0044.pdf

JANUARY/EBRUARY

1984, No.44, $3.50

111

Judy KensleyMcKiesFurniture

BODY PLATE: 42 to

4 R w ell

sale. Heat treated.

EXPANSION SLOTS: Allows

blae to expand withut distoing.

ARBOR HOLES: Machined and

ground to fct tleranes.

MAX RUN OUT TOLERANCES:

+-.03.

MAX RPM'S: On a 10" diameter

700 .

- 47!70Z 24HM

L UB4M - B0170 "Z50HM

N.MAX 00

LM2M

N.MA X 00

The Wod's Bst

re On Sae T·"-��.

Premium Quality

AssociateEditors Paul Bertorelli

Jim Cummins

ine

ig·

Assistant Editors Dick Burrows

David Sloan

CopyEditor Nancy Stabile

AssistantArtDiector Roland Wolf

Editoial Secretary Pat Zimmerman

J ANUARY /FEBRUARY 1984, NUMBER 44

ContributingEditors

Tage Frid, R. Bruce Hoadley,

Richard Srarr, Simon Watts

DEPARTMENTS

ConsultingEditors

George Frank, Orco Heuer, Ian J. Kirby,

Letters

Methods of Work

Drilling dowels; lathe steady; joints

at angles; cabinet latch

MethodsofWork

Jim Richey

14 Questions & Answers

E. Preiss

20 Books

End-drilling; cratered inish; resawing;

water-based finishes; surfacing slabs

100 Notes and Comment

Contemporary furniture;

logbuilding handbooks

Co ver: judy Kensley McKie's caved

mahogany birds carry a glass table

top ato p their beaks and wings. For

more oj her fu niture, see p.

76.

ARTICLES

Equipping small shops; an arduous

adventure; Japanese tOols

50 Tables by Peter Pennypacker

THE TAUNTON PRESS

Paul Roman, publisher; Janice A. Roman, asso

ciate publisher; JoAnn Muir, director of admin

istration; Tom Luxeder, business manager; Bar

bara Bahr, secretary; Lois Beck, ofice services

coordinator; Patricia Rice, receptionist; Liz Cros

by, personnel assistanr; Mary Galpin, production

manager; Mary Glazman, data processing; Pau

line Fazio, executive secretary. Accounting: Irene

Arfaras, manager; Madeline Colby, Catherine

Sullivan, Elaine Yamin. Art: Roger Barnes, de

sign director; Kathr yn Olsen, staff anisr. Books:

Laura Cehanowicz Tringali, editor; C. Heather

Brine, assistant art director; Roger Holmes, assis

tant editor; Deborah Cannarella, copy editor.

Fulillment: Carole E. Ando, subscription man

a ller; Terry Thomas, assisrant manager; Gloria

Carson, Dorothy Dreher, Claudia Inness, Marie

Johnson, Cathy Koolis, Peggy leBlanc, Denise

Pascal, Nancy Schch; Ben Warner, mail-ser

vices derk. Roert Bruschi, distribution suer

visor; Linnea Ingram, Marchelle Sperling, David

Wass. Production Sevices: Gary Mancini, man

ager; Annette Hilty and Deborah Mason, assis

tanrs; Nancy Zabriskie Knapp, tyesetter. Pro

motion: Jon Miller, manager; Dennis Danaher,

publicist; Elizaberh Ruthsrrom, an assistant.

Video: Rick Mastelli.

Advertisin g and Sales: Richard Mulligan and

James P. Chiavelli, sales re p resentarives; Vivian

E. Dorman and Carole Weckesser, sales coordin

ators; Kimberly Mithun, coordinator of indirect

sales; Laura Lesando, secretaty; Kathy S p ringer,

customer-service assistant. Tel. (203) 426-8171.

Fine Woodworkin{ (ISSN 0361-3453) is pub

lished bimonthly, January, March, May, July,

Septemer and November, b y The Taunton

Press, Inc., Newtown, CT 06470. Telephone

(203) 426-8171. Second-class postage paid at

Newtown, CT 06470, and addirional mailing

offices. Copyri ght 1984 by The Taunton Press,

Inc. No reprduction without ermission of The

Taunton Press, Inc. Fine Woodworking® is a

re g istered trademark of The Taunton Press, Inc.

