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 100, papermodels, historica
[ Pobierz całość w formacie PDF ]Plate joiney
Dust collection
Sudley tool chest
Half-blind dovetails
164797
9
THE CEAN-CUT LOOK
TO POWER TOOL
ACCESSORIES.
High performance and indus
trial quality. What you get from
DeWalt power tools is available in
a complete line of power tool acces
sories. They'll fit all major brands
of power tools, and give them the
extra power and precision you expect
from DeWalt.
Take the DeWalt Thin Kerf
Carbide Blade. It's as much as
25%
thinner than standard carbide blades
to ensure a fast, smooth cut. But
unlike most thin kerf blades, its
precision-ground carbide teeth and
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DeWalt® Accessories. They'll
give your finished work just what it
needs, the clean-cut look.
DEWAL:
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BRINGS
DEPRTMENS
4
Tool Forum
96
RICLES
Letters
18
Classiied
106
Methods of Work
&
Answers
26
Events
110
Questions
Notes and Comments
Making a Drawer with Half-Blind Dovetails
by Frank Klausz
40
You don 't have to sacrifice sp eedfo r a hand-cutjoint
82
Sliding Compound Miter Saws
by Sandor Nagyszalanczy
Surveying six clever crosscutting toos
44
Platejoinery basics, p.
Visible Joinery Makes a Chest
by Malcolm Vaughan
49
Flared mortises andjig-cut wedges create matching, tightjitting th rough-tenons
Studley Tool Chest Makes Smithsonian
by William Sampson
52
Research reveals more about th e man and his tool chest
Scratch Awl from Scrap
by Tom Herold
56
Simple steps produce a beautful, high-qualiy tool
Setting Up Shop
by Peter Korn, Mario Rodriguez and Mark Duginske
58
52
hree pros give advice on oufitting afi rst shop
Sofa Table Complements Antiques
by Gene McCall
63
his eclectic design blends syles andjoinery
Sliding Table Simpliies Mortising
by Mac Campbell
Heay-duy drawer slidesfo r precise alignment, easy action
.
66
Studley tool chest close-up,
p.
68
Taking Stock in Forest and Shop
by RichardJagels
Timber management and resourcefu l woodworking save money and lumber
Using Overlooked Hardwoods
by John
Clark
69
72
Crib Hides Its Hardware
by Bradley S. Rubin
Co mmercial drawer slides are th e ky
r
by Jim Lawton
Clearing the
76
Increase your dust sy stem 's fi lter area, and add a yclone separator
Plate-Joinery Basics
by Ed Speas
82
44
Fo ur dfferent setups will cut mostjOints
85
On
the Cover:
Mark Duginske works in
his well-eqUipped shop in Wausau, Wis.
He joins Peter Kon and Mario Rodriguez
to offer tips on oufitting a shop, p.
Dana Robes, Wood Cratsman
by Sandor Nagyszalanczy
0361-3453)
cr
06470-5506.
(203)426-8171.
Producing solid-woodfu niture, one piece at a time
r
06470-5506,
1130
OH
44870.
#J
23210981.
58
osmaster:
toFineWoodworking,
88
The rightproduct and good techniques keep outdoor projectsfr omfa lling ap art
Photo: Scott Landis.
Fine Woodworking (ISSN
is published bimol1lhly,JanwlIY, March, May,July, September and November, by The Taunton Press, Inc., Newtown,
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Editor's Notebook
8
36
Sliding compound miter saws, p.
Wood Against Weather
by Jim Tolpin
Editors Notebook
s
t
IOO-Eighteen years ago, when
I
was putting together the first issue of
Fine Woodworking
-because
I
was hun
gry for good information-the United
States woodworking world was a fa r dif
fe rent place. Everything was much harder
to come by, hardwoods, tools and, above
all, ideas and information.
Strange as it may seem, most of the com
panies now offering their wares in our
pages did not exist then. Unwittingly, in
creating
Fine Woodworking,
we also gave
birth to a varied and vital marketplace of
equipment and supplies. But primarily, we
were the leading edge of an even more di
verse marketplace of ideas and info rma
tion. Where there had been only two
magazines dealing with woodworking
(Popular Mechanis
and
Workbench),
now there are almost five times that many.
And where there had been only a handful
of good book authors (Marlow, Gottshall,
Joyce), now there are dozens of them.
And most impoltantly, the quality of the
information is now on a much higher
plane. The Tage Frids and Bruce Hoadleys
of the world have had a chance to share
their knowledge and insights, and we all
have been far better off for it.
But progress doesn't end with issue 100.
I like to think that in the conling years,
we'll be entering the golden age of
Fine
Woodworking.
And after years of concen
trating on publishing,
I
am now personally
rediscovering woodworking as a mar
velous discipline and absorbing process. It
pulls together a real blend of skills, crafts
manship, ideas and utility in making things
our friends, fa milies and maybe even our
descendants can use and enjoy.
Here's to the second 100!
of which
I
had no previous notion. All
at once there was inspiration and aspira
tion.
doubtthose earlyissues had a sim
ilar effect on other woodworkers. That's
why it is no surprise how many of our
readers are so proud of being charter sub
scribers. And those who aren't frequently
covet or boast of owning complete sets of
the magazine.
But as a neophyte woodworker on my
first encounter with the magazine,
I
fe lt a
certain measure of awe and fear as well.
Could I ever hope to achieve results of that
level? Those feelings kept me from imme
diately embracing the magazine, and it
wasn't until a few years later that I came in
to tl1e fold, so to speak.
To day,
Fine Woodworking
is 100 issues
old. The covers are in full color and the
space on newsstands reserved fo r wood
working magazines is a lot more crowded.
Interest in woodworking continues to
grow, and
Fine Woodworking
has an im
pOltant role to play in that growth as we
move into our second 100 issues. As the
magazine matures, we look fo rward to
continuing to provide a level of quality
and usefulness unmatched in the ield. At
the same time, we want to leave the door
open not only to the subscribers who have
been with us since WW
-Paul Roman,
fo unding editor and publisher
u
d
Milestone for the road ahead-I
can't
claim to have been part of the
Fine Wood
working
fa mily since its beginning. But
much as a fe llow alight remember the day
he met his wife,
I
can remember exactly the
circumstances and scene when
I
first met
Fine Woodworking.
I was in a new lumber
store in San Jose, Calif., reveling in the new
found variety of hardwoods the store of
fe red when a small rack ofblack-and-white
images stopped me in my tracks.
I
think it
was the strong, angular design of a work
bench vise on the cover of
FWW
#4 that
transfixed me. That issue was alongside
several other early issues, all with their typ
ically dramatic black-and-white covers.
I
feasted on the covers and flipped the
pages. It was like walking into a new world
#1 but also to
ssi
e
Editor Vincent Laurence
do
work.ng M"g"zine
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4
Fine Woodworking
0
The
BJTIOS
...bJ·le
'
cnll!Jsi:JSIS
n
A
P.e W
Ulle Edior
William Sampson
Art Dieaor
KathJeen Rushton
dio
recLOrs;
Copyright 1993 by The Taunton Press, Inc.
FineWoodw·king
Adl
Dust Is A
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[ Pobierz całość w formacie PDF ]
