the Cutoff Cart (p. 52), we have a helpful article on panelcutting. There are free patterns for various handle shapes so you can customize your own shop-made scratch awl (p. 48). And for subscribers, we have free projects that relate to the Record Stand and the Basketball Cutting Board (p. 28). All you have to do is check us out online. ■

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Getting Sharp

Share your ideas. We love hearing from readers! And there are all

A bridge-building craft

kinds of reasons to get in touch with the crew at Woodcraft Magazine. Check out the details below.

General information:

e woodworkers have perhaps more opportunities than any other craft aficionados to mingle our myriad interests. Woodworking itself is vast and varied, with many branches stemming from the craft’s great trunk, including furniture making, carving, and turning, among others. And we can intertwine these offshoots to create projects limited only by our imagination, as we hobnob with a host of companion métiers like metalwork, carpentry, and upholstery. But it doesn’t stop there. A trade like ours can bridge the gap to virtually any other pastime. The things we make find their way into shops, libraries, living rooms, gardens and the hands of all manner of humans for all manner of motives. As for me, I’ve made a number of kitchen implements for gracious cooks, thanking them with spoons, spatulas, and stacks of cutting boards. I’ve built bookcases for the readers in my life, and projects as small as seam rippers for crafty friends and family. I’ve made knife handles for hunters, a rosin box for dancers, and sawhorses for DIYer buddies. Over the years, Woodcraft Magazine has welcomed photographers, painters, musicians, and others who have contributed their particular expertise to our pages. And we’ve dipped our

Feb/Mar 2020 Vol. 16, Issue 93 Chief Editor: Chad McClung Senior Editor: Paul Anthony Contributing Editor: Ken Burton Art Director: Bobby Schehl Graphic Designer: Kelli Edman Publisher: Gary Lombard Advertising Sales Manager: Vic Lombard Circulation Support: Christie Wagner, Robin Cross Office Manager: Connie Harmon Circulation: NPS Media Group Web Support: Jessica Loyer Video Producers: Frank Byers, Kevin Reed

toe in home improvement, metal working, and tool making, among other ventures. In this issue alone, we traverse a span of popular interests. A couple of us on staff are music lovers and record collectors, hence the cover project (p. 36). Collectors will love the extra storage, and fans of mid-century furniture will appreciate the throwback design. Aspiring tool makers will appreciate the scratch awl (p. 48), where we mash up turning and metalwork to create an indispensable shop implement. The story on edging sheet goods (p. 45) speaks to frugal, practical woodworkers like me, who like building with sheet goods and need to conceal their ugly cores. Many basketball fans will cheer for the cutting board on p. 28. And what better way to experience craftdiversity than by diving into craft shows (p. 32), where makers of all kinds converge to share and sell wares? It’s a great way to expose yourself to new ideas. Woodworking is an open community that’s accepting of people from all walks of life. The only requirement is that you love working with your hands. So join in, create, and rub elbows with those who do remarkable work. Your own work will be better for it. ■

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Woodcraft Magazine (ISSN: 1553.2461, USPS 024-953) is published bimonthly (Dec/Jan, Feb/Mar, April/May, June/July, Aug/Sept, Oct/Nov) by Woodcraft Supply, LLC, 4420 Emerson Ave., Suite A, Parkersburg, WV 26104. Tel: (304) 485-2647. Printed in the United States. Periodicals postage paid at Parkersburg, WV, and at additional mailing offices. POSTMASTER: Send address changes to Woodcraft Magazine, P.O. Box 7020, Parkersburg, WV 26102-7020.

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Share a slick tip to win cash or a prize. Here’s your chance to help someone become a better woodworker and get rewarded for the effort. Published tips become the property of Woodcraft Magazine. Email us at tips@woodcraftmagazine.com and put “Tips & Tricks” in the subject line or visit woodcraftmagazine.com, and click on Contact. Important: Please include your phone number, as an editor may need to call you if your trick is considered for publication.

Have a tough woodworking question? We’ll do our best to find the expert and provide the answer. Email us at editor@woodcraftmagazine.com and put “Expert Answers” in the subject line.

News & Views: This catch-all column is where we do our best to correct mistakes, publish feedback from readers, and share other noteworthy news items. It’s easy to participate in this discussion. Just email us at editor@woodcraftmagazine.com and put “N&V” in the subject line.

Submit an article idea: Do you have a story idea? We’d love to hear about it. To find out how to submit an article, email us at editor@woodcraftmagazine.com and put “Submission” in the subject line.

Share photos of your projects: We’d like to see what you’re building. To show off your work send your photos to editor@woodcraftmagazine.com, or find us on social media.

©2019 by Woodcraft Supply, LLC. All rights reserved. Woodcraft Supply, LLC allows the purchaser of this magazine to photocopy the included projects and techniques solely for personal use. Any other reproduction of these projects and techniques is strictly prohibited. Safety First! Working wood can be dangerous. Always make shop safety your ﬁrst priority by reading and following the recommendations of your machine owner’s manuals, using appropriate guards and safety devices, and maintaining all your tools properly. Use adequate sight and hearing protection. Please note that for purposes of illustrative clarity, guards and other safety devices may be removed from tools shown in photographs and illustrations in this publication.

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Proﬁles

ANNE BRIGGS Building furniture and an online community WM: How did you get started in woodworking? AB: I always dreamed of having a shop like my grandfather’s, who shared the woodworking bug with me. When I moved to Seattle seven years ago, it was finally time to make that dream a reality. I bought my first tools and went to the library every day to check out books and videos on woodworking. “The Anarchist’s Tool Chest,” by Chris Schwarz, was a life-changing read for me. A neighbor and my brother-in-law helped me get started, and I spent lots of hours chatting on Instagram with other makers about problems and strategies. But how I really learned the craft is how anyone learns anything—practice. WM: How did you get from just plain Anne to Anne of All Trades?

nne Briggs (she pronounces it Annie) is a true woodworker for the Internet age. She has successfully established her skills and personality as a brand—Anne of All Trades. She uses YouTube and her own website to document what she does in her shop and on her farm, as a way to inspire people. While she claims she’s not an expert in any of her trades, Anne has excellent handwork chops. She can cut tight dovetails, build just about anything from a chicken coop to a Windsor chair, and forge a knife from Damascus steel. So far, besides woodworking, her trades include woodturning, blacksmithing, welding, organic farming, and beekeeping. More than 150,000 people follow Anne on Instagram, and her YouTube video on building a tiny house has attracted nearly a million views. Anne lives and works on a small farm in the Seattle area with her husband Adam and a menagerie that includes alpacas, miniature donkeys, goats, lambs, and chickens. —David Heim 8

AB: I had a tech job that was unfulfilling. All I could do at work was daydream about what I’d do in the shop when I got home. In 2014, I tried full-time furniture making, but quickly realized that working for pay was going to poison the thing I loved. So, I went back to the tech industry and obsessively pursued woodworking as a hobby. About that time, the folks at Pratt Fine Arts Center in Seattle (pratt.org) heard about me through Instagram and offered me a job managing their woodworking program. The program was struggling and needed

Seating joints. Last year, Anne tackled 18 projects, including this camp chair.

Old building, new space. Anne and some helpers gutted a decrepit building on her farm and installed a spacious new woodworking shop. to be completely rebuilt, so I hired teachers who I’d want to learn from and scheduled classes that I wish I’d taken. I made a lot of awesome friends there, and honed my skills while my social media presence gathered steam. Then I met a Texas woodworker— April Wilkerson—who mentored me in creating a successful online business. By early 2018, I was ready to go full time as Anne of All Trades. WM: How did you start acquiring tools? AB: In the beginning, I bought tools on Craigslist, repaired them, sold them at a profit, and then bought something else. I went through eight or nine table saws, five or six chop saws, and eight lathes. I once traded a go-kart that I had made for a drill press. I built up my collection slowly but intentionally, buying tools one at a time, as I needed them. WM: What are your days like? AB: I start my day by catching up with my community on social media, then tackling a few farm chores. When my Photos: Courtesy Anne Briggs

full-time assistant arrives, we head to the shop to start building and filming. At the end of the day, I’ll get back on the computer to write and edit videos, and keep making connections. Or I might carve a spoon, or work on a project until my husband gets home. After dinner, Accepting a challenge. Anne isn’t afraid we hang out together, maybe play some to tackle daunting tasks, like drilling angled music, or invite some friends over. holes for spindles in a Windsor chair.

I spent lots of hours chatting on Instagram with other makers about problems and strategies. But how I really learned the craft is how anyone learns anything—practice. WM: Is social media an effective way to create a community? AB: Absolutely. I believe humans are meant to have long-term connections, and the strongest connections come from shared adventure. What better adventure than creating something from nothing with another human being? The whole point of my business is to have a gathering place for people who want to make things with their hands, learn new skills, find inspiration, and follow their passion. I get emails from folks all the time who have built

projects I’ve published. I hear from parents who were inspired to bring their daughters into the shop and have a new adventure together. This kind of feedback tells me that the community is growing, and it makes everything I do totally worth it. ■

Join Anne’s Community To learn more about Anne Briggs, visit her website: anneofalltrades.com. There, you’ll also ﬁnd links to her Instagram feed, Facebook page, and YouTube channel.

Feb/Mar 2020 | woodcraftmagazine.com

News & Views

A different spin on the circle-cutting jig Bill Schneider’s bandsaw circle-cutting jig (Oct/Nov 2019) inspired me to make my own version (see photos below). The pivot bar sits flush with the base’s surface on my modified sled. On the underside of the bar, I attached a 1" × ¼"-20 threaded rod that passes through a slot in the base. A fixture knob threads onto the rod to hold the position. Pivot holes every two inches along the bar allow cutting diameters from 1" to 48". An epoxied rare earth magnet in the travel stop helps to hold the base steady while the jig is in use. And a 1" hole where the blade cuts allows better dust collection, especially when I remember to remove the bandsaw’s throat plate before using the jig. —Edward Koizumi, Oak Park, IL

Dicey vise tip?

Nothing could convince me to put my router in a vise (Dec/Jan 2020) and turn it on. Isn’t that unsafe? —Tila Talu, via email Senior editor Paul Anthony replies: Tila, if you’re concerned that the tool might jump from the vise, you can safely assure yourself that it won’t by testing the setup first with an unarmed router. Then exercise the same safety precautions that you do when using a table-mounted router. The small work surface is obviously not meant to support large work nor, of course, would you use this setup to make heavy cuts with big bits. This is really an impromptu configuration meant for small cuts on small pieces. That said, you are being sensible in avoiding any woodworking procedure that makes you nervous. There is almost always an alternative approach to something. And, as every woodworking publication points out somewhere: “Woodworking is inherently dangerous. Please exercise caution... etc. etc.” I applaud you for being someone who understands and appreciates that.

