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Fine Woodworking 042, papermodels, historica
[ Pobierz całość w formacie PDF ]ine
ood
SEPTEMBER/OCTOBER 1983, No.42, $3.50
! I I I 1
or
ing
Making Cabriole Legs
ing aagaZine frona Las Vegas entrepreneurs�
Hicl.ard �alott and Junior Sealey
WE HIT THE JACKPOT
IN LAS VEGAS
WHEN E BOUGHT THE AUSTIN HARDWOODS FRANCHISE
•
Started August,
1980
in the depths of the recession
•
Doubled
our warehouse capacity July,
1983
from
6,000
to
12,000
square feet
•
Sales this year (projected
via pro·ration)
$1,000,000
plus!
Opinions
We couldn't have done it without the flexibility and expertise provided by the Austin Hardwoods program. The parent company
has worked hand·in·hand with us, keeping us abreast of changing market conditions
, new products, and effective marketing
techniques. Their program allows the franchise owners to tailor their operation towards any ratio of retailjwholesale and
hobbyist/commercial sales, and to grow as fast as they are able. Sure there was a lot of hard work. but the record speaks for
itself. Our Austin Hardwoods franchise turned out to be a sure bet.
Details are too numerous to list. This is a tremendous opportunity to make money either as an owner/operator
or as an investor. If you happen to love dealing in fine woods, all the better. Current total investment is
approximately
m
$90,000.
Please let us hear from you.
FranchiseMarketingDepartment
3096
•
Austin, Tx.
78764
7i229
DENVER, COLO.
80223
AUSTIN, TX.
78764
Austin Hardwoods
P.O. Box
78217
Visit the Austin HardwoodsDealer nearest you.
DALLAS, TX.
7991i
HOUSTON, TX.
77014
89109
98033
SAN ANTONIO, TX.
NE
112th St.
11353 Mathis
2625 S. Santa Fe Dr. 2119 Goodrich-P.O. Box 3096
2446 Brockton
Oren Dreeben
(512) 822·8833
Myles Lasner
22079
LUBBOCK,TX.
79413
SANTA ANA, CAL
92703
Sl�N FRANCISCO, CAL.
94124
Russ Brown
John Dudney
(214) 241·4777
(303) 733·1292
(512) 442-4001
EL PASO, TX.
LAS VEGAS, NEV.
KIRKLAND, WASil.
904 Tony Lama 1300 Stuebncr·Airline #408
Mike Loewenstein
2901 S. Highland # 15A
Richard Malott
(702) 733·6677
1184
Bill Bryant
8i70i
PHOENIX, ARIZ.
8i040
PHILADELPIIIA, PA.
19144
Bill Thurmond
(206) 823·2515
(915) 593·0126
N.
Forbes Blvd. #102A 3821
E.
Broadway
LORTON,VA.
8930 Telegraph Rd. Route 4, Box 162·H
Hinds Wilson
2330 Fifth St.
2001 Oakdale Ave.
Galen Carr
Joe Brown
Ron Grove
(703) 550·7076
(806) 797·5099
(714) 667·0704
(415) 641·1972
TACOMA, WASil. TUCSON, ARIZ.
Opening Soon
Call Directory Assistance
For Information
2045
5701 Magnolia St.
Ted Hill
(602) 243·7191
Ted Missiras
(215) 848·9663
(602) 622·7383
m
A
naessage to the readers of Fine Woodwork
•
Began showing profit after four months
Facts
•
Sales first year
$370,000
•
Sales second year
$725,000
•
Recovered
entire initial
$90,000
investment in
20
months
(713) 440·0764
FINE WOODWORKING
Editor
John Kelsey
Art Director
Deborah Fillion
Associate Editors
Rick Mastelli
Paul Berrorelli
Assistant Editor
Jim Cummins
Copy Editor
Nancy Stabile
Assistant Art Director
Roland Wolf
Editorial Assistant
Linda D. Whipkey
Contributing Editors
Tage Frid
R. Bruce Hoadley
Richard Starr
Simon Watts
Consulting Editors
George Frank
Ian J. Kirby
A.W. Marlow
Methods of Work
Jim Richey
ie
ig·
SEPTEMBER
/
OCTOBER 1983, NUMBER
42
DEPARTMENTS
4
8
14
20
.
