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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
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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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Fałszywe dokumenty Gorbaczowa. Kilka faktów o Katyniu, Historia
Furet F. Prawdziwy koniec rewolucji francuskiej, Historia Francji
Fine Woodworking 051, papermodels, historica
[ Pobierz całość w formacie PDF ]04
he Funiure
of
Rublmann
ne
�W orng
March/April
1985,
No.
51
4
Letters
Editor
Paul Bertorelli
Art Director
Deborah Fillion
Associ,de Editors
Jim Cummins
Roger Holmes
Assistant Editors
Dick Burrows
David Sloan
Copy Editor
ancy Stabile
Associate Art Diredor
Roland Wolf
Editorial Secretary
Cindy Howard
Senior Editor
John Kelsey
Contributing Editors
Tage Frid
R. Bruce Hoadley
Richard Starr
Simon Watts
Consulting Editors
George Frank
Otto Heuer
Ian J. Kirby
Don Newell
Richard
Cover: A rosewood cabinet inlaid
with iVOry richly illustrates why
woodworkers are taking a new
look at 20th-century master
jacques·Emile Ruhlmann. See
p. 30. Photo: The Metropolitan
Museum oJ Art, Edward C. Moore
jr. Gift Fund, 1925.
8
Methods ofWork
14
estions
&
Answers
20
Books
Jointer thicknessing; patching veneer; jigsaw blower
102
Events
ontoxic finishes; high-speed steel; airless sprayers
108
Notes and Comment
Restorarion vs. conservarion; wi ldfowl carving
30
Jacques-Emile Ru
m
ann by A.U Chastain- Chapman
orthern woodworking; quest for ebony; chainsaw
addicrs; fracrion calculators reviewed
The bowsaw is excellent Jor joint·
cutting or cutof work. See p. 52
Jor plans. Photo: Simon Watts.
35
Restoring Ruhlmann
A 20th-century master rediscovered
38
Flip-Top Table
by Robert Ma rch
42
Hollow-Chisel Mortising by john Leeke
by Nick Mo nja rdo and David Pa rson
Getting unleI' the veneer
E.
Preiss
44
Testing Wood Chisels by Bill Stankus
Double-duty design
47
A visit to a chisel factory by David Sloan
Straregies for boring accurate square holes
48
A second opinion
by Pa ul Horgan
Lab finds no secrets in the steel
Norman Vandal
Methods of Work
Jim Richey
49
Ash
by jo n W. Arno
52
Shopmade Bowsaw by Simon Wa tts
The Taunton Press
Paul Roman, publisher; Janice A. Ro
man, associate pubUsbec; Dale Brown,
director of marketIng; JoAnn Muir, dI
rector of administration; Tom Luxeder
I
54
Japanese Lacquer by Charles Roche
Counterfeit oak or quality cabinetwood?
58
Starting Out
by Roger Ho lmes
Tailor its size
o
suit the job
business manager; Carol Marotti, er
sonnel manager; Lois Beck, office ser
vices coordinator; Pauline Fazio, ex
ecutive secretary; Patricia Rice,
receptionist.
Aountin: n
e
fs,
manager; Catherine Sullivan, Elaine
YamIn.
63
Bandsaw Your Own Veneer
Urusbi,
a traditional thousand·coat finish
t:
Roger Banes, design dI
rector; LIsa Long, staff artist.
oo..:
Laura Cehanowlcz Tringali, editor;
Heather Brine Lamert, assciate art
director; eorah Cannarelia and cott
andis, assIstant editors.
Build and fit a basic drawer
66
Sculptural Inlay by Na ncy H. Bolstad
44.
Photo: Bill Stankus.
Fine Woodworking
(ISSN 0361.3453) is pub·
lished bimonthly, January, March, May, July,
September and November, by The Taunton
Press, Inc., Newtown,
Flment:
Carole E. Ando, subscription manager;
Terry Thomas, assistant manager; Glo
ria Carson, Dorothy Dreher, Claudia
Inness, Cathy Koolis, Donna Leavitt,
Peggy LeBlanc, e
Chisels may look alike, but do
diferences in the steel make one
cut better than another? Find out
on p.
68
Making a Panel Saw by Lary Kella m
by Brad Wa lters and Richard Ba rsky
All it rakes is patience and a sharp blade
e
P
a
l, Nancy
Schoch; Ben Warner, mail-services
clerk. Roert B
70
Shopbuilt sliding table by Rick Will iams
Three·dimensional images in wood
c
hi, distribution su
ervisor; David Blasko, John Daly, Bob
GarvIn,
71
Cloak-and-Dagger Furniture by Barbara Fe inman
Prduction:
Mary GalpIn, man·
agec; Barbara Bahr, secretary.
nn
ea Ingram, MarcheUe Sero
r
06470. Telephone
(203) 426·8171. econd·c1ass postage paid at
'elown,
Sears saw serves as the basic machine
Produc
ling.