Subscription races: Uniced Stares and posses

sions, $16 for one year, $30 for cwo years; Can

ada, $19 for one year, $36 for cwo years (in

U.S. dollars, please); ocher countries, $20 for

one year, $38 for cwo years (in U.S. dollars,

please). Single copy, $3.50. Single copies outside

U.S. and

Making

Jigs and fixtures do the job

How to Market? by josh Markel

A comment on small-shop economics

Movement and Support at the Lathe by Richard Raffa n

A steady hold improves your turning

Versatile Plant Table by Frederick Wi lb ur

Redwood slats support your fine-foliaged fr iends

Black Walnut Woes by john R. Harwood

A cree-grower learns fr om the roots up

Machining Backwards by Lew Palmer

Power-fed climb-cutting reduces tearour

Glues for Woodworking by eorge Mustoe

Part rwo: Synthetics solve some problems, pose new ones

A Blacksmith's Bleak View of Modern Tools by Anders Richardso n

And how to go at hammer and tongs yourself

Alexander G. Weygers: a woodworker's blacksmith by J. Petrovich

Blanket Chests and Record Cabinets by Simon Wa tts

Contemporary versions of traditional fr ame-and-panel designs

That Piano Finish by Donald M. Ste inert

Modern method makes opaque lacquers gleam

Auger Bits by Richard Star

How to tune these deceptively simple tools

How to Make a Wooden Flute by Wh ittaker Freegard

Lathe-boring long holes, and keeping them centered

Modular Chairs Around a Standard Seat by Kenneth Smythe

With comfort settled, visual and suuctural design can blossom

Leather Seats for Wooden Chairs by Stefa n During

Straightforward combination enhances both materials

Inventing the Coffee Table by Eugene Landon

Antique tray generates a mahogany "reptoduction"

Rethinking the Federal Style by Robert D. Mussey

The work of Ruppert Kohlmaier, Sr.

Portfolio: Judy Kensley McKie

An innovative designer talks about making a living

Finding chairs inside an elm log

sss Ions, $4.00. Send to Subscrip

tion Dept., The Taunton Press, PO Box 355,

Newtown, CT 06470. Address all correspon

dence to the apptopriate department (Subscrip

tion, Editorial, or Advertisin g), The Taunton

Press, 52 Church Hill Road, PO Box 355,

Newtown, CT 06470. U.S. newsstand distri

bution by Eastern News Distributors, Inc.,

111 Eighth Ave., New York, N.Y. 10011.

108

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

Editor John Kelsey

ArtDirector Deborah Fillion

FINE WOODWORKING

A.W Marlow, Don Newell,

Richard

96 Events/Connections

Letters

W #42, "How I Make a Rocker." I've been a profes

sional woodworker for six years now, and after talking to and

reading about other woodworkers and their techniques, you

almost feel like you should have a degree in engineering be

fore you build a piece of furniture. So it was refreshing for me

to read how Sam Maloof, no doubt one of the best-known

chairmakers, builds his rockers. For instance, to get the curve

of the back spindle he simply sits down and holds it to his

back. That's it. That's "seat of your pants" woodworking the

way it ought to be. -Bud Gabriel, Mt. Angel, Ore.

igently trying to sell had seen all he wanted when I waltzed

my protOtype for a hanging wall secretary into the room. He

asked that I leave behind my "technical data" and photO

graphs for "buyer evaluation." The bait was the 35 stOres in

the chain and the dollar signs were blinding. During the dis

cussion following my pitch, the argument wheeled on prices,

and my scoffing response generated an angry response in turn.

Did I presume to know retailing better than he? He then

tried to beat my price back by showing me an 8-in. high

stack, collected over three months, of product submissions

similar to mine. I was shocked to learn that he intended to

pack them up for a tOur of Taiwan, where he planned to

colleCt competing bids. Friends verified that he did take the

trip to Taiwan and I later saw a product equivalent to ours

retailing for exactly my modest wholesale price.

