Fine Woodworking Magazine #043 - Making Boxes.pdf
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NOVEMBER/DECEMBER 1983, No.43, $3.50
111
Making Boxes
IT'S READY TO
GO
IF YOU ARE!
Let's tak about that:
on
ly 3/32" wide -- my blade requires ADEQUATE power for optimum performance.
minimum
of
I-I
/2 hp for a table-saw and a 12 amp motor on a radial-arm. And, MORE than
proper
horsepower.
8"
or
9"
blade.) With 60 Carbide-teeth, polishing the cut --even though
The Mr. Sawdust Blade is ready to go! It's everything we claim it to be. It does everything we guarantee it will do.
It's the finest performing (and lasting!) blade you can buy.
But -- you must supply the
For my 10" blade, a
that is BETTER! (For less hp, order my
they're
Wishing won't make it work!
Read my Free brochure, "The Cut is Everything!" Make certain your saw is ready for my blade.
Orwrite: Dept.
MS-8
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WOODWORKING WORLD
--PHILADELPHIA
Downingtown Farmer's Market
Exhibit Hall
Downingtown, P A
Nov. II,
12,13
NEW YORK
SUNRISE MALL
Sunrise Hwy
&
Carman's Rd.
19-22
(Center Court Area)
Willow Grove, PA
Oct.
Thistledown Racetrack
(Center Court Area)
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ov.
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Massapequa, Long Island
Jan.
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(In
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63
FINE WOODWORKING
Editor
John Kelsey
Art Director
Deborah Fillion
Associate Editors
Rick Mastelli
Paul Bertorelli
Jim Cummins
Assistant Editors
David Sloan
Dick Burrows
Copy Editor
Nancy Stabile
Assistant Art Director
Roland Wolf
Editorial Assistant
Linda D. Whipkey
Contributing Editors
Tage Frid
R. Bruce Hoadley
Richard Starr
Simon Warts
Consulting Editors
George Frank
Ian J. Kirby
A.W. Marlow
Methods of Work
Jim Richey
n
g
·
NOVEMBER
/DECEMBER 1983, NUMBER 43
i
ne
q
i
&
Answers
DEPARTMENTS
102
Notes and Comment
20
Books
122
Adventure: Old Ken's Tools
ARTICLES
32 Quick and Tricky Little Boxes by Jim Cummins
How I bookmatch scrap wood into Christmas gifts
39 Splitting Out a Firewood Tote by Wayne Ladd
This project gets you started with green wood
42
Shop-Testing Five Jointer-Planers
by James A. Rome
Combination machines solve some problems, have drawbacks too
45
Learning how to read the grain
by R. Bruce Hoadley
4
9
Bandsawn Dovetails
by T age Fid
50
Cutting Dovetails With the Tablesaw
by Mark Duginske
A versatile way to join a stack of drawers
Tilt, saw and chop
52
Goats Get Jim Pritchard
by Deborah Navas
How a homebuilder became a igure carver
54
:uropean-Style Cabinets by Bil Pfeiffer
Frameless carcases, hidden hinges and continuous veneers
60
Improving the Fretsaw by Ed Kampe
Pivot guides handsawing of marquetry veneers
ys,
not brands, make the diffe rence
Cover: A tableful of smal-to-medium boxes,
most of them quick to make on the tablesaw,
with enough design vaiations to keep any
body busy with new combinations. As shown
61
Motor makes fretsawing ly by Scott Littleton
above, you begin by resawing a
piece
f
scrap.
Where to go from there is explaine in
the
article beginning on p. 32.