Lowe
Notes and Comment
Events
Connections
Adventure: The 25 Centimes
ARTICLES
32
A Small Highboy by Calyle Lynch
Plans for a Queen Anne charmer
36
Cabriole Legs
by Philip
Hand-shaped, without a lathe
40
Natural Patterns
by Jim Cummins
A patternmaker carves wildlife
Cover: Bolstering the blank with an ordinay
pipe clamp, Phil Lowe refines the ankle of a
shapely cabriole leg he's bandsawn and sp oke
shaved out of a
maho
g
any
plank. There's
more about how to
make
Queen Anne legs,
plus plans fo r a gracefu l piece of fu niture
using them, on p.
42
Designing Trestle Tables
by Kenneth Rower
Knockdown joinery challenges ingenuiry and skill
44
Tricky Trestles
Three variations made by readers
46
Carving Running Patterns by Miles Karpilow
How to chop out picture-frame moldings by the yard
50
Making a Router Table by Donald Bjorkman
Poor man's shaper is a handy beginners' tool
52
How
I
Make a Rocker by Sam Maloof
A master craftsman reveals the details
55
A Child's Rocker by Wiliam Lavin
It's small and straightforward
58
Tools Are Where You Find Them by Michael Dresdner
Luthier borrows lots of help from other trades and crafts
60
Working Locks Made of Wood by Roger Schroeder
Though their securiry is symbolic, they're fun to make
66
Outdoor Wood Finishes by William C. Feist
Varnish is pretry, but paint'S tougher
68
Wendell Castle Tries Elegance by Urbane Chapman
...
and pushes toward the limits of craftsmanship
74
Tips on Veneering by Tage Frid
How to avoid coming unsruck
76
Keeping Ten Fingers by Paul Bertoreli
Injury survey pinpoints hazards in the shop
77
Ripping, grooving and molding safely by Michael S. Podmaniczky
79
The Miniature Shipwright by Lloyd McCaffery
After a while, you
fe el
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Letters
Hardwood dealer Paul McClure, in his ,rticle "Whither
Rosewood" (FWW
#38),
has chosen a comfortable and
proitable view of the plight of the world's hardwood forests.
The reality of it is shown in Central America where giant
mahoganies are being cut right around small villages of Indi
ans, with neither the logging company nor the government
offering the local people any compensation. Perhaps he hasn't
heard of the "tree huggers" of northern India who, in the
tradition of Gandhi, attempt to protect their trees from the
loggers' chainsaws with their own bodies. A friend of mine
who recently visited Madagascar was amazed at the differ
ence over a previous visit. The hardwood forests are almost
gone. In their place has sprung up brush which in places is
being overgrazed by goats, leading to immense arid are,s al
most totally devoid of vegetation.
A few years b.ck, I noticed that a Playboy playm,te of the
year was given, as one of her promotional gifts, a large rose
wood and brass bathtub from the Rosewood Bathtub Com
pany of California. Truth be known, the world's remaining
hardwood forests are not being cleared for agriculture. Much
of the third wo
rld's forest wealth is being turned into knick
knacks and toys by and for Western playboys. Shown to Cen
tral American Indians or tree huggers, most of the things we
make of these woods would seem to them a poor exchange
for the life of their forests.
As a woodworker, I consider all trees the sacred material of
my profession. As certain species become ever more rare, they
are the more valuable and sought after. Many species are al
ready far too rare to be turned into objects, however beautiful
or useul. I am thankful for the others who share this view.
-regg Blomberg, Lopez, Wash.
