0077.pdf

OUR SUMMER SA.E IS A.WAYS

IT'S NOT SURPRISING!

10TH, 1989.

x 47" JOINTER

x 65" JOINTER

SALE PRICES EXPIRE SEP.

6/9 COMBINATION

SANDER

6/12 COMBINATION

SANDER

1 H.P. motor. All cast-iron

construction. Weighs 260 Ibs.

MODEL G1182

Regularly $335.0

ONLY $310.00

15" PLANER

'2 H.P. motor. All cast-iron

construction. Weighs 460 Ibs.

MODEL G1018

Regularly $665.0

ONLY $625.00

20" PLANER

3" H.P. motor.

Machine weighs 140 Ibs.

MODEL G1014

Regularly $195.0

ONLY $1 75.00

20" DISC SANDER

6"x48" belt 12" disc Quick belt

release lev

e r. Weig h s 155 Ibs.

MODEL G1183

Regularly $395.0

ONLY $335.00

H.P SHAPER

New 2 speed model. 2 H.P.

motor with magnetic switch.

Weighs 500 Ibs.

MODEL G1021

Regularly $695.0-without stand

NOW - ONLY $695.00 AND

WE'LL THROW IN THE STAND

3 H.P., 2 speeds. Weighs

9001bs.

MODEL G1033

Regularly $1295.0

ONLY $1175.00

10" SUPER H. D.

TABLE SAW

2 H.P. pedestal model. Weighs

5001bs.

MODEL G1548

Regularly $97500

ONLY $895.00

18" BANDSAW

W' spindle, precision cast-iron

table, reversing switch. Weighs

1551bs.

MODEL G1024

Regularly $245.0

ONLY $225.00

3 H.P. SHAPER

10" HEAVY DUTY

TABLE SAW

V2 H.P.

motor. Weighs 255 Ibs.

MODEL G1022

Regularly $345.0

ONLY $325.00

Precision ground cast-iron

table and wings. 3 H.P. motor.

Weighs 500 Ibs.

MODEL G1023

Regularly $850.0

ONLY $825.0

W' re-sawing blade capacity.

2 H.P. motor. Shipping weight

is 380 Ibs.

MODEL G1012

Regularly $625.0

ONLY $5 75.0

2 spindle speeds plus reversing

switch Comes with

n dles. Weighs 45 0 Ibs.

MODEL G1026

Regularly $850.0

ONLY $825.0

" 3;"" and

1" spi

OUR 1989FULL COLORCATALOG ISLO ADED WITHGOODIES ANDIT'SFREE!

All above prices are F.O.B. our Bellingham, WA or Williamsport, PA Warehouse.

CALL US & EXPERIENCEEXCELLENCE

CALL TOLL FREE (FOR ORDERS AND CATALOG REQUESTS ONLY)

EAST OF THE 1-800-523-GRRR

MISSISSIPPI: (717) 326-3806

(For Orders

& Customer Service)

WEST OF THE 1-800-541-5537

MISSISSIPPI (206) 647-0801

89·107

(For Inquiries

A BIG HI. AT THESE PRICES

6"x48" belt, 9" disc.

Precision ground cast-iron

table and wings. 1

& Catalogs Only)

�Worg '

Fne

__________

___ JUIY/A U g U st 1989

4 Letters

R TMENTS

12 Methods of Work

Threaded-dowel workbench helpers; making a shop moisture gauge

20 Questions & Answers

Uses of maple; sharpening a scraper; oil finish on carvings

26 Folow-up

Slates for pool tables; more on out-of-whack bandsaws

90 Evens

96 Books

38 photo by Jim

Pper). Cover: Mac Campbell assembles the top and

base of his pedestal table, a variation on a Shaker

classic (see article on p.

98 Notes and Comment

Wo odworking "Down Under"; bird's-eye cabinetry

45).