73
Up-scaled sculpture by F. L. Wa ll
tion ervics:
Gary Mancinl, manager;
David DeFeo, coordinator; Nancy
r
06470, and additional mailing
offices. Copyright 1985 by The Taunton Press,
Inc. No reprduction without ermision of The
Taumon Press, Inc. Fine Wdworkinge is a
registered trademark of The Taunton Press, Inc.
a
pp, system oerator; Claudia Blake
Applegate and eorah
7
4
Tips From a Turner by Allan Tu rner Heds trand
omotiol:
Jon Miller, manager;
oo
er, assis
SuciptJOD ats:
United Stales and
ss
sions, .16 for one year, '30 for two years; Can
ada, '19 for one year, '36 for two years (in
U.S. dollars, please); other countries, '20 for
one year, '38 for twO years (in U.S. dollars,
please). Single copy, $3.50. Single copies Out·
side U.S. and
Woodworker finds CIA has eye for sculpture
s n
aher, publicist;
nn
e FeIn
stein, assistant art director.
Video:
Rick Mastelli, dIrector; on Goff, Jr.,
production assIstant.
Adverttsinc and Sls:
Richard Mulli
gan and James P. Chlavelli, national ac
counts
76
A Look at Kit Furniture by jim Cummins
sSS
ions, '4.00. end to Sub
cription ept., The Taunton
1
sales coordinator; Rosemarie
r
06470. Address all correson
dence to the appropriate department (Sub
scription, Editorial, or Advenising). The Taun
ton Press, 52 Church Hill Road, PO
ss, O ox
355,
116
Haunting Wooden People
Make your own mini drive centers
a
ges; Vi
n
E. o
n
,
Newtown,
a
te ls rep
n
tative;
o
le Weck
esser
ox
355,
Is rhis really woodworking?
T
06470. U.S. newsstand disui
bution by Eastern News Distributors, Inc.,
3
Newtown,
355,
ewtown, CT
06470.
owd, trade sales cordinator; aura
Lesando;
r
etary. Tel. (203) 426-8171.
III
Eighth Ave., New York, N.Y. 10011.
Postmaster:
Send address changes to The Taunton Press, Inc., PO Box
Dpartments
Articles
tants.
e
Leters
W
#49,
The brief article "Getting a Frame Upholstered"
(F
and a practicing musician, so I speak from both fields.
Perhaps our most divine gift as human beings is our infinite
capacity never to do the same thing in the same way twice
[despite) the strong influences of mass production, whose es
sence is the production of identical things. That goes for mu
sic, too, with its recordings that contain no mistakes !
During the late 18th century, a Benedictine monk wrote an
encyclopedia of organbuilding. In it he drew many diagrams
indicating the diameters and other dimensions of the many
pipes. His scales are highly irregular, one space being narrow
er, the next Wider, the next narrower, and so on. At first we
thought it was poor draftsmanship, but now we realize that he
was trying to document the purposeful irregularities that pro
duce the unique sound inherent in a fine scale of organ pipes.
Tests on fine violins have shown conclUSively that mathemat
ical regularity of tone is
not
a characteristic of great work.
-josepb Cbapline, Newbury,
p. 64) was of particular interest to me as a woodworking
hobbyist and professional upholsterer. I was delighted that up
holstering wasn't treated (as is many times the case) as one of
those bothersome extras after the real skill work is finished.
I wou ld add these suggestions: Try bartering between the
trades-a footstool kit, say, for spring tying, lathe blanks for
padding, wood finishing for trim finishing, and so on . If you're
designing your own upholstered fu rniture, consult an uphol
sterer in the drawing stage to ensure that you've included all
the necessary tack rails and other features. Leave the cutting
and sewing of fabric to the skilled and equipped. Close is not
good enough here.
For those do-it-yourself jobs, the upholstery shop may be a
better source of supply than a wholesale supplier, since pur
chases can be made in smaller quantities than wholesalers will
allow, and with no delivery time or shipping charges. Supplies
can also come with valuable how-to information from an ex
perienced upholsterer. There are still upholsterers around
who have devoted years to developing excellence in their
trade and who would jump at the chance to work with crafts
men of other specialties, like frame builders, carvers and
wood finishers.
N.H.
In response to Robert Deason's comments in the Novem
betjDecember issue, I would like to commend the staff of
F
us to realize the diversity in our trade as craftsmen. Profes
sionally, there are many fields in woodworking, each having
its own merits and accomplishmets. Certainly we can accept
the painted chest just as it is, art. Some of the most treasured
crafts were done with a brush, only they were done on canvas.