David Hope1n
W
#40.
months to dty thoroughly, even in the arid Southwest.
As the platform for seat cushions, we recommend rope for
both comfort and practicality. Upholstered seat cushions tend
to creep off wooden or particleboard platforms. We make the
back bolsters using muslin sacks stuffed with kapok, which
looks and wears better than the polyester-wrapped foam and
is more comfortable.
-Andrew S. Peterson, Santa Fe, N.Mex.
Some people are saying that the world's rain forests are being
destroyed for the sake of the timber that can be extracted
from them. By no means does all tropical timber come from
rain forests.
Rio rosewood (Dalbergia nigra)
and kingwood
.
from Ceara (D. cearensis) do not, for example. But it is re
markably dificult to find Out exactly where the different
kinds do come from. Can anyone help with this information?
What about Indian rosewood (D. datifolia), East African
blackwood (D. melanoxylon) and Indian ebony (Diospyros
spp.)? Do they or don't they come from rain forests ? What
one really wants perhaps is a list of the decorative tropical
timbers which do not come from rain forests.
-David W. Pye, Sussex, England
The article on Taos furniture (FWW
#40)
was inaccurate
about the origin of the "Taos" style. It was Larry Hill, Jim
Hill's older brother, who first constructed the daybed that
later came to be called the "Taos bed." Jim and his wife,
Megan Lloyd Hill, were the artist
/owners of Hill's Gallery of
Contemporaty Art and Crafts-a Santa Fe gallery that esta
b
lished itself as a major showplace for contemporary crafts and
avant-garde art from
1970
until its closing in
1982.
It was
Hill's Gallery that was the major
outlet for the Taos bed of
Larry Hill and it was Megan Hill who coined the name "Taos
bed. " The name was strictly a marketing device, with no par
ticular historical or design reference to Taos, N.Mex., or Taos
Pueblo. In fact, between "daybed" and "Taos bed" it was
briely known as the "Santa Fe bed "-somehow, the Taos
bed seemed a better it, so it stuck.
It has always intrigued me that this one item soon led to a
whole line of "Taos" furniture marketed by Hill's Handcraft
ed Furniture. -Richard L. Cook, LaCienega, N.Mex.
As the sole manufacturer of "Taos Furniture," a registered
trademark and tradename of LifeStyle de Santa Fe, Inc., we
would like to clear up some misconceptions caused by the
article in FWW
#40.
Jim Hill did start a furniture company around
1970
called
Hill's Furniture. In
1976,
Robert Powell bought that com
pany and renamed it Taos Furniture, Inc. Subsequently, in
1981
the name was again changed, to LifeStyle de Santa Fe,
Inc., which is anything bur a "cottage industy. " We furnish
hotels and other commercial establishments across the coun
tty, as well as many residential, ofice and interior-designer
related jobs (photo, above right).
We have received concerned comments about some of our
design details as a direct result of Rannefeld's article and
would like to clariy some points.
The article states that the pinned bridle joint has been all
but abandoned because of problems with wood movement.
We kiln-dty our own wood to below
8%
moisture content
and have no problems at all with the open mortise-and-tenon
Jomt. Air-dried Ponderosa pine can take more than six
In regard to Karen Tyne's reply on truing up a level
(FWW
#41,
p.
22),
this method works for me: In the edge
of a board, drill twO holes which �6-in. fine-thread bolts will
thread into. The distance between the holes should be about
2
in. less than the length of the level. Make a notch in the
head of one of the bolts.
Secure the board in your vise with the bolt heads pointing
up. Place the level on the bolt heads and turn the unnotched
bolt until the bubbles indicate "level. " Rotate the level end
for-end (be sure to stay on the same edge) and turn the
notched bolt, counting the number of turns, until the level
indicates "level" again. Turn the notched bolt in the opposite
4
A reproduction of a New Mexican chest, by the company that
deve
l
oped the 'Taos' style jeltured in
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01888
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