Supporting woodworking education Woodcraft joins the ranks of woodworking advocates who provide financial support for The Krenov Foundation’s Scholarship Program, which benefits The Krenov School. Visit woodcraft.com for more information. 10

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News & Views

Missing the mark My system was missing from the Maker’s Mark story in the Dec/Jan 2020 issue. Since the 1970s, I’ve marked my work by signing and dating freehand with a wood-burning tool. I recommend the Wall Lenk Woodburning Pen. —Wes Demmon, DeWitt, IA

I stamp the back of my work after the final sanding and before applying a finish. A stamp can be easily made from a black and white drawing; the trick is to find a thicker ink that doesn’t run with the grain. I order from The Stampin’ Place (stampin.com) and use Versacraft ink. —Chris Gilbertson, Houghton, MI

For signing your work, consider a self-contained ink stamp. Purchased at a local office supply store, you can design a graphic and pick a font style for under $25. The stamps work well directly on the project, but I sometimes use pre-cut self-adhesive labels. —Dwayne Smyth, West Springfield, MA 12

Sweepstakes winner attends Brigham Design Workshop Bruce Kuveke of Boulder City, Nevada was the grand-prize winner of the “Build it! with Jory & John Sweepstakes”. Bruce and a guest attended an all-expenses-paid 21⁄2day furniture-building class at Brigham Design Workshop in Paso Robles, California, where he built a custom bench. Here, Bruce stands behind his work and his instructor, Jory Brigham. ■

How to reach us

Email editor@woodcraftmagazine.com

Direct Mail Woodcraft Magazine, 4420 Emerson Ave., Suite A, Box 7020, Parkersburg, WV, 26102-7020. Please include your full name, address, and phone number. Published letters are edited for length and clarity.

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Reader Showcase

DAVE GILBERT, LAFAYETTE, GA Nicely played. Georgia woodworker Dave Gilbert is going all in for game night. His six-sided sassafras and walnut card table is the perfect platform for dealing players in for a friendly round of cards.

RUSS SVENDSEN, OLEAN, NY For the birds. Built to serve the ﬂock, this avian sanctuary is made from plywood, basswood, and pine dollhouse shingles. Svendsen incorporated a removable roof for easy cleaning after services.

ALFRED NILA, WEST COVINA, CA Softer seating. When building Spike Carlson’s child’s rocker from the Dec/Jan 2019 issue, Nila stuck with the overall dimensions and joinery details provided, but added padding to the hard plywood seat. Deﬁnitely the chair to choose for sitting in the corner.

ROBERT CARPENTIER, WEST ISLIP, NY “Square” bookends. Carpentier built these tool-inspired bookends using cherry, bubinga, walnut, and maple. Hanger bolts reach through a slot in the shelf and thread into T-nuts epoxied into walnut knobs underneath. This allows positioning and locking the bookends in place anywhere along the length of the slot. ■

Show off your work! Email

Direct Mail

editor@woodcraftmagazine.com

Woodcraft Magazine, 4420 Emerson Ave., Suite A, Box 7020, Parkersburg, WV, 26102-7020.

Go to woodcraft.com/gallery for submission instructions.

Join the Hunt for a chance to win the prize below!

ACCU-CUT CIRCULAR SAW GUIDE TRACK SYSTEM FROM KREG

A $79.99 VALUE! Read this issue closely to answer the following questions.

1. What did Charles and Ray Eames call their home-made plywood molding machine? 2. What happens at stage 4 of gluing up? 3. How many clamps are used in the overall assembly photo on p. 40? Go to our Facebook page for instructions on how to win.

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Hot New Tools

Quick-change cutters and cleaner, quieter cuts Jet 13" Helical-style Benchtop Planer (JPW-13BT) Helical-head planers and jointers tend to cut cleaner than straightknife machines. Unfortunately, the cost of even an aftermarket helical cutterhead upgrade kit exceeds the price of a brand-new benchtop planer. Jet’s new JPW13BT benchtop planer offers small-shop woodworkers an economical alternative. While the segmented cutter head isn’t a true helical configuration, the manufacturer claims that the alternating arrangement of the 26 two-sided high-speed steel (HSS) cutters produces a cut that approaches the quality of premiumpriced helical-head machines.

I tested the Jet for a few weeks alongside my faithful benchtop planer outfitted with fresh fulllength knives. The immediate difference between the two was noise; the Jet operated about 5 dB quieter than my old planer, and the difference increased as the fulllength knives began to dull. As for cut quality, the planers were neckand-neck at the beginning, but by the end of the week the Jet had taken a noticeable lead. According to the manufacturer, the cleaner cut is a result of the cutting angle. Thanks to the shearing action of the cutters, they enjoy a longer edge-life than full-length knives.

Prices subject to change without notice.

The moment I nicked a cutter edge, the Jet left my old planer in the dust. Before, I might have accepted a lessthan-perfect cut rather than trash a set of my disposable knives. But thanks to the rotatable two-sided cutters on the Jet, nixing the nick was a 5-minute fix. The 13BT sports two feed speeds (18- and 26-fpm) and an adjustable thickness stop that automatically registers the cutter head at ¼"-, ½"-, ¾",- and 1"-thick settings. A 4"-diameter dust port matches standard dustcollection systems. The 2-hp motor can be run from a 120-volt circuit. Another plus: the planer is backed by Jet’s 3-year Assurance Warranty. —Tester, Joe Hurst-Wajszczuk

Photos: Ralph Lee Anderson

Segmented cutter head

Double-sided HSS cutters

Overview • • • • •

Segmented head planer, $799.99 26 double-sided HSS inserts Max. thickness-6"; Max. width-13" 2 feed speeds (8 and 26 FPM) Adjustable depth stop for repetitive cuts • 2 HP, 15-amp motor • 74.8 lbs.

Feb/Mar 2020 | woodcraftmagazine.com 17

Hot New Tools

Kensai stones are keepers Kensai 1000/6000 Water Stone If you don’t already have an established sharpening system, Woodcraft’s new house-brand of water stones may be just the thing you need to start or augment your arsenal of honing stones. These Kensai stones are available in a range of grits from 400 to 8000, of which I tested the 1000/6000 combination stone. The first and most obvious attribute is the stone’s size. At 8 inches long by 3 inches wide, it provides enough real estate for sharpening wide blades or partnering with larger-bodied sharpening jigs, such as the Veritas M2. I was nicely surprised by the quality of the finished edge the 6000-grit side produced; it matched what I expect from higher-grit stones. According to the manu-

facturer, the abrasive particles fracture to essentially create a finer grit as you work. This attribute saves the user from having to purchase an additional polishing stone. Some softer-bond water stones cut faster by releasing abrasive more readily, but this can cause the surface to quickly dish. Kensai has found the sweet spot between cutting speed and durability. Sharpening hard A2 steel plane irons revealed the Kensai to be harder than similarly priced stones and only slightly softer than my premium ceramic stones. This two-sided stone outperformed my go-to budget stone, and held its own against a set of premium stones that cost three times as much. ■ —Tester, Joe Hurst-Wajszczuk

Prices subject to change without notice.

Feb/Mar 2020 | woodcraftmagazine.com 19

Tips & Tricks

Help with keyhole hanging Keyhole slots provide a great way to hang small cabinets and other projects. A pair of keyhole slots are also often integrated into commercial power strips and other accessories for mounting purposes. The problem with paired slots is that the screws must be laid out precisely on center to work, and misalignment can be hard to correct. I’ve found that commercially available dowel centers do the trick nicely. Just insert the appropriately sized dowel center into each keyhole slot, and then press the item to be mounted in place. Voila! You now have perfectly located centerpoints for your mounting screws. —John Crouse, Wolcott, NY

Power strip

Place dowel centers in keyhole slots, locate unit, and press in place.

Share a Slick Tip. Win Cash or a Prize! Here’s your chance to help someone become a better woodworker and get rewarded for the effort. The winner of next issue’s Top Tip award will receive a 12v Li Drill/ Impact Driver Combo Pack. All others will receive $125 for a published illustrated tip, or $75 for a non-illustrated tip. Published tips become the property of Woodcraft Magazine.

12v Li Drill/ Impact Driver Combo Pack

Send your ideas to: Tips & Tricks, Woodcraft Magazine, P.O. Box 7020, Parkersburg, WV 26102-7020 -orvisit woodcraftmagazine.com, and click on “Contact”. Important: Please include your phone number, as an editor may need to call you if your trick is considered for publication.

Illustrations: Christopher Mills

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Tips & Tricks

Fence-free tapering Making a shelf for a wedge-shaped cabinet I built a while ago required sawing a fairly extreme taper on a 2 × 4' sheet of ¾"-thick plywood. I wanted to use the tablesaw because it provided a much cleaner cut than my portable circular saw, but the piece was too large, and the angle too severe to use a typical tapering jig. After a bit of thought, I realized that the solution was to guide it with a runner that slid in my saw table groove. I began by laying out a cutline on what would be the underside of the finished piece. Then I cut a straight-grained, table-slot-sized strip of wood to the approximate length of my cutline. I measured the distance from the saw blade to a table groove, then transferred that measurement from my cutline onto the “keeper” section of the workpiece. After using a straightedge to draw the full-length offset, I screwed the runner to the workpiece adjacent to that straight line. All that was left was to insert the runner in the table groove and make the cut. —Russ Svendsen, Olean, NY

Distance from blade to saw table groove “Keeper” piece

Cutline

Runner in table groove guides cut.

Runner

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Tips & Tricks

Under-cabinet light extension Wanting to install some task-lighting at my sharpening station, I tried attaching an LED ceiling-mount, corded light fixture to the underside of the cabinet above the area. Unfortunately, the fixture’s close proximity to the wall simply back-lit the area. In order to better illuminate my work, I cobbled up a pull-out mounting surface using a pair of drawer slides and a few wood scraps. For my purposes, I used ¾-extension slides that are designed to wrap around under a drawer’s sides. I began by Facing hides plywood edge and hardware, and provides pull for panel.

Cleat helps support facing.

cutting them to a length that matched my cabinet depth. Next, I made a pair of thick cleats, to which I attached the case-halves of the slides before screwing the cleats to the cabinet bottom. After sawing a piece of ¾" plywood to suit the drawer slide spacing, I attached the drawer-half of each slide. As a finishing touch, I added a facing piece to trim things out and serve as a pull. After attaching the light and finding that everything worked well, I felt pretty bright. —Joe Hurst-Wajszczuk, Birmingham, AL Slide allows extending panel outward for better-placed lighting.

⁄4" panel supports light.

Saw slide to length if necessary.

Attach cleat to underside of cabinet.

Ceiling-mount, corded light.