-Doug Vondracbek, Newberg, Ore.
-Cbarles A. Spille", Bridgeport, Tex.
What a surprise found in a recent issue. For the past two
years I've been digging through the back issues of magaZines
and reference books and generally making a pest of myself at
the local library, trying to come up with some way to make snow
shoes. The article entitled "Making Snowshoes" in issue #49
has more information on the subject than all of my research
has turned up.
In regard to the color front covers: I'm all for color-let's
have more of it. Inside, outSide, unfinished, finished,
painted;
wood and anything made from it is beautiful. Color can only
help enhance that fact.
-
Dexter
I
isted a material for degumming saw
&
Hammer washing
A recent catalog I saw
blades at $12.95 per gallon. A box of Arm
R.
Louvien, Austin, Minn.
soda (six pounds of it) sells for under $3 and will remove any
gum I've come across, including rosewood sap and even Plexi
glas residue.
Put the blades in the sink, run enough hot water to cover
them and sprinkle a little soda over them. The gum almost
floats away or can be rubbed off eaSily in just a few minutes.
Not only have you saved $12, but there's plenty of powder left
for the laundry.
There is one minor flaw in the current issue, #50. On
p.
58
(Roger Holmes' article on bookcase joints), you illustrate the
highly risky practice of sawing dadoes on a tablesaw, using the
rip fence as a guide. This is absolutely unsafe . I've had a few
instances of the saw grabbing ...and chewing panels to shreds
before a complete cut could be made. Having been injured,
although slightly, in recent months, I perform no operations
on my tablesaw using a rip fence without the guard and its
anti-kickback pawls. The hazard is even greater if the sawblade
is even slightly dulled.
.Y
In reply to John O. Wa lter's letter in issue #50, I would like to
share my paintbrush-cleaning method and also the results of
putting gasoline into the sewer.
I have fo ur tight-lidded, 50-oz. applesauce jars labeled 1, 2,
3 and 4. I put a pint of paint thinner (not gasoline) into each
jar. To rinse my brushes, I pour thinner from jar #1 into a tall
tin can, rinse the brush, then retun the thinner to the jar. I
proceed by repeating the process with each jar in order, re
tuning the solvent to the jar it came from each time. When
jar #1 gets low, I refi ll it from #2, then #2 from #3, and so on,
finally putting some fresh thinner into jar #4. This system
saves brushes from being lost to procrastination, saves thinner
because I never discard any, solves the problem of disposing
of flammable liquids, and ends the temptation to use gasoline .
The experience with flammable fu mes coming into the
basement was repeated here last summer, near Wa shington,
D.C. Many houses become vulnerable to this type of accident
when the trap in a basement drain dries up. A driver delivered
a load of gasoline into a sewer instead of a tank by mistake,
and as a result several houses exploded and burned.
-jobn L. Ditman, Beltsville, Md.
-
Girvan Milligan, Carmel,
-
Tom
.
Moore, Sprinfield, Va.
ROGER HOLMES REPLIES:
I
don't agree that dadoing on the tablesaw is
absolutely unsafe. either is it, or any other machine operation, ab
solutely safe. Tablesaw-dadoing requires care and alertness. If the
end of the board isn't held firmly against the fence as the board is
fed, it can slew sideways, causing the dado head to grab the wood
and chew it up, and maybe your hand, too. Long, narrow boards are
most difficult to keep flush to the fence, so don't tablesaw-dado
boards much less than 1 ft. wide. And if you're at all uncomfortable
with dadoing on a tablesaw, better do it with a router or by hand.
W
#49) fo r a number of
After using the chatter technique
(F
years, I have made a change in lighting used for this type of
turning, to help see the chatter. I have mounted a stroboscopic
light above the tailstock. When the light is adjusted to the
same
RPM
as the lathe, it will appear to stop the turning action.
As I make my chatterwork, I can actually see what patten is
being made while it's turning. Other woodturners may do the
same with bowls, vases, etc.
-jon Sauer, Daly City, Calif
W
#4 7
My wife says your magaZine provides less useful information
than before. She's a technical writer/editor, and she knows
how to make a publication interesting. I agree with her.
There's something big missing from the last few issues. I'm
also concened that the emphasis on color indicates a substan
tive change in the magazine. Some of what I see is intangible,
4
Fine Wo odworking
(p. 98) . I have had some experiences that parallel his that
might be of interest to your readers. I am an organbuilder
W
on the recet changes in format. I think it is of value to
I couldn't agree more with Max Hunsicker's letter in
F
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