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Fine Woodworking 044, papermodels, historica
[ Pobierz całość w formacie PDF ]JANUARY/EBRUARY
1984, No.44,
$3.50
111
Judy KensleyMcKiesFurniture
BODY PLATE: 42 to
"
4
R
w
ell
sale. Heat treated.
EXPANSION SLOTS: Allows
blae to expand withut distoing.
ARBOR HOLES: Machined and
ground to fct tleranes.
MAX RUN OUT TOLERANCES:
+-.03.
MAX RPM'S: On a 10" diameter
is
700 .
-
47!70Z
24HM
L
UB4M
-
B0170
"Z50HM
N.MAX
00
LM2M
N.MA
X 00
The
Wod's
Bst
re
On Sae
T·"-���.
Premium Quality
c
"
AssociateEditors
Paul Bertorelli
Jim Cummins
ine
ig·
Assistant Editors
Dick Burrows
David Sloan
CopyEditor
Nancy Stabile
AssistantArtDiector
Roland Wolf
Editoial Secretary
Pat Zimmerman
J
ANUARY
/FEBRUARY 1984, NUMBER 44
ContributingEditors
Tage Frid, R. Bruce Hoadley,
Richard Srarr, Simon Watts
DEPARTMENTS
4
ConsultingEditors
George Frank, Orco Heuer, Ian J. Kirby,
8
Letters
Methods of Work
Drilling dowels; lathe steady; joints
at angles; cabinet latch
MethodsofWork
Jim Richey
14
Questions
&
Answers
E.
Preiss
20
Books
End-drilling; cratered inish; resawing;
water-based finishes; surfacing slabs
100
Notes and Comment
Contemporary furniture;
logbuilding handbooks
Co ver: judy Kensley McKie's caved
mahogany birds carry a glass table
top
ato
p
their beaks and wings. For
more
oj
her fu niture, see p.
76.
ARTICLES
Equipping small shops; an arduous
adventure; Japanese tOols
32
50
Tables
by Peter Pennypacker
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1984
by The Taunton Press,
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38
Making
Jigs and fixtures do the job
How to Market?
by josh Markel
A comment on small-shop economics
Movement and Support at the Lathe
by Richard Raffa n
A steady hold improves your turning
Versatile Plant Table
by Frederick Wi lb ur
Redwood slats support your fine-foliaged fr iends
Black Walnut Woes
by john R. Harwood
A cree-grower learns fr om the roots up
Machining Backwards
by Lew Palmer
Power-fed climb-cutting reduces tearour
Glues for Woodworking
by eorge Mustoe
Part rwo: Synthetics solve some problems, pose new ones
A
Blacksmith's Bleak View of Modern Tools
by Anders Richardso n
And how to go at hammer and tongs yourself
Alexander G. Weygers: a woodworker's blacksmith by J. Petrovich
Blanket Chests and Record Cabinets
by Simon Wa tts
Contemporary versions of traditional fr ame-and-panel designs
That Piano Finish by Donald M. Ste inert
Modern method makes opaque lacquers gleam
Auger Bits by Richard Star
How to tune these deceptively simple tools
How to Make a Wooden Flute
by Wh ittaker Freegard
Lathe-boring long holes, and keeping them centered
Modular Chairs Around a Standard Seat
by Kenneth Smythe
With comfort settled, visual and suuctural design can blossom
Leather Seats for Wooden Chairs
by Stefa n During
Straightforward combination enhances both materials
Inventing the Coffee Table
by Eugene Landon
Antique tray generates a mahogany "reptoduction"
Rethinking the Federal Style
by Robert D. Mussey
The work of Ruppert Kohlmaier, Sr.
Portfolio: Judy Kensley McKie
An innovative designer talks about making a living
Finding chairs inside an elm log
40
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Editor
John Kelsey
ArtDirector
Deborah Fillion
FINE WOODWORKING
A.W
Marlow, Don Newell,
Richard
96
Events/Connections
Letters
W
#42, "How I Make a Rocker." I've been a profes
sional woodworker for six years now, and after talking to and
reading about other woodworkers and their techniques, you
almost feel like you should have a degree in engineering be
fore you build a piece of furniture. So it was refreshing for me
to read how Sam Maloof, no doubt one of the best-known
chairmakers, builds his rockers. For instance, to get the curve
of the back spindle he simply sits down and holds it to his
back. That's it. That's "seat of your pants" woodworking the
way it ought to be.
-Bud Gabriel, Mt. Angel, Ore.
igently trying to sell had seen all he wanted when
I
waltzed
my protOtype for a hanging wall secretary into the room. He
asked that I leave behind my "technical data" and photO
graphs for "buyer evaluation." The bait was the 35 stOres in
the chain and the dollar signs were blinding. During the dis
cussion following my pitch, the argument wheeled on prices,
and my scoffing response generated an angry response in turn.
Did I presume to know retailing better than he? He then
tried to beat my price back by showing me an 8-in. high
stack, collected over three months, of product submissions
similar to mine. I was shocked to learn that he intended to
pack them up for a tOur of Taiwan, where he planned to
colleCt competing bids. Friends verified that he did take the
trip to Taiwan and I later saw a product equivalent to ours
retailing for exactly my modest wholesale price.
Designs are extremely diicult to protect. If readers have
something valuable, I urge them to do it all themselves.
Loading up for craft fairs may be a pain in the butt, but
close-tO-the-vest control is the only way to get the most from
your designs.