A safety razor scraper Over the years, I’ve often used a single-edge razor blade to scrape dried finish drips and runs flush to the adjacent surface. To scrape heavy runs or particularly hard finish, I often turn a hook on the blade, in the same manner I do with a card scraper, but to one side only. To target the area of concern and to keep the corners of the blade from digging in, I would do my best to flex it into a downward curve, again, as with a card scraper. But a luthier friend recently showed me a better way to control the cut. Simply wrap a piece of regular cellophane tape around each end of the blade, leaving the space between the two pieces wide enough to do the requisite scraping. This way, you don’t have to flex the blade, the corners won’t dig in, and the cutting will stop when only about .002" of finish remains raised to sand level with very fine abrasives. Brilliant! —Jesse Roberts, St. Louis, MO 24

Cellophane tape prevents damage from blade corners and serves as cut limiter.

Turn hook to scrape heavy or hard ﬁnish drips.

Feb/Mar 2020 | woodcraftmagazine.com 25

Tips & Tricks

IP CLASSIC T

Self-positioning assembly braces Squaring braces can be very helpful for assembling cases and drawers. Expensive commercial versions are available, but simple plywood triangles with notches or holes serving for clamp purchase work pretty well. However, I decided to upgrade to the shop-made fenced versions shown for a recent large cabinet project. Unlike standard flat triangles, these braces can rest atop case or drawer side edges, holding the parts together while you set the clamps. I recommend making large and small braces to accommodate different size cases. The dimensions aren’t critical, but the outermost corner must be an accurate right angle. Locate the fences about 1" out from the inside corner so that they don’t get in the way when positioning a divider or shelf in the middle of a case. These braces are designed for ¾"-thick adjoining pieces. For thicker wood, or for assembling face frames or other projects, they can be clamped to the inside corners, like simpler fence-less braces. ■ —Joe Hurst-Wajszczuk, Birmingham, AL

Fences hold brace in place until clamps are applied.

Glue and pocket-screw fences to plywood braces. 2" FENCE ⁄4 × 2 × 12"

111⁄2" LARGE BRACE 11⁄4"

FENCE 3 ⁄4 × 2 × 6" 2" 6" 11⁄2"

SMALL BRACE 1"

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=NG " GG1 -&VLG 4&V D,%P#(IVK/)V7=R&7*:KV K0 KV$ QJ+JVJ;2B&V

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BASKETBALL

CUTTING BOARD A precision template set makes this project a slam dunk By Jim Harrold

Order of Work cherry blank, commercially available wood balls, and dyed epoxy are the sum ingredients for a cutting board that sports lovers will crave during the NCAA March Madness and NBA playoffs. This iconic design, complete with grooved “seams,” offers fans a fitting place to slice and 28

serve cheese and meats when knocking down game-time hungries. It’s made with a $35 laser-cut plywood template set (see the Buyer’s Guide, p. 70) that ensures accuracy and makes for efficient work when creating boards for family members, sports fan pals, or even an entire high-school team.

• Prep blank and apply template • Rout grooves • Cut out circle • Fill grooves • Attach feet • Apply a food-safe ﬁnish

Opening photo: Larry Hamel-Lambert

Apply the template and rout the grooves Use a stable wood like cherry to minimize seasonal wood movement and warping. Properly air-dried riftsawn stock (where the annular rings run diagonally) is best. Edgeglue pieces to make up the necessary

Painter’s tape

width. Thickness the blank to 11⁄16" and trim it to 11½" square. Tape the edges of the segment template to the blank, trace the ball’s perimeter on the wood, then affix the segments as shown. Remove the

template surround, and ensure that the bushing runs smoothly through the groove channels between the segments. Rout the grooves as shown, then use denatured alcohol to ease the tape’s grip and pry up the segments.

Template surround

Double-faced tape Template segment

Affix the segments. Temporarily adhere the template surround to the cherry blank with painter’s tape. Then affix the template segments with double-faced tape. Finally, remove the template surround in preparation for routing the grooves. Rout the grooves. Secure the blank on your workbench. Insert the bushing in a channel, plunge the bit, and rout the grooves, cutting just beyond the outside edges of the segments. Increase the depth of cut to 1 ⁄4" and make a final pass.

Bushing & bit. Install a 5⁄16" O. D. router bushing in a plunge router with a 1⁄4" roundnose bit, and adjust for a 1⁄8"-deep cut.

Care & Feeding After use, wipe the cutting board clean with a moist soapy cloth, rinse it, and immediately dry it with a towel. Do not wash the cutting board in a dishwasher. Reﬁnish and wax the board occasionally to protect it.

Project photos: Marlen Kemmet

Feb/Mar 2020 | woodcraftmagazine.com 29

Shape the ball and ﬁll the grooves Bandsaw the circle to rough shape, guided by your perimeter layout lines. Or, see onlineEXTRAS for a circle-

cutting jig that will do the job quickly and neatly. Then sand to the perimeter line using a circle-sanding jig.

Mask along the grooves to minimize clean-up, and then mix and apply dyed epoxy as shown.

onlineEXTRAS If you plan to make multiples of this board or any circular projects, go online for plans for a circular sawing jig and sanding jig to speed up perfect work. If you prefer pigskin, check out our Football Cutting Board.

Buyer’s Guide See page 70 for the tools and supplies used in this article.

Bandsaw the proﬁle. Using a 3⁄8" or 1⁄2" blade, bandsaw the basketball to rough shape, staying about 1⁄16" wide of the cut line.

Mix the epoxy. Combine 15-minute epoxy and black dye in a squeeze bottle. I stirred one teaspoon of dye into 11⁄2 ounces of resin, and then mixed in 11⁄2 ounces of hardener. 30

Protect the ball. Use painter’s tape to dam the ends of the grooves. Also, tape along their edges to prevent the dyed epoxy from staining the wood. Fill the grooves with the epoxy mixture until it’s slightly proud of the board’s surface. After the epoxy cures, remove the tape and sand the surface with 120-grit paper to ﬂatten the “seams” and remove excess epoxy. Then sand the board through 220-grit.

Attach the feet and apply the ﬁnish Round over the board’s Finally, sand the board through 320 Salad Bowl Finish, rubbing out with edges, and mark and drill the grit, wipe it clean, and apply finish. I #0000 steel wool between coats. Then I holes for the feet as shown. wiped on three coats of General Finish’s buffed on a coat of clear Briwax. ■

Round the ball. Using a handheld router, rout 1⁄4" roundovers on the top and bottom edges, moving counterclockwise.

Drill down. Bore 3⁄16"-diameter holes 1⁄4" deep where marked to accept the feet.

Find your footing. Position the circle template on the board’s bottom face, and mark the locations of the four feet.

Plant your feet. Stain commercially available 3⁄4" birch ball knobs with cherry stain. Cut four 3⁄16"-diameter dowels to 3⁄4" long, glue them in the predrilled balls, and glue the balls to the board.

Feb/Mar 2020 | woodcraftmagazine.com 31

t can happen to any amateur woodworker: Sooner or later, you make more items than your family and friends can use. Craft shows provide a rewarding solution to this problem. I’ve been selling my work at craft shows for 20 years, and really enjoy the experience. Woodworking tends to be a solitary

More about craft shows Craft show directories: CraftmasterNews.com SunshineArtist.com NationalCraftShowDirectory.com Craft show publications: Sunshine Artist SunshineArtist.com American Craft CraftCouncil.org/magazine

practice, but craft shows get you before the public to share your accomplishments. There’s great camaraderie in this community; it’s like a big family of creative, hardworking artisans who want to succeed individually and as a group. I’m not going to encourage everyone who reads this article

Pick the right shows. Selling your wares at a small local craft show or farmer’s market is a good way to get started. But for proﬁt and exposure, you’ll want to set up your booth at wellestablished craft shows that draw thousands of visitors. A show that extends over two or three days is better than a one-day show. Indoor shows are better than outdoor shows, because you won’t have to worry about how weather might diminish attendance or damage what you’re trying to sell.

Don’t be afraid of the jury process. In a juried show, a group of artists review your work ahead of time and decide if you should be in the show or not. This sounds intimidating, but it’s an opportunity to get valuable feedback on the salability of your products. I’ve found that stricter judging equates with higher-quality vendors and customers who are willing to pay more.

These 12 tips will help you sell your work for fun and proﬁt By C. Edwards Smith to quit their day jobs and jump into the craft show circuit—it’s not the easiest way to make a living. But if you have quality work to sell and the capacity to keep up with demand, read on. My advice will help you get the most from your entry into the craft show market. The illustrations show many of the tips in action.

Watch, listen, learn. Before you jump into the craft show business, go to shows to see how others are doing it. As you walk the aisles and stop at different booths, keep track of what you like and what seems to attract show-goers. Observe how woodworking vendors are pricing and displaying their wares. Take note of the items that sell best, and ask vendors for advice on getting started. Illustrations: Dan Thornton

onlineEXTRA Visit our website for more info, including a free article on photographing your work.

Have nice bags for customer purchases. A customer who just paid you $300 for a bowl shouldn’t have to hold it in a cheap plastic bag. I always have attractive white paper bags with handles available for customers who need them. I purchase the bags by the carton in two sizes from ULine (uline.com).

Work on a good website. These days, it’s not difﬁcult or expensive to market and sell your creations online. A Facebook page or Instagram account will help keep friends and followers up to date on what you’re doing. But a good website is the best way to showcase your products, provide contact details, and let folks know about your craft show schedule.

Feb/Mar 2020 | woodcraftmagazine.com 33

Get the right gear. Design your booth for efﬁcient setup and breakdown as well as attractive display of your products. The 10 × 10' E-Zup tent that I use matches the standard booth size of most shows. Even indoors, a tent can nicely delineate your display space. Get some folding tables and large tablecloths that drape down over the table sides. This gives you display space while enabling you to store additional stock out of sight beneath your tables. Consider shelves or stands to create attractive displays. Buy a power strip, outdoor extension cords, and durable lights that will mount on your tent frame. Make space for a cash box, bags (Tip #4), and printed material (Tip #11).

How to price your work This is a tricky task because so many variables come into play. Visiting other vendors who sell items similar to yours will give you some ballpark pricing guidelines. But don’t give in to the temptation of discounting your work. For the turned bowls I sell, it makes sense to have a formula that equates size with price. But it’s also important to factor in the time and skill required to make each item, the uniqueness of the design, and the type of wood used. Printed descriptions for certain items can help explain your prices (Tip #11). 34

Provide printed material. Everyone loves a story. Factory-made items don’t have one, but your projects do. Have some handouts that will give customers details about you, your workshop, or the item they’re buying. Customers appreciate this added value. The other printed material you want on hand are business cards and care instructions for particular items. You don’t want an irate customer whose cutting board came apart in the dishwasher.

Make friends with fellow vendors. Friendship and good feelings among vendors will generate sales. I often end up selling some items to other vendors, or bartering with them if I see something I want. If a vendor likes you and your products, you’re likely to get referral business.

