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Side table from
a single board,p. 58TAUNTONS
ec. 2014 No. 243
ww.finewoodworking.com
Greene and Greene
blanket chestTricks for tough glue-ups
Make custommoldings by hand
Midsize routers
Build a desk
nto any dresser
MASTER CLASSAn easier,strongerchair joint
OOL TEST
ec. 2014 No. 243
ww.finewoodworking.com
Greene and Greene
blanket chestTricks for tough glue-ups
Make custommoldings by hand
Midsize routers
Build a desk
nto any dresser
MASTER CLASSAn easier,strongerchair joint
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STAND BEHIND YOUR WORKTM
5 50 + S ER VI CE CE NT ER S N AT IO NW ID E I ND US TR Y- LE AD IN G W AR RA NT IE S E XP ER T T EC HN IC AL SE RV IC E
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5 INCHSPINDLE TRAVEL
QUICK & EASYSPEED CHANGES
INTEGRATEDDEPTH STOP
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See the videoleighjigs.com
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Leigh FMT Pro
Chairs?No problem.Leigh Mortise & Tenon Jigs makechallenging joinery projects like
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N OV E M B E R / D E C E M B E R 2 0 1 4www.fi newoodwor k ing. com
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TOOLTEST
contents
up front
NOVEMBER/DECEMBER 2014 ISSUE 243
features30 Build a Greene and Greene
Blanket ChestIts all about the details. Our expert showshow to get them right
B Y D A R R E L L P E A R T
38 Tame Tricky Glue-UpsCustom cauls can handle every angle and curve
B Y M I C H A E L F O R T U N E
46 Desk in a DrawerAdd a pull-out desk to any chest of drawers
B Y C H R I S T I A N B E C K S V O O R T
52 Midsize, Fixed-Base RoutersGreat combination of power and control
B Y M A R C A D A M S
58 Make a Table from a BoardStylish side table is a great lesson in gettingthe most out of your lumber
B Y M I C H A E L P E K O V I C H
66 The Why of the WindsorA veteran maker explains the roots,the rationale, and the powerful appealof Americas classic chair
B Y C U R T I S B U C H A N A N
COVERSTORY
6 On the Web
8 Contributors
10 Letters
14 Methods of Work
Easy jig for squaring tablesaw
miter gauge
Rubber-band brush wiper
18 Tools & Materials
Stout contractors saw
with smart features
Self-cleaning vacuum is quiet
and efficient
Tenon saws are a great value
24 Handwork
Custom moldings with hand toolsB Y C U R T I S B U C H N N
18 NEW TABLESAWFROM RIKON
Cover photo: Steve Scott
14MITER-GAUGESQUARING JIG
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74 Readers Gallery
78Q & A
Fix for a wandering handsaw
Router table is better for small sho
Seal your project with dewaxed
shellac
82 Master ClassPowerful new joint: Housed double
tenons are strong and simple to ma
90 How They Did It
The back cover explained
Back Cover
Chair Story
in the back
ONE-BOARDTABLE PROJECT
38 CAULS FORTRICKY GLUE-UPS
52 MIDSIZEROUTERS
58
46PULL-OUT DESKIN A DRAWER
Your feed back i s valu able t o
LIKE THIS APP
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Group Publisher Anatole Burkinaburkin@taunton.
VP, Advertising Sales Rick Straface
rstraface@taunton
Digital Ad Sales Manager Noelle Kennedy203-304-3530nkennedy@taunto
Custom Solutions Brenden DelaneyManager 203-304-3590
bdelaney@taunton
Senior National Linda AbbettAccount Manager 203-304-3538
Advertising Sales Diana MackeyAssistant
Director of Advertising Karen LutjenSales Marketing
Advertising Marketing Laura HoltAssociate
Member AuditBureau of Circulation
Digital Marketing Sara Ezrin LarsenDirector
Senior Director, Michael StoltzInteractive
Web Design Director Jodie Delohery
Independent publishers since 1975
Founders, Paul & Jan Roman
President Timothy Rahr
Chief Digital Officer John Brown
Group Publisher Anatole Burkin
Group Publisher Maria Taylor
SVP, Creative & Editorial Susan Edelman
SVP, Operations Thomas Luxeder
VP, Single Copy Sales Jay Annis
VP, Advertising Sales Rick Straface
VP & Controller Wayne Reynolds
VP, Human Resources Carol Marotti
VP, Fulfi llment Patricia Williamso
VP, Product Engineering Nancy Kopfenstein
Publishers of magazines, books, videos, and on
Fine Woodworking Fine Homebuilding
Threads Fine Gardening Fine Cooking
taunton.com
contributors
We are a reader-written magazine. To
learn how to propose an ar ticle, go to
FineWoodworking.com/submissions.
For more information on our contributors,
go to FineWoodworking.com/authors.
His earliest memories were of sawing and hammering, so its
natural that Garrett Hack(Handwork: Custom moldings with
hand tools) became a furniture maker. But first he studied
civil engineering and architecture at Princeton University, and
later attended Boston Universitys Program in Artisanry. He is a
contributing editor to FWW, former chairman of the New Hampshire
Furniture Masters, and teaches throughout the United States as well
as in Canada, England, Germany, Italy, Australia, Austria, and Japan.
Those who work with executive art director Michael Pekovich
(Make a Table from a Board) at FWWknow him as a talentedfurniture maker and graphic designer who is committed to bringing
complicated subjects to our readers in the clearest way possible.
Hes also the go-to guy for solutions to our own furniture-making
snafus. But on his own time, Mike is building quite a resum as a
teacher. This year hes taught a long list of classes, from weekend
workshops on hand-tool skills to weeklong classes at Connecticut
Valley School of Woodworking and the Marc Adams school.
Our editors love visiting the expansive shop of contributing editor
Michael Fortune(Tame Tricky Glue-Ups), which sits on a quiet
log-cabin homestead 100 miles outside Toronto. And everyone
learns the rules. There are mandatory coffee breaks in the morning
and afternoon, which include excellent cookies made by Michaelswife, Janice. Coffee cups must be left by the shop door so they
make it back to the house each night. And after all that coffee,
if you need to head out the back door to the woods, you are not
allowed back in without three pieces of firewood.
Curtis Buchanan(TheWhy of the Windsor,
How They Did It, and
the back cover) makes
chairs full time in the
small shop he built behind
his house in the heart of
Tennessees oldest town,
Jonesborough. He also
tends a robust vegetable
garden and occasionally
sells some of his produce
at the thriving weekly
Jonesborough farmers market, which he co-founded. He and his wife, Marilyn, have
two daughters: Summer, a key employee at the Jonesborough library, and Maria, a
singer and actor in Asheville.
What advice do you give to aspiring chairmakers?You can do it! Find yourself a
small town and settle down right in the middle of it; theyll be happy to adopt you.
F I N E W O O D W O R K I N G8
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Festool coverage: Fair or foul?
I was pleased to see your recognitio
the Festool Domino (Domino Cha
the Game, FWW#242). In the pastyears, I have seen many articles in
woodworking publications address
methods of joinery. I couldnt beliethe Domino wasnt mentioned agai
and again.