66
Disc Sander Sculpts Turnings by William Hunter
S
S
Chemical
70
Spoon Bits by David Sawyer
Putting 17th-cenrury high technology to work
fs,
mana
g
er;
Madeline
n
.
n:
Roger
Bnes,
72
The incredible duckbill spoon bit joint by John D. Alexander
THE TAUNTON
oos:
Laura
77
Applying Classical Proportions by Mack S. Headley, Jr.
o
n, Dorothy Dreher, Marie Johnson, Cathy Ko
m
, Marchelle Serling, David Wass.
i
, disribuion
FineWoodworking
(ISSN
0361-3453)
is published bimonthly, January, March, May,
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3
4
Letters
112
Events
14
Questions
116
Connections
8
Methods of Wo rk
41
Plans for a Swiss shaving horse by Drew Langsner
62
Which Glue Do You Use? by eorge Mustoe
A way to cut spirals without an ornamental lathe
73
British Enter Miami by Rick Masteli
New gallery imports current work fr om Europe
Paul Roman, publisher; Janice A. Roman, assciare pub
lisher; JoAnn Muir, director of administration; Tom Lux
eder, business
mana
g
er;
Barbara Bahr, secretary; Lois Beck,
office services
cordinator;
Patricia Rice, receptionist; Lz
Crosby, ersonnel assistant; Mary Galpin, prduction man
ager; Mary Glazman, data prcessinl; Pauline Fazio, execu
ive ecretary. Accounting: Irene
A tea table built to 18th-century rules
80
A Hepplewhite Breakfront
by Richard L. Heisey
One cabinetmaker's mahogany dissertation
or Advertising), The Taunton Press,
Letters
W
#42), and would like to pass on
I enjoyed Phil Lowe's article on cabriole legs
(F
PAULBERTORELLIREPLIES:I
too remember be
some information I came upon by chance
twenty years ago. I'd been making legs the
same way
s
Lowe des, bandsawing the pat
tern and then carving the pad. But I wasn't
really happy with them because the pad
seemed too small and it also threw the weight
of the cabinet in fr ont of the ankle line,
stressing the ankle and risking a break.
ing told to hold the label up. The reason is that
ash, though springy and resilient, is a ring-po
rous hardwood, and the whack of a ball on the
face grain can crush the earlywood layers, and
weaken the bat. A thump on the edge grain re
bounds on the hard latewood layers. So that
batters can tell the difference, batmakers brand
their labels into the face grain. If the label is
held up-or down-the barrer is more likely to
hit the pitch with solid edge grain. H&B's Rex
Bradley says that Oglivie and Ford, and many
other major leaguers, are so intent on their
stance and grip that they ignore label position.
"It desn't matter much
o
good hitters, though,"
says Bradley. "Bats usually break when the hit
comes off the handle. A good hitter is going to
make contaCt up on the sweet spot."
One day, either in a museum or in an
aniques magazine, I don't remember which,
I saw an 18th-century cabinetmaker's tem
plate for a cabriole leg. It hit me like a ton
of bricks: Although the pattern looked a lot
like the one I'd been using, the curved line
at the back of the leg went straight down to
the loor instead of being undercut. On the
next leg I made, I tried it according to the
old pattern and found I could carve a much
better-looking pad, about s in. larger all
around, which was also better balanced and
had a less undercut fo ot. If you look at the
pads on Carlyle Lynch's little highboy, on
W
#41 (p. 20) on how tea table tops were made. Round
I laminate rings of wood together
to make my vessels, which are not
tuned on a lathe but sculpted en
tirely by sight and fe el.
-Robert St. Pierre, Hanover, Mass.
p. 32 of that issue, you'll see what I mean.
I do have to disagree, however, with Lynch's explanation in
F
Having been a regular user of axes, mauls and similarly han
dled tools for over thirty years, I liked Delbert Greear's
"Making Ax Handles"
(FWW
#41). Regretfully, hickory is
not indigenous to my part of the Northwest or I'd surely
make my own handles. I would like to add emphasis to his
next-to-last sentence. I've witnessed some bloody and debili
tating injuries caused by the use of axes with fa ulty handles.
When the first sign of damage is noticed, put the ax away
until the handle can be replaced.
There is a quick, if unorthodox, way to remove the wood
fr om the eye of the ax. Drill a X-in. hole about center, % in.
into the old wood. Give the ax head to an explosives expert.