Cover a broad price range. It’s not easy to price your work. But it is helpful to sell a good variety of items at different price points. I recommend having some inexpensive items ($15 or less) that anyone can afford. It’s just as important to have a few premium-priced products. There are always a small number of show attendees who can afford your best work. Make sure you’ve got something for them to buy. ■

Always have something for kids.

Be savvy about sales tax.

I love it when children visit my booth. Turned tops and wooden toys are sure to interest youngsters. When they get excited, their parents do, too. The captive-ring baby rattles that I make on my lathe have always been popular. In a world full of plastic toys and digital entertainment, handcrafted toys have a special status that kids and parents appreciate.

Most states require that you collect sales tax, report it, and pay it. Unfortunately, the requirements vary from one state to another. The show organizer should include this information in the registration process. You can get more details online (salestaxinstitute.com).

Accept credit card payments. You’ll deﬁnitely lose sales if you can’t process credit card payments. I use Square Reader (squareup.com), which works well with my smart phone. Other programs are also available.

Craft show essentials For under $1000, you should be able to get all the essential gear to set up a well-equipped booth at a craft show. The basic essentials listed here can vary greatly in price; it all depends on quality and your willingness to shop around. The more craft shows you attend, the smarter you’ll become about organization and display. At well-established crafts shows, you can count on good information about electricity, lighting, security, and even inexpensive accommodations.

1. 10 × 10' tent, ezup.com.............................................................. $225.00 2. Tent weights* ............................................................................... $20.00 3. Folding tables, 30 × 72", officedepot.com...................................... $40.00 4. Tablecloths ......................................................................................$7.00 5. 8 × 10' plastic tarp (to go under rug at outdoor shows) ...................$12.00 6. 8 × 10' indoor/outdoor rug ..........................................................$100.00 7. Extension cord & power strip ..........................................................$15.00 8. Clip-on lights ...................................................................................$7.00 9. Banner (not necessary if company name is displayed elsewhere).........$100

*Tent weights are essential if you are doing outdoor shows. Tethered to your tent frame, a set of four 40-lb. weights will prevent your tent from blowing over on windy days. You can easily make your own from PVC pipe and concrete, sand bags, or even water jugs. Feb/Mar 2020 | woodcraftmagazine.com 35

Basic

Rockin’ RECORD STORAGE BUILDS

Stash your wax in mid-century style with this simple mitered case By Chad McClung

e’re calling this cool cabinet a “Basic Build,” but with a few caveats. As you can see from the drawing, this retro record stand has only a few parts, and is fairly simple in its overall construction. However, before you drop the needle and get started on this project, be aware that a few of the procedures require careful attention to stay in the groove.

Take the joinery, for example. Grainwrapped case miters are a clean and classic way to join panels at corners, but done sloppily, they can introduce sour notes in a piece. Routing perfectly fitting dadoes for hardwood plywood can be tricky, and assembling a cabinet like this definitely requires rehearsal. Likewise, applying and trimming hardwood edging, making solid drawers, and fitting inset false fronts

all require finesse. But, done well, it pays off in a piece that sings. We’ve jazzed up this article with tips and jigs to help develop your chops while adding to your catalog of useful woodworking accessories. Best of all, you’ll also have a sturdy, attractive cabinet to accommodate more than fifty vinyl LP’s. The two drawers will hold headphones and other audio gear. Ready? Let’s rock.

Photos: Larry Hamel-Lambert; Illustrations: John Hartman

Plywood for the case, hardwood for the edging With a few judicious cuts, you can grain-wrap your case parts from one sheet of ¾" birch plywood. Miter-cut ends are joined with biscuits, and the ½"-thick back fits into rabbets that run along the rear

edges of the top, bottom, and sides. Dadoes in the top and bottom hold the divider. Hardwood edging hides the plies. Inexpensive and easyto-install hairpin legs prop up this handsome retro storage cabinet.

Buyer’s Guide See the Buyer’s Guide on p. 70 for more information on the tools and hardware I used here.

133⁄4"

PLYWOOD TOP/BOTTOM ⁄4 × 13 × 32"

Drawer slide (See p. 43 for drawer construction) PLYWOOD BACK 1 ⁄2 × 131⁄2 × 311⁄4"*

PLYWOOD DIVIDER ⁄4 × 121⁄2 × 131⁄2"*

#20 biscuit

EDGING ⁄4" × 3⁄4" × 32"*

R.H. screw #8 × 1⁄2"

Dado 3 ⁄4"W × 3⁄8"D Rabbet 1 ⁄2"W × 3⁄8"D

EDGING ⁄4" × 3⁄4" × 141⁄4"*

EDGING 3 ⁄4" × 3⁄4" × 123⁄4"*

PLYWOOD SIDE ⁄4 × 13 × 141⁄4"

Washer head screw #8 × 3⁄4"

Order of Work

onlineEXTRAS • • • •

Drawer Slides: the inside story T-Square Router Guide Awesome Audio Cut List

• • • • •

HAIRPIN LEG 3 ⁄8" wire, 16" long

Cut case pieces and joinery Assemble case in two stages Attach and trim edging Make and install drawers Stain and ﬁnish

*Ideal dimensions given, but cut to ﬁt. Feb/Mar 2020 | woodcraftmagazine.com 37

Make and miter the case parts

Cut the joinery

Lay out the case panels on a sheet of ¾" birch plywood. To ensure a nice grain-wrap at the visible corners of the assembled piece, lay out the top and sides contiguously, minimizing the amount of waste between the ends of the pieces. Mark them for subsequent reorientation, then rip the panels to final width, removing the factory edge in the process. Crosscut the top, bottom, and sides to final length, and then miter their ends as shown. Leave the divider stock a couple of inches oversized in length for now.

Rout the divider dadoes in the top and bottom pieces, locating them where shown in the drawing on p. 37. A shop-made T-square and a spacer ensure that your nominal ¾"-thick divider panel will fit perfectly in its dadoes. Saw the rabbets on the back edges of each piece, and then cut biscuit slots as shown.

Skill Builder A better T-square. The T-square shown at right features integral clamping ﬂanges that secure the square and workpiece to the bench at the same time. For more info, see April/May 2016, issue 70, or visit woodcraftmagazine.com and click on onlineEXTRAS.

Mark and miter. Precisely mark out a 45° miter on each end of the top, bottom, and sides. Load a panel on your sled, pressing it ﬁrmly against the sled fence with the cutline aligned with the blade. Then saw the miter, maintaining consistent downward pressure as you feed. You want a perfect knife-edge without shortening the panel. Cut the other end, and repeat for the remaining parts.

Skill Builder

BASE ⁄4 × 24 × 24"

FENCE 3 ⁄4 × 21⁄2 × 27" Sacriﬁcial fence RUNNER Suit to table saw slot.

Simple miter sled. A hardwood runner attached to a plywood base and fence makes a great basic sled for sawing case miters. Initially attach the fence through the runner and base with a screw from underneath. Pivot the fence square to the blade, and temporarily tack the far end in place from above. Test-cut and tweak if necessary, securing the fence with more screws after establishing a square cut. 38

Targeting rabbets. Outﬁt your saw with a 5⁄8" wide dado stack. With the cutter raised 3⁄8" above the table and partially buried in a sacriﬁcial fence, sneak up on the rabbet width by adjusting the rip fence setting. Test-cut scrap until the rabbet width matches your case back thickness.

CLAMPING FLANGE CROSSBAR 1 ⁄2 × 21⁄2 × 24" 1⁄4 × 103⁄4 × 2"

⁄2" straight bit

CLAMPING FLANGE ⁄4 × 2 × 3"

FENCE ⁄2 × 21⁄2 × 16"

SPACER STRIP 3 ⁄4 × 1⁄2 × 131⁄2"

Step one. Saw a spacer strip precisely 1⁄2" wide from your divider stock. Stand it on its 1⁄2" face against the T-square fence, and position the T-square for routing the section of the dado nearest the fence. Then rout one full-depth pass with a 1⁄2" straight bit. Be sure to exit the cut from the piece’s back edge so any tearout will be removed when sawing the rabbets.

Step two. Rotate the spacer 90° so that it’s now standing on its wider edge against the fence, and rout the second pass. Having cut the spacer from your project plywood, this second cut should create a dado of perfect width for the divider.

Cut biscuits slots. To align parts during glue-up, cut slots for #20 biscuits into each miter face, with one in the center and one 2" in from each edge. Locate the slots nearer the “heel” of the miter to avoid cutting through to the outside face of the panel. As always, test ﬁrst using scrap. Feb/Mar 2020 | woodcraftmagazine.com 39

Assemble the case in two stages A case like this can be tricky to glue up. But it’s more manageable as a twostep assembly using miter-clamping panels and thick cauls. First glue the top and sides together as shown,

Skill Builders

Case miter clamping panels. These shop-made clamping panels provide a great way to pull case miter joints together. Size the 1⁄4" plywood panels to match the width of your project parts, and glue and clamp 3⁄4 × 3⁄4" unbeveled hardwood cleats to them. Saw the bevels afterward.

and dry-fit the bottom in place in order to measure for the divider length. Next, glue the two assemblies together and check for square. For this procedure, use shop-made I-beam

risers to raise the work off the bench for clamp access. Rehearse your glue-up procedures, and use glue like Titebond III, with a long open time.

Clamp pad prevents marring inside face of case.

Sides to top ﬁrst... Working on I-beam risers, rehearse attaching the sides to the top. Dry-clamp the parts together, securing each clamping panel with its cleat about 3⁄4" away from the tip of the miter. Then, with the top lying on the risers, apply glue and biscuits to each mitered end. Brush glue onto the mating ends of the sides, and attach them to the top. Rest the assembly on its back edge and pull the joints together as shown. …then add divider and bottom. In preparation for the second stage, set up the clamping panels to attach the bottom to the sides, and make two thick hardwood cauls to distribute the clamping pressure fully across the ends of the divider. Then clamp up the case as shown, making sure it remains square under clamp pressure. I use aluminum clamping squares at the corners to help with the job.

Edge the case With the case fully assembled, cut four edging pieces to ¾ × 13⁄16 × 34". I used maple to match the light-colored birch plywood case. Apply and trim the edging as shown. (For more on edging sheet goods, see p. 45.) Trim the edging and chisel the corners square. Then measure the rabbeted opening and cut the case back for a snug fit.

Skill Builder

Attach the edging. Miter one end of your top edging blank, and align it with the joint line of a top case miter. Mark and cut the opposite end, and glue and clamp the piece to the case. Abut the freshly mitered end of a side edging blank to one end of the installed top edging, and mark the bottom end as shown. Sneak up on the fit, then glue and clamp the side edging in place. Repeat for the opposite side, then cut the bottom piece to fit. Finally, cut the divider edging to fit. Router stabilizer. This simple jig prevents miscuts caused by routertipping when flush-trimming narrow edging. For stiffness, make it from 5 ⁄16"-thick solid wood, as wide as your router base, and long enough to span the case opening. Drill a hole for bit access, and use the detached sub-base as a screw pattern for locating the counterbored holes for attachment to your router.