The Festool Domino has all the
makings of a fantastic product whecompared with other mortise-and-t
techniques. It saves time. It delivers
more uniform, accurate result. It is easy to understand. And it enables
joinery of large and small pieces.
Kudos forfinally
delivering a
much overdue
article on theDomino.
JACK VIT ELLI ,
Mendota H eights,
Minn.
A six-page ad for Festool? Really? Gyou should have put them on the c
too. Next time put an advertiseme
bug on each page.GEORGE DENNIS, Denve
Nail drawbore offset with a punch
I look forward to every opportunitylearn from Steve Latta, and his meth
for drawboring tenons was no exce
(Drawbore Your Tenons, FWW#241), but I might suggest one mod
refinement. Rather than marking th
offset hole in the tenon with the drbit, and then having to eyeball a se
mark with an awl, I make a single m
with a suitable size transfer punch.So, for example, if the dowel hole i38in. dia., I use a 1964-in.-dia. punch
making sure its firmly pressed agai
the shoulder side of the hole. I thenhave a single mark thats offset the
fat 32nd Steve recommends. And
certainly agree that drawboring tenmakes glue-ups less stressful. I wou
confident in the long-term integrity
those joints, even if I wasnt sure I remembered to glue them.HOWARD SKILLINGTON, Winston-Sale
Anatole Burkin, Fine Woodworkings publisher, has decided to leave the company and
head back home, to the West Coast. Some people here speculate that he wanted
to leave Connecticut before the next harsh winter hit, but the truth is he wanted
a change and to be closer to family. Anatole has strong roots at the magazine,
starting as an associate editor and quickly moving up the ranks to the chief editor
position. As the lead editor, he noticed my interest in woodworking and encouraged
me to take a chance and jump from copy editor to associate editor, a move that Ive
never regretted. He was a great mentor, and a strong leader and advocate for our
franchise. Most of all, though, he is a friend who will be missed.
TOM MCKENNA, edi tor
FOND FAREWELL
When I was hired by The Taunton Press in 1996, I immediately hit the road,
documenting the work of the folks who put the fine in Fine Woodworking.
Oh, it wasnt all gossamer shavings and dust-free finishes, mind you. There were
times when just getting to the authors shop was a trial, be it from delayed flights,
broken light kits, or poor directions (or sense of direction)at least before we all
had GPS in our pockets.
Capturing the detail of a woodworkers progress required countless requests
to make yet another spare part and one more awkward slow-motion movement to
get just the right photo. Fair to say, on photo shoots patience was a virtue tested to
the limit.
Imagine then coming back from the shoot and anxiously waiting for the film to be
developed (in the old days when we used film) only to realize that the author was
wearing orange and green plaid. My first art director thought I was color blind.
Paring the authors precious words into an article that fit the constraints of a
magazine wasnt always a picnic, either. I still remember receiving a chilling fax
message from an author with a drawing of Dirty Harry, revolver in hand, and the
scrawled words: Go ahead, make one more change!
Well, it is time for one more change. I am leaving The Taunton Press and moving
back to the West Coast, where Ill put to good use all the tips and techniques
provided by woodworkers patient enough to work with editors like myself.
Thanks for the memories.
ANATOLE BURKIN, publ isher
Spotlight
letters
F I N E W O O D W O R K I N G10
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To contact us:
Fine Woodworking
The Taunton Press
63 South Main Street
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Copyright 2014 by The Taunton Press, Inc. No
reproduction without permission of The Taunton
Press, Inc.
For a store near you or free catalo
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checkout or call 1-800-279-4441. Offer expires December 31, 2014.Free shipping offer cannot be applied to previous orders or combined with other promotions includingProfessional Catalog orders. Not valid at Rockler Retail Stores or Independent Resellers. Special shipping chargemay still apply for Express, International, Alaska, Hawaii, and heavy/oversize items.
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7/24/2019 Fine Woodworking - 243Nov-Dec2014
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letters continued tt rs ontinue
Waterproofing
Fortunes
chair
Michael
Fortunes
garden chair
(Comfortable
Outdoor
Chair,FWW#241)
is outstanding, quite
beautiful, and undoubtedly sturdy. One
minor improvement Id suggest is to coat
the bottom of each leg and the chamfers
with epoxy resin, such as West Systems
or one of the many others. It makes the
exposed end grain in contact with the
ground waterproof and will prevent
water migrating up the legs and
deteriorating the wood.
JAMES S. WALDRON, St . Johns River , Fla.
Keep wood out of the oven, or else
I have been having troubling thoughts
concerning a recent Q&A item (Dry
small parts in your oven,FWW#243).
Just wondered ifFine Woodworkingis
now offering marriage counseling and
discount divorce lawyers as part of its
customer service?
Use the oven for woodworking? For a
few days? I shudder to contemplate the
consequences.
ALLEN NEF F, Brunner , Ont . , Canada
Rust attacks tools inside cabinet
I built the hanging tool cabinet in Tools &
ShopsWinter 2014 (A Cabinet for Hand
Tools,FWW#237). The cabinet is beautiful
and improved my woodworking skills in
many areas.
I did experience one problem. After
finishing and hanging the cabinet, I
placed my planes on the plane till. They
all rusted. Fortunately, I was able to
remove the light rust by sanding.
I finished the cabinet with boiled
linseed oil and two topcoats of shellac.
The cabinet hangs on a concrete block
wall with the back contacting the blocks.
inhibitor (VCI) or desiccant inside th
cabinet to fight moisture. With both
and desiccants, you need to keep the
cabinet closed; otherwise they lose th
effectiveness fairly quickly. For more
information on both, see Other way
manage moisture, FWW#227, p. 3
Router bit for relieved rabbet
How did Gerald Curry make the c
rabbet on the drawer bottoms (Bu
Perfect Drawers,FWW#242, p. 43)
assume that was a router bit, but I
not sure which type and size was u
By the way, that was an excellent a
I plan to study it thoroughly and pu
those techniques into practice.TIMOTHY CALDERWOOD, Crof t
Asa Christiana replies:Curry for
these curve-cornered rabbets with ashaper bit that he custom-ground. B
he says a router bit would also work
one designed for dish-carving (Item
91144 from Rockler), or a panel-ra
bit with a rounded profile.
Wrong price in sprayer article
The price listed for Apollos ECO-3
system with the E7000 gun was inc
(Spray for Less,FWW#242). The
is $649.
The tools have never rusted in my garage
workshop prior to placing in the cabinet.
Your advice is urgently appreciated.JOHN SCHEESSELE, Pi t tsburgh, Pa.
Editor replies:It sounds like youre
locking the moisture inside the cabinet,
where it can attack your tools. There are
a few things you can try. First, you can
treat your tools with a rust-proofer, such
as CRC Industrial 3-36 or Moovit, which
performed best in a test of a variety of
products (Got Rust?, FWW#227). Id
also recommend using a volatile corrosion
About your safety(or elsewhere) until youre certain they are safe for you. If someth
about an operation doesnt feel right, find another way. We want
to enjoy the craft, so please keep safety foremost in your mind.