-Robert Westra, Roling Meadows,
Re the articles on boxes
(FWW
#43): I wish
Fine Wood
working
would ill a very noticeable gap in the literature
by carrying methods used by experts to install brass hinges
on small boxes. I have searched through everything I can get
my hands on, and the matter is either dodged entirely by
not using hinges or fobbed off with instructions to "install
the hinges."
Also, I have to quibble with your reasons for rejeCting the
Inca machine (Notes and Comment section) .. . obviously be
cause I have one. In the first place, it really doesn't cost any
thing like the Unisaw ...it's about $500 less, I believe. Sec
ond, the awkwardness of not being able to lower the lO-in.
blade suficiently is solved by simply using an 8-in. blade,
which will still CUt through 8/4 stOck. I don't really regret
the tilting table, though. I don't tilt it very
often and it is a very fair tradeoff for the
excellent mortising table on the side.
-Jack Waner, Atlanta, Ga.
III.
I hesitate to take issue with an electrical engineer, but I don't
believe Mr. Rekoff gave Charles Carpenter a complete an
swer about using European motOrs in the United States
(FWW
#42, p. 14). In my experience, most European cur
rent is 220/240 volts, but it comes through two wires
one hot and one ground. In this country,
220/240-volt is three-wire and is obtained
by adding two 1l0/120-volt hot lines to
a ground. Mr. Carpenter will need to buy
a step-up transformer in order to get twO
wire 220/240-volt current for his European
motOrs. It should be sized to handle any
combination of motOrs used simultaneously.
-George Brooner, Chestertown, Md.
MICHAEL REKOFF REPLIES:
If, ror some rea
son, one end of a European motOr's wind
ing were connected at manufacture to
ground or to the motOr's metal case, a po
tential shock hazard could exist if the motOr
leads were inadvertently reversed. In this
case, a transformer could be used to con
ductively isolate the motOr winding. As far
as I know, however, European motOrs are
built like their American counterparts, that
is, the motOr conneCtions are brought out
by leads which isolate the winding from
ground.
Thus, all you need do to connect
a
two-wire European motOr to the U.S. three
wire system is to install a new cord and
plug, connecting the new cord's third wire
(the green ground) to the motOr case or to
the frame of the machine.
Whenever you're working with a motOr
whose leads or terminal connections aren't
clear, it's a good idea to check the winding
for continuity to ground. Do this by con
neCting an ohmmeter between each of the
terminals and the motOr case. If you find
continuity, have the motOr checked by a
motOr shop-it could be shorted.
Every so often in the pages of
FWW
and in
other fields, a certain semi-religious phrase
appears: form follows function. I equate
that phrase with the board stretcher. Form
absolutely in no way has to follow function.
Take a table leg, for example. The function
is to carry the load of the tabletOp to the
loor. Old crates, a tree branch from the
woodpile, or something that in no way re
sembles a leg can be the form. For proof,
look in any
FWW
issue or the
Design
Books.
What does form follow? Form fol
lows cost. A tree branch will be
ininitely
less costly than something of exotic wood,
massive, carved or bent. The only way form
is related to unction is that form must an
swer to the demands of the function in
some way. Without something to hold it
up, a tabletOp is only an expensive slab of
wood. The most eicient form is again the
least costly, not the most functional ...the
form can be any shape or type, regardless
of cost, so long as it answers to the demands
of the unCtion.
-Edward]. Mattson, Norwalk, Conn.
W
's Design Book Three:
I would
like to alert readers to a trap of thievery that
exists for almost evety craftsman attempting
to support himself by his avocation. Be
damned careful of your designs. Few of us
can afford, let alone qualiy for, the legal
protections available for our designs. During
a presentation of one of our items, it
dawned on me that the retailer I was so dil-
Re
F
'This Pelvian waln ut fold- flat
music stand incorporates t
h
e design
of an antique easel in a contempo
ra y, spatial relationship.'
-Richard Newman, Amherst, Mass.
About a week ago I picked up a copy of
your magazine and read Donald Bjorkman's
router-table article after just completing my
own router table, which offers several ad-
4
I
am wmmg to you in regard to Sam Maloof's article in
F
dr
ied
lumber?"
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catalog:
14623
Model
202
Model
303
Model 101
MODEL 202
A suberb medium sized miter box, more than adequate
for all fumiture and frame work. The fine blade (18 TPI) and smooth
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precision cut every time. The table is precision machined, mounted
on laminated wood base plate with rubber feel.
Post OffIce Box
-
*
Auxiliary stop for lengths up to 26"
*
Five preset "Quick Lock"
angle stops plus lockability at any angle from 45°
*
Shipping wI. 14
''
Ibs.
MODEL 303
Smaller version of the #202 utilizing the Nobex back saw.
90°
*
Table length 1
P'
"
,
Cutting width @
90°
2
.
"
,
Depth 3"
*
Five
preset "Quick Lock" angle stops plus lockability at any angle as the
#202
*
Magnetic face plate with steel bearings
*
Three preset angle
stops plus calibrated scale and lockability at any angle from
45°
90°
*
Strong and lightweight
*
Shipping wI. 2'14 Ibs.
Contact us for the miter boxes with the quality cuI.
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Table length 18", Cutting width @
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6
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Depth 4
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A precision tool throughout
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MODEL 101
Bring the tool to the work.
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