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    JET TABLE SAWS

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    ________
    -=January/February
    1991
    DEPRTMENTS
    4
    Letters
    14
    Methods of Work
    Cutting precise miters; parabola marker; wireless vacuum switch
    &
    Answers
    Waxing cast iron; inlaying lead; keeping finishes from freezing
    22 Questions
    32 Folow-up
    More on camphorwood; lathe guards; more sources of supply
    Cleaning your
    u
    s
    collet socket
    s
    a vial part of
    112
    Index to issues
    80
    through
    85
    116 Evens
    120 Books
    122 Notes and Comment
    A
    dream shop; kinetic sculpture; woodworking shows
    tuning this shop workhorse. Mark Duginske tells
    how on p.
    56.
    Cover: Alec McCurdy's music cabinet
    blends tadition and uniqueness (article on p.
    54).
    Photos above and cover by Sandor Nayszalanczy.
    RTICLES
    42
    Wall-to-Wall Built-in Cabinets
    byJohn M. Foster
    Modular approach brings a big job down to size
    ug
    jng Editor
    Jim Boesel
    Editor
    Dick Burrows
    M
    Art Djredor
    Kathleen Rushton
    Assori"te Editor
    Sandor Nagyszalanczy
    Assst"nt Edjtors Charley Robinson,
    Gary Weisenburger
    Copy Editor Carolyn Kovachik
    Assst"nt Art Djredor
    Aaron Azevedo
    Edjtori"' Asist"nt Alec Waters
    Editori"' Secret"y
    Claire Warner
    Contributjng Editors
    Tage Frid,
    R
    Bruce Hoadley,
    n
    g a living rom our crat
    by Steven and Debra Gray
    50 Cratsmanship in Britain
    by Dick Burrows
    Contemporary makers show their syle
    48 Ea
    Christian Becksvoort, Michael Dresdner
    Consultjng Editors
    George Frank, Richard E. Preiss,
    Norman Vandal
    Methos of Work
    Jim Richey
    Indexer Harriet Hodges
    54
    Alec McCurdy's Music Cabinet
    by Sandor Nagyszalanczy
    Traditional composition in English walnut
    56
    Tuning Your Router
    by Mark Duginske
    Maintenance and tips for top peformance
    Publisher
    John Lively
    M"rketjng Djredor
    James P. Chiavelli
    Cjrcul"tjon Assist"nt
    Brenda Hamilton
    CopylProdudjon Editor
    Christy McCormick
    M"rketjng Assist"nt
    Sherry Duhigg
    Publjc Rel"tjons M"n"ger
    Donna Pierpont
    Tele,"rketerICsto,er Se;'ce
    Lori Moir
    Ad,jnistr"tjtle Secret"y
    Susan M. Clark
    60
    Building a Gate-Leg Card Table
    by Frank M. Pittman
    Tackling curved rails and inlaid legs
    65
    Bleaching Wood
    by Michael Dresdner
    A versatile solution for lightening wood and more
    i
    ng CoordjlJlor
    Ka yn Mo
    n
    Simonds
    (203)426-3434
    66
    Choosing the right bleach
    68 Lathe Duplicators
    by Charley Robinson
    Machines and aUachments for tuning multiples
    eWoodworking
    is a reader-wrinen
    z
    ine. We welcome
    74 Faster Than the Driven Snow
    by Scott Dickerson
    Building a Cape racer sled
    Adlertisjng Secret"y
    Jennifer Dunbar
    n
    uscripts, photographs and idas from our rad­
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    FineWoodworking,
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    76
    Cabinet Door Frames
    by Joseph Beals
    Machine methods for strong constuction
    FineWoodworking
    magazine remains in tlle authors, photog­
    FineWoodworking
    80
    Routing Rectangular Recesses
    by Ralph]. Harker
    Circular templates make setup easy
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    (ISSN 0361· 3453) is published bimonthly, January, March, May.
    raphers and artists, unless otherwise indicated. They ve
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    82 Variations on a Four-Drawer Chest
    by Tage Frid
    Divergent details make all the difference
    T
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    Making Elliptical Mirror Frames
    by Len Schmidt
    Molding a profile on a curved surfa ce
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    91
    Craig Nutt
    by Gary Weisenburger
    Combining humor and a bit of cayenne
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    47
    Making a Kaleidoscope
    by Steven Gray
    A fa ncy toy to delight the ye
    Adlertsjng S"'es M"n"ger Dick West
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    Letters
    #83.