Working wood is inherently dangerous. Using hand or power tools
improperly or ignoring standard safety practices can lead to permanent
injury or even death. Dont perform operations you learn about here
Revisions to robust table
In the illustration on p. 71
of Robust Kitchen Table
(FWW#241), the bit
diameter should be 12in.,
not 112in. Also, on the
same page, the slot in the
template for the stretcher
mortise should be 314in.
long to yield a flat that is
234in. long.
The corrected drawing
is shown here.
Guide
bushing,1 in. dia.
Straight
router bit,12in. dia.
314in.
234in.
Two rust fighters.VCIs (left) emit molecules
that settle on metal surfaces and form a protec-
tive barrier against moisture. Desiccants (right)
remove moisture from the air. VCIs have a shelf
life and need to be replaced periodically while
some desiccants can be recharged and reused.
About your safety
F I N E W O O D W O R K I N G12
7/24/2019 Fine Woodworking - 243Nov-Dec2014
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methods of work ED ITED AND DRAWN BY J IM R ICHEY
I used to use a framing square against theblade to set my tablesaws miter gauge
to 90, but I found this method awkward
because you have to rotate the blade or
raise its height to make sure the square isnt
touching the teeth. This jig makes it easier.
Rip a snug-fitting runner for the right-side
miter-gauge slot and attach it to a piece
of 12-in. MDF that extends past the blade.
Push the MDF through the saw to cut off
the excess, and you have a perfect reference
surface for setting the miter gauge. Now I
use a large plastic drafting triangle, which
is easier, lighter, and more accurate than aframing square.
You can use the same jig to adjust the
rip fence parallel to the blade. Flip the jig
around, bring the rip fence up against it, and
adjust the fence until it is flush with the edge
of the jig.
LARRY SCHALLER, Edger ton, Wis.
Easy jig forsquaring tablesawmiter gauge
Larry Schaller has
been a woodworker
for 40 years. Self-
taught, he loves
making furniture
for his family,
including cradles for
his grandchildren.
His favorite tool
in the shop? Histablesawa gift from
his wife.
BestTip
Send your original tips to [email protected] or to Methods of Work,Fine Woodworking, PO Box 5506,Newtown, CT 06470. We pay $100for a published tip with illustration;$50 for one without. The prize forthis issues best tip was a 48-toothForrest Woodworker II sawblade.
Rotate jig so
reference edge is
on right.
Runner snug
in slot.
Use refere
edge to sq
miter gaug
with triang
Cut off one side to
create reference edge.
Plastic draftingtriangle
12-in. MDF,attached torunner
Align fence
with edge of jig.
1. CREATE ALIGNMENT JIG
2. ALIGN MITER GAUGE
3. ALIGN RIP FENCE
A Reward for the Best Tip
F I N E W O O D W O R K I N G14
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Motor: 3 HP, 220V, single-phase, 12.8A
Blade tilt: Left Table height from floor: 34"
Table size with extension: 27" x 7434"
Arbor speed: 4300 RPM Arbor size: 58"
Maximum dado width: 1316"
Maximum depth of cut @ 90: 318"
Maximum depth of cut @ 45: 2316"
Maximum rip capacity: 50"
Distance from
front of table
to center of
blade: 1714"
Overall dimensions:
40" H x 41" W x 82" L
Approximate
shipping weight: 557 lbs.
G0691$159500ONLY$152500G1023RLW$136000SALE$132500
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10" LEFT-TILTINGTABLE SAWWITH CAST IRON ROUTER TABLE
10" CABINET TABLE SAWWITH RIVING KNIFE & EXTENSION RAILS
Motor: 3 HP, 240V, single-phase
Cutting capacity: 8" left, 2558" right of blade Maximum depth of cut @ 90: 3"
Maximum depth of cut @ 45: 218"
Assembled table size: 48" W x 27" D
Base dimension: 2012" x 2012"
Precision-ground and
heat-treated
solid cast iron table
T-slot miter gauge
Dust port: 4"
Magnetic safety switch
One-piece steel cabinet
type stand
Poly-V serpentine drive belt
CSA certified
All sealed ball bearing construction
Approximate shipping weight: 550 lbs.
Motor: 5 HP, 220V, single-phase
drum motor drives 2 aluminum sanding drums
Surface speed of drum: 2300 FPM
Handles stock up to 2312" wide and 414" thick
14HP conveyor motor provides 11 FPM feed rate
Sandpaper installs easily onto the drums
All steel and ball bearing construction
Sandpaper size: 6" x 9512"
Two 4" dust ports for easy
hook-up to a collection system
State-of-the-art, computer
balanced drums
Powder-coated finish
Approximate shipping
weight: 442 lbs.
24" DRUM SANDER
Motor: 2 HP, 110V/220V,
single-phase, TEFC
Precision-ground cast
iron table size: 17" sq.
Table tilt: 45 R, 10 L
Cutting capacity/throat: 1614"
Max. cutting height: 1218"
Blade size: 13112" L (18"1" W)
Blade speeds: 1700 & 3500 FPM
Quick release blade tension lever
Approx. shipping weight: 342 lbs.
INCLUDES DELUXE EXTRUDED
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Precision-ground cast
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Table tilt: 45 R, 15 L
Cutting capacity/throat: 1312"
Max. cutting height: 6"
Deluxe extruded aluminum fence
Blade size: 9212"9312" L (18"34" W)
Blade speeds: 1500 & 3200 FPM
Approx. shipping weight: 196 lbs.
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Motor: 1 HP, 110V/220V,
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Table tilt: 45 R, 10 L
Cutting capacity/throat: 1312"
Max. cutting height: 6"
Blade size: 9212"9312" L (18"34" W)
Blade speeds: 1800 & 3100 FPM
Approx. shipping weight: 247 lbs.
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7" inlet has removable "Y" fitting
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Impeller: 1234" cast aluminum
Bag capacity: 11.4 cubic feet
Standard bag filtration:
2.5 micron
Portable base size:
2112" x 4912"
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weight: 170 lbs.
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Precision-ground cast iron table
measures 1418" x 10" x 716"
Max. planing width: 7"
Max. planing height: 712"
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Approx. shipping
weight: 324 lbs.
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weight: 210 lbs.
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7/24/2019 Fine Woodworking - 243Nov-Dec2014
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methods of work continued
Rubber-band brush wiper
When applying finish from a can, most of us
dip the brush into the finish and then wipe
off the excess on the edge of the can. This
invariably leaves some finish in the rim. Not
only does this waste finish, but the finish
also hardens in the rim and prevents the lid
from getting a good seal, which
speeds up the deterioration of
the remaining finish.
Heres a better way. Stretch a
hefty rubber band around the
open can so that it is taut and
centered over the opening.
Now you can wipe the
brush on the rubber band,
and the surplus finish
will drip back into the
can, keeping the rim
clean.ELISA DE CHECA,
Barcelona, Spain
Extra finish
falls back into
can, not into
the rim.
Stretch rubber
band over mouth
of can.
Magnetic vise-jaw pads prevent bite marksI use a cast-iron machinists vise for a lot of woodworking pro
To keep the steel jaws from damaging my workpiece, I alway
a couple of pieces of scrapwood between the jaws. But I ofte
fumbled to keep them in place while I secured the work.