Ask him to put a dynamite cap in the hole and ire it. He'll
know the appropriate precautions. I've used this method for
some years. It has never damaged a head and always removes
every last sliver of wood. Those not trained in handling ex
plosives
must
resort to conventional methods of removing the
remainder of the tool handle. Initiator explosives such as dy
namite caps are frightfully dangerous to the inexperienced.
-Scott Heter, Lewiston, Idaho
tabletops may have been dished out of one piece on the lathe,
but as for the rectangular ones, the moldings were always
applied. And tops were held on with glue blocks, not furni
ture buttons. Also, Lynch's outside profile is misproportioned.
The "round" shown in his drawing should have been the
actual tabletop. In the original, this is usually about � in.
thick. The molding is applied on this top. The only time I've
ever seen one carved out of a block was if it had depressions
to receive saucers for teacups.
-Eugene Landon, Montoursvile, Pa.
"Keeping Ten Fingers"
(FWW
#42) ought to be absolutely
required reading. Your closing comment succinctly expresses an
idea I hammer with regularity-don't do it if it doesn't look
right. Experienced intuiion is an acquired asset which must be
trusted in matters of safety. We have invested far toO much
time acquiring skills to vaporize our primary tools in a mo
ment of impatience.
-RJ. Westra, Roling Meadows, Il.
Re your article "Souping Up the Block Plane," by R.S. New
man
(FWW
#39): Instead of sending the plane to a machine
shop or lapping the sole, I use a scraping procedure. To be
gin, grind the teeth off the first inch or so of both sides of an
old lat file. Next, fo rm a radius on the end of the file. This
creates two cutting edges. Spread a vety light coat of bearing
blue on a piece of glass and rub your plane over the bluing to
mark the high points. Place the plane in a vise. Using the
cutting edge of the file, scrape high points fr om the sole,
using X-in. to �-in. push strokes. Alternate the direction of
your strokes as work progresses, applying bluing when neces
saty to mark high spots. Continue until the bluing marks the
surface uniformly. When you're done, the sole will be true,
which will reduce drag as you plane.
-Richard H. Perin, Ashaway, R.I.
Some may apply white glue to wedges before driving them to
set an ax handle, but there is another way. I use a wedge cut
fr om a rare, very heavy piece of "pitch pine" passed down to
me fr om Grandpa Small. Touched off by a lighted match,
the wedge flames and "bleeds" molten pitch, and it is driven
home
while flaming. It's stickier and
more fun than using
white glue.
-Jim Smal, Newville, Pa.
W
#40, pp. 64-65). However, an
As my subscription to
Fine Woodworking
comes due, I am
questioning whether or not I want to renew it. In the past, I
have considered it an essential part of my woodworking refer
ence libraty. In the Methods of Work section, I have found
and still do find suggestions. The layout and illustrations are
top-notch, and even the advertising has been more useful
than annoying.
I have noticed a steady decline in useful and uplifting in
formation in the body copy, however. Plans for traditional
fu rniture are available in reference sources which are more
complete, and the presentation of innovative concepts and
As one who enjoys baseball as much as woodworking, I really
appreciated Paul Bertorelli's glimpse of the Hillerich and
Bradsby "battety"
(F
opportunity to answer a question that has intrigued me all my
4
life was missed. What is the signiicance of
the placement of the label on the bat?
Among my earliest memories of the game is
hearing one of the big kids hollering at me
to hold the bat label up. Yet one sees Ben
Oglivie and Dan Ford, for example, hold
ing the label fotward. What gives ?
-Alan Abrams, Takoma Park, Md.
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Machinery - Power Tools
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Hardware - Saw Blades
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LO OF
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"Working a rough
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is the welding together
of man and material.
11
5/8"
.
......................................................
..
.
...
I hope that my happiness with what I do
is reflected in my furniture." - Sam Maloof
1
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