Feed Direc

tion

Trim the edging. Install a flush-trim bit in your router, and trim the edging flush to the case faces. Use a router stabilizer as shown, feeding counter-clockwise around the case exterior, and clockwise inside the openings. Because the bit can’t reach into corners, use a chisel to pare the edging flush there (left). Take care not to create any dips. Using a sharp scraper in addition helps clean-up. Feb/Mar 2020 | woodcraftmagazine.com 41

Make and install the drawers Temporarily tack the back in place to square the case. Also temporarily install the legs to register the case stance for drawer fitting. Measure the width of the case opening, and subtract exactly 1" to determine your finished drawer box width. Then subtract another ½" to determine the exact length of your drawer backs and fronts. Cut the drawer walls to size and saw the joints as shown. Use the dry-fit

walls to measure for the exact drawer bottom dimensions. When all the parts fit well, glue up the drawer boxes, ensuring that they’re square under clamp pressure. Then install the drawer hardware per the manufacturer’s instructions, and fit the false fronts as shown. (For more on drawer slide hardware, see April/May 2014, issue 58, or visit woodcraftmagazine.com and click on onlineEXTRAS.)

Dadoes and grooves ﬁrst. Using a good quality 1⁄4"-wide stack dado and scrap drawer stock, creep up on the cutter height until precisely 1⁄4" of thickness remains at the location of your dado. To locate the rip fence, press a standing piece of drawer stock against it, and align the plywood’s outer face with the outermost face of the stack dado. Then saw the dadoes in the drawer sides, feeding the pieces with a miter gauge. Next, groove all of the drawer walls as shown, pressing the stock ﬁrmly down and against the fence.

Rabbet the bottoms. Rabbet the drawer bottoms in the same fashion, but after moving the fence inward 1⁄64", which will make drawer box assembly easier. 42

Skill Builder Shop-made featherboard. A featherboard helps press stock against a rip fence to ensure accurate cuts. I made one from 3⁄4" hardwood about 8" wide and long enough to extend to the edge of my saw table. I cut the business end at 60° and bandsawed the 3 ⁄16"-wide × 4"-long ﬁngers.

Rabbet the fronts and backs. Leaving the cutter height as is, readjust the fence if necessary to create rabbets that ﬁt snugly in their dadoes. Then saw the rabbets into what will be the outer faces of the drawer fronts and backs. An elevated featherboard ensures consistent rabbets while preventing workpiece tipping.

Drawer Detail Groove 1 ⁄4 × 1⁄4"

⁄4"

Dado 1 ⁄4 × 1⁄4"

DRAWER BACK ⁄2 × 41⁄2 × 113⁄16"*

DRAWER BOTTOM ⁄2 × 111⁄2 × 113⁄16"*

DRAWER FALSE FRONT 3 ⁄4 × 5 × 125⁄8"*

Rabbet 1 ⁄4 × 1⁄4" ⁄4"

R.H. machine screw #8 × 11⁄2"

61⁄4"

F.H. Screw #8 × 1"

Drawer pull

DRAWER FRONT ⁄2 × 41⁄2 × 113⁄16"*

Rabbet ⁄4 × 1⁄4"

DRAWER SIDE 1 ⁄2 × 41⁄2 × 12"* Drawer slide

*Ideal dimensions given, but cut to ﬁt.

Finishing touches Fit the false fronts. Rip the lower false drawer front to ﬁnal width, and crosscut it for a tight ﬁt in its opening. Rest it on 1⁄16" worth of shims and then mark for an equidistant gap near the top and bottom at one end. Connect the two marks to create a cut line that will parallel the adjacent case side. Plane to the line, reinsert the drawer front, then mark the opposite end in the same manner, as shown. After trimming it, repeat the process for the top drawer, aiming for a consistent 1⁄16" gap around both drawer fronts.

In preparation for finishing, sand the case through 220 grit. The drawer compartment doesn’t need finish, so mask off behind its edging. Also mask the case rabbets and their contact areas on the back piece. I used walnut stain to keep with the mid-century aesthetic, applying two coats of water-based dye from General Finishes, followed by three coats of their Arm-R-Seal topcoat, scuff-sanding between coats with #0000 steel wool. Once the finish has dried, reattach the legs, and then glue and tack the back in place. Finally, attach the drawer fronts and install pulls of your choice. ■

Attach the false fronts. To locate each drawer front, shim it in its opening, and then clamp or double-face tape it to its mounted drawer box. When properly aligned, dismount the drawers and drive two countersunk screws through each drawer box front. Remount, make any necessary tweaks, and add a couple more screws. Feb/Mar 2020 | woodcraftmagazine.com 43

EDGING SHEET GOODS How to hide that ugly core By Craig Bentzley

hen making casework, it’s easier and more economical to use plywood, MDF, and other sheet goods instead of solid lumber for primary parts. The problem is that you end up with sawn edges that expose the plies or composite material making up the core. Some modern furniture incorporates that look into the design, but for quality

Photos: Doug Hetherington

casework, it’s better to cover the edges with solid wood. I’ll discuss some of the myriad options here. Keep in mind that, as with everything, there are pros, cons, and trade-offs for each method. So before choosing an edge treatment, consider where the project will live, its level of use, your tool arsenal, and how much work you want to put into it. Feb/Mar 2020 | woodcraftmagazine.com 45

Basic approaches Veneer tape is the most convenient edging to apply. Available in a variety of wood species, these strips are coated on one side with heatsensitive glue, and can be applied with a household iron and hardrubber roller. Made for edging ¾"-thick panels, the tape is typically 7 ⁄8" wide to allow for trimming. On the downside, it’s neither heatresistant nor particularly durable, so don’t use it on work that might sit near a heat source or endure heavy use, such as tabletop edges. Attaching solid wood edging requires more effort, but the results

are much better looking and longer lasting. Even simple ¼"-thick strips will take a beating and will last forever if properly glued on. Applying wider edging will add panel strength and will accept a routed profile if desired. You can

attach wider edging with glue and pocket screws or biscuits as shown. Pocket screws make for fast work, but you’ll want to be able to orient the pockets to be out of sight. Gluing and clamping yields much cleaner results, although it’s a bit more work.

Household iron

End trimmer

Edge trimmer

Iron-on. Veneer edge banding is easy to apply with a household iron and pressure roller. Although you can do the trimming with a chisel or knife, specialty trimmers are more efﬁcient if you have a lot of work to do.

Pressure roller

Glue ‘n’ tack. Much more durable than tape, 1⁄4"-thick solid wood edging can be glued and tacked in place, then sawn or routed ﬂush.

Pocket-screw for speed. Thick edging can be quickly attached with pocket screws. Just make sure that any subsequent router-proﬁling won’t hit the screws.

Edging with integral joinery Edging needs to be made oversized, then trimmed flush to the panel after attachment. To minimize the trimming work, especially on wide edging, you don’t want it to be too thick. However, stock of minimal thickness must be carefully located on the panel edge to overhang on both faces. The best approach to this is

to incorporate a joint that will selfposition during assembly, such as a biscuit joint. Another option is the V-joint shown at far right in the lead photo on pg. 45. This joint is easily cut on the router table using a two-bit set. Two other approaches include the T-joint and the spline joint, also shown in the lead photo. In both

cases, cut the groove(s) first, and then size the tongue or spline for a snug fit. Whatever joint you choose, accurate set-up can be fussy, so use scrap to ensure that the edging ends up overhanging both faces of the panel. The payoff for the time spent cutting accurate joints is fast, painless, precise glue-ups. ■

Biscuit alignment. Installing biscuits ensures fast, accurate alignment when gluing and clamping solidwood edging. Groo-V. The router bit set for cutting a V-joint includes one bit to shape the edging, and one to cut the V-groove in the panel edge.

Tips for Solid Edging 1 Mask off. To reduce clean-up, mask off panel faces at their edges before glue-up.

2 Clever clamping. When clamping edging to panels of similar length, use the panels as cauls by orienting the edging face-to-face, sandwiched between the panels.

3 Two birds with one stone. Glue a length of double-wide edging between two panels, then rip through its center to separate the pieces.

4 Save it for later. Let attached shelf edging run long, trimming it ﬂush to the panel edges afterward using a table saw sled.

5 Rout first. Whenever possible, rout proud edging with a flush-trim bit before finessing with a plane and/or scraper, followed by fine-sanding.

Foolproof flush-trimming fence. The upper section of this router table fence is aligned with the bearing on a flushtrim bit. The inset on the lower section allows room for the projecting edging, which is then trimmed flush to the panel. Feb/Mar 2020 | woodcraftmagazine.com 47

AWLWORK

IN A DAY’S

Toolmaking in a woodshop By Ken Burton

s much as I like working with highend hand tools, my budget for them can only stretch so far. That’s why I started making some of my own tools, a passion that has grown over time. While I am still primarily a woodworker, I find making tools to be a nice change of pace and scale from the rigors of furnituremaking. If you’re looking to try your hand at tool making, an awl is a great place to start. Not only is it a 48

useful tool, it doesn’t take a lot of time or materials, and you probably already have the necessary equipment in your shop. The most exotic thing you’ll need to acquire is a length of water-hardening drill rod. As far as equipment goes, you’ll need a grinder, a corded drill, a propane torch, and a lathe. After a little grinding and turning, the next thing you know, you’ll be ready to try out for the History Channel’s Forged in Fire.

Order of Work • • • • •

Shape and polish blade Harden and temper blade Turn handle Fit ferrule Assemble

A three-piece tool

onlineEXTRA Go to our website to download additional full-sized handle patterns.

This awl consists of a blade epoxied into a wooden handle, with a metal ferrule for added strength. The blade is made from a tool-steel rod tapered to a point. The ferrule is a short length of ½" I.D. copper pipe.

21⁄4" 11⁄4"

⁄2"

⁄16"

Taper

⁄4"

13⁄4"

⁄2"

11⁄2" BLADE

FERRULE TANG HANDLE

Grind to shape. Chuck the rod in a corded drill (Don’t waste your expensive cordless model on this.) and grind a 11⁄2 –2"-long pointed taper on the end of the rod. Spin the rod against the rotation of the wheel.

Make the blade/tang The awl’s blade, with its integral tang, is made from a 6-7" length of waterhardening drill rod. (See Buyer’s Guide page 70.) This is a high-carbon tool steel that can be hardened and tempered so it holds an edge (or point, in the case with an awl). When it arrives, the steel will be relatively “soft” and workable. Cut the piece to length with a hacksaw, then taper one end to form the point. Refine the shape with files and sandpaper before polishing it.