To solve the problem, I cut two pieces of plywood, drilled tw
shallow 12-in. holes into each one, and glued in rare-earth ma
Now the protective pads are held securely in place on the jaw
while Im working with wood, and can be quickly removed w
Im working with metal.
BILL WELL S, Olympia
Rare-earth
magnets hold
pads in place.
Plywood pad keeps m
jaws from damaging
woodworking.
Black walnut
makes it hard to
see pencil l ines.
White
address label
Address labels highlight layout marks on dark woods
Precise and clear layout lines are essential for crisp joinery. But layout
lines are notoriously hard to see on walnut and other dark woods. To
help, I attach an address label to the wood and lay out the joinery on
that. The white label gives me a nice contrasting background to lay
out my joinery, making it easy to read later on.
Address labels are cheap, come in a variety of sizes, dont leave a
residue on the wood, and can be found at any office-supply store.JACQUES BREAU, Ot tawa, Ont . , Canada
F I N E W O O D W O R K I N G16
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tools & materials
Big table.With 40 in. of cast iron, the saws
table is wide enough to support just about
every cut a furniture maker normally makes.
No-hassle throat plate.Held in place by
magnets, the insert pulls up easily. And its 12in.
thick, so making shopmade inserts is no problem.
Quick-change riving knife.Accessing t
mounting hardware is easy, and its a sna
switch to the guard assembly.
locks securely, and has an easy-to-read cursor. Dust collec
was exemplary for a small contractors saw, with a dust po
centered in the bottom of the enclosed cabinet.
There also are a bunch of convenient features such as st
for the T-square rip fence and blade wrenches on the bas
paddle switch that can be located anywhere along the rip
rail, a built-in mobile base, and an easy-to-remove throat pWith its robust construction and smartly designed featur
this saw is a great value.
Roland Johnson is a contributing
Stout
contractors
saw with smart
features
Tablesaw by Rikon
10-201
$1,000
M A C H I N E S
THERE IS A LOT TO LIKEaboutRikons left-tilt contractors
tablesaw. It has a big cast-
iron table, a powerful
motor, stout trunnions, a smooth
belt-drive system, and a well-
designed riving knife.
The three-piece tabletop is 27 in. deep by 40 in.
wide with a rigid understructure thats easy to adjust if you need
to level the top (the saw I tested did not need to be adjusted
after assembly). Under the table is a beefy arbor assembly and
trunnions. A short flat-belt drive, much like youd find in a
cabinet saw, provides smooth, accurate power transfer from the
112-hp motor to the arbor. The motor has ample power, lettingme rip a bunch of thick hardwood with a fairly brisk feed rate.
The riving-knife mount is easy to access and switching from
the knife to the guard is painless. The T-fence moves easily,
F I N E W O O D W O R K I N G18 Photos, this page: Roland
7/24/2019 Fine Woodworking - 243Nov-Dec2014
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tools & materialscontinuedontinue
other units we
tested. Convenientfeatures include a cord wrap, onboard storage for optiona
tools, and an effective hose wrap. The unit comes with a
114-in. inside-diameter hose but will also accept 212-in. an112-in. hoses.
Bill Peck is FWWs shop ma
THE NEW BOSCH VACUUMis a compact,
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The Auto Filter Clean feature activates automatically every15 seconds and was very effective at keeping the airflow
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deactivated if the thumping noise bothers you, but dont leaveit off too long.
In Power Tool Activation mode, the vacuum runs for
7 seconds to clear the dust from the hose after the tool is
turned off. The power draw was only 9.5 amps, leavingalmost 5.5 amps for the onboard tool outlet, more than other
units we have tested. A power broker feature allows you to
dial back the vacuum power to 7.5 amps for use with a largertool or if you dont want to suck a sander down too tight.
The vacuum is quiet, too (77 db.), comparing favorably with
VERITAS IS NOW
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cuts plumb. The teeth have minimal set, which is a benefit
when sawing accurately to a line, a crucial component ofjoinery work. I also successfully used the crosscut saw for
general bench tasks such as cutting off excess stock length and
H A N D T O O L S
Tenon saws are a great value
mitering with my shopmade miter box.
Both saws, especially the crosscut, benefit from a light toFortunately, the saws made quick progress through the wo
with minimal downward pressure. Overall, I was pleased
their performance. They are a great value.
Zach Dillinger, a furniture maker in Charlotte,
works exclusively with hand
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Tenon saws by V
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F I N E W O O D W O R K I N G20 Photos, this page and p
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Match the centers.With the
workpiece flat on the table, set
bits height by aligning the cente
on the jig and workpiece.
Magnets hold fast.Theyre strong
enough to keep the jig on the bit, but
not so strong that you cant adjust it
perfectly.
I HAVE USED LOCK-MITER ROUTER BITSfor years. But setting up the
cuts for this exacting joint requires precision. The workpieces mu
perfectly flat and have perfect edges, and the router table must hvery good hold-downs and perfect infeed and outfeed faces. Fin
the bits height and protrusion from the fence must be exact, and
dialing it in requires a lot of trial and error, which eats up test piecesInfinitys Lock Miter Master Jig greatly simplifies the setup job. The jig, w
attaches to the bit with magnets, has engraved lines that help align the centerli
the bit with the workpieces centerline for both horizontal and vertical cuts (a vid
on infinitytools.com shows clearly how to do this). You still need test cuts to diathe setup to perfection, but Infinitys jig gets you closer from the start.
The jig comes in two sizes. The smaller one (LMM-002) works with stock betw38in. and 34in. thick, while the larger jig (LMM-003) is for stock 58in. to 1316in.
Peter Breu is a woodworker in Mancheste
tools & materialscontinued A C C E S S O R I E S
Simple setup jigs forlock-miter joints
Lock-miter jigs by Infinity
$30 each
Our experts, your topicsTune in to our Shop Talk Live podcasts to hearour editors interview experts and answerreader questions.
ShopTalkLive.com
2014 The Taunto
F I N E W O O D W O R K I N G22
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See what the publisher ofFine Woodworking has in store
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2014 The Taunton Press
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N O V E M B E R / D E C E M B E R 2 0 1 4
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Applied molding
have a long his
in furniture ma
and for good r
A molding can
the aesthetic cr
that tops a piece of furnitu
Moldings create a play betw
light and shadow, adding v
interest. They also can serv
a visual grounding, or prov
sense of termination.
Head over to your local
home center and youll fin
a big selection of molding
but those are all sized for
architectural work. To get
moldings proportioned fo
furniture, you need to ma
them. Perhaps the most
common approach is to
rout them, but then yourestuck using the profiles an
proportions of the bits.
A better solution is to fo
the router altogether and
moldings with hand tools.
not as hard as you might t
With a few planes, you
can easily cre
gra
and beautiful custom prof
for your furniture that wou
be difficult or impossible
router bits. And there is no
size limit, which allows yo
to dial in the proportions
to complement the piece
furniture perfectly.
For a piece of furniture,
you probably wont need
more than several feet of
molding. Ive been making
moldings this way for mo
my career. Here, Ill show
how I do it.
handwork
ELLIPSE OGEE AND A HALF-ROUND
34in.
118in.
COVE AND BEAD
1516in.
516in.
2316in.
12in.
316in.
158in.
14in.
2316in.
716in.
58in.
316in.
Make custom moldingsWITH JUST A FEW PLANES,
YOU CAN CREATE BEAUTIFUL PROFILESNOT FOUND IN THE ROUTER-BIT RACK
B Y G A R R E T T
H A C K
F I N E W O O D W O R K I N G24 Photos: Matt Kenney; drawings: John
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Check th
profile.
To ensure
consisten
Hack relie
template
from a th
piece of w
Lay out the profile.Hack does this on themolding blanks leading edge, so he can
gauge his progress as he removes waste at
the tablesaw.
Power up.Angle the tablesaw blade to
remove as much waste as possible in a
single pass.
Plane away the facets.Start with thick shavings along the grain, and finish up with light shavin
which create smaller facets, resulting in a smoother curve.
A block plane works great on convex
curves. Its the only tool you need to
transform the common quarter-round
into a graceful quarter-ellipse.
Elegant ellipsewith everyday tools
A block plane works great on convex
curves Its the only tool you need to
Use hand tools where it counts
The majority (if not all) of
the moldings youll make will
require you to remove a fair
amount of waste material before
you get to the task of shaping
the profile. You could do that byhand, with a shoulder or rabbet
plane, but I dont recommend it.
Instead, use your tablesaw. This
will let you get to the important
jobcreating the graceful lines
of the moldingmuch faster.
Begin with a blank wider
than the molding (youll cut
N O V E M B E R / D E C E M B E R 2 0 1 4
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Refine the cove with a round plane.Match the planes radius to the coves as closely as you can. If the
radius changes across the profile, switch out planes accordingly.
More cuts remo
more waste.Spe
up the work by ta
several cuts with
tablesaw. To keep
the molding stab
throughout the pr
remove the large
of waste on the b
last.
handworkcontinued
Begin the bead with a block plane.Roughing
out the outside edge this way greatly speeds up
the process of cutting the bead. Hack works to
a layout line to rough in the bead.
Complete it with a scratch stock.This is the
most accurate way to form a small bead. The
cove needs to end in a narrow flat, as wide as
the cutter.
Clean up with a scraper.To remove any
ridges or tracks left by the round plane, u
a gooseneck (shown). Rotate and angle t
scraper to match the coves curve.
Cove and beadare a refined pairAll it takes is a scratch stock
to give the common cove a bit
of panache. Size the bead to
complement the coves proportions.
the molding free after its
made). After the tablesaw
has eaten the waste, its time
for the handplanes to turn
the roughed-out shape into a
beautiful molding. The easiest
profiles to handle are fillets
and convex curves. Fillets are
really just rabbets, and you
can clean them up with a
rabbet or shoulder plane. Theright tool for convex curves
is a block plane. (I rarely
use hollow planes. Theyre
troublesome to sharpen and
set up.) Use a coarse setting
to quickly remove material
and get close to the final
profile, and then switch to
a fine cut, which leaves a
smaller facet, making it easier
to get a smooth curve from a
tool that cuts flat surfaces.
Concave curves are nomore difficult than convex
ones, except that you need
All it takes is a scratch stock
to give the common cove a bit
of panache Size the bead to
complement the coves proportions
F I N E W O O D W O R K I N G26
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7/24/2019 Fine Woodworking - 243Nov-Dec2014
28/92
Clean fillet.A rabbet plane removes machining marks left by the tablesaw b
and creates a crisp line where the fillet transitions to the ogee.
Prop up the molding.Resting the molding on a piece of scrap brings the cove section
of the ogee closer to vertical, making it easier to plane.
handworkcontinued
Back to the block plane.Fair the convex
curve, and create a smooth transition into the
concave section.
Make the half-round on a separate piece.
This allows you to create the entire curve with a
block plane, rather then needing a specialized
plane or a very large scratch stock.
Glue on the half-round.Yellow glue and
clamps are all you need. Hack glues the
together on a piece of plywood, making it
to keep the two parts flat and properly a
Beauty built from anogee and a half-round
a specialty plane to create
them efficiently. Ideally, youd
use a round plane with a
radius that closely matches
the moldings profile, but it
doesnt have to be perfect.
Get as close as you can, and
then use a gooseneck scraper
to get the rest of the way. Thetrick with the scraper is to
find the section that matches
the profile most closely, and
then rotate it on its vertical
axis until the scrapers edge is
a perfect match. Or, if youre
up for it, file a scraper to
match the molding.
Finally, hand-sand the
molding to remove any facets
or bumps that are left.
Garrett Hack, a longtimecontributing editor, is a professional
furniture maker in Vermont.
Step away from the standard ogee by
varying the curves radius, and create
greater depth by adding a half-round
at the bottom.
F I N E W O O D W O R K I N G28
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Build a Greene and Greene
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Its all about the details.
Our expert showshow to get them right
B Y D A R R E L L P E A R T
Ive long been drawn to the work of the brothers Henry Mather Green
Charles Sumner Greene, the early 20th-century architects who de
and furnished some of the countrys most important Arts and Craft
galows. Their furniture stands apart for its elegant fusion of Japanese-in
detail with solid, practical Craftsman design.The brothers designed blanket chests for two California homesth
House in Ojai and the Thorsen House in Berkeley. When I designed my
I used details from each of these two pieces, including the proud, p
finger joints and the lid with raised breadboard ends, along with one
a smaller piece by the Greenesthe Ford House letter case. On that
two leather straps wrap the bottom so it wont scratch the table it sits
thought a similar detail, rendered in wood, could lend visual weight
chests base. Taken together, these details make for a fun and beautiful p
F I N E W O O D W O R K I N G30 Photos: Steve Scott; drawings: Christop
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Edge-glue the s
To assemble eac
template, clamp
straight cauls to
glue-up surface
right angle to cre
a square referen
corner (above). S
blocks help ensuthe finger socke
uniformly deep. A
clamping pressu
top of the glue-u
so the surfaces
flush for smooth
travel.
Router jigs nail the finger jointsMAKE TWO
TEMPLATES
Peart glues up a pair
of router templates,
one for each half
of the finger joint,
from plywood strips.
To ensure a precise
friction fit, he carefully
mills the strips for the
finger sockets slightly
wider than those for
the fingers. Each
template captures the
workpiece between
a pair of registration
blocks that are
screwed in place and
provide a platform for
toggle clamps.
1 in.
Fence
Use spacer
blocks to
align strips.Use clamps to
hold workpiece
for routing.
512in.
1516in.
1516in.
11964in.
11964in.
FOR CASE
FRONT ANDBACK
FOR CASE
SIDES
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The case comes together with finger joints
To create the large finger joints on the case, make apair of routing templates by edge-gluing strips of 34-in.
Baltic-birch plywood or MDF. For a snug fit, cut the
strips for the template fingers about 164in. narrowerthan the strips for the gaps.
After the glue dries, the templates may need flat-
tening with coarse-grit sandpaper. I use a wide-beltsander here, but a belt sander would also work. Then
attach the registration blocks and toggle clamps that
lock in the workpiece. Be sure to cut some test jointsbefore using the templates on your project.
To start the joinery, mark the finger locations on the
blanks and jigsaw away the bulk of the waste between
them. Clamp each blank to the template and rout, usinga 14-in.-dia. spiral flush-trimming bit with a bottom bear-
ing. This leaves the inside corners on each finger with
a 18-in. radius. To create a matching 18-in. roundoveron the mating fingers, remove the workpiece from the
template and rout the finger edges with a miniature
bearing, 18-in.-radius roundover bit (Amana MR0112).The joints should close on dry-fit with medium clamp-
ing pressure. If not, carefully clean up the inside corners
with a rat-tail file.The finger joints are reinforced with screws hidden
by square ebony plugs. To cut the square holes, I use a
hollow punch from Lee Valley. To help align the holes,
I clamp a straightedge to the workpiece. After layingout the peg locations, register the punch against the
straightedge and strike it with a steel hammer to set it
in place. Then use a twist bit inside the punch and drillabout 38in. deep. Remove the bit and punch the tool to
the depth of the drilled hole. You can re-insert the bit
to remove debris, but don't make the hole any deeper.Now sand the case parts to P220-grit. I bring the case
together in stages, first assembling the two opposing
Punch the p
holes.To cre
the square
mortises for
decorative e
plugs, Peart
a hollow pun
which he alig
with a clamp
straightedge
seating the p
with a single
drill through
the desired d
Afterward, st
the punch ag
to drive it to
full depth of
mortise.
Cut the joints
Soften the edges.Peart uses
bearing-guided roundover bit tthe edges on each finger.
Rout the fingers.After removing the bulk of the
waste with a jigsaw, clamp the workpiece into the
template jig and use a 14-in.-dia. flush-trimming bit
to complete the finger pattern on the end of each
piece.
F
trb
18-in.
radiusroundover
bit
Templa
Workpiece
F I N E W O O D W O R K I N G32
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corners with corner clamps and then bringing the halves
together. Because Ill be screwing these joints, I dont
fully glue them. I put just a dab of glue on the inside
of each finger where it will meet end grain in the gap.
Pre-drill into the fingers for a #6 by 114-in. panheadscrew. Make sure the screw head is smaller than the516-in.-dia. plug hole. Do not run screws into the top
and bottom finger of the front and back panelsthese
fingers tend to split. Check for square, but dont fret
if its a bit out. Final squaring will be done when the
bottom is attached.
The base fingers are tablesawnThe chest sits on a decorative base. The corners of
the base are also finger-jointed, and these larger joints
are quick and easy to make using a dado set. I make
the cuts with the workpiece clamped vertically in a
crosscut sled and registered against a stop block. Iposition the stop block to let me complete the joint
with a pair of mirrored cuts, flipping the workpiece
between them. This approach works well only if allthe pieces are exactly the same width, so take care
when milling, and test the setup on scrap.
Start by cutting the centered notch on the ends of the
long sides. I do each one in two passes, flipping the
board and leaving the stop block at the same setting.
To cut the mating finger on the ends of the short sides,leave the dado sets height unchanged and reposition
the stop block. Use the cut notch as a reference. It may
take multiple adjustments to position the stop precisely.
The joint should fit snugly with minimal friction.
Assemble and attach the baseCut peg holes in the base pieces, and round the fingers
with a 18-in. radius roundover bit. To visually suggest
that the base fingers bear the chests weight, I pillow
their shape slightly by sanding with a folded pieceof P80-grit paper. Use a shoe-shine motion until the
roundovers are blended to a gentle arc. Finish-sand
One corner at a time.After finish-sanding the fingers and
applying a dab of glue on each one, Peart secures the joints
with corner clamps, top and bottom (right) . With this done,
he drills a pilot hole in each finger and drives screws to lock
the assembly together.
Build th
base.C
large fin
joints at
tablesaw
a dado s
then ass
the base
the case
Glue and
the oppo
corners,bring the
two halv
together
Add the
bottom,
the bas
With the
upside d
glue and
the bott
to the ca
sides. Th
the base
position
screw it
bottom
the scre
blocks.
Assemble the chest
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#6 by 114-in.pan-head screws
Ebony plugs,516in. by516in.
ARTS AND CRAFTS TREASURE CHEST
Pearts design for this blanket chest incorporates a number of
Greene and Greene details, including the interlocking finger
joinery at the case corners, the offset breadboard ends with
ebony splines, and the faux leather straps that decorate the base.
BASE DETAIL
SIDES
ENDS STRAP
Ebony plug
centered in
width of finger
Ebony plug centered
on width of finger
LID DETAIL
FINGER DETAIL
All pegs centered on thickness of lid panel.
1114in.
Edge trim, 516in. thickby 1516in. wide, with18-in.-dia. roundoveron bottom
Bottom, mahogany plywood,34in. thick by 1734in. wideby 3934in. long, glued and
screwed to caseBase sides, 1 in. thick by3 in. wide by 4314in. long
2212in.4518in.
16316in.
138in.
512in.2116in.
3516in.
1116in.
114in.
1516in.
158in.
114in.
78in.
78in.
218in.
38in.
38in. 3 in.34in.
558in.
11964in.
1516in.
1 in.
No
for
F I N E W O O D W O R K I N G34
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Straps, 1516in. thick
by 2116in. wide by3516in. long
Screw through
blocks to
bottom.
#8 by 3-in. pan-head screws
affix breadboard ends to top.
Ebony
decorativespline
Screw blocks, 34in.thick by 1 in. wideby 5 in. long
Sides, 34in. thickby 1134in. wide by
41 in. long
Ends,
19 in. long
Mitered edging, ends,
1934in. long
Mitered edging, s ides,34in. thick by 1 in.
wide by 4134in. long
Base ends,
2114in. long
Breadboard ends,
1 in. thick by 212in.wide by 2212in. long
Lid panel, 78in. thick by 2218in.
wide by 4018in. long
Splines strengthen
breadboard attachment.
Ebony plugs,14in. by 14in.
Ebony plugs,14in. by 716in.
the base parts to P220-grit, taking the end
to P320-grit.
The base comes together much like the
itself; apply a dab of glue inside each
then clamp. Pre-drill for a screw into the
finger only. Afterward, attach 10 screw
around the inner perimeter, setting them132in. below the top edge.
The bottom of the chest is plywood
solid-wood edging. It is screwed from
to the case, and then the base is screwed
bottom. To do this, start with the asse
case upside down on the bench. Mak
the case is square, then set the bottom in
and add the base, making sure the overh
even all around. Trace the position of the
blocks onto the bottom, and remove the
Secure the bottom temporarily by d
screws through it into two opposing corn
the case. Now predrill for the remaining s
When this is done, back out the first two s
and remove the bottom.
Now run a bead of glue along the bottom
of the case. To reseat the bottom, drive thscrews again until they protrude about
through the panel. With a helper, repositi
bottom using the points of the screws to fin
corresponding holes. Drive the first two
home, then the remaining screws. Now
base back on the bottom, clamp it in plac
attach it with screws through the blocks.
Make the breadboard ends
Mill the lid parts to final size, making sure t
breadboard ends are 18in. thicker than the
and about 38in. longer than the panel is
Use a three-wing slot-cutter to run a groothe splines in the panel and breadboard en
the holes for the square and rectangular
plugs on the outer edge of the breadboar
centering the holes on the thickness of the
not the breadboard end itself. Next, pred
the screws in the center of the holes.
I use multiple splines, leaving gaps be
them for the screws. Make sure the spline
rial is cut so its grain runs in the same dir
as that of the panel. Before assembly, rout
roundovers and sand the panel and bread
ends. The splines are glued to the panel
way across, but are only glued in the centof the breadboard end. Now drive the scr
I rout the mortise for the decorative
spline with a slot-cutter, referencing off th
bottom with the cutter centered on the
Square up the inside corners with a chise
and machine a piece of ebony to fit the
snugly and with enough excess width so
trudes at least 18in. from the mortise. R
Lid-stay torsion hinges
from Rockler (part no.depends on lid weight)
Roundover,316in. dia.
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the back of the spline on the breadboard end side so
the panel can expand and contract without causing the
ebony to bottom out. Glue the ebony in on the panelside only. Trim the spline with a 12-in. spiral straight
bit. Make one pass with a 34-in. bearing, then switch to
a 58-in. bearing and repeat. This will leave the ebony116in. proud. Finally, tape around the ebony to protect
the surface, ease the edges with a chisel, and sand with
P220-, P320-, and P600-grit.
Fasten the straps
The final touch is a series of L-brackets that fit over the
base and resemble leather straps stretched taut. Each
bracket is shaped with a tablesawn cove on the front
face and other curves created by spindle- and hand-
sanding. I start with long mahogany blanks for thecove cut. I set the tablesaw blade about 316in. high and
guide the stock between a shopmade pair of parallel
On go the ends.One clamp provides the pressure to secure both breadboard eavoid problems with wood movement, apply glue along the whole length of the
the lid panel, but only the center few inches of the slot in the breadboard ends.
Multiple splines make room for screws.Peart leaves 12-in. gaps between th
splines to provide clearance for the long screws that will help hold the breadboa
in place.
Slots first.To hold the splines that align the breadboard
ends, Peart routs slots in the end grain of the lid panel and
in the mating edges of the breadboard ends.
BREADBOARD ENDS
Build the lid
More mortises.When the breadboard ends
come out of clamps, rout the mortise for the
ebony splines that visually connect the ends to
the panel. Peart uses a bearing-guided slot-cutter.
Fit the spline.Bandsaw the inner edge of the spline to roughly fit the stepped contour of the
mortise bottom. With the spline pressed into place, pencil a line for bandsawing the outer ed
to shape. Trim the excess, but leave it proud. A spiral bit with an extralarge bearing follows th
irregular surface where the panel meets the breadboard end, trimming the spline uniformly p
SEAT THE DECORATIVE SPLINE
F I N E W O O D W O R K I N G36
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adhesive-back sandpaper over a scrap with a 18-in. radiused
Run the back of the strap over the paper until the transi
smooth. To make sure each strap fits perfectly on the base
another sandpaper trick. On the edge of the case bottom,
the strap will be applied, I stick a narrow strip of P80-grit ad
sandpaper. In the same location, on the face of the base,
a piece of nonadhesive sandpaper, with its back side facin
Run the strap back and forth acro
sandpaper until the paper stops c
The strap can now be glued in p
Darrell Peart makes furniture in Seattle
fences that straddle the blade at 45 (see top left photo, above).
Once the cove is done, crosscut the individual pieces to length.
I cut the L-shape into the back in two steps. First, at the router
table, I define the short leg of the L using a 38-in.-dia. core-box
bit. This creates a 316-in. radius on the inside corner of the L that
will mate snugly with the rounded top edge of the base. Make
sure to back up the cut and take it in several light passes. Next,
mark out for the curves in the sides and
top of the strap, and shape them at the
spindle sander. Cut the long leg of the
L at the bandsaw. To clean up the in-
side corner, stretch a piece of 80-grit
Glue the straps in
place.No screws are
used to secure theL-shaped brackets.
Install the plugs.After sha
and fitting the plugs, dab w
and tap home with a small
headed mallet.
Cut the cove.Using a push pad and push stick for safety, Peart guides the
stock over the blade. Taking incremental cuts, he ends with the blade high
enough to span most of the stocks width, leaving a narrow flat on each edge.
Cut the short leg of the L.The first step
in creating the straps L-shaped back
is removing material at the top. Peart
makes passes with a core-box router bit.
Finish the L.Peart makes a bands
cut along the straps length to mee
opening created by the router.
Make the straps
Article ExtraLearn more about Peart's finishingmethod for Greene and Greene furniture.
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Tame Tricky
Glue-UpsCustom cauls can handleevery angle and curve
B Y M I C H A E L F O R T U N E
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Cauls go on first.Clamp on the cauls (above),
aligning them carefully. Then assemble one pair of
sides at a time before marrying the two assemblies
to form a box. Fortune alternates the direction of the
clamp handles to avoid conflicts (right).
On a cabinet with a curved top and straight
sides, Fortune attaches the normal type of
miter cauls to the sides, and uses a flexible
version of the caul on top.
Many woodworkers stop at rect-angular work, preferring to stick
with flat surfaces and right-
angled joints. This is a shame because
curves and angles make furniture stand
out, and they arent as hard as you think.
Most importantly, they are fun.
A few factors keep people in the box.
Even if they know how to cut smooth
curves and precise angles, there still is
the problem of gluing and clamping these
awkward pieces together. There is a lot of
time and material invested at that point,
and an open or misaligned joint can bedevastating.
This is a follow-up to my two articles
on basic glue-ups in FWW#234, which
covered 90 joints and basic miters (Great
Glue-Ups Guaranteed, and Fundamentals:
Gear up for glue-ups). As I pointed out
then, while a dry run is always important
for a glue-up, it doesnt tell the whole
Nonslip cauls for tight case miters
T IP CURVED PANELS, TOO
The miter joint gives a clean, seamless look on contemporary cabinets,
but only if clamped up tight and true. These simple cauls are the ticket.
DIRECT
THE FORC
The clamps
direct the fo
through the
at 90 and
be placed o
centerline o
glue surfac
principles a
same for an
14-in.-thick
plywood
18-in.-thick luan plywoodor bending ply
Hardwood
blocks
90
Centerline of glue joint
14-in.-thickplywood
P100-grit sandpaper,
attached with yellow
glue, stops cauls
from slipping.
Hardwoodblocks
Clamp force
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Trace and saw the foot.The offcuts fro
foot become the clamping cauls.
Lay out the
clamping an
Fortune first
the curved tapost to trace
parallel lines
long tail (far
Then he draw
actual joint o
stock, and us
a bevel gaug
transfer that
to the clamp
(left).
Sandpaper
grip.Using th
offcut as a cl
caul, he attacP100-grit san
to the unders
of the caul us
white or yello
Dont use pre
sensitive-adh
paper or spra
adhesiveit
creep.
Cauls for curved work
Block-and-tail
caul is solid
wood with its
tail curved
to match
workpiece.
Clamping block is parallel to
joint, and centered on it .
P100-grit
sandpaper oncontact surfaces
Two-part
caul madefrom offcuts
sandwiches
part to
allow firm
clamping.
