Flawiusz Józef - Historia Żydowska, Pisma chrześcijańskie i pokrewne, Józef Flawiusz
File Cabinet - 2 drawer Lateral File cabinet with matching printer cabinet, Woodworking Plans
Fine-Home-Building-25-Years-of-Great-Building-Tips-Malestrom, Building and Architecture
Formative Texts in the History of Zen Buddhism, @Buddhism
Fragment traktatu welawsko-bydgoskiego z 1657, Historia, Prawo, Traktaty, Umowy, Kroniki, Teksty Żródłowe
Film polski - streszczenie, historia filmu polskiego po 1981r
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Farago&Zwijnenberg (eds) - Compelling Visuality ~ The work of art in and out of history, sztuka i nie tylko po angielsku
Fałszywe dokumenty Gorbaczowa. Kilka faktów o Katyniu, Historia
Furet F. Prawdziwy koniec rewolucji francuskiej, Historia Francji
Fine Woodworking 024, papermodels, historica
[ Pobierz całość w formacie PDF ]SEPTEMBER/OCTOBER
1980,
No.
24, $3.00
o
7447066441
Tecnigues
2 is here.
ll 61 technical articles from issues 8 through 13
in one hardcover volume.
61
information-filled technical articles, all re
Frank, a master inisher, tells you how to work with
stains, dyes and pigments. And you'll appreciate the
selection of tips and tricks reprinted from the magazine's
Methods of Work column.
Fine Woodworking Techniques
2
is durably bound in
2
is a convenient alter
9x12inches
hardcover and printed on the same quality paper as the
magazine. It's an authoritative reference tool.
Fine Woodworking Techniques
2
208pages,hardcover
printed rom
Fine Woodworking
in their entirety. If your
interest is centered in the technical aspects of woodwork
ing,
Fine Woodworking Techniques
310
blck
andwhitephotographs
250drawings,index
native to collecting back issues of the magazine.
You'll learn Bill Keyser's steam-bending methods and
see how a master like Tage Frid uses the bowsaw to max
imum advantage. You'll benefit rom the way George
Fine Woodworking
Techniques
1
"Noting the paucity of advanced texts on woodworking, the
editors of
Fine Woodworking
have filled the gap by repub
lishing
1
contains all the technical
articles from the first seven issues of
Fine Woodworking
magazine-information seldom found
in ordinary woodworking books. These
articles reflect the widely different
methods of
50
of the magazine's best features on various aspects of
Fine Woodworking Techniques
1
9x12 inches
192 pages, hardcover
394
blck
and white photographs
the craft-wood; tools; joinery; finishing, tuning, and mar
quetry; and shaping and carving. The writers are author
itative. "
-American Library Association's
BOOKLIST March,
10
drawings, index
1979)
52
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© 190TheTaunron Press
2
of Fine Woodworking agazine are now available
In the second volume of the
Fine Woodworking Techniques
series you'll find answers by
53
craftsmen to the most dif
ficult questions about harvesting and drying wood, cabi
netmaking and joinery, carving and almost every other
aspect of woodworking. This impressive volume con
tains
$15.00postpaid
Fine Woodworking Techniques
34
expert craftsmen.
$15.0
postpaid
Editor
Associate Editor
Assistant Editor
A rt Director
Copy Editor
Editoial Assistant
Senior Editor
Contn'buting Editors
John Kelsey
Rick Mastelli
John Lively
Deborah Fillion
Ruth Dobsevage
May Pringle Blaylock
Tage Frid
R. Bruce Hoadley
Simon WattS
George Frank
A. W. Marlow
Lelon Traylor
Jim
Riche
y
Roger
Holmes
John Makepeace
Alan Marks
Rosanne Somerson
Richard Starr
Stanley N. Wellborn
Fi
ne
q
i
n
g
'
Consulting Editors
24
Methods 0/ Work
Correspondents/England
S
E
PTEMBER/
O
CTOBER
1980, N
UMBER
West Coast
New England
Washington, D. C.