R TICLES

32 Designing Computer Fuiture by Sandor Nagyszalanczy

Considering components and user comfort

Editor Dick Burrows

Art Director Roland Wolf

Associlte Editor Sandor Nagyszalanczy

Assistont Editors Jim Boesel, Alan Platt,

Charley Robinson

Copy Editor Carolyn Kovachik

AssoNote Art Director Kathleen Creston

Editoriol Secretoy Mary Ann Colbert

Contributing Editors Tage Frid, R. Bruce Hoadley,

Michael S. Podmaniczky, Christian Becksvoort,

Michael Dresdner

Consulting Editors George Frank, Richard

35 Accommodating computer components

38 Making a Futon Couch by Gaty Rogowski

Pivoting backrest converts from seating to sleeping

Hanson

42 Suracing Stock with a Router by Tim

E. Preiss,

How a simple fixture can true up wide boards

44 Shaker-Style End Table by Mac Campbell

Shaping a pedestal without a lathe

Norman Vandal

Methods of Work Jim Richey

Indexer Harriet Hodges

48 The Rosewood Jungle by Dick Boak

Finding your way in and out

Assoc-ote Publisher John Lively

Circulotion Assstont Lynn Mefert

49 Working with rosewood by Eric Brostoff

Advertising Soles Monoger James P. Chiavelli

Notionol Accounts Monogers Don Schroder,

Dick West

Assistont Accounts Monoger Ben Warner

Senior Soles Coordinotor Carole Weckesser

52 Economy Lathes by Alan Platt

Tuning on the light side

ssot Adv i ng Coodi ll or Ka n Simonds

Advertsing Secretoy Sherry Duhigg

Tel. (800) 243-7252 Fx. (203) 426-3434

54 Beer-box lathe by Tim Hanson

57 Tuning Segmented Pots by Dan L. Mongold

Elegant woods, arful joiney and graceful shapes

Fine Woodworking is a reader-written magazine. We welcome

proposals, manuscriplS, photographs and ideas from our read

ers, amateur or professional. We'll acknowledge all submissions

and retun those we can't publish. Send your comributions to

60 Green-Wood Joinery by Drew Langsner

Dry tenons, wet mortises for long-lasting joints

Fine oodworking magazine remains in the authors, photog

raphers and arrislS, unless otherwise indicated. They have

gramed publication righlS

0 the copyrighlS in the comributions appearing in

64 Versatile Vanish by Craig Deller

A reliable finish for a small shop

[0 Fine Wfoodworking.

ine olworklng (lSSN 0361·3453) is published bimonthly,January. March, May,

July. September and November, by he Taunton Press. Inc., Newtown, CT

68 Fretwork by David R. Pine

Laying out and sawing intricate filigree

1989 by The Taunton Press, Inc. No reproduc·

tion without permission of The Taunton Press, lnc. Fine Wodworking@ is a regis

tered trademark of The Taunton Press, Inc.

twO

6470.

72 1-2-3 Blocks by David L. Wiseley

Measuring less and enjoying it more

Telephone

t all hinges on your router

78 Relief-Carving by John E. Meyers

Tricking the ye to create a dfferent perspective

Postmaster: Send address changes to The Taunton Press, Inc., PO Box 355, Newtown, CT 06470.

SubcrIpion ates: United States and

548 for two years (in U.S. dollars, please). Single copy, 54.95. Single copies

outsidc U.S. and possessions,

526 for

74 Building a Stand-up Desk by Charles Prowell

55.95. Send to Subscription Dept., The Taunton Press.

years; Canada and other coumries,

O Box 355, Newtown, CT 06470. Address ll correspondence to the appropriate

department (Subscription, Editorial, or Advertising), The Taunton Press,

63 Outh

O Box 355, Newtown. CT 6470. U.S. newsstand distribution by East

en News Distributors, Inc . .

1130 Clcveland Road, Sandusky, Oi 44870.

Main Street,

DEP

Gary Rogowski tells how to build this chey couch,

which converts into a be, on p.

Fine Ioodworking, Box 355, Ne">town, COlm. 0470.

Title

(203) 426-8171. Second·c1ass ostage paid at 'ewlown, cr 06470, and

additional mailing ofices. Copyright

se ssions, 522 for one year. 540 for

onc year.

Letters

' #76 should be applaud

ed for their interest in the practical aspects of cabinetmaking and

funiture construction. A sensitivity for the material and a feel for

the handwork involved will, no doubt, help these students pro

duce better work. I, however, remain unconvinced about archi

tects' abilities to design appropriate and functional pieces.

background of experience and have read widely, but hardly an

issue goes by when some new term doesn't come up that makes

nebulous the meaning of some process. Usually, ater a little

puzzling, I realize that I know what is being talked about, and

simply have a different name for it. I am always glad to lean the

new terms, but I don't like the guessing and struggling.

I suggest you establish a standard vocabulary for common

woodworking activities. When an author uses a different term

for something, just put the

My experience has been that architects are much too willing

to sacrifice usability, comfort or practicality of construction just

to enhance or complement a building's aesthetic theme. I'm cer

tain it's a real ego trip for the deSigners, but if their clients pay

the heavy price for such one-off pieces and they are subsequent

ly found to be uncomfortable, impractical or even unusable, it

ends up being a king-size ripoff. I'm thinking of such things as

sharp edges and coners "that carry the main theme forward,"

disregarding the hazard for children or older people; or,

smooth, even slippery (but elegant) and unyielding, surfaces that

relect that "clean, modern look of the building." But architects

seem unmindful that people may be expected to sit or stand on

such uncomfortable places for hours.