    All too many woodworkers feel they are practicing safe wood­
    working simply by putting on goggles and using push sticks, yet
    they ignore the noise and respiratory hazards that exist in the
    workshop. However, I felt the article omitted an important fact
    by not discussing the approval numbers issued by the ational
    Institute for Occupational Safety and Health ( IOSH) and the
    Mine Safety and Health Administration (MSHA) that should be
    stamped on d1e cartridge or ilter mask. These approval num­
    bers generally are TC-21C-xx, for particulate respirators (where
    "xx" is a three-digit identifier for a particular model of respira­
    tor) and TC-23C-xx, for vapor cartridge filters.
    The distinction between TC-21C and TC-23C is important be­
    cause it has been shown that small particulate matter, such as
    wood dust and varnish spray droplets, can be caught by a partic­
    ulate respirator (filter masks), but pass through an organic vapor
    caru-idge. The solvent vapors that evaporate from varnish spray
    droplets will pass right through a filter mask, but not the organic
    vapor cartridges. This leads me to make the following recom­
    mendations. When generating wood dust, it is best to use a lighter,
    cheaper particulate mask with a TC-21C stamped on it. When
    varnishing with a brush or cleaning up with organic solvents, it
    will be necessary to use an organic vapor cartridge type respirator
    with a TC-23C samped on it. When spraying inishes, both types of
    protection are needed, and one should use an organic vapor car­
    tridge (TC-23C) with a spray paint preilter (TC-21C) snapped
    over it, or if money is no object, an organiC vaporlHEPA (high
    eficiency particulate absolute) filter combination cartridge.
    HEPA is a particulate filter with a TC-21C approval number; un­
    fortunately, the approval number for the combination cartridge
    is TC-23C. Lab Safety Supply Inc. (800-356-0722) is a distributor
    of safety equipment. The company's free catalog contains piC­
    tures and explanations of several brands and classes of respira­
    tor equipment. -John
    a
    teurs
    n
    g pro-Responding to Perry Younker's letter
    s
    an amateur woodworker for only 1
    Y2
    years, I have produced
    several pieces for profit. Each project (three tables, a gun cabinet
    and a hutch) resulted from individuals seeing pieces I have built
    for my home. The main point is this: if a person asks you to
    build something, he/she is pleased with what they see. A simple
    skill title-amateur, pro, hobbyist-has nothing to do with it.
    What matters is that you, in that person's eyes, have produced
    fine furniture. Sure, a hundred questions go tl-ough your mind,
    but gracefully accept the compliment and conunission!
    s
    a hobbyist, you have much more freedom on price than a
    professional. Little overhead and not having to depend solely on
    profits from commissions for income enable you to practically
    "give it away." Remember, woodworking is a dynamic art and
    we learn by doing. Don't shy away from seiling pieces because
    you don't think you're ready. If a person asks, you're ready!
    -Steve Cha
    ,
    South Burlington, Vt.
    Advice for "paying projects"
    -
    I read, witl1 great interest, Perry
    Younker'S letter about being asked to build his first "paying pro­
    ject." Having been an amateur woodworker for me past five
    years, I too began getting requests for work. (Isn't that some­
    thing we all want to get?) Here are some ideas that have worked
    for me and some advice on things to avoid.
    One thing I've discovered is that it's difficult to get people to
    pay you what you really should earn for your time. In order to
    justiy the lower return,
    .