DEPA R TMENTS
Advertising
Sales Manager
Richard Mulligan
Sales Coordinator
Vivian Dorman
Sales Assistant
Carole Weckesser
Consultant
Granville M. Fillmore
26
Questions
&
Answers
36
Adventures in Woodworking
38
Business Notes
40
Books
42
Events/ Connections
6
Setting Up a Small Shop: Five woodworkers tell how they'd do it
ARICLES
54 Woodworking in Seventy-Five Square Feet
by}. A. Hftebeitel
It takes more time, and careul planning
56 Mobile-Home Wo
od Shop
by Anthony Wheeler
57
Converting to 3-Phase Power
by Mac Campbell
More surges per cycle can save you money
60 Building a Walking-Beam Saw
by Mark White
Poor man's band saw has almost unlimited capacity
63 Treadle Band Saw
On the cover: A view inside Andy Marlow's
.
shop in York, Pa. , shows how one craftsman
has solved the problem of working in limited
spa ce. For over 40 years, Marlow has worked
here building penod reproductIons a piece at
a time and in multiple runs. Equipped with a
ZO-in. table saw, a 6-in. Jointer, an IB-in.
band saw, a jigsaw, a homemade stroke
sander and a dn/I press, his shop has proven
adequate fo r production at a commercial
pace. Beginning on p. 46, Marlow and fo ur
other veteran woodworkers oller advice on
setting up small shops. Most of the articles in
this issue also deal with the practical side of
setting
up
a woodworking shop, fr om choos
ing
machinery
and tools to selling what you
make with them.
4
The Rhinebeck Fair
by John Lively
6
A SoftWood Workbench
by Ted Schuldt
Leg vises keep it versatile and afordable
68 A Shoulder Vise and Clamping Dogs
by R.}. Sfvestnni
Attachments make a table a workbench
69 Wooden Vise
by G. Bary Ellis
70 Post-and-Spar Lumber Rack
by Richard Star
70 Double-Top Workbench
by Ramon Sanna
Design increases workspace and clamping capability
72 Bigfoot Tool Rack
by Ted Wick
73 A Set of Carving Gouges
by Fred}. Johnson
Grind the profiles you need
76 A Joiner's Tool Case
by To ny Tay lor
Wooden box holds all the essentials
78 Sawhorses
by Sam Allen
Basic design adapts to several workshop tasks
79 Frame-and-Foot Sawhorses
by Hank Gfpin
80 Keeping Quality in Production Runs
by Dean Santner
The eficient use of space, waste and technology
84 Sources of Supply: Combination machines, domestic and imported
89 The Dial Indicator
by R. Buce Hoadley
90
The Woodcraft Scene: Sawdust, Ltd.
by Barbara Schneider
92 Decoration vs. Desecration
THE TAUNTON
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3
4
Letters
18
Methods of Work
Fine WoodwoOing
(ISS 0361-3453) is published bimonthly. January. March. May.July. SeplOmber and ovember. by
The Taunton Press. Inc.. Newtown. CT
06470.
Telephone
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and additional mailing ofices. Copyright
1980
by The Taumon Press. Inc.
etters
WW
#16, cover and p. 42).
Desk by Simon Watts,
Desk by Edward Bams/ey,
WW
#18, p. 44).
WattS desk: redundant and rather thick framing around the
pigeonholes. Some of this material, along with four dovetail
joints, would not be necessary if the top and bottom shelves
of the pigeonholes were housed directly in the sides of the
case, a simpler and more satisfying construction if the use of
contrasting wood is not contemplated. The top of the pigeon
holes would thus be a drawer's depth below the top of the
case, with the visible purpose of supporting something.
WattS' inversion of the divider units left and right seems
forced, a distraction from the faulty proportioning of the cen
tral file of drawers, which is much too narrow. The flow of op
posed curves when the writing surface is unfolded does,
however, seem to bound a comfortable space, and the con
cavity of the whole piece when closed is inviting.
The concave facade of the Krenov showcase
'
likewise invites
you in, but intriguingly the case holds things slightly away
from you, suggesting care when entering the space. Austere it
may be, yet it is purposeful, orderly, full of dignified inten
tion, with a clear rhythm to the march of stiles and bars across
the front. There is a diferent rhythm to the facade of the
Barnsley desk, weightier, ordering an abundance of surface.
The piece is solidly there, apparently forever. Rhythmically,
the front of the WattS desk is at odds with itself: in-out,
thick-thin, straight-curved. Above are the pigeonholes,
always on view, in one realm of division and dimension, while
below, in another, are six identical pulls stifly spaced four
plus-two, further contraried by the three differently spaced
bright hinges. Here is noise but no music.
Clean lines and neat work are ordinarily necessary but they
are not sufficient. To choose our mentors we require evidence
of careful thought and conscious artistry, and a considerable
amount of perception made substantial in the work.
-Kenneth Rower, Newbury, Vt.
Showcase by James Krenov,
It's
a treacherous subject,
criticism.
But I must
comment on
the pigeonhole desk by Simon Watts and compare it with two
other cases on stands you've published recently. The Barnsley
desk and Krenov showcase are largely successful, masterly in
certain ways. The Watts desk succeeeds only in part.