I'm sure many of us have seen similar examples of the thought

less use of glass, metal tubes, wires, concrete blocks and wod

being palmed of as "exciting, innovative new designs."

Please don't misunderstand; I find many ine buildings of ex

quisite beauty designed by architects both past and present and

my admiration for these people is genuine. But, even the best

can sometimes fall prey to the desire to carry their design

themes to ridiculous and unnecessary lengths. I point to a man I

hold in great reverence, as does the rest of the world-Frank

Lloyd Wright. Just don't sit on any of his chairs; they're torture

racks.

' standard term in parentheses.

This way, we could learn the new terms and avoid the temporary

confusion. This would make some articles more accessible to

beginners, to those of us who are not familiar with every branch

of woodworking or to those have learned only one set of region

al terminology.

t isn't t- The trend over the last few years appears to be

for cratspeople to "blur the distinctions between art and crat."

The resulting blur has become evident in the field of woodwork

ing with the appearance of furniture that has consciously been

designed to be either useless or near useless, however flawlessly

crated it may be. This form of woodwork has at some point

been referred to as "artiture." Contemporary with the develop

ment of this work has been a similar movement in woodtuning.

With many turned works, the emphasis is on sculptural qualities

and exploring the physical limits of the materials. There has

even been a revival of faux finishes such as marbleizing and

opaque colors. While these forms emphasize originality, they

certainly don't emphasize utility. The exhibition of these forms

-Derek Rot, Rigby, Ida.

t high-end galleries and shows indicates that these contempo

rary forms are considered to be worthy of top conSideration and

top dollar, usually at the expense of more traditional work.

s a cratsperson I protest. Crat differs from fine art in that

the crat's inherent utility determines the majority of an object's

form. Ater that utility is served there is room for freedom of

design. I see crat as both utilitarian and aesthetic, while fine art

is purely aesthetic. What bothers me is that I see a trend of

flashy, "original" and fairly useless fine-art objects taking over

the place of ine crat at galleries and shows that claim to be crat

oriented. It seems that these crat galleries prefer to sell these

new "decorative crats" because the managers and, of course,

the artists can' gain more publicity (and money) by being more

arty, flashy and hip. Money tends to follow the hype for this sup

posed innovation. It seems that "newer is better" in these circles

while traditionally inspired crats tend to fall by the wayside.

Perhaps unctionality is now out of fashion or perhaps even

simply unnecessaly, as are structural integrity, integrity of mate

rials and other antiquated concerns of traditional cratwork. Ap

pearance, superficiality and clever statements are now in fashion.

If this "new crat" were simply labeled "fine art" and was kept in

what are termed "art" galleries, then actual functional crat could

take over the "crat" galleries again. The time is ripe for an arts

and crats revival to redefine the nature of crat, The previous

WW projecs tke?-Most of the articles in '

appear to be by people who sometimes try to make some mon

ey from their skills. It would be very useful to have a statement

of the time used to create each product (or better still, each

phase of the project) and the retail/wholesale price received.

This would be of great help for those of us trying to orient our- .

selves in the professional market.

Of lesser import perhaps, but useful to many, would be some

effort toward standardized terminology.

-Don Dil, St. Lous, Mo.

How long do

s t

To join Fine oodworking staf as assistant or associate

editor. We're looking for an energetic, idea person with

experience in a cabinet or general woodworking shop, plus

experience as a writer or editor or proven deftness with the

English language. Drawing and photographic abilities and

formal woodworking training are an asset. Must be willing

to relocate to southwesten Connecticut and to travel on the

job. Send resume and photos of recent work in wood to:

Personnel Manager, The Taunton Press, 63 S. Main St., Box

355, ewrown, Conn. 06470.

I have a fairly good

Woodworking jo

s and Crats movement (an unfortunate title) of earlier this

century was a reaction to the excesses of Victorian design. It is

now time to react to the excesses of 1980s design. Instead of

A O N

d uction ditor, Marketing: Jon Miller, manager; Philip Allard.

senior coyuriter. Co

Fred Monnes, Alice Sa.xton, Roben Weinstein; Purchasing

& Facilities:

...y vJhS

o ate Marketing: Dale Brown, director;

Andrea Onda, manager, Donna Pieront, public relations man

ager; Barbara Buckalew, marketing seretary; Diane Patterson,

o le Ando, manage, Patricia Aziere, Connie B . onna Baxter.

Gloria Carson, Dorothy Dreher, Pegy leBLanc, Denise Pascal. Man·

uacturing: Kathleen Davis, director; Austin E. Starbird, prepress

manager; Robert Marsala, graphiC arts su

The Taunton Press: Paul Roman. publisher; Janice A. Roman. as

sociate publisber, Roger Barnes. design director, Carol Gee, e:ecu·

tive secretary. Accounting: Wayne Reynolds, controller; Patrick

amontagne. manager; Jefrey Sherman, financial analyst; Mary

Sullivan. accountant; Carol Diehm. Lydia Krikorian,

ecutive secretary; Christine Cosacchi, customer service coordinator.