    Messinger
    I,
    PhD., Bufalo, NY
    I
    charge an amount equal to or greater
    35m
    s
    i
    des
    -
    G
    eorge Levin's "Storage Box
    for 35mm Slides" in
    WW
    than whatever tool it is I wish to acquire next. So far, I've man­
    aged to equip my shop witl1 a jointer, router table and various
    hand tools that
    I
    had coveted. I've also doubled the number of
    my clamps and hand screws. I currently have my eye on a tl1ick­
    ness planer,
    f
    I can ind the right project.
    Storage box for
    #84 demonstrates that he's a compe­
    tent woodworker, but as a photographic archivalist he needs
    help. The life expectancy of color transparencies varies in rela­
    tive stability from 6 years to more than 50 years, when the slides
    are kept in a reasonably safe environment. In a poor environ­
    ment, such as one that could be produced by wood and many
    wood finishes, their stability could be measured in months.
    Many museums and larger photographic agencies store slides
    in baked enamel boxes, which can be kept in a frost-free freezer.
    The rest of us ordinary mortals can do well by returning slides
    to the cardboard boxes mey came in and storing the boxes in a
    relatively inert photographic paper box. The non-polyvinyl chlo­
    ride binder pages sold in many photographic supply houses are
    also excellent for storing slides.
    For more information, I reconunend readers contact Light Im-
    When discussing a project with potential clients, I ind it help­
    ful to ofer a number of options. And mere are a few important
    points that must be settled before you quote a price: what type
    of wood is preferred, do they want a style that matches or con­
    trasts with their present furniture, and will the piece be deliv­
    ered finished or unfinished. When you've gotten a good feel
    for the clients' wants and needs, take the time to create as
    professional a drawing or sketch as you can render. Clients are
    more likely to U-ust you if you act like a professional. One of
    my clients requested the plans, had them mounted and framed,
    and hung them over the built-in cabinets I produced for her.
    Whatever you do, don't start making sawdust until the clients are
    sure that your sketch really represents what they want. You
    g
    e;
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    ary.
    m
    m
    a
    lyst;
    Susan Morehouse,
    pogram­
    F
    lm
    ent
    &
    d
    uc­
    s
    o; Susan Burke,
    eaions:
    Tom Luxeder,
    director;
    Jane Torrence,
    seretary;
    Cir­
    s
    o;
    Lydia
    Thomas Greco,
    poduction. manger/ooks;
    Philip V
    ;
    Nancy Atkinson, Chansam Thammavongsa,
    oi
    ng
    president;
    Carolyn Kovaleski,
    administrative secretary;
    Roger
    Bnes,
    design director.
    duction manager/magazines;
    Diane Flan
    Roger elia, snior
    o
    nn
    Colbert, Roxanne F
    mm
    et, P'.tricia
    Patrick amontane,
    mangr,
    jerey Sherman,
    financial analyst;
    Mary Sullivan,
    accounant;
    Carolyn Stiles,
    enior cost accounting
    clrk;
    Carol Diehm,
    accouns payable
    Boo
    V
    ideos:
    john
    n
    tatives;
    Customer ervice (Sub­
    scriber): Patrida MalouI;
    manager,
    Joyce McWilliam,
    mail
    s
    manager;
    Margot
    Knorr,
    publication applications manager;
    Nancy Knapp,
    compOSi­
    tion production coodinator;
    Monica Bulson,
    assistant publication
    applications specialist;
    Usa Carlson,
    ystems operator.
    c
    ssing
    supervisor;
    Nancy Schoch,
    senior customer service rep;
    jane
    BOjno
    Pavlik,
    secre
    Personnel:
    s
    o;
    Gloria Carson,
    lion ssistants;
    Ridlard Booth, Deorah Cooper, Mark Coleman,
    scanner operators;
    William Godfrey, aurene jakab,
    color
    accounts pyable clerk;
    awrence Rice,
    crdit
    i
    , Diane Hurvul, Barbara Lowe, Marylou Thompson; Custom­
    er Service (Trade): Ouistine Cosacchi,
    Krikorian,
    senior collections clerk;
    Judith Rivera, Victoria Theobald,
    collections clerks;
    Diana D'Onofrio, Elaine Yamin,
    senior ac­
    counting clerks;
    Dorothy Dreller,
    secretary.