How do the case and stand relate to one another in these
designs? In the Barnsley desk, they meet in an obvious transi
tion in two steps. The motif of a broad element lanked by
two narrower ones recurs regularly in the stretcher, the drawer
fronts, the fall front, and on the top of the case. Inside,
there's the same arrangement, though probably not the same
dimensions. Conceivably the motif is ovetworked, but here is
thought, great care, and life.
The Krenov showcase sits irmly across its stand, the appar
ent weight carried down the sides. Where the pans meet
there is a slight swelling in the breadth of the stand. At the
sides a polished band of end grain deines the bottom of the
case, then a cove carries the eye outward onto the rail of the
stand. At the front the concave facade of the case determines
the curve of the stretcher (which plays a change with an addi
tional curve in the vertical plane), as well as the most interest
ing inward rotation of the legs. A calculated space separates
the stretcher from the bottom of the case, there being no
pretense of support. Again we find a theme of threes: the
glazing, the shelving, the door stiles, the stretcher divisions.
The WattS desk, while attractive in some generally modern
way, puzzles the eye. The case appears to have been partly cut
away and sits improbably on a stand about an inch smaller all
around than itself. The fotward part of the case, under the
writing surface, has no visible support and looks as if it might
snap off. This is a serious fault. There is not much relation
ship between the case and its stand, which might formerly
have seen service under an oval or rectangular tabletop. The
front rail looks unreasonably slender to support a thick mass
of wood comprising the folded surface, the drawer fronts, and
the bottom of the case. On the other hand, the curves on the
front of the case, together with the cleverly stopped curve of
the folding writing surface, look pleasant indeed, and the
sweep of the rail does something to relate stand and case.
What, I wonder, is the logic of the folding surface? It
makes the desk compact, but to operate the system one needs
to clear everything off the surface back to the shallow space
under the pigeonholes, and all the clutter remains visible.
Without making the desk any bigger, one could have had a
slant-top or fall-front, with their desirable abilities to cover
the mess and lock away the private or the valuable. Or if the
curves are the essence of the piece, then I wonder at the miss
ing tambour door that would normally complete the idea.
The interior of the Barnsley desk is rich in conscious ar
rangement. Thin oak lightens the whole, and there is play
with color, shadow and bright points. The space under the
pigeonholes is generous, and the three drawers at the top in
tegrate them with the case. Notice the alternative in the
WATS
REPLIES:
I
am flattered that Ken Rower should com
SIMO
pare my work with Edward Barnsley's. Barnsley had established his
reputation long before
I
was born , and I consider him to be the
fo remost fu rniture maker in England.
I
am less than flattered to have
my desk compared to James Krenov's showcase , fo r I have done
enough repair work to know how fragile that base really is.
My objectives are different from either Barnsley 's or Krenov's. I
want to make handsome, durable pieces that ordinary people can af
fo rd. I don't want to work fo r museums or fo r the very rich. I also
like to use the shop to train young people, which necessitates
straightforward designs that can be made by apprentices. This is why
most of my work has a simplicity of design and construction that
Rower fa ults, but which my clients enjoy.
73)
came at a
78
in.) with an elliptical base. Such a table wouldn't be
perfect time. At the custom shop I work at, we were doing
some furnirure for a Saudi Arabian client, and one of the
pieces I had to construct was an elliptical dining table (48 in.
by
dificult if the top were a solid lamination. However, since
the bosses were worried about the wood (white oak) moving
and possibly checking en route to Saudi Arabia, it was de
cided to make the top out of %-in. white oak plywood with
solid banding 1� in. thick by 1� in wide. The top was to be
rabbeted to receive the banding ....
I decided to try to hook up a router to the jig described in
the article. By using combinations of template guides, with
straight and rabbeting bits, I hoped to swing the ellipse with
the attached router (and a %-in. straight bit) and use the in
ner ellipse as my tabletop guide and the waste Masonite as
templates for freehand shaping of the solid banding.
The router ran smoothly except where one of the guide
dowels in the jig moved through the intersection of the
tracks. I had a fellow worker position a piece of wood as a Stop
4
WW
#20, p.
75).
"Drawing the Ellipse" (FWW /22, May '80, p.
he
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INDEX TO ADVERTISERS
11,38
Renner Studios
25
XOTIC
AND
7,18
RestorationBuilders, Inc.
10
AdvantageMachineryCo., Inc.
8
Fusillo's Exotic Hardwood
14
RimaMfg.Co.
17
AdjustableClampCo.