Smooth it out. Hold the blade in a machinist’s vise and file away the grinder marks with an 8" bastard file while refining the shape.

Final polish. Again, with the rod chucked in your corded drill, polish the spinning blade, working your way from 80 grit through 600 grit. For an even higher level polish, you can ﬁnish up on a bufﬁng wheel loaded with compound.

Opening photo: Ken Burton; Project photos: John Hamel; Illustration: Bobby Schehl

Feb/Mar 2020 | woodcraftmagazine.com 49

Harden and temper the blade Before attaching the handle, you need to harden and temper the blade. This is a two-step heat-treatment process that enables the blade to retain an edge. First, heat the blade and quench it quickly to harden it. Then, heat it again to a lower temperature to dial back a little of the hardness so the tip won’t be quite as brittle—a process called tempering.

Use the torch, Luke. Heat the blade to a dark cherry red with a propane torch. Work in dim light to better see the color of the metal. At the point where the color doesn’t immediately fade when you move the ﬂame away, plunge the blade quickly into a can of room-temperature water (right).

Make the handle Dig into your offcut stash for a piece about 1¾" square and 4-6" long, from which to turn the handle. Any dense hardwood will work—maple, hickory, cherry, or maybe an exotic such as the bocote shown here. Turn the blank to shape. Feel

To everything, turn, turn, turn. Mount the handle blank between centers and turn it to shape with the blade end toward the tail stock. The exact shape isn’t critical, you just want it to ﬁt comfortably in your hand. Consider sanding a ﬂat on one side later to keep the awl from rolling off your bench.

free to get creative here; just make sure to include a transitional stepped-down section to accommodate a ferrule. Make a ¾"-long ferrule from ½" I.D. copper pipe, and fit it to the transitional section as shown before boring a hole to accept the blade.

Heat Treatment: The Basics

Temper, temper. To temper the blade so it isn’t quite as brittle, place it in a cold oven and set the temperature for 400°. Allow the blade to soak in the heat for 1-2 hours, monitoring its color. At the end of the time, it should be the color of pale straw. Turn the oven off and leave the blade in place to cool down slowly.

Tempered Not tempered (pale straw)

Heat-treating steel changes its molecular structure. Heating the metal to a certain temperature and quenching it locks that molecular change in place. At this point the metal is as hard as it can possibly be. Confirm that the process worked by attempting to file the piece. If the metal is hardened properly, a file won’t bite in. Hardening is great for edge retention, but it also means the metal is quite brittle. To make the blade a little tougher, you’ll need to temper it, or remove a little of its hardness so it isn’t as likely to break. To do this, heat it up again, but only to a certain temperature. This second heating will create a rainbow of oxide colors on the surface of the metal. Edge tools such as your awl require dialing back just a little of the hardness as indicated by a pale straw color. Tools such as wrenches that need to be tougher than they are hard, are tempered in the purple/blue range.

Final assembly Slick ferrule fitting. The trick to fitting a snug ferrule is to first turn down the end of the blank enough for the ferrule to easily slide onto the dismounted blank. Then remount the blank with the ferrule riding on the end, and turn the adjacent section for a snug fit inside the ferrule.

Drill the blade hole. Cut off the extra at the blade end of the handle. Swap the live center in the tailstock for a Jacobs chuck, and drill a 1 ⁄4"-dia. hole in the handle 11⁄4" deep.

To finish up, remove the handle from the lathe and cut away any excess from the non-blade end. Sand that end to a comfortable fit in your palm. Polish the blade again to remove the oxide colors before epoxying it into the handle. Then give everything a final sanding before applying a finish. I used tung oil. ■

Fix the blade in place. Check to make sure the tang end of the blade ﬁts into the handle before slathering the inside of the hole with epoxy. Then slide the blade home and allow the epoxy to cure. If necessary, you can epoxy the ferrule in place, too. Feb/Mar 2020 | woodcraftmagazine.com 51

SUPER-SIMPLE

CUTOFF CART A two-sheet solution for short boards and sheet goods By Joe Hurst-Wajszczuk

inding a place for cutoffs can be a challenge for shops of any size. What starts as a neat stack quickly transforms into a messy mountain, often in the spot that’s needed for some other operation. And when that perfect piece is hidden at the bottom of the pile, you’ll likely abandon the search and break into a fresh board, creating yet another leftover that only exacerbates the problem. By sensibly organizing stock that’s too small for a full-sized lumber rack, this 2 × 5' cart can save time and money. The cabinet provides three vertically stacked compartments for storing turn-

ing blanks, spindle stock, and superspecial shorts. The bins corral longer boards and offer a simple gauge for differentiating trash from treasure. When stock becomes too short for the lowest bin, it’s time to put it on the shelf for safe keeping, or toss it in the trash. The two sheet goods pockets accommodate those cumbersome but potentially useful small panels left over after a project. The vinyl downspouts are perfect for organizing dowels, threaded rod, and short sections of miscellaneous bar stock. Unlike many shop projects that require a fully-equipped workshop to make, this

project can be completed with a few basic tools. In fact, I found that Kreg’s Adaptive Cutting System, with its track saw and assembly table, was better suited for this build than my full-sized table saw and traditional workbench. If you don’t own a track saw, you can guide a standard circular saw against a straightedge made from a long plywood scrap.

onlineEXTRA Go to our website to download an article on panel-cutting.

Photos: Ralph Lee Anderson; Illustrations: Christopher Mills

F.H. screw #8 × 15⁄8"

CABINET TOP 3 ⁄4 × 121⁄2 × 24"

Two sheets is all it takes

CABINET SIDE 3 ⁄4 × 24 × 36" Vinyl downspout

This cart requires only two 4 × 8' sheets of ¾" plywood, two 5-foot 2×4’s, and a handful of screws. I used blondewood plywood (sold at home centers) because it’s

F.H. screw #8 × 11⁄4"

BRACE 3 ⁄4 × 6 × 12"

less expensive than oak or birch plywood, but still looks good. To save more money, you could use any ¾"-thick sheet material, including oriented strand board (OSB). And to save your back, the initial crosscuts can be made at the home center. If the cuts are a bit off, adjust the dimensions of the subassemblies to suit. BIN DIVIDER ⁄4 × 9 × 12"

BIN END 3 ⁄4 × 16 × 12" WOOD BOTTOM Cut to ﬁt. SHELF ⁄4 × 11 × 24"

BIN SIDE 3 ⁄4 × 311⁄2 × 471⁄4" BASE ⁄4 × 24 × 60"

BASE STIFFENER 11⁄4 × 31⁄4 × 60" SHEET GOODS POCKET PANEL 3 ⁄4 × 23 × 48"

Order of Work • • • •

Cut plywood Assemble cabinet and bin Attach components to base Add sheet goods pocket panels • Install casters

Washer Lag screw 1 ⁄4 × 11⁄4"

Notes • Use 11⁄4" screws to join the bin to the cabinet. For all other joints use 15⁄8" screws. • To avoid splinters, round over outward-facing edges.

21⁄2" Swivel Caster

Plywood Cutting Diagram Initial cuts shown in red can be completed at home center. 6" BRACE BRACE 12" SHEET GOODS POCKET PANEL

BIN DIVIDERS

60" BASE

SHEET GOODS POCKET PANEL

36" 24"

CABINET SIDE

24" 32"

11" BIN SIDE

BIN SIDE 16"

47 ⁄4" 1

SHELF

121⁄2" CABINET TOP

SHELF SHELF

BIN END

16"

CABINET SIDE

12"

Feb/Mar 2020 | woodcraftmagazine.com 53

Prep the parts First, break down the plywood sheets into smaller sections using the Plywood Cutting Diagram on p. 53. Focus on the largest components first; in this case, the bin and sheet goods pocket panels and the 2 × 5' base. Don’t be dismayed if your cuts are a little off; this is just a shop cart. At times it’s better to put down your tape measure and put your trust in stacked cuts and stop blocks. As long as the matching parts are symmetrical and appropriate corners are square, the sections should come together without major hitches.

Stack for matching. To ensure that the rack’s tapered parts are symmetrical, stack-cut them as shown. Then trim the ends of the bin sides to be 3⁄4" shorter than the sheet goods pocket panels.

Easy assembly Your dimensions may differ from the drawing, but as long as the shelves are the same width, the cabinet can be assembled as shown. The bin can be assembled in the same fashion, using spacers to offset the dividers from the lower edges of the sides. Using the base as an assembly platform, center the high end of the bin against a cabinet side, and screw the two components together. Then align the low end of the bin with the end of the base, and install screws there and through the cabinet bottom to fasten the parts to the base. (This positioning creates a slight ledge at the bottom of the cabinet against which the dowel holders can rest.) Next, attach the sheet goods pocket panels to the cabinet and stiffeners. Finally, install the casters, add the downspout dowel holders, and load up your cart. ■ 54

Bottom shelf

Spacers

Assembly square

Shelf

Build the cabinet from the bottom up. Set a cabinet side on two standing shelves as shown, and screw it to the bottom shelf. Then ﬂip the assembly and attach the opposite side to the bottom. The shop-made assembly squares (see Tip on p. 26) keep the cabinet square and prevent the parts from toppling when driving the screws.

To Paint or Not to Paint? Shop projects don’t really need a finish, but a coat or two of polyurethane or paint will improve the project’s looks and longevity. For efficiency, use a painting pad or roller to apply the finish to the sheet goods the day before cutting them into parts. Then touch things up with a brush after assembly.

Track saw system. Kreg’s Adaptive Cutting System is ideal for cutting identical parts like the cabinet shelves and bin dividers. When it’s not needed for cutting, remove the track and use the table as a workbench.

Top off the cabinet. Double-check your cabinet dimensions, and then cut the top to ﬁt. After screwing the top to the sides, round over all sharp corners with a router or sanding block.

Spacer-set shelves. A pair of matching plywood spacer panels provide a fast, measurement-free way to ensure perfectly parallel shelves. Simply set the shelf on the spacers and screw through the cabinet sides.

Make it mobile. Flip the assembled cart upside down and attach 21⁄2" swivel casters as shown. Swivel casters cost more than ﬁxed casters, but enable the cart to turn on a dime. Each plate has four holes, but three 1⁄4 × 1" lag screws per caster will do the job. Feb/Mar 2020 | woodcraftmagazine.com 55

Famous Furniture

EAMES

MOLDED PLYWOOD CHAIRS

By David Heim

he year was 1941. Newlyweds Charles and Ray Eames left the famed Cranbrook Academy of Art, in Michigan, and moved to Southern California, where they launched a furniture design studio. They began to experiment with molded plywood, using heat and pressure to create curved plywood elements on a homemade contraption they dubbed the Kazam! Machine (see photo, center right). World War II advanced their plywood work. The duo developed production techniques to fashion some 150,000 moldedplywood splints for the Navy. They also began producing plywood airplane parts—including a contoured pilot’s seat (see photo, top right). This important manufacturing work gave the couple insights they applied to their furniture designs.

