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
Fine Gardening - Grow Healthier & Easier Gardens (2015), !!!Materialy Eng
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 066, papermodels, historica
[ Pobierz całość w formacie PDF ].
C
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Poter-Cable Untes Joiner Technoloy
With
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Join forces with the advanced joiner
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Plate Joiner. It's a powerful,
American designed and manufac
tured machine that makes joining
material faster and easier than ever
before. With a unique vertical handle
for comfort and speed ... a heavy-duty
specialty woodworkers ... in any joining
application where precise alignment
and fit is critical. Porter-Cable also
offers joining biscuits in the three stand
ard sizes, now manufactured in the
USA to exacting specifications to work
with all brands of plate jOiners.
So visit your local Porter-Cable
distributor today ... and join up with
the Model
5
amp motor for smoother cutting ...
and an industrial-rated belt drive for
quieter operation.
Used in Europe for years, this previ
ously expensive technology is now
available in a precision engineered
American made machine at an afford
able price. All of which makes the Porter
Cable Plate Joiner the perfect tool for
cabinet workers, furniture makers, and
555.
You'll find it's one
perfect marriage.
America's Working Class
ORERt[ABE
PROFESSIONAL POWER TOOLS
P. O. BOX 2468· JACKSON,TN 38302
. �
.
.
�".-
�% rg
·
n
e
__ ____________
==sePtemer/octOer
1987
Letters
DEPARTMENTS
4
Methods ofWork
Blade covers; making long dowels; lubricating sealed bearings
8
Questions
&
Answers
14
Folow-up
Roubo-type holdfasts; staining with lye; moisture meter update
Curing smelly furniture; bending thick stock; router bi ts for shapers
20
Events
Books
106
Notes
ad
Comment
Timberline Lodge; Square It review; Daphne's demise
114
ARTICLES
38
Rustic Furniture
by Dick Burrows
Crating with nature's freejorm esigns
44
Carved Bowls
by Alan Stirt
Texture enriches the asic shape
47
Carved handles and feet
by Dale Boyce
48
Sharpening Carving Tools
by Ben Bacon
The essental steps for a keen edge
51
Multi-wheel sharpening system
by Russell Orrell
52
Old-Fashioned Wood-Coloring
by George Frank
Reviving the dyes of yore
55
Dyed-in-the-wood pine
by Sandor Nagyszalanczy
56
Plunge Routers
by Bernard Maas
A comparson of the top three Japanese imports
and a new machine from Europe
60
Plunge to destruction
by Jim Cummins
61
Coachmakers' Rabbet Plane
by Jeff Lock
An ebony beauty for smoothing curves
64
Cherry
by Jon Arno
A rose among woos
67
Mortise and Tenon
by Michael Podmaniczky
Chop the mortse by hand,
but a machine's best for the tenon
72
Vacuum Jigs
by James L. Kassner, Jr.
Holding the work with thin air
76
Wall Paneling
by Graham Blackburn
General application and esign princples
79
Laying
out Geogian-style paneling
by Malcolm MacGregor
82
Brandy Stand
by Carlyle Lynch
A lightweight table with a marquetry top
8
5
Wtlliam Robertson
by Jim Cummins
Glimpses into a miniaturst's world
Postmaster: Send address changes to The Taunton Press, Inc., PO Box 355, Newtown, CT 06470.
67.
Edilor
Paul Bertorelli
Arl Direclor
Roland Wo lf
Assoc.le Edilors
Jim Cummins, Dick Burrows
Assisl"nl Edilors
Sandor Nagyszalanczy, Roy Berendsohn
Copy Edilor
Barbara Hofmann Jennes
Assisl"nl Arl Direclor
Kathleen Creston
Edilori"' SeCrel"y
Mary Ann Colbert
Conlibuling Edilors
Tage Frid, R. Bruce Hoadley,
Michael S. Podmaniczky, Graham Blackburn
Consu"ing Edilors
George Frank, Otto Heuer, Richard
E.
Preiss,
Norman Vandal
Melhods of Work
Jim Richey
Fine Woodworking
is a reader-written mazine. We wel
come proposals, manuscripts, photographs and ideas from
our readers, amateur or professional. We'll acknowledge
all submissions and re
n
within six weeks those we can't
publish. end your contributions to
Fine Woodworking,
Fine Wdworking
(ISSN
0361-3453)
is published bimonthly,Januay, March,
May, July, September and November, by The Taunton Press, Inc., Newtown,
CT
06470,
and additional mailing offices. Copyright
1987
by The Taunton
Press, Inc. No reproduction without permission of The Taunton Press, Inc.
Fine Wdworkinge is a registered trademark of The Taunton Press, Inc. Su
ription
06470.