Designs are extremely diicult to protect. If readers have

something valuable, I urge them to do it all themselves.

Loading up for craft fairs may be a pain in the butt, but

close-tO-the-vest control is the only way to get the most from

your designs. -Robert Westra, Roling Meadows,

Re the articles on boxes (FWW #43): I wish Fine Wood

working would ill a very noticeable gap in the literature

by carrying methods used by experts to install brass hinges

on small boxes. I have searched through everything I can get

my hands on, and the matter is either dodged entirely by

not using hinges or fobbed off with instructions to "install

the hinges."

Also, I have to quibble with your reasons for rejeCting the

Inca machine (Notes and Comment section) .. . obviously be

cause I have one. In the first place, it really doesn't cost any

thing like the Unisaw ...it's about $500 less, I believe. Sec

ond, the awkwardness of not being able to lower the lO-in.

blade suficiently is solved by simply using an 8-in. blade,

which will still CUt through 8/4 stOck. I don't really regret

the tilting table, though. I don't tilt it very

often and it is a very fair tradeoff for the

excellent mortising table on the side.

-Jack Waner, Atlanta, Ga.

III.

I hesitate to take issue with an electrical engineer, but I don't

believe Mr. Rekoff gave Charles Carpenter a complete an

swer about using European motOrs in the United States

(FWW #42, p. 14). In my experience, most European cur

rent is 220/240 volts, but it comes through two wires

one hot and one ground. In this country,

220/240-volt is three-wire and is obtained

by adding two 1l0/120-volt hot lines to

a ground. Mr. Carpenter will need to buy

a step-up transformer in order to get twO

wire 220/240-volt current for his European

motOrs. It should be sized to handle any

combination of motOrs used simultaneously.

-George Brooner, Chestertown, Md.

MICHAEL REKOFF REPLIES: If, ror some rea

son, one end of a European motOr's wind

ing were connected at manufacture to

ground or to the motOr's metal case, a po

tential shock hazard could exist if the motOr

leads were inadvertently reversed. In this

case, a transformer could be used to con

ductively isolate the motOr winding. As far

as I know, however, European motOrs are

built like their American counterparts, that

is, the motOr conneCtions are brought out

by leads which isolate the winding from

ground. Thus, all you need do to connect a

two-wire European motOr to the U.S. three

wire system is to install a new cord and

plug, connecting the new cord's third wire

(the green ground) to the motOr case or to

the frame of the machine.

Whenever you're working with a motOr

whose leads or terminal connections aren't

clear, it's a good idea to check the winding

for continuity to ground. Do this by con

neCting an ohmmeter between each of the

terminals and the motOr case. If you find

continuity, have the motOr checked by a

motOr shop-it could be shorted.

Every so often in the pages of FWW and in

other fields, a certain semi-religious phrase

appears: form follows function. I equate

that phrase with the board stretcher. Form

absolutely in no way has to follow function.

Take a table leg, for example. The function

is to carry the load of the tabletOp to the

loor. Old crates, a tree branch from the

woodpile, or something that in no way re

sembles a leg can be the form. For proof,

look in any FWW issue or the Design

Books. What does form follow? Form fol

lows cost. A tree branch will be ininitely

less costly than something of exotic wood,

massive, carved or bent. The only way form

is related to unction is that form must an

swer to the demands of the function in

some way. Without something to hold it

up, a tabletOp is only an expensive slab of

wood. The most eicient form is again the

least costly, not the most functional ...the

form can be any shape or type, regardless

of cost, so long as it answers to the demands

of the unCtion.

-Edward]. Mattson, Norwalk, Conn.

W 's Design Book Three: I would

like to alert readers to a trap of thievery that

exists for almost evety craftsman attempting

to support himself by his avocation. Be

damned careful of your designs. Few of us

can afford, let alone qualiy for, the legal

protections available for our designs. During

a presentation of one of our items, it

dawned on me that the retailer I was so dil-

Re F

'This Pelvian waln ut fold- flat

music stand incorporates t h e design

of an antique easel in a contempo

ra y, spatial relationship.'