In 1946, New York’s Museum of Modern Art staged an exhibition titled “New Furniture by Charles Eames,” which featured an all-plywood lounge chair like nothing seen before. The design featured four pieces of curved plywood (seat, back, and two U-shaped legs) screwed to a sinuous plywood spine. Rosewood face veneers conveyed elegance, but the chair’s exposed plywood edges were meant to honestly express the innovative fabrication process. It was the designers’ intention to “let the results of the mass production technique show through” in the finished piece of furniture. The comfort and unabashed modernity of the molded plywood chair had a game-changing effect on furniture design. Eliot Noyes, the museum’s curator of industrial design, called the chair “a compound of aesthetic brilliance and technical inventiveness.” One design critic

Eames Lounge Chair and Ottoman, 1956

gushed that it was “the chair of the century.” In the years following that museum exhibition, the Eames studio became extremely influential and successful in the world of product design. Their work helped define the look we now call Mid-century Modern. In 1956, they delivered another blockbuster—their cushioned lounge chair and ottoman. It debuted during a segment on a daytime television show aimed at women. Like the plywood chair, the lounger uses separate pieces of curved plywood, but they’re connected by metal brackets or plates and rubber shock absorbers. The bracket connecting the seat to the base allows the seat to swivel and rock slightly. The Eameses said they wanted their lounge chair to have the “warm receptive look of a well-used first baseman’s mitt.” An article in Playboy magazine said the chair “sank the sitter into a voluptuous luxury that few mortals since Nero have known.” Charles Eames died in 1978; Ray, ten years later. But their furniture is still going strong. Both the 1946 chair (officially the LCW, short for lounge chair wood) and the 1956 lounge chair and otto-

Seat formed with compound curves using heat and pressure

U-shaped legs

man have always been in continuous production. Herman Miller makes them in the U.S.; a company called Vitra makes them in Europe. At Herman Miller, industrial-size presses use heat and pressure to create curved plywood parts, using much the same techniques the Eameses developed 75 years earlier with

Photos: Chairs and ottoman courtesy Herman Miller, Inc.

Rubber shock absorbers

Curved “spine” connects legs, seat, and back

7 two-ply layers of veneer for plywood

Eames LCW chair, 1946 22" W, 251⁄4" D, 261⁄4" H. Seat height: 151⁄2"

Early work. Experiments in bending plywood caught the attention of the U.S. Defense Dept. during World War II. The pilot seats designed and produced by Charles and Ray Eames represented a breakthrough in compound-curve plywood construction. Their forming device, dubbed the Kazam! Machine, relied on toaster-like wires to heat wood plies, and an inﬂatable balloon to apply pressure.

More than chair designers their Kazam! Machine. CNC machines cut the pieces to their final shape and sculpt the foam for the lounge chair’s cushions. But every stage of production also involves handwork—sanding sheets of veneer and finished moldings, spraying on a lacquer finish, sewing the lounger’s cushions, and inspecting each piece along the way. ■

Furniture may have made them famous, but Charles and Ray Eames put their creative talents to use across a dazzling array of disciplines. For more than 40 years, the Eames office worked extensively in graphic design while also creating toys, textiles, furniture, and houses. They also wrote books and produced films. To learn more about this unique couple, visit eamesoffice.com. One of the goals the Eames tried to achieve in their design and manufacturing work is also a tribute to their success: “The best for the most for the least amount of money.”

Feb/Mar 2020 | woodcraftmagazine.com 57

WoodSense

EUCALYPTUS A look at lumber from down under By Ken Burton

uying eucalyptus (Eucalyptus spp) lumber in the United States is not as straightforward as you might expect. While many exotic lumber dealers list eucalyptus among their offerings, exactly what you’re purchasing isn’t always clear. This is because the name “eucalyptus” refers to a genus of trees rather than a specific species, and there are at least 15 different species that are cut and sold as eucalyptus (or under their own name).

Some of the more common species you’ll find include Blue Gum (Eucalyptus globulus),Yellow Gum (Eucalyptus leucoxylon), Jarrah (Eucalyptus marginata), Lyptus (Eucalyptus urograndis), and Red Grandis (aka Rose Gum) (Eucalyptus grandis). These last two species with their trademarked names are of note because they are frequently grown on plantations and are certifiably sustainable. The first two are nearly identical in appearance and are often sold interchangeably.

century, and has thrived there. However, the wood from these non-native residents has a dubious reputation for twisting, splitting, and checking badly as it dries. The Red Grandis and Lyptus lumber that finds its way here is grown on plantations in South America. While it lacks some of the character of forest-grown wood, it compensates with its very consistent grain and availability in a wide variety of thicknesses, widths, and lengths.

Where the wood comes from History in woodworking In broad terms, most species of eucalyptus are native to Australia, but the trees have been introduced elsewhere. Blue gum, for example, was brought to California in the late nineteenth

Plainly sustainable. While not visually spectacular, Red Grandis Eucalyptus boasts a certiﬁably “green” pedigree.

TEXTURE MEDIUM

TOXICITY LOW

ROT/INSECT RESISTANCE MODERATE (RG, YG) HIGH (J)

Again, it depends on the species. The Crate and Barrel chain has been using a lot of Red Grandis in its line of sustainably sourced furniture. The wood is being touted as an environmentally friendly alternative to reddish, even-grained woods such as mahogany and sapele. Blue gum, another fast-growing tree, is frequently cultivated for use as pulp and fuel. Jarrah, on the other hand, is sought after for use as high-end flooring and for musical instrument making. Its dark red color, hardness, and figure make it one of the more expensive eucalyptus varieties—if you can find it. Jarrah has become increasingly difficult to source in the U.S.

STABILITY LOW

HARDNESS LOW-MEDIUM (RG) MEDIUM-HARD (YG, J)

DENSITY 40 LBS./CU. FT. (RG) 53 LBS./CU. FT. (J) 62 LBS./CUT. FT. (YG)

RG: red grandis

J: jarrah

YG: yellow gum

Three Shades of Eucalyptus. Red Grandis (left) could easily be mistaken for luaun while Yellow Gum (center) is reminiscent of cherry. Jarrah (right), is a bit of a ringer for bubinga.

Selecting the best stock If you’re looking for individual pieces, especially with figure, your best bet is to select them in person or via photographs online. However, if you’re purchasing a quantity of plantation-grown lumber—say 30 or 40 board feet for a cabinet job—you can confidently order the pieces by size alone, as the stock is remarkably consistent. As a cultivated “crop,” the trees are pruned and tended as they grow, so the resulting lumber is quite straight-grained and uniform. Expect to pay about $9-10 per board foot for Red Grandis, and upwards of $25/bf for figured Jarrah.

Working and ﬁnishing Red Grandis works well with both hand and power tools. Its grain is frequently interlocked, which can be troublesome when surfacing, particularly with hand planes. With such a board, try using a sharp scraper instead. The wood is soft enough that it sands quickly, so that is also a good alternative. It holds nails and screws well, accepts glue readily, and finishes nicely with both water- and oil-based stains and topcoats.

Sycamore Working Notes Upon unwrapping the Red Grandis boards I purchased for this story, I’ll admit I was a little underwhelmed. They were fine—wide, clear, and straight—but so visually uniform and consistent that I wasn’t immediately drawn to them. However, after making the pieces in the photo below, the material has grown on me. Some observations: Red Grandis is relatively soft—similar to poplar and just as prone to denting. Hand planing the wood is a losing battle at best: The 1⁄8"-wide, tightly rowed bands of surly grain tore out even as I ran my freshly sharpened block plane down the slopes on the shelf’s back. Scraping worked better, although the surface seemed to fuzz, so I ended up simply sanding everything. I had to be especially careful when sanding the routed chamfers. The wood is soft enough that is was easy to dub over the profile, muddying its crispness. Red Grandis turned well, although I had a little trouble cutting clean shoulders with a parting tool, again due to the soft wood’s tendency to tear. Wiping varnish didn’t exactly make the grain “pop,” but it did add a nice glow to the reddish color of the wood. I also received a turning blank of jarrah, from which I made the bowl sitting on the shelf in the photo. Despite its wild figure, the wood turned very well, with virtually no tearout. What little there was sanded out easily with 80 grit. After proceeding on up through 600 grit, this time the grain really did “pop” when I spun on the finish. I’ll be on the lookout for more jarrah to turn. ■

Euc on Euc. The jarrah bowl’s rich dark color makes a pleasing contrast with the more subdued tones of the Red Grandis shelf.

Eucalyptus Uses • • • • • •

Interior millwork Cabinetry Furniture Turnings Musical instruments Flooring

Photos: Ken Burton

Feb/Mar 2020 | woodcraftmagazine.com 59

Great Gear

Versatile vise Whether cutting dovetails or trimming tenons, I’ve got a great setup for joinery work with the solid maple Moxon vise from Lake Erie Toolworks. As shown in the photo, the rear jaw extends beyond the movable front jaw to facilitate quick, solid clamping to your workbench. The vise screws turn smoothly, and their faceted handles make it easy to clamp workpieces securely. Depending on the project, I might clamp the vise to my workbench or assembly table to position the work right where it’s needed. But the portability doesn’t end there. The lightweight vise totes easily for working in different shops. My smaller “Lite” version (shown) accommodates 14"-wide boards. The full-sized version, available at Lake Erie Toolworks Moxon Vise Woodcraft, has a clamping capacity of 24". #427359, $219.99 —Chad McClung, chief editor

Prices subject to change without notice.

Photo: Doug Loyer

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Great Gear

A square deal For cabinetry, furniture, and other projects, I often need a fast and reliable way to align and hold perfect 90° corners. These heavy aluminum 3D Squares are the perfect solution. Sold in pairs, the squares are small enough for assembling picture frames, and strong enough to brace large casework. The flanged design and 6" legs allow easy access for clamps. The four screw holes in each leg facilitate assembly for jigs and fixtures. —Tim Snyder, Newtown, CT

Jevons 3D Squares (sold in pairs) #144041, $34.69

Prices subject to change without notice.