Telephone
(203) 426-8171.
Second-class postage paid at Newtown,
CT
ats:
United States and osseSSiOns,
'18
for one year,
.4
for two
years; Canaa and other countries,
$3.75.
Single copies outside U.S. and posses
'4.25.
Send to Subscription Dept., The Taunton Press, PO Box
355,
Newtown, CT
06470.
Address all correspondence to the appropriate depan·
ment (Subscription, Editorial, or Advenising), The Taunton Press,
sions,
63
South
355,
Newtown, CT
06470.
U.S. newsstand distribution by
Easten News Distributors, Inc.,
1130
Cleveland Road, Sandusky, OH
44870.
Main Street, PO Box
3
110
Plunge routers, once the mainstay of the produc
tion cabinet shop, are finding their way into the
amateur's shop as well. To find out how the top
three Japanese machines compare, turn to p.
56.
Cover: Michael Podmaniczky demonstrates mor
tising techniques described in detail on p.
ox 355,
N
r
on, Conn.
06470.
'21
for one year,
$40
for two years (in U.S.
dollars, please). Single copy,
Leters
Was I ever excited when I received the latest issue of
Fine
Woodworking
and saw Gerrit Rietveld's Red and Blue chair on
the cover. I've been interested in Rietveld for many years and
have built several of the chairs for my own gratification. I
finished the first two in the same colors as the original, but left
the third chair natural. I next plan to build a footstool that
duplicates the seat portion of the chair.
The chair is surprisingly comfortable, especially when you
consider that you're sitting on solid wood.
-Alan R. Stenicka, Lousville, Ky
.
discover and appreciate this style of instrument bUilding. Part
of my intent was to bring the viewer into this recognition of
craft via the backdoor of the rough exterior.
-Max Krimmel, Boulder, Colo.
#64
on shopmade sash clamps was inter
esting and beneficial. May I suggest that the threaded cross
member be held in place with a small bolt rather than glue so
that short and long bars can be interchanged to suit the job.
-Charles
.
Price, Winnsboro, Tex.
#65,
or
for the Zig-Zag chair mentioned in Glenn Gordon's article?
-Herbert Kurtz, Melrose Park, Pa.
#64)
regarding
the new Freud JS100 plate joiner. Two points were disturbing.
First, as a long-time reader of your magazine, I've always
agreed with your viewpoint that the cost of a tool, while im
portant, should remain secondary to the tool's quality, reliability
and versatility. I gather that you have some strong doubts
about the reliability of the Freud machine-yet you suggested
that the reader buy two! Now, with a Freud machine in each
hand, it's unlikely that this woodworker will be interested in
hearing about the added speed and flexibility provided by [the
Lamello's) swiveling front plate or, for that matter, the many
attachments and accessories which will greatly increase the
versatility of a Lamello machine.
Second, I note that, in the same issue, the Lamello Junior
(functionally similar to the Freud machine and able to accept
Lamello accessories) was advertised for
$299.
I suggest wood
workers consider purchasing one Lamello Junior and several
boxes of plates, rather than purchasing two complete machines.
drawings featured in
The Funiture of Cerrit Thoms Rietveld,
by
Daniele Baroni, Barron's Educational Series, Inc.,
113
Crossways
11797, $23.95.
No joining details are
given, but some of the drawings are superimposed on a metric grid,
so dimensions can be readily calculated.
Park Drive, Woodbury, N.Y.
#65-1
built one better than that out of crate wood
during the Great Depression. My mother wouldn't even let me
put it in the backyard. Come on!
-..
Conkling, Jr
., South Dartmouth, Mass.
s
woodworkers, we're all concerned about maintaining
high quality in our products and charging accordingly. Are we
now being asked to reward lower quality from our tool manu
facturers?
-Bob Jardinico, Colonial Saw Co., Inc., Kingston, Mass.
#61.
Although I could
not have articulated this at the time I built the instrument, the
most important reason for building it was to help discover for
myself what quality in craft is. In this case, it was demonstrated
that craft is not defined by a "perfect" finish.
The surfaces of the top, sides and back of the body on my
rough-cut guitar were left as they came to me, straight off the
saw, with only a light coat of lacquer. One can even detect
traces of the sawyer's numbers on the book-matched top.
In the "normal" construction of a guitar, the top is first
joined together then rough-sanded to thickness, braced, inlaid
and assembled into the rest of the instrument. At the last
possible minute before applying lacquer, the instrument is
finish-sanded to clean up any slight nicks and scratches. With
the rough-cut guitar, I have no opportunity to remove out-of
flat spots in the jOint, excess glue, miscellaneous marks or
minor errors made during the rest of the construction; I have
one chance to take my best shot and keep it looking its best.