-Richard Newman, Amherst, Mass.

About a week ago I picked up a copy of

your magazine and read Donald Bjorkman's

router-table article after just completing my

own router table, which offers several ad-

I am wmmg to you in regard to Sam Maloof's article in

dr ied

lumber?"

Ebac introduces the LD82.

and furniture deSign.

An intensive full-time learning situation em

phasizing traditional technique as well as

modern methods of woodworking.

Individual level instruction, ample work areas

and an industrially furnished machine room pro

vide a stimulating and efficient learning situa

tion for the serious woodworking student of

limited experience.

available for Fall 1914, Ask us about our

summer workshops in traditional hand tool

joinery.

Bench spaces are

Superior simplicity for

rirose Center

drying lumber.

Write or ca l l:

100

100,00 Board Feet.

401 West Railroad SI. (406) 728-5911

Missoula, MT 59801

RESIDENT DESIGNER / MAKERS OF FINE FURNITURE

David Powell

John Tierney

Whether you work with or sell

kiln dried lumber, EBAC has the

answer. Systems capable of

Board Feet to

Assistance provided in Kiln

Design, Construction and

Operation. Quality, Economy,

Simplicity; with

State-of-the-Art

Controls. Increase

PROFITABILITY on

your investment.

And EBAC backs it

all up with an

UNCONDITIONAL

Kristina Madsen

Silas Kopf

BruceVolz

William Bauer

Year Warranty.

INTERNSHIP: Within the context of a working studio craft work

3201 North Shadeland

46226

shop the Intern Program provides aspiring designer/makers of fine

furniture with the strongest possible foundation of skills, techniques

and design training essential to their profession.

For more info phone or write:

(317) 547-066

Ebac of America

Indianapolis, IN

For further information write to: Leeds Design Workshops, One Cot

tage Street, Easthampton, Massachusetts,

01027.

ART/ DESIGN / CATS

School of �rl and Design

Graphic Design

Industrial and Interior DeSign

M edical illustration

Packaging DeSign

Paintmg

Printmaking

R Rochester Institute of Technology

9887

Rochester, New York

catalog:

14623

Model 202 Model 303 Model 101

MODEL 202 A suberb medium sized miter box, more than adequate

for all fumiture and frame work. The fine blade (18 TPI) and smooth

but snug guides give unusually good blade control to assure you of a

precision cut every time. The table is precision machined, mounted

on laminated wood base plate with rubber feel.

Post OffIce Box

* Auxiliary stop for lengths up to 26" * Five preset "Quick Lock"

angle stops plus lockability at any angle from 45°

* Shipping wI. 14 '' Ibs.

MODEL 303 Smaller version of the #202 utilizing the Nobex back saw.

90°

* Table length 1 P' " , Cutting width @ 90° 2 . " , Depth 3" * Five

preset "Quick Lock" angle stops plus lockability at any angle as the

#202

* Magnetic face plate with steel bearings * Three preset angle

stops plus calibrated scale and lockability at any angle from

45°

90° * Strong and lightweight * Shipping wI. 2'14 Ibs.

CORPORATION

2833 Leon Street, P.O. Box 538

Muskegon, Michigan 49443 Telephone (616) 759-8631

Representatives wanted

Learn woodworking

tt K i l n

LEEDS DESIGN WORKSHOPS

RIT's College of Fine and Applied Arts

School for American Craftsmen

Ceramics/Ceramic Sculpture

Glass

Metalcrafts/Jewelry

Weaving/Textile DeSIgn

Woodworking/Furniture DeSIgn

�" Of lice of AdmISSIons

* Table length 18", Cutting width @ 90° 6 V2", Depth 4 V2"

* A precision tool throughout * Shipping wI. 83' Ibs.

MODEL 101 Bring the tool to the work.

Plik z chomika:

Inne pliki z tego folderu:

Inne foldery tego chomika: