american woodworker - (aug,sep 2009) (malestrom)

7/28/2019 American Woodworker - (Aug,Sep 2009) (Malestrom)

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4 wwwAmericanWoodworker.com AUG U 5 T I S EPTE M B E R 2

American.LiWoodworker#143, August/September 2009

Features35 Build Your Skills

Template RoutingSimple to advanced methodsfor precisely duplicating parts.

44 Stickley Dining ChairsBuild accurate replicas ofa class ic design.

52 Mystery DovetailsBaffle your friends withperplelCPg jc;>ints.

56 Cherry SideboardCurved parts add flair toa simple, square cabinet.

64 Glazing Techniquesfrom a ProUse ge stains to add richness;depth and color.

68 Line and Berry InlayMake this traditional designwith a router and plug cutters.


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Departments12 Workshop Tips

Adding an extra head to a quick-actionclamp, building a fold-away out feedtable, preventing shellac from dripping, painting a speed square soit's easier to read, making abench hook for mitered parts,building a cardboard tubescrap bin, and adding a cut-of f trap to a tablesaw.

16 Thrifty WoodworkerBuilding a storage rack fromPVC pipe, using shelf liner toimprove a sanding block,making extended-reach drillchucks, rejuvenating old carpenter's pencils, adding deep-reach jaws to standard clamps, andmaking a battery-powered task light.

18 Well-Equipped ShopLignomat Mini-Ligno E/D Moisture Meter; GorillaEpoxy and Super Glue; Bosch DareDevil SpadeBits; Demo Air Net; DeWalt XRP drills; PorterCable Lithium-ion tools; Bosch 4v Lithium-ionScrewdriver; Veritas Scraping Plane; JorgensenGear, Lever and Expandable clamps.

22 My ShopVictorian Shop

26 Turning WoodWooden Plates

32 Tool NutA scroll saw made from packing crates and atool box that's been on the road too long.

74 OopS!240 volts sure speed up a sander!

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ACCESSORIES THATSIMPLIFYFINISHCARPENTRY PROJECTS

Accurate measuringof trim moldingprojects hasnever been easier

THE MIGHTY RANGE1I1i1wllUAu-----------othing butHEAVY DUTY The New 18VCordlesss SystemDrill/Driver Circular Saw Impact DriverJigsaw Cut-off / Grinder Wet/Dry VacuumPOWERED BY LITHIUM-IONl i J E J ~ E J~ Dt. " i f,' ~ ! - , .. /. ~ " ' - - ~ . .-.' ...... _- . - . . -- .. . '-'-'-, ,- - - - . ',- - -- - , " ,- .. -- " ',

f l i ! r . . I ! ~ $59.99 f l i ! r . . I ! ~P630 23 Ga Micro Pin Nailer ..'!!"- 22 Ga Upholstery Staplers ' j:atf,Shoots between 1/2" to 13116" Pins. U630 & U630L(Extra Long Nose) JiIIe!!1l11rBuy it as a ki t P630K for$69 99 Uses 22 Ga 3/8" Crown Senco &(Kit includes one p in pack each of all sizes) Porter Cable Staples U630 $39.99 U630L $49.9923 Ga Pin Packs (2,OOO /pack) 22 Ga Staple Packs (10,OOO/pack)Availabe in the following sizes: Avai labe in the following sizes:1/2", 5/S", 3/4", 1", 1 3/16" $2.99 each 1/4", 3/8", 1/2", 5/8" $4.99 eachFactory reconditioned tools & maintenance kits are also available .! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !OVERSTOCKCLEARANCE SALE

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From the Editor's DeskHow Did He Do That?WASTE NOT, WANT NOT.We 've all heard the saying.Well, I just met a woodworker who's taking thatadage to a whole newlevel. Virgil Lieh, aMinnesota artist, is makinguse of scrap wood in a really big way-literally. Hisscrap wood of choicecomes from discarded treetrunks.From these, hemakes vases, bowls, plattersand other art objects.Virgil has spent the pastfive years developing histechnique, and recently, heheld.his first public show.His pieces initially comma nd attention because oftheir sheer size. But after seeing them up close, most woodworkers scratchthe ir heads for another reason: Despite their large diameters, none of Virgil'spieces show any cracks. If you've ever worked with whole logs or cross sec-tions, you know that it's nearly impossible to keep cracks or checks fromoccuring. But not for Virgil-he's figured out how to prevent them. And at hisrecent show, he shared his technique with the crowd. Here's what it takes toturn a one ton log into a crack-free, 40-lb, 80" tall vessel:

1. Start with a fresh log, preferably the day it's cut. . Move it around with a forklift.3. Trim the log to rough size, using a chainsaw with a 60" bar.4. Mount the log on an 1917 Oliver lathe with a 7' x 7' capacity.5. Rotate the log at very slow speed-30-1 00 rpm, tops.6. Shape the log, using heavy-duty grinders and other industrial tools.7. Remove the center of the log (the pith) as soon as possible. (This

removes stress in the log, and explains why most of Virgil's turningshave no bottoms.)

8. Keep the log wet while turning. Use a garden hose if needed.9. Shrink-wrap the log in plastic every night.

10. Measure the wall thickness, using long calipers, so you don't grind through.11. When you're done turning, put the piece in a custom built, walk-in

microwave oven, and slowly "nuke" it for 1 to 3 weeks, until it 's dry.13 . Remount the piece on the lathe, so you can true the shape.14. Finish sand to 220 grit. Then apply several coats of shellac.15. Sand, sand, and sand again.Then buff to 4000 grit.16. Store in your spare bedroom for a couple yea rs, until you have a show.

For more pictures of Virgil's ree art, visit www.AmericanWoodworker.comfTreeArtKeep the chips flying, /') ,,::{CJ nRandy Johnson L K .v..dJ ~

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lV.b:re On theWeb at AmericanWoodworker.com

OVideoTo see a pro's technique for glazing, visitwww.AmericanWoodworker.com/Glazing

OTOp Secret DrawerTo find the secret drawer inside this cabinet, go towww.AmericanWoodworker.com/AIHudson

Mystery!?Show us your mystery dovetail joints atwww.AmericanWoodworker.com/MysteryJoints

10 wwwAmericanWoodworker.com AUG U 5 T I S EPTE M B E R 20 0 9

OThe Stickley Arm ChairFor the cutting list, patterns, technicaldrawings and how-to information ,go towww.AmericanWoodworker.com/StickleyArmChair

Full-size PlansTo download full-size plans for our sideboard project,go to www.AmericanWoodworker.com/Sideboard


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Workshop Tips Clever Ideas From Our Readers

Two-Headed ClampI'VE COMBINED THE WORKING PARTS of two quick-actionclamps to make a good tool even better. A two-headed clampallows me to quickly make anadjustable-height table for my dril l pressor an outfeed table for my tablesaw.ltalso works great for holding cabinetparts in place for assembly.To make atwo-headed clamp, use a punch to popout the stop tubes from two clamps.Remove the trigger jaw from one clampand slide it onto the other clamp, backto-back with the other trigger jaw. Thenslide on the second plain jaw.

Irwin Rappaport

'terrificBpsWin 'terrific '!bois!We'll give you $100 for every original workshop tipwe publish. One Terrific Tip is featured in each issue.The Terrific Tip winner receives a 12" Leigh Super Jigwith VRS (Vacuum and Router Support), a $239 value.

E-mail your tip to [email protected] or send it to American Woodwork erWorkshop Tips, 128S Corporate Center Drive, Suite 180, Eagan, MN 55121. Submissions can't bereturned and become our property upon acceptance and payment.We may edit submissions and usethem in all print and electronic media.

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Fold-AwayOutfeed TableLIKE MANY OF YOU, I don't haveroom in my shop for a large outfeedtable, although sometimes I needone. Using heavy duty folding brackets purchased from Rockier (12" - $22,16" - $30), I made an outfeed tab le formy saw that's available when I need itand stowed ou t of the way when Idon't. I made the top out of 3/4" x 36"x 36" MDF. The top is the same widthas the saw's table; it's as long as it canbe without hitting the floor whenfolded down. Rout grooves in the topthat line up with your saw's miterslots. I notched one corner of the to pso, when folded, the table clears myin-floor dust collector pipe. I screwed2 x 4's to the underside to attach thebrackets and to add strength andstability to the top. (This designwon't work on a contractor saw,because its motor is in the way.)

Ray Merrell-

Drip-Free ShellacAVOID SHELLAC DRIPS, sags, and runs by making sure your brushis properly loaded. After dipping your brush in the shellac and drawing it across the edge of the can, lightly dab it on a lint-freeabsorbent cloth. The cloth draws away excess finish.

Kevin Southwick

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Workshop Tips continued

Easy-Read Speed SquareI REALLY LIKE BRIGHT-COLORED speed squaresbecause they're easy to locate on the job, bu t I find themdifficult to read.To solve th is problem, I spray-painted myspeed squares black.After they were dry, I used a 3MScotch-Brite pad to remove the paint. This left the marksand numbers black. Carpenter's squares, rules and combination squares may also benefi t from this treatment.

Dewey Armstrong

Tablesaw TrapEVEN WITH A ZERO-CLEARANCEthroat plate in my tablesaw, thin cut-offsslip through now and then.These piecescan clog a vacuum hose or damage theblades of a dust collector. I made a trapto catch them by attaching a piece ofhardware cloth inside my saw, in front ofthe dust port. The t rap also catches adropped arbor nut or washer.

Dick Burns14 www.AmericanWoodworker.com AUG U STIS EPTE M B E R 2 0 0 9

Non-Slip Bench HookPLANING OR SCRAPING PARTS with angled or miteredends is tricky. Bench dogs wil l damage a crisp corner, andclamps get in the way.To ,hold the work, I use an oversizedbench hook with a new twist: a layer of 3M's gr ip tape, madefor slippery sidewalks and steps.The gri t doesn't mar thewood- even soft wood-and when I apply downward pressure with a plane or scraper, the part stays put.

John English


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ThriftyWoodworker Handy Tips for Saving Money

PVC Lumber StorageIN NEED OF SOME QUICK LUMBER STORAGE, I rummagedaround my shop for a solution. I discovered a length of PVC pipe leftover from a plumbing job and cut it into three 12" long pieces. I alsofound some 1/2" rope and cut it into three 5' long pieces. I tied knotson the ends of each piece, slipped them through the pipes, and usedheavy-duty wire staples to attach the ropes to the ceiling joists. Theknots keep the ropes from slipping through the staples.Once myracks were hung, I gave them the "pul l-up test." They held my 250 Ibs.with ease!

Extendo ChucksI HAVE A HARD TIME throwingthings away, such as thesechucks from a couple of wornout drills. To put them back intoservice; I bought a 3' long, 3/8" dia. threadedrod at the hardware store and cut it into twopieces, 12" and 24" long. I threaded the old,chucks onto the rods and secured them withjam nuts. I covered the exposed threads with3/8" i.d. vinyl tubing, also from the hardwarestore, to protect my fingers. I now have twoextended chucks for drilling or driving inhard-to-reach areas.

Serge Duclos

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JeffColeson


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ered up all the stubs lying aroundthe shop and cut scarf oints onthem with a handsaw. I trued up thejoints with a disc sander and gluedthe pieces together, making one

Home-MadeDeep ReachClampsLIKE MOST WOOD-WORKERS, I neverhave enough clamps.Adding to a clamp collection is expensive, sowhen I needed somedeep reach clamps, Imade these auxiliaryhardwood jaws.Youcan make them whatever size you like. Thejaws are mortised toslide on the clamp'sbar. A sti ff wood thatresists spl itting, likemaple, is ideal.

William J. Monahan

new, longer penciL I also duct-tapeda paper clip to my new pencil, andglued on an old drafting eraser, for alittle icing on the cake.

Dick Ayers

E-mail yourtiptothriftywoodworker@americanwoodworker.comorsendittoAmericanWoodworker.ThriftyWoodworker.128SCorporateCenterDrive .Suite180.Eagan.MNSS121.Submissions can't be returned and become our property up on acceptance and payment.We may edit submissions and use them in all prin t and electronic media.

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TheWell-Equipped Shop

18 www,Ame.rleimWoodworker._ AUG U ST/SEPTEM BER 2009

Our Pick of the Latest Tools

Newformulasprovidestrong,flexiblebonds.THESE OFFERINGS FROM GORILLA GLUE bring a couple of very useful bonding agents to woodworkers.Theyaren't intended to replace wood glues in the shop, buthaving an epoxy and a super glue (cyanoacrylate/CA) onhand is invaluable when you need them.

Epoxies have been around for a long time. Modernboat builders have used them extensively because oftheir water resistance and strength. In the shop, a smallquantity of epoxy is useful for quick repairs and gap filling .Gorilla Epoxy is perfect for gluing joints or partswhere the gap exceeds the thickness of a sheet of paper.It's also useful in multi-material pieces, as it bonds wood,steel, aluminum and ceramic among other materials. Theirforumalu uses urethane in the resin, which gives the glueadded strength and toughness. The resin and hardeneralso have similar viscosities, making it eas ier to dispenseeven amounts from the double syringe.

Gorilla Super Glue is quick-curing (30-60 seconds) anduseful in precision gluing applications. Unlike traditionalsuper glues, this one is impact resistant (small rubber particles are mixed in with the glue).lt comes in handy whenmending a handle or part that's likely to be exposed tovibration or other abuse. It's thicker consistency givesmore control in application and spreads evenly with ashort 5 to 10 minute clamping time. It doesn't run on vertical surfaces, making it useful for repairs, like gluingdown loose veneer or quickly bonding broken trim work.Source: Gorilla Glue, www.gorillaglue.com. (800) 966-3458, Epoxy,$4.99, Super Glue, $4 .99.


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Devilish BitsTHE NEW DAREDEVIL spade bits from Bosch feature threaded, conical tips. This allows foreasier and quicker drilling. Little force is needed to start the hole, as the threads pull the bi tdown into the wood. Their patented spur and reamer design scores holes for a cleanentry, and the angled cutting edges ream the hole for reduced breakout. The paddleis also contoured to bring debris up and out of the hole, allowing the bi t to movemore quickly and cleanly. Bosch claims this bi t to be 2.4 times faster drill ing through _wood than a normal spade bit, and our tests show that they are indeed faster. All ofthis design results in very clean holes drilled quickly and easily.

If you're going to be drilling a lo t of holes, or at awkward angles, the time and energy thatthese bits save could be well worth the investment. Though designed with handheld drills inmind, these bits perform just as well on a drill press, using clamps and a sacrificial board to achievethe cleanest results. They come in 4'; 6" and 16" lengths with sizes ranging from 1 2"to 1-1/2'; and 6" and12" extension shafts are availble.You can get these bits in sets of eight as well.Source: Bosch Tools, www.boschtools.com. (877) 267-2499, DareDevil Spade Bits, $2 .56 to $11.34 depending on size andlength, Sets range from $9.60 to $45.66.

I I I, ..Three Powerful DrillsTHE NEW DEWALT XRP DRILLS are serious tools built tolast. They feature a high-power, high-efficiency motor thatprovides plenty of muscle for dri lling and fastening. The transmission has three speeds to adjust torque for dif ferent applications. The metal gears and gear case allow the transmission to dissipate heat efficiently and effectively. In use at our shop, these barely even warmed up, even after driving in 400 consecutive screws on a single charge.

One very nice feature is the self-tightening chuck. It's designed to have greater holdingstrength than traditional ratcheting chucks, and it self-tightens during use. This means that youdon't have to worry about your bits coming loose in the middle of a project.

The drills come in 18 volt, 14.4 volt and 12 volt sizes and are powered by Ni-Cad batteries.Because these drills are heavier than many other cordless offerings, you might want toconsider upgrading to a lithium battery, which boasts a substantially lighter weightwith the same run-time as the standard Ni-Cad.Source: DeWalt, www.dewalt.com. (800) 433-9258, Heavy-Duty 18V 1/ 2" XRP CordlessDrill/ Driver, #DCD940KX, $27;, 14.4V 1/ 2" XRP Drill/ Driver, #DCD920KX, $19;, 12V 1/ 2" XRPDrill/Driver, #DCD91 OKX, $179.

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New Porter-CableLithium-ionBatteries and ToolsPORTER-CABLE RECENTLY EXPANDED its professionalgrade cordless tool line with a slew of new tools and extended use 18 volt lithium-ion batteries to complement their current Ni-Cad and lith ium-powered options.

Two impact drivers, a drill, a jigsaw, a rotary saw, a detailsander, a hand vac, an area light and two combination kitsround out the new offerings. In add ition to their standardlithium ion battery, the new lithium batteries come in twosizes, the LX and EX.These new batteries can be used interchangeably on all of their 18 volt tools to give an extendedrun time to demanding applications.

In our tests using the new compact drill/driver and thenew impact dr iver, the LX battery lasted nearly twice as longas Porter-Cable's standard lithium-ion battery.The EX lastednearly four times as long as the standard lithium-ion battery.Though, these extended-life batteries weigh slightly more.

Both the compact drill/driver and impact driver are lightweight and comfortable, offering greater control and precision than heavier tools. Both include an LED light to illuminate darker spaces .Their compact sizes easily fi t in mostspaces where larger tools couldn't fi t before.We found thatthey are powerful enough for most jobs around the shop.Thecompact drill/driver has plenty oftorque available fordemanding applications.And the impact driver is perfectwhen you need maximum torque in a small, lightwe ight tool.

We also got a chance to test out the jigsaw and detailsander. Both are straightforward and easy to use. Bladechanges on the jigsaw are quick and simple. And it includesa vacuum attachment for dust collection, as well as a toolfree steel shoe that positions with ease from 45 degrees to90 degrees.

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The detail sandercomes with a detachabledetail finger that isuseful for getting intotight corners.The sanderalso includes an attachment for dustcollection, a very useful feature to keepyour lungs and work area clean.

These tools and others are availableseparately and in kit form .And all ofthese tools use the same batteryfootprint. Expanding your collection is as simple as adding a newtool and popping in your existing battery.Those who usetheir tools more regularly will find that more batteries, aswell as the extended life LX and EX bring usability to a wholenew level. Still, everyone will appreciate the lighter weightand longer-lasting charges that come with lithium-ion battery powered tools.Source: Porter-Cable, www.deltaportercable.com.(888) 848-5175;Batteries: LX, #PC18BLX, $69.97; and EX, #PC1 8BLEX, $89.97;Detail Sander, #PC18DS, $29.97; Hand Vac, #PC18HV, $29.97; Jigsaw#PC18JS, $49.97; Rotary Saw #PC18SS, $39.97;18 volt Lithium-Ion Impact Driver, #PC18ID, $69.97; 12 volt Ni-CadImpact Driver Kit, #PC120IDK-2, $139; Area Light, #PC18AL, $29.97;Lithium-Ion Three-Tool Combo Kit, #PCL318IDC-2, $229; Lithium-IonFour-Tool Combo Kit, #PCL418C-2, $269.


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Bar Clamp TrioJORGENSEN RECENTLY INTRODUCED atrio of newly designed bar clamps.TheLever Clamp comes in 6" and 12" capacities and is perfect for assembly work,where a lightweight, quickly adjustableclamp can make things so much easier.Strength isn't sacrificed, however, and thelever clamp gives plenty of clamping pressure for smaller jobs. Nearly instantaneousclamp removal is possible with the cleverlever/trigger design. Rubber padded feetwon't mar your clamping surface, and flatbottomed jaws allow the clamp to standon its own -another very useful feature.

Another new introduction is the GearClamp. Available in 4'; 8" and 12" capacities,we found it perfect for clamping to thebench top because of the angle andplacement of the lever, though it's sure tobe useful in a variety of other small assembly jobs. The ratcheting action of the leveris solid and won't slip, and a push-buttonrelease makes removal a snap. Like theLever Clamp, it also stands on its own. Thisgeared clamp has a metal clamping foot,but it's big enough that you don' t need toworry too much about marring your work.

The IS03 Expandable Clamp is aningenious device. By itself it's similar toother clamps on the market: a lightweight,yet strong bar clamp. The real breakthrough comes in the design of the footthat allows two of the clamps to be usedin tandem for larger clamping jobs. Justsqueeze the handle to increase clampingpressure and click the trigger to release it.The foot can be removed and reversed foruse as a spreader clamp. These clamps aresold individually or in 2-piece kits.Source: Adjustable Clamp Company,www.adjustableclamp.com. (312) 666-0640,Jorgensen 4" Gear Clamp (38004),8" Gear Clamp(38008) ,12" Gear Clamp (38012), $27.99-$34.99;Jorgensen 6" Lever Clamp (38406), 12" LeverClamp (38412), $24.99-$26.99; Jorgensen 6'; 12';18'; 24" or 36" 1503 Expandable Clamp, $ 18.99-$28.99; Jorgensen 6" 2-Piece 1503 ExpandableClamp Kit (33506) $34.99,12" 2-Piece 1503Expandable Clamp Kit (33512) $39.99.

~ "r CLAMP

GEARCLAMP

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My Shop Where Our Readers Live

Victorian ShopI'M A HIGH SCHOOL MUSIC TEACHER.But I spend many hours tinkering andbuilding in my garage workshop, myprivate retreat. I especially enjoy spending time there early on Saturday mornings, while the rest of my family sleeps.We added the attached garagewhen we restored and expanded our1870s vintage home in Red WingMinnesota. Its generous 26' x 30' sizeprovides room for all my woodworkingtools, with enough space left over topark two cars inside dur ing our coldwinters. The 12' walls and upward sloping scissors trusses provide ampleheadroom. There's even a loft at oneend for additional storage. During thesummer, the cars stay outside and theshop stays "set up': To work on a proj-

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My Shop continuedect dur ing the winter, I back out thecars, turn on the shop's infra-red heatand roll the tools into place.

Sharing the space with cars supplied the inspiration to make theworkbenches and stationary toolsmobile. I fitted the workbenches withcasters (their bases are made fromold storage lockers) and also mount-ed my cabinet saw and jointer onmobile bases. My planer and otherbenchtop tools set up easily onknock-down bases.

I get plenty of light from skylights,and the 16' wide garage door makesfor easy access and instant ventilation,when needed.A dust collector withblast gates and flexible hosesattached to each machine controlssawdust. Airborne dust is captured bya ceiling mounted air purifier.

My shop has come in very handyfor completing many of the intricateVictorian "gingerbread" details that Imade during the restoration of ourhouse. I also use it for building furniture pieces, built-in cabinets and various other projects.

Pete DulakRedWing,MN

My workbench tops were salvaged from an old junior high school. They're mounted onold steel storage lockers and fi tted with locking casters.

During the summer, the cars stay outside and my tools occupy the prime real estate.Rubber floor mats reduce fatigue and insulate my feet from the cold during the winter.

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TumingWood

by Alan LacerONE OF MY woodworking friendsdefines offcuts as boards that are tooshortto be useful, but too good tothrow away. That explains why healways has a big stack of unusedshort boards. As a woodturner, I viewthose offcuts as prime material: Short,thin boards are perfect for makingplates, platters and saucers. The turning process is fairly simple, becauseall three objects are really just shal-low bowls.You don't need a big lathe,either, because these objects don'thave much mass.The only tricky partis mounting the blank so you can

Beautiful tableware from scrap boards

you amethod that simplifies the process.Use almost any boardAlmost any offcut or short board willwork, or is at least worth trying, aslong as it is free of checks (cracks)and pith (the material at the verycenter of the tree). The board shouldalso be relatively dry-plates madefrom wet wood are much more likely

to warp. Any traditional hardwoodused in furniture making is suitable.Maple, cherry, oak (especially quar-tersawn or riftsawn), walnut, hickory,butternut, birch, and beech are allgood choices. Cypress, cedar andpine work well, too. These projectsare also a good way to test the turning qualities of exotic woods, or localwoods that you've cut yourself.

The plate's diameter depends on26 www.AmericanWoodworker.com AU G U 5 TI S E PT E M B E R 2 0 0 9


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the width (or length) of the board, ofcourse, but it's ultimate ly limitedonly by your lathe's capacity. Forstarters, I recommend turning a platewith a diameter between T' and 10".As the plate will be hollowed intothe board's face grain, the board'sthickness is another consideration.Hardwood lumber is available in avariety of roughsawn thicknesses-1 , 1-1/4" and 1-1/2" thick boards allmake good plate material. If youplan to turn a small saucer (6" dia.orless), you might even use a board asthin as 1/2".Mount the blankbackwardsPlates tend to be on the thin side, somounting the blank is the first challenge. This story shows my favoritemounting method, which uses special double-faced tape.However, youshould use this method only afteryou have turned a number of bowlsand have developed a sound technique with bowl gouges.

The best strategy is to turn oneside of the plate and then remountit to turn the other side. I prefer toturn the back of the plate first, so Istart by mounting the blank "backwards," with its front face orientedtoward the headstock (Photo 1).1use the double-faced tape later,when I remount the blank.

The tape must have a superstrong grip (see Sources, page 30) .Do not substitute garden-varietytape from the hardware store, oreven carpet tape.For the tape toadhere properly, the blank must beflat, clean, unfinished, dry and absentof oily resins. If the wood is oily orresinous (teak, cocobolo, or bocote,for example), scrub the surface withlacquer thinner or acetone.Turn the back side

1.Start by truing up the blank'sedge (Photo 2).

2.Next, true up the blank's backside and determine the size of itsbase (Photos 3 and 4) .The centerarea must be absolutely flat.

Prepare the bandsawn blank forturn ing. The back of the plate will beturned first, so fasten a faceplate onthe front of the blank. The screw holeswill disappear later, when the fron t (or"open") side of the plate is shaped.

Flatten the back side of the blank.Work from the center to the outside.Start with the bowl gouge; then switchto a square-ended scraper to level thesurface.

Use the bowl gouge to shape theback side of the rim. Work from smallto large diameter.As you shape theoutside, consider your intentions forthe inside shape.

Use a bowl gouge to true up theedge of the blank and make it round.Avoid splintering the blank's faces byworking the edge from both sides.Start at the outside and move to thecenter.

Use a straightedge to check the leveled surface. The center area must beabsolutely flat, so you can successfullyremount the faceplate when it's timeto turn the plate's open side.

Mark a circle slightly larger than thefaceplate on the sp inning blank.Thenremove the blank from the lathe, andthe faceplate from the blan k.

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Install the faceplate on the outside ofthe blank, using the centered circle andhigh strength double-faced tape (seeSources, page 30).Trim the tape tomatch the faceplate.

.Sand th e back of the rim using acushioned disc mounted in a drill.Before sanding, remove the clampblock and reposition the tailstock soitcontinues to support the plate.

Roll the bead using a detail/spindlegouge. Complete each ha lf of thebead's rounded shape separately, bystarting at the center and working tothe edge.

Remount the blank. Then use the tailstock and a block to clamp the tapedjoint.The block isn't glued; it's used todistr ibute the clamping pressure. Allowat least one hour for the tape's bond tofully strengthen.

Alwayswork from the edgetowards the middle when shaping theopen side of the blank. Start by creating the rim. It can be flat, curved ordetailed. Here, cutting in with a partingtool roughs out a bead.

Remove waste beyond the rim, usingthe bowl gouge. Plunge down andtoward the center.This step providesclearance, so you can complete the rim.

28 wwwAmer icanWoodworker .coD1 AU G U 5 TI S E PT E M B E R 2009

3. Shape the back side of the plate(Photo 5).This shape should roughlymirror the shape you have in mind forthe plate's open (front) side.

4. Draw a circle on the base tomark the faceplate's next location, sowhen you reverse the blank, it willremain accurately centered (Photo 6).5. Remove the blank; thenremove the faceplate. Make surethat the faceplate is absolutely cleanof rust and residue by wiping orscrubbing it with lacquer thinner.Cover the faceplate with the doublefaced tape and mount it on the outside of the blank (Photo 7).

6. Remount the blank on thelathe-its open side now faces thetailstock. Use a block of wood and thetailstock center to clamp theblank/faceplate assembly (Photo 8).

7. Complete the back side of therim by power sanding, using a dril land a 5" cushioned disc (Photo 9and Sources). Power sanding is afast and effective way to true upany slight irregularities.Turn the open side

8. Determine the shape of the rim:bead, flare, rolled edge or jus t a gentletransition into the bottom of the plate.If you intend to do a bead, lay it outwith a parting tool (Photo 10),andfinish the shape with a detail/spindlegouge (Photo 11). Then complete therim (Photos 12 and 13).

9. Use the bowl gouge to shape.the plate's interior (Photo 14). Workfrom the rim towards the center instages, one section at a time. The goalis to complete the turning for eachsection as you go. Consider the wallthickness as you create the transitionfrom the rim to the bottom of theplate. Cut in decisively-it's difficult togo back and rework this shape later,due to the lack of support. Leave thetailstock in position until only a 2" dia.section remains at the center (Photo15). Remove the tailstock and peeldown this remaining section.

10.The bottom of the plate's interior is usually flat or curves gently tothe center. Remember that you often


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TumingWoodhave very little thickness to workwith on these projects, so don't overdo the hollowing-leave the bottomof the plate at least 3/16" thick. I normally shape the bottom with thebowl gouge, followed by very lightscraping with a square-ended scraper(Photo 16). Sanding completes theprocess. I prefer to sand this side ofthe plate by hand, especially if it hasbeads and other fine details.Apply the Finish

11. Removing the plate from thetaped faceplate can be challenging,because of the strong bond. The keyis a steady, even pull for 20 to 30 sec onds (Photo 17).lf the project hasturned ou t to be on the thin side,work some mineral spirits or naphthainto the area of the tape and wait afew minutes. Then tr y the slow andsteady pul l -don't force it.

12. Clean the bottom with minerai spirits or naphtha; then sand lightly by hand.

13. For functional objects that willbe well cared for, I like to use foodsafe oil finishes, such as pure tungoil, walnut oil or mineral oil (Photo18).Tung and walnut oils will eventually dry; mineral oil never dries. Forstain resistance, I suggest using afilm -type finish, such as a wiping varnish. Plan to apply at least four coats.Once they've fully cured, these finishes are food safe.SOURCES Packard Woodworks,www.packardwoodworks.com. (800)683-8876, High Strength DoubleFaced Tape, 1" width, #121091,$20.95; 2" width, #121092, $41.95. The Sanding Glove, _(www.thesandingglove.com. (757)665-4597), 5" Disc Holder, #SM5M,$15.95; 12-Piece Sanding DiscAssor tment , #275-AST-5", $5.95.Alan Lacer is a woodturner, writerand instructor living near River Falls,WI. You can find ou t more about Alanand his work at www.alanlacer.com.

Complete the rim. It can be taperedor flat and wide or narrow, dependingon your taste and the shape you've cre-ated on the outside of the plate.

Remove the waste at the center,using the opposite side of the gougeand working in the opposite direction.Plunge in and down to full depth. Backoff the tailstock to complete the job.

Remove the plate from the faceplatewith a slow, steady pull. Remove anytape or residue that remains with minerai spirits. Finish sand the back side ofthe plate by hand.

30 www.AmericanWoodworker.com AUG U 5 T 5 EPTE M B E R 2009

Establish the plate's depth. Cut indecisively from the edge of the rim,plunging down and towards thecenter.

Make a light, cleaning cut with thebowl gouge to blend the transitionbetween the previous two cuts. Switchto a square-ended scraper to level thesurface. Then finish sand this side ofthe plate.

Apply your chosen finish. This is puretung oil.


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ToolNut Tools Our Readers Love

Wartime Scroll SawMY GRANDFATHER, HENRYHAUER, made this foot-poweredjigsaw during World War II.TheDepression had taught him to bevery frugal, so he built the saw fromorange and grapefruit crates. (Youcan make out the words "CaliforniaFruit Exchange" on the fixed arm,which steadies the blade.) As a toolmaker.in Detroit, Grandfather clearlyknew how to build a functionalmachine.The pedal mechanism hasgone missing, but it was connectedto a solid wood pulley located onthe left side of the saw.

My grandfather built two of thesejigsaws-one for himself and one forhis brother. They cut out pictures

from magazines, glued the picturesonto pieces of wood, and went upinto the attic to saw puzzles into thewee hours. The puzzles weren't fortheir own enjoyment, though-theywere sent through the USO to thetroops fighting in Europe.The puzzlemakers also wrote generic letters tothe soldiers describing the weather,news, sports and life's events, andpackaged the letters and puzzles inold cigar boxes. Many of the youngmen overseas never got mail fromhome and they were often bored. Apuzzle and a letter from home were,in a small way, things that my grandfather hoped might relieve thedrudgeries of war. I proudly displayhis tool in my shop!

Martin Hauer

We'll pay you $100 to share your favorite tools, new or old, w ith fellow readers. Contact us by e-mail attoolnut@americanwoodworker .com,or mail us at American Woodworker, 1285 Corporate Center Drive,Suite 180, Eagan, MN 55121.If pOSS ible, please include digital photos of your tools.

32 wwwJUnericanWoodworker.com AU G U 5T I S E PT E M BE R 2 0 0 9

Tool ChestOdysseyWHILE ON VACATION in Maine,1purchased this classic tool chestat a yard sale.The case was missing its handle and had only twodrawers remaining.The seller saidhe had every intention of restoring it. Of course, he never gotaround to it. I bought the chest for$15 and proudly showed it to myfriend Roger, who immediatelyidentified it as an H. Gerstner andSons tool chest, made in hishometown of Dayton, Ohio. (I livein Alabama.) Roger volunteered totake it back to Dayton and checkon having new drawers made forit by Gerstner. The company stillmakes a similar chest, the No. 52Journeyman's Tool Chest, and sellsreplacement hardware.

On the way back to Ohio,Roger's car caught on fire at aMassachusetts Turnpike tollbooth.The car was totaled, but somehowRoger managed to save the chest.Back in Dayton, the drawerreplacement deal didn't work outbecause it was too expensive.Roger sent the chest back to meon a fishing boat headed downthe Ohio and Mississippi Rivers. Ibuilt the new drawers in mywoodshop and bought a replacement handle.Now that's a strangejourney! I wonder-where are themissing drawers?

Harold L. Trammell


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BnildYour Sldllswith lonnie Bird

Routing

AUG U 5T I S EPTE M B E R 2009 wwwAmericanWoodwolker.com 35


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,Template routing is a method for guiding a router bi t with a shop-made pattern, ortemplate.Here, the.bearing on a flush-trim bi t follows a plywood template.

Identical parts with smooth, un iform surfaces are ~ a s y to make using a o m , n l , ,

Precision joints can also be made with shop-made templates. I designedplate for routing half-blind dovetails in a drawer front.

36 www.AmericanWoociwI)daeI'.c:om AUGUST/SERTEMBER 2J109

NO OTHER METHOD for shaping isasfast or efficient as template routing. Itworks like this: the part to be shaped isfastened to the template; the router follows the template as it is guided aroundthe template's perimeter (Photo 1) .

Template routing ensures that eachpart is identical; whether you're shaping six parts or sixty, each one matchesthe template (Photo 2) .

Template routing is versatile, too.You can use this method for shapingalmost any part, large or small. It worksfor making straight cuts, curved cuts,and even for moldings. The part canbe as ordinary as a straight-sided shelffor a corner cabinet or as complicatedas a serpentine drawer front, whichhas a convex section between twoconcave ones.

There are many methods of templaterouting, which I'll explain below.Theyrange from simple techniques, such asrouting that corner cabinet shelf. toadvanced setups, such as shaping acomplex S-curve molding (see RoutingA Gooseneck Molding, page 41).

Template routing is not just for production work. In fact, there are somecuts, such as shaping the entire edgeof a curved tabletop or cutting acurved groove, that cannot be routedany other way.Once you understandthis technique and use it a few times,you'll begin to imagine other possibilities for its use . I even use a templa tefor routing some joints (Photo 3).Straight-sided partsEven though most straight-sided workis crosscut or ripped on a tablesaw,there are times when the tablesaw isnot as practical as using the routerand a template. For example, the diamond-shaped shelves of a corner cabinet have straight sides, bu t most ofthem are not parallel. Odd shapessuch as these are quickly and easilyshaped with a router, a template and aflush-trim bi t (Photo 4).Curved partsCurves can add a lo t of interest to apiece of furniture. Routing thesecurves, following a template, is one of


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the best ways to ensure that thecurves are uniform. Curved legs anddrawer fronts, for example, are easy toduplicate (Photo 5). All you have to dois to make one perfectly shaped template, and the router bi t will do therest of the work for you.Seemingly difficult curves, such as agooseneck molding, can be easilyshaped with a template. After therough shape of the molding is createdwith a bandsaw, a template and a flushtrim bit can be used to smooth awaythe bandsaw marks and fair the curves.Afterwards, the molding profiles can beshaped using an overarm guide at therouter table-more about tha t later.Routing grooves and dadosAlthough there are a number of waysto cut grooves and dados with arouter, using a template is among themost accurate methods-and in somecases the only choice available. Whenconstructing fine casework, a templateensures accurate alignment of dividersand partitions (Photo 6). Instead ofmeasuring and marking the locationof the dados, a graduated set of templates, which register to the side of thecase, provide pinpoint accuracy.

Tambours slide in curved groovesand disappear when opened. Routingmatching curved tambour grooves,both S-curved and semi-circular, is noproblem with a template (Photo 7).Methods ofguiding the routerThe key to making various cuts with atemplate is to guide the routerthrough the intended path. There areessentially four methods of doing this:

1) Using the guide bearing on theend of a bit;

2) Using a bushing attached to therouter's sub-base;

3) Using the sub-base of the router;4) Using an overarm guide

attached to the top of a router table.THE GUIDE BEARING METHODThe most convenient method for guiding the router is with the bearing onthe end of a bit. Most profi le bits have

A straight cut that's no t parallel to another side is hard to set up on a tablesaw, so it's anideal candidate for template routing. This is a diamond-shaped shelf for a corner cupboard.

Curved parts, both large and small, can be duplicated by template routing. Here, I'musing a tall flush-trim bi t to shape a small serpentine drawer front.

Templates are also useful for routing grooves and dadoes, such as this dado for apartit ion inside a cabinet. The template precisely locates the dado.

AUG U ST I 5 E P TE M B E R 2009 www.AmericanWoodworker.com 37


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Using a curved template is just about theonly way to make a curved groove. Thisgroove will receive a tambour door.

Some flush-trim bits have two bearings.These bits are ideal for avoiding tearoutwhen routing curves. By flipping the template and workpiece, you can always routdownhill, with the grain.

There are many.ways to guide a routerbi t around a template. The simplestmethod is to use a bi t with a guide bearing. Here, the template was fastened to thetop of the workpiece.

A bushing mounted in a router's sub-baseis also a common method of guiding a bi taround a template. This method is well suited for cutting grooves of any width.

A router's sub-base is also a good gu ide for following a template. Here, I'm routingmortises inside a carcase. Setup is straightforward and convenient.38 .. www.Americ:anWoodworbl'.c:om A VG V5 TIS E PTE M B E R 2009

a guide bearing which can be usedto shape the edge of a curved surface such as a tabletop. Router bi tguide bearings are preciselymachined and mounted concentricto the bit's profile. This ensures thatthe profile's depth remains consistent along the entire edge that'sbeing shaped. The small diameter ofmost guide bearings allows the bitsto be used to shape tight contours(PhotoS).

Flush-trim bits also use a guidebearing. These bits are ideal forsmoothing irregular shapes, such asthe sloped edge on the sides of aslant-front desk, as well as smoothing tight bandsawn curves.

Most flush-tr im bits have a bearing below the bit, but others have abearing above the bit, on theshank. These bits are often called"pattern bits" in tool catalogs, andare quite handy when it's moreconvenient to mount a template onthe top of a workpiece, rather thanon the bottom.

Some flush- trim bits have twoguide bearings, one on the end ofthe bi t and a second bearing on thebit's shank (Photo 9). This designallows you to always cut "downhill"with the grain and avoid tearout.When routing a semicircle, forexample, you rout one half of thearc with the template positionedbelow the workpiece, riding on thebearing on the bit's shank.To routthe other half, you fl ip over theworkpiece and template, so thetemplate is above the workpiece.Then you readjust the bit's heightand ride on the bearing at the endof the bit. This bi t is very useful forany S-shaped curve, where thegrain of the workpiece is likely tochange direction.

Designing a template to usewith the guide bearing method isqui te simple. Just make the template the exact size and shape asthe pattern you wish to duplicate.THE GUIDE BUSHING METHODWhen cutting on the end of the bit,


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Fig. A Calculating the Template Offset~ 7 E M P L , 4 7 E

When using a guide bushing, there's always a small gap between the bit and thetemp late.You 'll need to know this offset when designing your template.To calculate the offset, measure the diameter of the bit, subtract it from the outsidediameter of the guide bushing, and divide the result by two.such as when routing a curved groove,I use a guide bushing. (Guide bushingsare also called "template guides" intoo l catalogs.) The guide bushing isjust a metal ring which fastens to thebase of the router (Photo 10). Theserings come in a variety of diametersand lengths for use with differentdiameter bits.When selecting a guidebushing, keep in mind that there mustbe at least a 1/64" gap between the bi tand the bushing, so the bit doesn't cutinto the bushing.The inside diametersof many bushings are 1/32" largerthan the diameters of commonly usedstraight bits.

Unfortunately, guide bushings areusually not perfectly concentric to therouter collet, because the router 's subbase isn't perfectly centered on thebase.This means that the gap betweenthe bit and bushing may be different onone side of the bushing than on another side.The practical result is that thedistance between the bit and templatemay vary, depending on how you orientthe router to the template.However,most of the time the slight amount ofeccentricity is not an issue. When eccentric ity matters, I mark a spot on the baseand am careful to always guide therouter from that point.This ensures thatthe distance from the cut to the template remains constant.

When you're designing a templateto use with the guide bushing method,first select the bushing and bi t andinstall them in your router. Next, measure the diameter of the bushing andsubtract the diameter of the bi t (Fig .A) .Divide the result in half to give you thedistance between the template andthe cutting edge of the bit.

THE SUB-BASE METHODUsing a router's sub-base to guide a cutis straightforward and convenient,especially when routing certain joints(Photo 11).When using this method, Iprefer a square or rectangular sub-baseas opposed to a round one.Guidingeach cut from the same side of asquare sub-base ensures that the spacing is consistent. Some plunge routersub-bases have one straight side, forexample, and I prefer to reference fromthat side when template routing. I havealso made or bought square or rectangular sub-bases for some of my routersto use when accuracy is critical.However, you can also achieve consistent results by guiding of f of a roundsub-base.Just mark a spot on the subbase with bright red paint and keepthat spot against the template.

When designing a template to usewith the sub-base method, you mustalso factor in an offset, similar to theguide bushing offset above. Measurethe diameter or width of the base, subtract the diameter of the bit, anddivide the result in half. This will giveyou the distance from the template tothe cutting edge of the bit.THE OVERARM GUIDE METHODAn overarm guide is a shop-built devicethat mounts on top of a router table(Photo 12).lt consists of a long armwhose end is curved to match thesmallest radius on the template,a support for the arm, and a bearing securelyfastened to the arm.You may purchasethe bearing at an auto supply shop orborrow a bearing from a router bit.This method is similar to using aguide bearing, but unlike a guide

Template Safe.tyI teach woodworking to new studentseach year, and of course I'm part icularly concerned that they learn to worksafely. We often use templates forrouting, and before we get started, Icover these safety guidelines:1. The templa te should be large

enough to safely distance yourhands from the bit.

2. The template should be securelyfastened to the workpiece.

3. Screws, nails and clamps should bepositioned out of the bit's path.

4. The template should extendbeyond the workpiece, on bothends. This way, the guide bearingor bushing will make contact withthe template before the bi t comesin contact with the workpiece.

5. Avoid heavy cuts. A fight cut issafer and creates a smoother surface.

6. When using a router table, install ormake a guard.

7. Never climb cut. (Climb cutting isrouting in the same direction thatthe bit rotates.) Climb cutting canbe dangerous because the routerbi t can grab the workpiece anddraw your hands into the bit.Always cut against the rotation ofthe bit. When routing by hand, therouter should be pushed in acounter-clockwise direction forexternal cuts (see draWing, below).When the cut is internal, the routershould be pushed in a clockwisedirection. When the cut is made ata router table, the work should befed from right to left. An internalcut at the table should be made ina counter-clockwise direction.

o((Odl,I CLOCKwISE ItII :DlrE,((II,4LLY U'((OdlCOLblrE,((-CLOCl


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An overarm guide on a router table is afairly sophisticated device for following atemplate, but it allows you to use router bitsthat don't have a bearing, or make cutswhere a bearing would get in the way.

I prefer cabinet-grade plywood for makingtemplates. I design them to extend an inch orso beyond the workpiece, which ensures asmooth entry when starting the cut.

When making a heavy cut or shapingsmall parts, I build a template jig to securelyhold the workpiece. The jig usually hasstop blocks to position the workpiece.

bearing, the overarm guide can bepositioned eccentric to the bit's profile. This allows for shaping into theinterior of the stock where a bearingguided bit cannot reach. I use thistechnique when shaping large molding profiles on curved surfaces (seeRouting A Gooseneck Molding, page41). The arm is positioned above thebi t and follows the curve of the template. After each cut. the arm isbacked away from the bi t to increasethe depth of subsequent cuts.

Designing a template for use withan overarm guide is usually prettystraightforward. Make it the samesize as the shape you'd like to duplicate, as when using a bearing-guidedbit. The offset is created by movingthe arm, rather than by adjusting thesize of the template.Template materialOne of the most important elementsin template routing is the material ofthe template itself.Although I'veused a number of materials throughthe years, 1prefer cabinet-grade plywood, which is solid and stable.

All plywood isn't created equal,though; cabinet-grade plywood is freeof voids, which can catch the guidebearing and spoil the cut. Less expensive plywood may have voids, whichyou won't be able to see until you cutinto it. Cabinet-grade plywood is easyto cut and shape, and it is readily available at hardwood lumberyards.

After many uses, the edge of aplywood template can begin toshow signs of wear. Before anyproblems develop, 1usually make anew template from the old onewith a flush-trim bit.Making the templateWhen making a template, I take thetime to make it perfect; any irregularity in the template will be duplicated in the workpiece, or dozens ofworkpieces. On a straight template, Imake sure that the edges are tru lystraight, and the angles are correct.This is not a good time to take anything for granted.

40 www.AmericanWoodworker.com AUG U 5TI S EPTE M B E R 2009

1use a number of methods todraw curves on a template. I mayuse a compass, a French curve ordraw freehand. Often I draw theshape on the computer w ithAutoCAD, print the drawing, andglue it to the template with contact cement .

After bandsawing the profile, Icarefully smooth the curves with filesand sandpaper.This is the fussy part. Icarefully inspect the template tomake sure the curves are fair, checking by eye and by feel. If there's ahump or flat spot, it's back to the fileor sanding block.

When making a template, 1extendthe template ends beyond the lengthof the workpiece by at least an inchor two (Photo 13).The guide bearingthen makes contact with the template before the bi t makes contactwith the workpiece.This ensures asmooth entry and exit when makingthe cut.The template jig1often use a template jig for heavycuts or for securing small work thatwould otherwise be unsafe to shapewith a router (Photo 14).Templatejigs demand a little more work thanjust making the template.The purpose of the jig is to securely fix theworkpiece as it is routed.Thisrequires adding stop blocks on thejig to position the workpiece and tocounteract the forces of the spinningbit. I begin by making the template(the jig's base) , then glue the stopblocks in position and fasten themwith screws.Sawing the workpieceOnce the template or jig is complete, Iuse it as a pattern for laying outcurves on the workpiece.After tracingthe template,l use a bandsaw to cutjust outside the layout line. I aim for a1/16" margin. If it 's less than 1 16",1run the risk of cutting within the template's outline. A margin greater than1 16" requires a heavy cut, which cancause tearout or pull the workpieceloose from the template.


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Routing aGoosenecklVblding

bearing screwed to its end. Thebearing rides against the template, and can follow inside oroutside curves and straightsections.

MAKING THE MOLDING onthe top of this clock requiredan unusual method of template routing: using an overarmguide (see photo below). Theoverarm guide is attached tothe top of a router table, and isreally just a long arm with a

The overarm guide allowsyou to shape a profile thatwouldn't be possible to makewith standard bearing-guidedbits.Let me walk you throughthe steps of making this molding, and I'll show you how theguide works.

1 irst, I made atemplate the

2 Next, I shaped alarge cove using

3 n this step, I cut asmall S-shaped

shape of the goose- the overarm guide to curve next to the coveneck's inside curve. I bear against the tem- using a standard ogeetraced the template plate. This required a bi t. (I removed theonto the workpiece, number of light cuts, bearing from the bit.)which at this point is which I accomplished Once more, the over-extra-wide, and band- by moving the overarm guide follows thesawed the curve, stay- arm guide slightly far- template.As with theing 1/16" away from ther back from the cove bit, this cutthe line. Next, I fas- cove bi t each time. In would not have beentened the template to the final cut, you can possible with a bear-the back of the work- see that the center of ing-guided bit,piece, installed a f lush- the bi t is offset from because the bearingtrim bi t in the router the edge of the tem- would not have fi ttable, and shaped the plate. This cut would within the cove.workpiece to match not have been possi-the template. ble with a bearing-

guided bit (unless, ofcourse, it had a cus-tom-made profile).

4 o complete theprofile, I flipped

over the workpieceand template, andused a roundover bit.This specialty bi t has abottom bearing whichrides directly on theworkpiece.

5 completed themolding by bandsawing the outsidecurve, then smoothedthe curve with anoscillating spindlesander.

lonnie BhdLong-time woodwork

e ~ a u t h o r a n d t e a c h e ~Lonnie runs a schoolin East Tennessee. Youcan find out moreabout his school atwww.lonniebird.com.

AUGUST/SEPTEMBER 2009 _ J l m e r i c a a W ~ _ r . c o m 41


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I use brads or screws to attach most templates to a workpiece, but where holes willmar a finished piece, I use woodturner's double-faced tape.

16Toggle clamps are ideal for ho lding a workpiece in a template jig, particularly when youhave a lot of duplicate parts to make.Mounting a new part in the jig is quick and easy.

I prefer to use a router table for template routing whenever possible.Even though I'mnot using the fence to guide the work, the fence provides dust collection and a guard.

42 www.AmericanWoodworiler.com AU G U ST /.S EPTE M 8 E R 2009

Fastening a templateI use brads, screws, double-faced woodturner's tape or toggle clamps to fastenthe template to the workpiece. The eas-iest method is just to attach the template with a few brads.This methodworks well for small work and lightcuts; it's fast and the nails grip well. Forlarger and heavier cuts, I opt for screws.

With either method, it's critical thatyou position the fasteners out of thepath of the bi t.Although nails andscrews both leave holes in the finishedwork, that's not necessarily a problem.Usually, the holes will be hidden fromview in the completed workpiece.

When holes from a metal fastenerwill not be acceptable, I use doublefaced woodturner 's tape (Photo 15).The tape is made of cloth and hastremendous holding power. Becausethe tape is pressure sensitive, I clampthe workpiece to the template priorto routing.

Toggle clamps are ideal for templatework, especially when there are a largenumber of parts to be routed (Photo16). They open and close quickly andhave good holding power. I use toggleclamps on most of my template jigs.Usually, I have to add a block to the jigto bring the toggle clamp approximately level with the workpiece.

Once your template and stock areprepared, you're ready to make tHecut. Remember to adjust the bit'sheight. If you're using a bearing-guided bit, position the bi t so that thebearing makes full contact with thetemplate.

The router table is bestWhenever I have a choice betweenusing a hand-held router or a routertable, I always opt for the table. Thisalso holds true when template routing. Even though I'm not using therouter table's fence to guide the workpiece and limit the cutting depth, thefence provides dust collection and amounting point for a guard (Photo17). Using the router table is cleanerand often safer than pushing a routeracross the work. b...


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AUG U 5 T I S EPTE 111 B E R 2009

StickleyDiningChairsBUild accurate replicasofa classic design.By Seth Keller


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HAVING BUILT THE Mission oakdining table that recently appearedin American Woodworker (Dec/Jan2009, issue #139), my next projectwas to build chairs to go with it. Afriend had a vintage set that Iadmired, and she graciously loanedme a couple chairs (one with arms,one without) to inspect and measure. These chairs were classicMission style, and although theywere a bi t small by today's standards, they were comfortable to sitin. I was excited to find labels identifying their manufacturer as theStickley Brothers Company, becauseaccording to the magazine article,the table I had built was also basedon a Stickley Brothers design.

I did some research, usingStickley Brothers Quaint Furniturecatalog reproductions. Tables andchairs were most often picturedindependently, but in one catalog, Ifound these chairs, identified as#479-1/2, facing the table that I hadjust built. That was it; these were theright chairs for my table.

Including an arm chair as part ofa set is optional (see "The ArmChair," page 46), so in this story, I'llfocus on building the side chairs. Atfirst glance, these chairs look p ret tysimple to build, thanks in part tothe ir rectilinear style. But closerinspect ion reveals subtle detailsthat make them a challenging project. Of course, they're made out ofquartersawn white oak, with the

This chair assembles primarily with loosetenon joinery, which is a variation of traditional mortise and tenon joinery. Thismethod simplifies the complex jointsbetween the legs and rails.

Layout the rail mortises on the backlegs. Clamp the legs together so the mortises are perfectly parallel. Use a square totransfer the back rail mortises to the legs'inside faces.

The mortises for the crest and lumbar railsare skewed, rather than parallel to the frontface of the back legs.To skew these mortises, install a wedge between the leg and theedge of the ji g. Measure to ensure the mortises are coplanar.

Start by sawing out the back legs.To getthe most from your lumber, nest themtogether.Remove saw marks by sanding,scraping or planing to the layout lines.

To rout the mortises, clamp the legagainst the side of the jig and flush with itstop.The router's edge guide bears againstthe side of the jig when you rout, so themortises are parallel to the edge of the leg.

Rout offset mortises in the ends of thecrest and lumbar rail blanks. Draw on therails' curved shape, so you can locate themortises. Clamp the blank vertically, so it'send is flush with the jig's top.

AU G U 5TI S E PT E M B E R 2009 www.AmerlcanWoodworker.com 45


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Saw out the crest rail in two steps. Firstsaw out the bowed faces. Then reattach theoffcuts to saw the curved top and bottomedges.

Chop mortises for the back slats in thecrest and lumbar rails. Drill out the centers,then use chisels to remove the waste andsquare the corners.

Use a tenoning jig to cut tenons on theback slats. Shave a small amount off bothfaces of each slat, to create the cheeks. Thenuse a handsaw to cut the shoulders.

quartered faces presented on thechairs' fronts and backsides.

I couldn't disassemble the chairsI'd been given, so I made thoughtfulchoices about the construction techniques I would use. Most of my jointsare fitted with loose tenons (Photo1 ).In addition to creating strongjoints, loose tenon jo inery is versat i le-a major consideration, as eachchair requ ires several types of mortise-and-tenon joints.All of the loosetenon mortises are routed with asimple shop-made jig (Fig. A) . I decided to use traditional mortises andtenons to assemble the curved railsand back slats.Make the legs

1.Cut lumber for the back legs torough size (Part A, Fig . B, page 47, andCutting List, page 51).

2. Make a full size pattern for theback legs (Fig. C). Trace the profilesonto a blank, nesting the second legbehind the first.

3.Carefully cut the legs on theband saw (Photo 2) . Use sc rapers,planes or a sander to remove thewaste.

4.Cut the fron t legs (B) to finaldimensions.

5.Clamp the f ront and back legs toeach other in pairs to layout the mortises (Photo 3 and Figs. D, E and F). Allof the seat rail mortises and lowermortises are centered on the legfaces. Note that the seat ra il mortisesare 3/8" wide. All the other mortisesare 1/4" wide. Whenever possible, orient the legs so the mortises will becut on their least attractive faces. Onthe curved back legs, use a square totransfer the mortise locations to thecorrect leg faces.

6. Mark the back legs for the crestrail and lumbar rail mortises (Fig. C) .These mortises are not centered onthe leg faces and they run at askewed angle.They must be in thesame plane for the back assembly tofi t properly.To determine their locations, you must line up two points onthe inside face of each leg: one at thetop edge ofthe lumbar rail, 1/4" infrom the leg's front edge, and the

46 www.AmerfcanWoodworker.com AU G U STI S EPTE M B E R 2 00 9

other at the top edge of the crest rail1/8" from the front edge. Draw astraight line between the two points.Use this line to locate the crest andlumbar rail mortises.

7. Rout all the 3/8" mortises forthe seat rails first, then rout all the1/4" mortises-it 's easier to changeleg pieces in the mortising jig than itis to change router bits .

8. Set up to rout the leg mortises.Clamp the mortising jig to yourbench.Attach an edge guide to yourrouter and install a 3/8" sp iral bi t (seeSources, page 51) . During operation,the router rides on top of the jig ; itsbase straddles the edges and itsedge guide bears against one side.Layout a mortise on a test piecethat's the same size as a front leg.Clamp this piece against the side ofthe jig and flush with its top.Thenmake test cuts to center the mortiseand set the dep th.Adjust the edgeguide to center the mortise; adjustthe plunge mechanism to set thedepth. Rout to the layout lines toestablish the length.


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9. Install each front leg and rout 1deep mortises for the front and sideseat rails (Photo 4). Start by plunging1/ 8" deep; com plete each mor tise bymak ing successively deeper passes .

1O. lnstall each back leg and rout 1"deep mortises for the side and backseat rails. For the side seat rails, clampthe bottom half of the leg against theside of the jig and flush with its top,the same way you clamped the frontlegs in Step 6.

11. Set up to rout the lower railmortises. Install a 1/4" spiral bit in therouter, adjust the plunge depth to 7/8",and confirm that the mortises will becentered.

12. Rout mortises for all the lowerrails in the front and back legs.

13. Mortise the back legs for thelumbar and crest rails. These mortisesrun at an angle, so use wedges tohold the legs in the correct position(Photo 5) .Once the leg is wedged inposition, adjust the edge guide toproperly locate the mortises.Front and back assembly

14. Cut the front seat rail (C) andfront lower rail (D) to final dimensions. Mark the center of the lowerrail and strike a pair of arcs .Cut thecurves on the band saw and smooththe edges.

15 .Cut the back seat rail (E) andback lower rail (F) to final dimen-sions.Cut blanks for the crest rail (G),

Fig. A Mortising Jig

CL4 MP ,f'4ILI " x I " x 30 "

Fig. B Exploded View

lumbar rail (H) and back slats (J) to


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Glue the back of the chair together. Make sure all the joints are square, and measure diagonally to ensure the assembly is square. Follow the same procedure to glue the front assembly.

To .measure and mark he side rail blanks,orient them as if you were standing behindthe chair.This keeps all of the importantangles facing the correct direction for cutting on the miter saw.

Use a tacked-on wedge to position theside ra i ls for mortising. The wedge levelsthe rai l's mitered face across the top of thejig, so the mortise will align with the corresponding leg mortise.

Cut the ends of all tbe side rails. The.frontends are simply mitered, bu t the back endangles are both mitered and beveled.Adual-compound mite r saw handles th isoperation with ease.

Lightly tap the clamped rail with a mallet,to level its face with the j ig from end toend. Th is two-step method works to position both ends of the rails-mitered andcompound mitered-for mortising.

48 www.An:ericanWoodworker.c:om AU G U ST1S E PTE M 8E R 2009

and lumbar rail blanks were mounted.Change bits and rout 3/8" xl"deep mortises in both ends of thefront and the back seat rails.

19 . Mill loose tenons (K and L) tofi t the 1/4" and 3/8" mortises. Planelengths of stock to appropriate thickness and rip them to width. Then useyour router table and a 1/8"roundover bi t to round the edges ofthe 1/4" stock (see Sources). Maketwo passes, one on each face. Roundthe 3/8" stock, using a 3/16" bi t (seeSources). Use a pull saw to cut individual loose tenons from each lengthof stock.The tenons for the seat railsare mitered on one end. I make my1/4" tenons about 3/16" undersize inwidth .This allows some adjustabi litywhen I'm assembling the chair; it'sespecially helpful for fitting the compound miters between the side railsand back legs.

20 .Assemble the f ront legs andrails without glue, to check the fi tand alignment of the joints. Do thesame with the back legs and ra i ls.

21 .Bandsaw the bow-shapedcrest and lumbar rails from theblanks (Photo 7) . Reattach the crestrail offcuts with tape; then bandsawthe crest rail's curved top and bottom profiles.

22. Mark the mortise locations forthe back slats on the crest and lumbar rails. Use the offcuts from sawingto securely clamp these bow-shapedra i ls in a vise. Then chop the 3/16"wide x 1/4" deep mortises (Photo 8).

23 .Mill 3/16" x 1/4" tenons on theback slats, using a tablesaw tenoningjig and a handsaw (Photo 9).24.Assemble the slats and curvedrails to test the fit. Then assemble theentire chair back to check the fit.

25. Finish sand all the parts andease the edges-I use a laminatetrimmer and a 3/32" roundover bi tfor th is ob (see Sources).

26.Glue the entire back legassembly on a flat surface (Photo10).

27. Glue the front assembly thesame way.


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Fig. F Front View: Front Assembly

More on the WEBwww.AmericanWoodworker.com/Sti ckleyarmchair

Fig.C Back Leg Fig.D Side View

Fig.G Crest and Lumbar Rails

Fig. E Front View: Back Assembly -II : I \ !~ - - - -,,------------

i----I--

i----I - -i----~-_ "I

----I - -i----I--

i----I--

i----

L

n, I! .,'I~I ,, II ,, II, ," II _

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t.

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( Jj2-Y2"I'

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II' I" G!f'J2)! ~

rc - 1 1, .:, j'- Fig. H Top ViewI~\l-I

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c; I J- .J'"'"f ]C ,t Fig.J Seat Frame

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1< 12 -3/ 4 "---'1f r-- ------\"I I I, I \00 I~ 1I f 10~ :I !i I \kJ- - - - - - - , ~ ~ ~ : - - --';l

- : fh"x - : fh" NOiC'I/ ( / y p )AU G U S T , S EPTE M B E R 2009 www.AmericanWoodworker.com 49


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Glue the chair together. Use a sliding bevel square to make sure both sides widen at thesame angle.

Glue and tack a sub-frame to the seatframe. The sub-frame fits between thechair's seat rails, so the seat frame partiallyoverlays the top of the rails.

a 450 angle to create a tapered edge, so theseat makes a smooth transition from thetop to the side.

Wrap muslin around the seat frame and Install the completed seat. It's a frictionstaple it where the seat frame and the sub- fit, so no screws are necessary.frame meet. Carefully cut the muslin towrap the corners. Repeat the process withthe leather upholstery.50 wwwAmericanWoodworker.com AU G U 5 T f 5 E PT E M BER 2009

Make the Side Rails28. The chair seat is wider at the front

than the back (Fig. H), and the legs areslightly canted (Fig. D).This makes thechair more comfortable and stable, butit also means that the rails on the sidesof the chair are mirrored parts withcompound angles. A dual-compoundmiter saw is the best tool for makingthese angled, mirror-image cuts. I keepall the rails (M, Nand P) positioned as ifthey were in the chair while I measure,mark and cut the ends. (Photo 11).

29. Cut all of he front ends first (Photo12).These are simple 83 miters.

30. Mark the length of each rail,measured at the top outside edge.This length increases with each successively lower part (Fig. D) . At themark, draw a 97miter across the to pedge of each rail and a 92 bevel oneach outside face.

31.At the line ,cut 97"/92 compound miters on the back end of allthe side rails.

32. Mark mortise positions on theends of all of the rails.

33.To align with the leg mortises,the rail mortises have to be perpendicular to the angled faces of the ends ofthe rails. Make an 7 wedge to mount aseat rail in the j ig- the same wedgeworks for both ends, because theangles are complementary (Photo 13).The end of the rail should be just abovethe top of the jig.

34. Gently tap the end until the faceis perfectly flush with the top of the jig(Photo 14). Double-check with asquare laid across the ends of the jig.Then tighten the clamp firmly.

35. Install the 3/8" spiral bi t in therouter. Set the fence and bi t for correctlocation and depth, and rout 1" deepmortises into each end of both sideseat rails.

36.Replace the bi t with a 1/4" spiralbit. Then follow the same procedure torout 1/4" x 7/8" mortises in the middleand lower side rails.

37. Finish sand all of the side railsand ease the edges.Assembly

38. Assemble the entire chair withou t glue to test the fit. Use a slid ing


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bevel square to make sure the anglesof the side seat rails match.You mayhave to finesse a few joints by shavingor trimming the tenons, so the chairclamps up even and square.

39 .Once you've fine-tuned the fit,disassemble the chair and glue ittogether (Photo 15).40.Cut angled front and rear cornerblocks for the chair (0 and R) .Orientthe grain to run lengthwise on theblocks. Drill countersunk shank holesfor screws.

41 .Clamp the corner block in placetemporarily, 3/8" below the top of theseat rails.Then use the shank holes todrill pilot holes into the seat rails.Remove the corner blocks, apply glueto the angled surfaces, and screw theblocks in place.42. Locate and drill 3/8" dia. x 3/ 8"deep holes in the legs for the decorative dowel pegs (5). The pegs flank thecrest rail, the front and back seat rails,and the front and back lower rails.Apply glue to 3/8" oak dowels andinsert them into the holes. Removeany glue squeeze out. Saw or sand thepegs flush.

43. Apply a finish. I used one developed by conservator Kevin Southwick.To learn more, visitwww.americanwoodworker.comlTableRestoration.Upholster the SeatYou can bring the chairs to an upholstery shop, or you can upholster theseats yourself. My cost for covering theseats in leather came to about $50 perseat (see Sources).

44. Cut the seat frame (T) out of1/2" Baltic birch plywood (Fig .J) .Center the seat on the chair. Reach

Seth Kellerdesigns and builds custom furniture in St. Paul,Minnesota.This fall, hewill pursue his MFA in3D Design at CranbrookAcademy of Art in

Bloomfield Hills, Michigan. He is excitedto explore the broader historical, culturaland artistic role offurni ture in contemporary society.

under with a pencil and trace the position of the seat rails. Glue and nail asub-frame (Ul, 1/8" inside the lineyou 've scribed around the bottom ofthe seat frame (Photo 16).

45 . Round over the top edge of theseat frame with a 1/4" roundover bit.

46. Staple webbing across the seatopening (see Sources).47.Trace the outline of the seat

frame on 1/2" foam, 3/4" oversize inwidth and length (see Sources). Usingthe bandsaw, cut to the lines at a 45 angle, for a smooth transition aroundthe edges of the frame (Photo 17).

48. Lay the foam on a clean worksurface, beveled side up. Spray adhesive onto it (see Sources). Press theseat frame onto the adhesive-coveredfoam, upside-down and centered.Trimout the corners with a scissors.

49. Lay muslin on the work surface.Lay the seat foam-top-down onto themuslin. Pull the muslin back over theedges of the seat and staple it to thebottom, at the intersection of the seatand sub-frame. Staple the sides first,then the back, and finally, the front.(Photo 18). Keep the muslin uni formlytight, but not so tight that it puckers.

50.To wrap the muslin at the corners, carefully slice it diagonally

* Parts are mirrored**At bottom; tapers to 15/16" attop** *Includes both back legs' Includes 1/4" tenons

towards the center of the corne r, andstaple the flaps into the corne r. Trimthe excess material with a utility knife.

51. Repeat this process to install theupholstery material. Then insta ll theseat in the chair (Photo 19). b....SOURCES Freud, www.freudtools.com. (800)334-4107,3/8" Up-Spiral Bit, #75 -106,$48.99; 1/4" Up-Spiral Bit, #75-1 02 ,$22.99; 1/8" Roundover Bit, #34-1 04,$28.99; 3/16" Roundover Bit, #34-1 08,$29.99. Eagle America,www.eagleamerica.com. (800) 872-2511,3/32" Roundover Bit, #156-011 2,$19.95. Rochford Supply,www.rochfordsupply.com.(866) 681 -7401 , 1/2" x 24" x 72" Foam (enoughfor 3 chairs), #331950 $5 ; 2" ElasbeltWebbing, #9141, $48; 3M Super 77Adhesive, #0192, $12. Van Dyke's Restorers,www.vandykes.com. (800) 558-123 4,3/8" x 36" Oak Dowel, #206624, $1.5 0. Leather Unlimited,www.leatherunltd.com. (800) 993-2889, Ligh t Weight UpholsteryLeather, Full Hide, #AD11 00, $139(should be enough for 6 seats).

" Five different widths: 15/16", 1-1/16", 1-13/16", 2-1/16" and 2-51 6"" 'Cut to final length after mitering front end ; see Fig . 0+Miter to fit "AU G U 5 TIS EPT E M B E R 2009 wwwAmericanWoodworlrer.com 51


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Mystery ovetai sBaffle your friends with perplexing joints.RESS A DOVETAILED BOARD into

another board with matching sockets,and you've created woodwo rking'smost iconic joint . The dovetails and

.. :>U'L."' ' ' l:> wedge the boards together, sojoint can't pull apart; the only wayto mble it is to lift the dove-

tailed board back out of the sockets.So, what if you can't lift out the

dovetailed board? How do you disassemble the joint? And how would youassemble this joint in the first place?Those are the questions to ask whenyou show a friend the dovetail jointsshown here.These puzzling jointsappear to wedge together on morethan one surface-an impossible featfor traditional dovetails!

your hand tool skillssecret behind these joints, of

.course, is that they don't assemble thetraditional way.The first two are elaborate sliding dovetails and the last is acomplex pivoting joint. There's no simple method to machine these joints;they must be cut primarily by hand.And creating them will test your handdovetailing skills, because of their compound angles and large joint surfaces.

Unlike most wooden puzzles, theseshouldn't be constantly assem-

and disassembled. The piecesfragile short grain that can

break and delicate edges thatquickly show wear. It's best to glue

the joints together as soon as they'vebeen satisfactorily fitted.

You're bound to make some mistakes, so always start by making apractice jo int. Make sure to use stock

52 www.AmericanWoodworker.com AUG U 5 T I S E PT E M B E R 20 0 9

By Jock Holmenthat is straight-grained on all foursides-it's difficult to pare against thegrain's slope. Also, it's a good idea touse hardwood for one piece and softwood for the other. This method ismore forgiving, because the softwoodpiece will conform to the hardwoodpiece when you assemble the joint.Using hardwood for both piecesrequires absolute precision, becausethere's no forgiveness: If the piecesdon't fi t perfectly, shor t grain parts willsimply break of f.

Use the same steps you would follow to cut dovetails by hand to createall three joints. Start with pieces thatare cut perfectly square. Layout thedovetails and sockets on each piece. It'sbest to scribe or knife the layout lines,so you can precisely bed your chisel forparing; if you pencil the lines, make surethey're crisp and narrow. Clearly markthe waste areas.

Make sure your tools are razor sharp.Cut the cheeks first (Photo 1).The safestmethod is to cut outside the lines. Next,remove the waste (Photo 2). Finish byparing to the lines (Photos 3 and 4).Secret to easy assemblyWhen all of the cheeks and shouldersof these joints are pared absolutelyflat, it's difficult to slide the piecestogether, due to friction resulting fromthe joints' large surface area.Fortunately, there's a work-around.Theonly places where the joints have to fi tperfectly are the faces that show. So, tomake the pieces slide together moreeasily, slightly hollow the joint surfacesthat don't show.


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DeviousEnd JointThrough dovetailsappear to cross inside thisjoint, which of course, is impossi-ble.lnstead, two dovetails run diagonallyacross the top of Piece A and two diagonalsockets are cut into the bottom of Piece B (Fig.A). Oneach piece, the layout is identical on all four sides.Make the pieces

1. Layout the dovetails and sockets. Mark the waste.

Assemblethis joint by

sliding thepieces together

from corner

2. Saw the dovetail cheeks in Piece A and the socket cheeks in Piece B(Photo 1).Sawing these compound angles accurately is tricky, so don't be a hero: Cut in the wastearea, outside the lines.

3. Remove the waste to establish the joint shoulders (Photo 2). Insert the coping saw into on e ofthe cheek cuts, turn the blade and sawto the other cheek cut.

4. Pare to the lines (Photo 3). Use awide chisel to pare the cheeks and anarrow chisel to pare th e shoulders.Beveling the sides of the chisels makesit easier to ge t into the acutely angledcorners (Photo 4).Ease the fitOn this joint, all four faces of bothpieces show.To ease the fit, holloweach dovetail cheek on Piece A andthe shoulder of each socket on PieceB. Always start paring 1/16" inside theoutside edge, to create a lip. Then pareto the center. When the pieces slidetogether, the 1 16" lips at the outsidefaces will be the only parts of the jointthat fit flush.

Fig. A

Cut the dovetail cheeks. The best st rategyis to stay outside the layout lines.

3Pare to the lines. Remove the excess materialin several thin shavings.This requires a razor-sharp chisel and light, controlled pressure.

Remove the waste with a coping saw.

To pare cleanly into the acutely angledcorners, bevel the sides of your chisel.

AUG U STI S EPTE M B E R 200 9 www.AmericanWoodworker.co m 53


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Devilish Lap JointOn a typical lap joint, Piece A wouldsimply press into Piece B. Well, thatcan't happen here. Neither can thetwo pieces pull apart. So what gives?A clever version of a tapered slidingdovetail, that's what (Fig . B) .Thedovetailed tenon on Piece A taperson the bottom, from the shoulder tothe end.On the top, its edges slopein the opposite direc tion, at compound angles. The mortise in Piece Bmirrors the tenon on Piece B, slopingup on the bottom, and down and outon the top.Make the piecesPIECE A1. Layout the dovetail and mark

the waste. Cut the 1/8" bottom ~ h o u l -der on the tablesaw.2.Tilt the blade and use a tenoning

jig to cut the tenon's angled bottomface.

3.Use a handsaw to crosscut thedovetail's canted square shoulders.. 4.Saw the dovetail's compoundangled cheeks.Cut in the waste area,outside the layout lines.5. Precisely pare the cheeks and

shoulders to the layout lines.PIECE B1. Layout the mortise and waste.2. Saw the mortise's compound

angled cheeks; cut outside the lines.3.Make a lengthwise cut in the cen

ter of the mortise, to divide the wastein half. Cut deep at the butt end and

54 www.AmericanWoodworker.com AU G U 5TI S E PT E M B E R 2009

Assemble this joint by inserting Piece Ainto Piece B.The dovetailed tenon is thin atthe end, so it fits at the bottom of the mortise.As tenon slides into the mortise, thedovetail on the face of Piece A rises untilit's flush with the face of Piece B.

shallow at the open end, following theslope of the mortise.4. Saw out the waste. Insert the

coping saw in the lengthwise cut, turnthe blade and saw to one corner.Remove the waste and then saw tothe other corner.

5.Pare to the lines.When you parein from the butt end, the acute anglesinside the mortise will trap the waste,so be prepared to progress slowly.Ease the fitFortunately, only the top face and outside end of this jo int show; the otherhidden joint surfaces can be "adjusted." The sloped bottom face of Piece Aand its beveled dovetail cheeks arethe easiest surfaces to access.Whenyou hollow these surfaces, however,do not disturb the narrow wedgeshaped end of the tenon, or the edgesof its dovetail-shaped top surface.


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DiabolicalCorner JointThe flared ends of the dovetailpins mean this corner joint can't disassemble the traditional way. And noevidence of a sliding joint appears onthe back side, so it can't go togetherlike the double-dovetailed tenon inthe previous joint.

The secrets are dovetails that slopeat three different angles and socketswith coved shoulders (Figs. C and D).They allow the boards to slide togetherin line and then rotate 90 0 to form thecorner. For the record, the dovetails onthe outside face of Piece A match thesockets on the end ofPiece B, thedovetail ends on the end of A matchthe sockets on the outside face of B,and the dovetails on the inside face of

Assemble this joint in two steps. First, withboth pieces oriented outside-face out, slidePiece B into Piece A from the back. Whenthe pieces are flush, the dovetails on theoutside faces won't fit.

Carefully ro tate the pieces to completethe joint. Bear the inside corners of Aagainst the shoulders of B as you rotate.

On the Webshow us your mystery dovetail joints at

w w w . A m e r i c a n w o o d w o r k e r . c o m / m ~ t e r y j O i n t s I

A match the sockets on the inside faceof B. The coved sockets in A provideclearance for the outside corner of B asthe boards pivot.Make the piecesPIECE B

1. Layout the dovetails and waste.2. Saw the dovetail cheeks, follow

ing-but staying outside-the layoutlines on the end and the outside face.This cut won't follow the lines you'velaid out on the inside face, becausethey slope more steeply.

3. Saw out the waste.4. Pare to the lines.On the cheeks,

work from each face to the center-onthe inside face, you'll have to removemore material. Because the outsideand inside slopes differ, the faces ofthe cheeks will be faceted, rather thanflat. Notice that the dovetails on bothfaces are the same width at the neck.PIECE A

Follow the same procedure used tocut Piece B, with this exception: Hollowout the socket shoulders, leaving tiny(1/16" wide, or less) flat lips at the outside face, to seat the joint.Ease the fitThe cuts on the ends and outsidefaces of both pieces are the ones thatshow, so theyr l1ust remain precise.Toease the fit, slightly widen the socketcheeks and shoulders on the insideface of A-but do not disturb anydimensions at the end of the board.Gently ease the facet lines. Make sureeach socket shoulder in A is hollowedinto a fair curve, so the ends of B canrotate through. b...

Fig.C

Fig. 0

Itl5:J])E rl1CEOdl5:J])E rl1CE

AU G U STI S E PT E M B E R 2009 www.AmericanWoodworker.com 55


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err

By Jason HoltzTHIS SIDEBOARD IS a hybrid-aninteresting mix of plywood and solidwood construction. It requires accurately cutting plywood parts, a lo t ofbiscuit joints (you may want to addgravy!), and a pleasant workou t with aspokeshave to shape the oval legs.

I really designed myself into a corner when I built the sideboard,

I e oar

though. I had previously made a similar piece with rectangular slidingdoors, which fi t behind the curvedlegs. I built standard doors for thispiece and intended to hinge th

american woodworker - (aug,sep 2009) (malestrom)

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