End is angled
slight ly to
direct force at
90 through
centerline of
joint .
Each L-shaped assembly on this table base is joined with a miter. Fortune uses
two different types of clamp-on cauls to ensure perfect results.
story. That is especially the case
curved and angled parts. Once the
applied, parts want to slide on the slfilm, freezing in the wrong location
minutes later when the glue begins
Thats why the key to all glue-
especially those on irregular parts
the clamping pressure be at an exac
angle to the glueline, and centered
joint. On angled and curved work, th
reliable way to direct clamping pr
SANDWICH STYLE
BLOCK-AND-TAIL STYLE
F I N E W O O D W O R K I N G40 Photos: Asa Christiana; drawings: Vin
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Clamp with
confidence.
Using the rig
cauls, and a s
tenon for stre
and alignmen
bar clamp br
the joint toge
perfectly.
Align the cauls carefully.Make sure their clamping
surfaces are aligned to center pressure on the miter joint.
Carefree clamping.With the help of a slip tenon and these custom cauls, Fort
knows the joint will come together perfectly, with firm pressure on the entire glu
By the way, I recommend using tradi-
tional F-style bar clamps whenever pos-
sible. These let you locate the clampingforce precisely where it is needed.
Clamp-on cauls for clean mitersI like the seamless look of continuous
grain, so I design and make many cabinets
with miters at the
corners. Whether
the panels are ply-
wood or solid, I always reinforce the
with biscuits or slip tenons; this also
to keep the miters aligned during ably. But that doesnt take care of clam
My simple cauls send the pr
through the center of the miter join
they let me deal with the joints
a time, a bonus when using yellow
Shaped blocks tame curves, too
To glue the legs to this sinuous table base, Fortune used a caul
arrangement similar to one he used above. This time he added
a shaped block to hug the sculpted surface of the leg. In both
cases, he placed the part on the caul stock and traced around it.
precisely is with specialized cauls. Design-
ing and making these helpers may seem
like a hassle at first, but not after you ex-perience the benefits.
Sometimes I glue these custom cauls di-
rectly onto the workpieces, chipping them
off later with a chisel or gouge. But most
often I clamp the cauls to the workpieces,
and then clamp across them to close the
joint and complete the job. Thats the case
with the first one on my list.
Shaped block
Sandwich-style caul must be
long enough that its end is
centered on the joint.
ALL TOGETHER NOW
Sandpaper oninner surfaces
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Lay out the
profile.Chop off
a section of the
molding at 90
and trace the
profile onto your
caul stock.
Careful bandsaw work.Stand the stock on its
end, with the grain running parallel to the curve
so the caul will be easy to chip off later. Saw asclose as possible to the line.
Fine-tune the fit.Tape 80-grit sandpaper face-
up on the molding, and then rub the caul on it
to match one curve to the other.
which sets up pretty quickly. The
are invariably goodand stress-fr
give the cauls grip, I add cheap P
P100-grit sandpaper to the contac
with yellow glue, so it wont creep
Pay attention to the lines of force.
need to set the angled blocks back
the tip of the miter so that the pr
passes through the centerline of the
This position will also allow you to s
joint come together, which is impor
Cauls for curved workI also use long case miters to ass
curved veneered panels, made with
of bending plywood. Clamping caul
well here, too. These are typically th
size as the aforementioned miter cau
I make them from flexible 18-in.-thic
plywood or bending ply.
I often make the base of these
long enough to reach to the far end
workpiece, so I can either attach a
that hooks over the end, or anoth
block on the topside for clampin
miter joint at the same time (see exon p. 40).
Clamped-on cauls work just as w
solid-wood parts as they do on bi
els. You just need to saw the cau
the shape, and design it so the cla
pressure ends up at the right spot a
right angle.
On a favorite table of mine (see
each side of the base is created by
of L-shapes, each made up of a curv
joined by a miter to a tall curved u
Once those tricky miters are assem
joining the L-shapes to each other i
To clamp the miter joints effectively
two very helpful types of shaped c
The one that goes on the upright is
rower version of my cauls for case
with a long base and an angled cla
block. In this case, I cut the whole
out of a single piece of hardwood.
I glued P100-grit sandpaper to the c
Glued cauls for crown moldingSometimes it is easier to glue on cauls, rather than clamping them. Yellow glue works
fine. These blocks are simply chiseled off later, and a scraper removes the remnants. The
key is a precise fit.
Trick for mitering
curved cauls.
Use the offcut as
a cradle when
bandsawing 45
angles on the caul.
which sets up pretty quickly The
Sometimes it is easier to glue on cauls rather than clamping them. Yellow glue works
fine. These blocks are simply chiseled off later and a scraper removes the remnants. The
Blocks are
shaped and
located to
direct the
force squarely
through thecenterline of
the glue joint.
Trick for mitering
curved cauls.
Use the offcut as
a cradle when
bandsawing 45
angles on the caul.
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Glue and go.Hold the caul in place and lay a bead of glue at the
edges (above). Wait a few seconds and you can let go, leaving your
hands free to grab a clamp (right).
face to stop it from sliding.
The other is a two-piece
caul that sandwiches the
workpiece. The far end of
the outside caul is angled
to create a clamping sur-
face that directs the pres-
sure across the joint. You simply chop off
the end at the angle you need. In this case
I reinforced the miters with a slip tenon,
which helps keep things aligned.
A layer of leather is best on rounded
surfacesFor chair designs that I build
repeatedly, I go one step further and ap-
ply a thick layer of leather to the inside
face of the cauls. It is more durable than
sandpaper, better at conforming to rounded
parts without damaging them, and resists
slipping out of place almost as well. Like
the sandpaper, the leather has to be at-tached with yellow glue.
Glued-on cauls tame cove moldingsI use large cove moldings in a number of
places in my work, from the tops of cases
to the underside of tabletops. In this situ-
ation, it is often easier to glue on shaped
cauls than to find a way to clamp them on.
To get a good glue bond, you need a
perfect fit between caul and cove. I first
cut the caul close to the right profile, usu-
ally on the bandsaw, and then use the part
itself to fine-tune the shape of the caul. Itape a piece of P80-grit sandpaper against
the part, and then rub the softwood caul
Try a rub joint.Apply glue and rub the caul firmly
against the molding until it grips. Hold it there for a
minute or so, and then leave it one hour before clamping.
Gap-free
glue-up.Apply
clamps and
watch the miter
come together
perfectly. Hold
down the far endsof the molding if
necessary.
T IPHOT GLUE IS
A THIRD HAND
Some of these
cauls are hard to
hold in position
while you align and
tighten a clamp. A
hot-melt glue gun
solves the problem.
A mallet blow
removes the cauls
afterward, and the
glue peels off.
sure across the joint You simply chop off
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5
10
15
20
25
30
Single jig cranks them out.A bandsaw jig makes all six sizes that
Fortune needs. To keep the grain as straight as possible, flip the
stock between cuts.
Apply as ne
Fortune used
wedges from
to 25 to alig
the clamps a
this curved e
Start in the c
and work ou
to balance th
pressure.
against it. This makes such a great
I can actually use a rub joint with y
glue to attach the caul (see photo,