14
GardenWay Research
9
Rochester Institute ofTechnology
45
Allen Specialty Hardware
4
3
Garrett WadeCo.
23.26
Rollingswood
22,27
PECIOUS
A.L.1.
&
TolCo.
16
GastonWood Finishes, Inc.
10
RussZimmerman
23
&
MotorCo.
15
General FinishesCorp.
45
Sand·RiteMfg.Co.
25
AmericanMachine
6
GeneralWoodcraft
43
The Sawmill
5
WOODS
ROSEWOODS
EBONIES
COCOBOLO
ZEBRA
BUBINGA
PADAUK
KOA-BOCOTE
Logs, lumbe r, sawn veneer and
musical instrument com
ponents.
Wholesale inquiries only.
Wood is our bUSiness,
SO make it your business
to call or write:
�ll
AmericanMachinery
37
GilliomMfg., Inc.
17
Sculpture House, Inc.
16
AppalachianCenterforCraftS
33
GlennWing PowerTools
32
Shopsmirh Inc.
AmericanWoodcrafters
21
Anson Industries, Inc.
15.22
H. DeCovnick
&
Son
23
Singley Specialty Co.
2
3
&
Ball
18
HeldClck Kits, Inc.
34
SprungerCorp.
28
Attistry in Veneers
41
Hepp Industries, Inc.
17
Stewatt·MacDonald
16
45
Heritage Design
Ball
43
TheTaunton Press
2,7,20.32,39
29
Highland Hardware
34
Tech Plywood
&
Hardwood
17
Belsaw PowerTolsCo.
&
CottonMfg.Co.
30
HotTools, Inc.
Bimex, Inc.
33
TheToolWorks
29
39
Industrial AbrasivesCo.
3
3
ToolmarkCo.
24
Boston University
23
International Woodworking
TheBrink
43
TurncraftClck ImportSCo.
3
0
Buck Bros. Inc.
TheConnecticutClckCo.
25
John Harra Wood
&
Chem·Tech
TheToolroom
27
ConoverWoodcraft Specialties
33
SupplyCo.
ChosterB. Stem, Inc.
8
EquipmentCorp.
31,41
Unicorn UniversalWods Ltd.
24
28
KaymarWood Products, Inc.
45
Van Nostrand Reinhold
Twin Oaks
11
33
KuempelChime
&
ClockWorks
10
VikingClocks
41
Constantine
45
Leichtung, Inc.
17
Watco·DennisCorp.
16
Craft ProductsCo.
17
Leonard LumberCo.
23
WeirdWood
25
Craftmark Products, Inc.
43
Love-BuiltToys
&
CraftS, Inc.
45
WetzlerClampCo., Inc.
8
Croy-Marietta Hardwoods, Inc.
19
Mason
&
Sullivan
13
WillardBrothers
37
TheCraneCreekCo.
38
Maurice L.CondonCo., Inc.
34
Williams
&
Hussey
16
TheMechanick'sWorkbench
14
MachineCorp.
25
The Decorative Hardware Studio
29
Merchantmen, U.S.A., Ltd.
20
WinchesterCarbide Saw, Inc.
12
Deft, Inc.
The Cutting Edge
24
Merit Abrasive Products, Inc.
27
WisnerTools
David A. Keller
43
DelmhorstInstrumentCo.
25
Mity-Tite Systems
23
Wood Is GodCo.
45
15
MorrisWoodToolCo., Inc.
19
WoodbutcherTols
10
WodWorld
29
Dorsett Publications, Inc.
15
Native American Hardwods
17
Woodcraft SupplyCorp.
7
29
The Nutty Co., Inc.
43
Woodline/TheJapan
The Designery, Inc.
Educational LumberCo., Inc.
27
ParksWoodworkingMachineCo.
23
Woodworker
20
Dupli-Carver
15
Paxron Hardware
23
Wood Shed
45
Excellence inWodworking
30
PeterChild
43
Woodshop Specialties
10
PO.
B
o
x 329
EmperorClockCo.
35
PotatuckCorp.
10
TheWoodworkers' Store
33
THE CF MARTIN ORGANISATION
The Foredom ElectricCo.
15
Prakto, Inc.
32
World ofMusicBoxes
43
The FineTol Shops Inc.
34
The PrincetonCompany
6
Zimmerman'sChair Shop
10
Nazareth, Pennsylvania
1804
215-759-2837
15
R.A.K. Products
29
Frank Hubbard, Inc.
FrankMittermeier, Inc.
5
4
3
FrogToolCo. Ltd.
10
Furniture Designs
About Time Plans
Craftplans
23
Morgan Veneers
29
Design Group
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