    Willi
    n,
    clUmt services
    operators;
    Dinah George,
    composiUoll ys
    gy
    leBlanc, Denise Pascal,
    a
    entry;
    Distribution: Paul Seiold,
    Kelsey,
    publisher;
    Marcie Seigel,
    administrative seretary;
    Deborah
    Cannarella,
    editor;
    Deborah Fillion,
    book designer;
    Christine
    Timmons,
    senior editor;
    jerey Beneke,
    associate editor;
    Andrew
    Carol Marotti,
    manager;
    Linda Ballerini, Chris Lincoln,
    pesonnel
    assistants;
    Denise DePaola,
    secretmy.
    P
    4
    Fne Woodworking
    Update on respiratos
    -
    I would like to voice my approval of
    the excellent article "Dust and the Woodworker" in
    WW
    pressions, 439 Monroe Ave., Rochester, N.Y. 14607; (800) 828-
    6216 and request its booklet on the care and storage of color
    slides and its archival supplies catalog.
    -Robert Entwistle, Winter Park, Fla.
    (
    WW
    #84, p. 6), I would like to give a few words of encouragement.
    concerning turning from an amateur to pro woodworker
    O
    N
    Schultz,
    assistant editor;
    Barbara Hudson,
    secretary;
    Videos: Craig
    Umanof,
    associate producer;
    Thomas Menard,
    assistant producer;
    ArtIProduction: Robert Dlah,
    manag1�
    Steven Hunter,
    art director;
    Henry Roth,
    associate art director;
    Catherine Cassidy, Jodie Delohery,
    assistant
    t
    directors;
    m
    Andrea Ond,
    manager,
    Philip
    t
    Nielen,
    PC
    programme;
    Ellen Wolf,
    PC
    coordinator;
    Sherill Kolakowski,
    computer support technician.
    m;
    R
    lion associates;
    Rosemary Pagel,
    pn·I
    culation: Karen Cheh; Mary
     Co:r O
    p
    is
    n
    ll

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    D
    ER SERVICE NO.
    95
    i VISA'!
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    0
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    WOODWORKERS:
    TAKE A COURSE IN WOOD TECHNOLOGY at NORTH CAROLINA STATE UNIVERSITYthru video IN YOUR HOME.
    The Department of Wood
    Enrollees are mailed six,
    45-60
    min. video presentations on WOOD TECHNOLOGY made by the NCSU focuhy.
    Students review the videos ond supplementory wrilien materials, complete homework assignments, and mail
    the completed assignments to NCSU. Their course coordinator then reviews each assignment ond returns them
    with constructive comments. Subjects oddressed in the course include:




    011
    wrilien handout materials is
    5129.95.
    Structure of Wood
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    Make check payable to: N.C. State University.
    Name
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    phone
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    mail to: VIDEO EDUCATION, DEPARTMENT OF WOOD
    Please allow
    8
    January/February
    1991 5
    BOX BOOS
    RALEIGH, NC
    27695-805
    PHONE:
    (919) 737-3181
    moil delivery of the course
    materials to you.
    D
    ER SERVICE NO.
    Natiol alaim d res for

    SUGGESTED RETIL S12.95
    $45.0
    Wood Products and their application
    All Participants successfully completing the course receive a Certificote of Recognition from North Carolina
    Stote University. The cost of the course including the videos and
    Enrollment is limited so early registration is encouraged.
    Ple

    nroll me in the vide0
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    rse, Wood Technology, at North Carolina State University. Enclosed is my enrollment fee of
    ___
    N.C. STATE UNIVERSIY
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