Daa Processing: Drew Salisbury. numager; Brendan Bowe, Roger

Seliga, senior programmers/analysts; Susan Panis, programmer

rainee; Ellen Wolf,

v isor; Susan n, staff

photographe; Peggy Dutton, production manager/books; Philip

VanKirk, production manager/magzines; Diane Flanagan. print

buyer; Ellen Olmsted. production

adll .

Elaine Yamin. Booksvideos: John Kelsey. associate publisher;

Eileen Hanson. administrative secretary, Deborah Cannarella. man·

aging editor: Paul BerlOrelli. senior editor, Christine Timmons, as

sociate editor: Maria Angione. secretary; Videos: Rick Mastelli, pro·

PC coordinator. FulflJlment & Operations:

Tom Luxeder, tliector, Jane Torrence, secetay; Circulation: Karen

Chell, coordinator, B

od inator; Rosemary Pagel, secre·

Ridld Booth, Monica Bulson, Priscilla Rollins. production

assistants; Deborah Cooper, Mark Coleman, scanner operators;

Laurene Jakab, color proofing operator; Dinah George, comosition

od inator,

PatriCia Malouf, Nancy Schoch, Marylou Thompson, Claire Warner;

Distribution: Danny D'Antonio. manager; Grace Aumuller, David

Blasko, Timothy Harrington,

s manag; Nancy Knapp, Marot or, Lisa Carlon. stems

oerators. Pesonnel: Carol Marotti, managr;

na Ballerini. er.

nna In m , Mary nn a gliola.

e ary.

sOllnel assstant; Chris Lincoln,

4 Fine Woodworking

Architects, practicality and aeshetics-The architecture stu

dents whose works are featured in

dUl ."r/dieclor; James tall, Thomas Menard, assisant pduces; An:

Debordh Fillion, manager; Steven Hunter, associate art director;

Calhy Cassidy, art assistant; lliana Koehler, poduction assistant;

Copy/Production: Ruth

e vage, manager, Pamela Purrone, copyl

William chapen, manager; Lois Beck, oJice-seroices coordinator;

Donald Hammond, mail-services clek; Chuck Hollis, office mainte·

nance; Christopher Myers, ofice·orations c ;

S.S

Deba Brown,

celmana:, onna-Jean Taylor, cafeteria assistant; SubSCription:

a Hess, fulfillment asistant; Customer

ervcuOice: Terryl Thomas, manger, Anette Hamerski.

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248

•

Ferris Avenue

While Plains, N.Y. 10603

)14·)46-4111

Mondaythroghiday

Hardwood Lumber and Plywood' Veneer

Power and Hand Tools

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04 514 6

Write for complete woodworking catalog:

13650 Floyd Rd., # 101

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8 AMto4:30PM

Dallas, TX 75243

214 669-9130

workout of

woodwor k.

Take the

3HP, 230V, Guard,

Mtr Gauge, Magnetic Control 350-1

50" Beisemeyer Fence 350-T50

$1380.

50" Paralck or xcalibur 350P50E50 $1585.

• Variable Speed Lathe, 1HP,

115/230V 160-2

with Magnetic Control 260-1

$1140.

$2065.

Take the work out of repairing nicks,

1HP, 115/230V 1180-1

$745.

cracks and gouges with

1-1/2HP, 115/230V 480-1 $1520.

Elmer's® RII 'N Rnish ™ Wd Fille.

.6" Jointer,

P re ss

It spreads easil, requires little

6 Speed, 1/2HP, 115/230V 34-01

$570 .

or no sanding and takes on any stain.

The Home Solution®is:

• 14" Planer, 3 HP, 230V 130-1 52645.

All

Floor Model,

1 phase motors

All prices FOB So. Burlington,

----------------

�LY?

r a 4 oz. a m ple of El'sFill'NFinishWdFillr, send $2.0

wih our

Te Fulillment Cente,

102 Kimball Avenue

awc.

..ox 36003, Columbus, OH 43236-003. Secify blnd or

tan. It's

_______________

ae and address to Fill 'N Finish,

HE£lN to a eautiful inish .

o. Burlington, T 05403

______________

_____ STATE _ I' ______

CALL To

�E

OORES,

802-863-9036

ffr od ony in UA. limit e erfami. ffr piresecemer 31, 19.

E E N

©rn Ic 19

Cl·

July/August 1989

•

PASTE STAINS & VARNISHES

•

White Birch

Router

prepaid

$1520.

.10" Table Saw,

with

.8" Jointer,

.15" Drill

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