Photo: Randy O’Rourke

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Great Gear

Sharpening can be fun (really) No woodworker would argue against using sharp tools, but there are varying levels of commitment to getting the job done. I enjoy the process, and perform a regular ritual using waterstones. My shopmates, however, don’t appreciate the Zen of sharpening, they just want to get back to the fun part of woodworking. They called me the “sharpening guy,” and would stack their dull tools on my bench for me to take care of. But then I introduced them to the Work Sharp. With the Work Sharp, sharpening chisels and plane irons is as easy as using an electric pencil sharpener. Simply select the bevel angle, turn on the machine, and plunge the edge of the tool through the port and against the spinning abrasive wheel. After a quick demo, my shopmates excitedly formed a line for a chance to touch up their own tools. Now, they don’t mind sharpening. Work Sharp has helped me to make better woodworkers out of my crew, and add a little fun to the mix. ■ Work Sharp 3000 Woodworking Tool Sharpener —Joe Hurst-Wajszczuk, Birmingham, AL #148124, $199.99

Prices subject to change without notice.

Photo: Ralph Lee Anderson

Feb/Mar 2020 | woodcraftmagazine.com 65

Expert Answers

Bob Poling

Installing an air ﬁltration system I recently purchased an air ﬁltration system from Woodcraft. Where should I locate the unit in my shop? And what’s the best way to install it?

Dave Southard San Jose, North Berwick, ME

You’re smart to take dust control seriously. Sawdust is a health hazard, with ill effects ranging from mild respiratory irritation to lung cancer. Studies show that it can take up to 20 minutes for an air cleaner to remove small particulates from workshop air, so always wear a mask when making sawdust and for a while after. And it’s critical to capture sawdust at the source with a dust collector or shop vacuum. These three safety strategies will provide the best protection. Air ﬁltration systems are designed to hang from the ceiling, and they

Technical support expert at Woodcraft

work best when positioned to create a circular air flow around the room. Generally, it's most efficient to locate a unit close to the longest wall, with the intake approximately 1⁄3 the distance from the shorter wall. Mount the unit at least 7 feet above the floor, hanging it on stout chain from four heavy-duty hooks screwed into ceiling framing. Make sure the machine hangs level to mimimize vibration. Once installed, attach a long ribbon to the outflow side. It should wave in the air while the machine is running. When your DIY indicator begins to droop, it’s time to clean the filter. ■

Have a tough woodworking question? Screw heavy-duty hooks into ceiling framing.

Locate unit close to long wall to create circular air pattern.

Suspend unit with short lengths of chain.

Ask an EXPERT We’ll do our best to ﬁnd the expert and provide the answer.

Ribbon indicates air ﬂow.

Illustration: Dan Thornton

Email us at editor@woodcraftmagazine.com, and put “EXPERT ANSWERS” in the subject line. -OrMail your query to: EXPERT ANSWERS Woodcraft Magazine P.O. Box 7020 Parkersburg, WV 26102-7020

Feb/Mar 2020 | woodcraftmagazine.com 67

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Feb/Mar 2020 | woodcraftmagazine.com 69

Buyer’s Guide Hot New Tools (p. 16)

Edging Sheet Goods (p. 45)

JET 13" Helical-Style Benchtop Planer ............................................. #167703, $799.99

WoodRiver Double-Edge Laminate Trimmer .........................................#157450, $19.99

2. Kensai 1000/6000g Water Stone....................................................... #163625, $74.99

2. Woodriver Edge Banding Trimmer ....................................................... #159651, $32.50

Basketball Cutting Board (p. 28)

3. WoodRiver Standard “J” Roller ............................................................#129841, $19.00

Basketball Template Set: 1⁄4" Lasered Plywood ................................................................ ....................................................... urbandalelaser.com or call 515-865-0508, $35.00

4. Whiteside Two-Piece Edge Banding Bit Set, 3⁄4", 1⁄2" SH ....................... #147935, $88.20

Awl in a Day’s Work (p. 48)

2. WoodRiver Brass Router Bushing, 5⁄16" O. D........................................... #144688, $9.50 1.

Letter E ( 1⁄4") Dia. Tool Steel W-1, Water Hardening Drill Rod, 36" L.................................

3. WoodRiver Brass Bushing Lock Nut ...................................................... #144696, $4.25 ...............................................................................mscdirect.com, #06010169, $8.80

4. Freud Round Nose Router Bit, 1⁄4" D, 1⁄2" CL, 1⁄4" SH ............................. #828681, $20.97 5. System Three Quick Cure 15 min Epoxy, 8 oz. ....................................#864299, $21.99 6. Mixol Black, 20 ml. ..............................................................................#832386, $5.99 7.

Cindoco Hardwood Ball Knob, ⁄4" Dia., Birch, 4-piece ............................#161851, $2.99

Super-Simple Cutoff Cart (p. 52) 1.

WoodRiver 21⁄2" Swivel Caster with Mounting Plate (4 needed) .............#152836, $11.09

2. The ACS (saw and table) can be purchased separately or as a kit: Kreg Adaptive Cutting System Master Kit ..........................................#166333, $899.99

Rockin’ Record Storage (p. 36) 1.

Whiteside Straight Bit, Double Flute, 1⁄2" D, 1" CL, 1⁄2" SH .................. #24A35, $16.99

This kit includes the saw, workstation, and 62" track. Also, sold separately:

Freud Flush Trim Router Bit, 1⁄2" D, 1" CL, 1⁄4" SH ..............................#828731, $17.97

Kreg Adaptive Cutting System Project Table Kit ................................. #166331, $499.99

DIY Hairpin Legs, ⁄8" × 16", Two-Wire, Black .................................. #169954, $24.99

Kreg Adaptive Cutting System Saw Plus Guide ..................................#166332, $399.99

Highpoint 12" Full Extension Side Mount Drawer Slides, pair ............. #160231, $9.99

Southern Hills Brushed Brass Cabinet Handles,

Great Gear (p. 60)

6 1⁄4" Screw Spacing, 5-pack ...................................................... amazon.com, $26.99

General Finishes Water-Based Dye Stain, Dark Brown, pt. ............... #148602, $14.99

2. Jevons 3D Squares, pair .................................................................... #144041, $34.69

General Finishes Arm-R-Seal Top Coat, Satin, pt............................... #85F03, $13.99

3. Work Sharp 3000 Woodworking Tool Sharpener ................................#148124, $199.99

Lake Erie Toolworks Large Moxon Vise ............................................. #427359, $219.99

Items above available at Woodcraft stores, at woodcraft.com, or by calling (800) 225-1153, unless otherwise noted. Prices subject to change without notice.

Ad Index ADVERTISER

WEB ADDRESS

PAGE

ADVERTISER

WEB ADDRESS

PAGE

The American Woodshop .......................wbgu.org/americanwoodshop ............................25

Lignomat ..............................................lignomat.com ...................................................25

Berea ...................................................woodcraft.com..................................................66

Oneida .................................................oneida-air.com...................................... 25, 44, 65

Blokkz ..................................................blokkz.com .......................................................68

PS Wood ..............................................pswood.com .....................................................68

Bosch...................................................boschtools.com ................................................13

Rikon ...................................................rikontools.com .................................................IBC

BOW Products ......................................bow-products.com ..............................................5

Rogue Industries ...................................rogue-industries.com ........................................68

Carter...................................................carterproducts.com ...........................................21

Robert Sorby.........................................robert-sorby.co.uk.............................................44

Connecticut Valley School of WW ...........schoolofwoodworking.com ................................65

Rustoleum ............................................rustoleum.com .................................................22

Forrest Mfg...........................................forrestblades.com .............................................67

Satellite City .........................................caglue.com ......................................................67

Freud ...................................................woodcraft.com/Freud ....................................... IFC

SuperMax Tools ....................................supermaxtools.com ...........................................19

Harbor Freight.......................................harborfreight.com .............................................27

System Three........................................systemthree.com ................................................7

Howard ................................................howardproducts.com ........................................19

Tanos ...................................................woodcraft.com..................................................62

Kapro ...................................................kapro.com ........................................................11

Thomas Flinn & Co................................flinn-garlick-saws.co.uk ....................................65

King Arthur’s Tools ................................katools.com......................................................18

Wagner Meters .....................................wagnermeters.com ...........................................16

Kutzall ..................................................kutzall.com .........................................................1

Whiteside Machine................................whitesiderouterbits.com ....................................61

Laguna Tools ........................................lagunatools.com ............................................ OBC

Woodcraft Franchise .............................woodcraftfranchise.com ....................................23

Lake Erie Toolworks...............................lakeerietoolworks.com.......................................68

Woodcraft Magazine .............................woodcraftmagazine.com ........... 15, 26, 60, 64, 68

Leigh....................................................leightools.com ..................................................17

Woodcraft Supply ..................................woodcraft.com............................................ 63, 71

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5GLUING-UP Outfeed THE

STAGES OF

A psychological study in assembly By Larissa Huff

According to pioneering psychiatrist Elisabeth Kübler-Ross, there are ﬁve stages of grief that apply to all people regardless of age, gender, and walk-of-life. Well, after eight years of making furniture and helping teach nearly a thousand students, I posit that there are also ﬁve universal “emotional stages of gluing-up” that anyone undergoing a furniture assembly faces. So if you recognize yourself in the following descriptions, don’t worry. Take heart that you’re not alone. You’re human. You’re just another woodworker trying to get it together.

1 2 3 4 5

ANTICIPATION. You’ve made all the parts. Countless hours have been invested in measuring, cutting joinery, dry-fitting, and sanding. Things are looking and feeling good. You’ve cleared a bench and gathered all your clamps, cauls, and other necessities. You’re excited and ready. A smooth dry-fit that requires only a simple tenon trim goes better than you expected, confirming that all your careful work was worth it.

ANXIETY. You’re preparing for the real deal. All the parts are organized on the benchtop, and you’ve staged every clamp at-the-ready. You review your gluing strategy: coat the mortises ﬁrst, then the tenons, and assemble from left to right. You’ll use your favorite glue brush, of course, because it’s obviously good luck. A hammer, block, and a wide beater chisel are at hand just in case. Flop sweat is building as you inventory everything one last time. You grab a snack to postpone the inevitable.

PANIC. You are mid-glue-up and nothing is closing the way it did during rehearsal. You are somehow two clamps short. Huh? It’s only been three minutes but the squeeze out is already starting to harden on your front stretcher. Arghh! You’re supposed to have eight minutes of open time! You start to wonder why you even like woodworking. Maybe you should just quit now, burn this botched piece, and call it a good run.

RECOVERY. You’re sweating, upset, and sure the project is ruined. But your frustration has abated just enough for the logical part of your brain to kick in. It can’t get worse, right? So you try one more thing: you bust out a clever clamp maneuver you saw in a video once several years ago. It works! It corrects those misaligned parts and closes that gap that wasn’t budging. You manage a sigh of relief.

ACCEPTANCE. Okay, so there’s a slight gap where the tenon shoulder didn’t completely pull home. But no one will notice except you, especially since it’s under the top overhang. The piece is also slightly out-of-square, but you can tweak the drawer front a bit to compensate. And that raised grain caused by splashed water during a manic glue wipe-up is nothing some 220-grit hand-sanding won’t take care of. Alright, then, whew! ■

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