This is a different method of working than the "patch, fill and
tinker" style so common in instrument building. Other prob
lems come up, too, such as the impossibility of measuring the
effective thickness of the wood. I must rely on my sense of its
weight and stiffness.
It generally takes the first-time viewer several minutes to
#64,
I'm surprised that you would print a draw
ing of this potentially dangerous jig. If the chair rung slips,
either the router bit or the chair rung could easily explode into
little pieces. The correct way to build this jig would be to cut
out a small piece in the bottom of the V-block to contain the
router bit so that the bit projects only as far as the depth of cut.
This way, the bit can't grab, even if the dowel slips.
If you design the jig as I suggest, a slipup can be corrected
by another pass over the router bit.
-Gerald Bayne, Brackney, Pa
.
I don't want to drag out the discussion on bandsaws, but there
was one omission which could be of interest to the craftsman
who cuts both wood and metal: a converter sold by Sears. The
converter is a "little black box" that fits on the motor shaft
with a steel strap fastened on the motor mount. Wood-cutting
speed is maintained, and a simple slip of the belt to an adja
cent pulley reduces the speed.
When the drive pulley is set-screwed to the motor shaft, an
adjacent pulley of the same diameter-supported by the motor
he Tanton
Pr
ss
Cheh,
cicuation coordinator.
aa csn
g:
Richard
enton, ystem operator/pogrammer.
d
uction asSstants;
Sian Nandy,
scannr/ystem oer
ator;
Dinah George, Nany Knapp,
ystem operatos;
amela
Im
nt:
o
le
E. ndo,
subsciption manager;
Tery Thomas,
su
Stlth, secretay.
kn
g:
Dale Bon, director; Re
marie Dowd, trade sales coordinator; Barbara Buckalew,
secretay.
s
or
customer service/mali pocessing;
Connie Barczak, Gloria
o
modon:
Jon Miller,
managr;
Philip Allard,
coy/promotion riter;
Claudia Allen,
promotion/circua
tion assistant; Pamela Purrone, coy/production editor.
oi,
personnel
manager;
Lois Beck,
office-services coordinator;
Joyce
o
n, orothy Dreher, nette
m
erski, Pamela
w
er,
P
e
tay.
A
n
dng:
Wayne
n
ols, controer; Irene
gy
eBlanc, Jen Oddo, enie
l,
Heather Ric
i
,
Vio:
Rick
t
elli,
d
ucr/director.
Nancy
h
h, h
eUe Serling; en Wner, mali-s
c
es
crk.
Roet
y
nn
I
iola, Timothy
ri
ngton,
nn
ea In
m
,
Alice Saxton.
Adv
s
ing and
ls:
Ri
d
Mullian and amela Sial,
national accounts manages;
is,
manager; Mary mes, Elaine Yamin.
t:
Roger
ns,
esign diector;
en
nn,
at epartment managr;
Elizabeth Eaton, Anne Feinstein, Heather Brine ambert,
Manufacturing:
athleen Davis,
director;
ss
t
e art diectos;
g
ot nor, at/productlan tecbn/
o
le Weckeer,
senior sales
coordinator;
Nancy Clark,
sales coordinator;
Jill Turek,
secretay. Tel. (203) 426-8171.
Austin E. Starbird, pepress manager;
a t,
David
eFeo, coordinators; Rolland Ford,
can.
os:
slie
o
la, pulsr; Mark Felter, managing
PC
coordinator;
Ua
4
Fine Wo odworking
The article in
WW
I'd like to reply to your recent article
(
WW
Do you know if there's a book or set of plans available for the
Red and Blue chair you featured on the cover of
WW
EDITOR'S NOTE:
We weren't able to locate measured drawings for the
Red and Blue chair, but the next best thing is the excellent line
As a subscriber, I date back to your first issue, but now I dis
cover that you must be slipping. Just look at the chair on p.
44
of
WW
I'd like to add to the comments of Scott Landis about the
"rough-cut" guitar mentioned in his article about the Guild of
American Luthiers convention in
WW
In regard to the Method of Work, "Making tenons on chair
rungs," in
WW
d
uction editor.
a
doD:
n
editor;
cott
n
s,
Christine Timmons,
assocate editors;
Nancy tabile,
COY/
Carlson, Mark Coleman, Deorah Coper, Ellen Olmsted,
aul Roman, publser; Janice A. Roman, assocate pUblisher;
Tom Luxeder,
operations manager;
Carol
Moan,
dminstratie asSstant/s
e
tay;
na ll/i,
i,
distibution su
s
or;
avid Blsko,
*PLUS*
".EE
". Feight
On vey
Iem
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Complete plans and instructions
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Kit Contains: Planer jig pair
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Rt.
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322
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