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# Tuesday, November 14, 2006
Behind the Scenes: Reading a Final Binder

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Being somewhat new to the magazine business (I have been a contributing editor of nearly nine years) I was unsure what to expect when I moved into my new position at Popular Woodworking magazine. You may think that this is a job you would like to fill one day. You may also be wondering how a magazine gets published. This is going to be a continuing saga of what happens behind the scenes of Popular Woodworking magazine. Sit back and take a look.

During the first week we reached what they call at Popwood - “Final Binder.” This is where all the members of the magazine staff go to a local coffee house and drink coffee while we read the magazine one last time before it is sent to print. Sounded great to me, but the others held their heads low as to suggest that this was not the fun times that I expected. I wondered why? Drink coffee and read about woodworking – how could this not be a great day?

We settled in at the out-of-office location, read the next issue to be printed word-for-word and made any necessary changes. This time it was what we call an "SIP" – an issue that is sold only on the newsstands. We drank a couple of cups of Joe and had a good time laughing, reading and generally building camaraderie all while finalizing the issue for the last time. Still, on the way back to the office I wondered why this task was looked upon so drearily. I was soon to attain my answer.

As we began working on the next issue, the February issue of Popular Woodworking, I found that reading is indeed a necessary and vital part of editing at a magazine. Imagine that! Each article written is brought into the Popwood office, run through a design program, printed and slid into a folder. That folder is circulated to each editor, from Chris on down, and read for content to make sure that it is understood and able to be built, as well as for design changes and correct spelling and punctuation (Megan’s specialty). That’s one time around.

The corrections are made and the new pages are circulated a second time. Once again it is the editors’ job to peruse the pages to find any undiscovered corrections that may have slipped by undetected during the previous cycle. We open the folder, read the article, make any changes and slide it to the next name of the list. That’s two times around.

Well guess what? We have reached another final binder. I am beginning to understand the anguish of this concept in the world of magazines. We will move to the coffee shop and read the copy for the third time around. Yeah, three times for each issue and every story. And this is only my second trip. The others in the editorial staff have experienced this phenomenon countless times.

I can see their point, but, I can also fill you in on something that I have already discovered. I use to pass on the articles that were not grabbing me as I thumbed through the pages! As I read every article during this edition of final binder for the third and final time, including the ones that I might have bypassed before I joined the magazine staff, I am finding a fountain of excellent information that I was missing in the prior issues. I can’t help but wonder how much additional knowledge I would have regarding woodworking, all stages of woodworking, if I would have never allowed a written word to go unread. Try it - it might just surprise you as it has me.

– Glen D. Huey



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Tuesday, November 14, 2006 10:08:25 AM (Eastern Standard Time, UTC-05:00)  #  Comments [7] 
# Monday, November 13, 2006
A February Preview (Shop Tested for Your Pleasure)

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In the February issue (on newsstands Jan. 2, 2007), you’ll find complete plans for an 18th-century Creole Table. Below, you’ll find the perfect spicy dish to accompany it. And making the roux (the browned oil and flour mixture) may take longer to make than it does to make the table legs…but it's worth it!

Heart Healthy Chicken and Sausage Etouffee
adapted from Ken Smith and the New York Times
time: 55 minutes

1 Cup vegetable oil
1 Cup all-purpose flour
1 Cup finely chopped celery
1 Cup finely chopper onion
1 clove garlic, minced
1/2 Cup finely chopped red bell pepper
1/2  Cup finely chopped green bell pepper
2 Tablespoons chopped fresh Italian parsley
1/2  teaspoon fresh ground black pepper
2 teaspoons dried thyme
3 bay leaves
1 teaspoons salt
1/4 teaspoon cayenne pepper
6 Cups chicken stock or canned chicken broth
1-1/2  Tablespoons tomato paste
3 Cups chicken (or turkey) “andouille” sausage, cut into bite-sized pieces
4 Cups coarsely chopped roasted chicken meat (two rotisserie chickens will suffice)

1.    In a large, heavy-duty casserole on medium-high heat, heat oil and whisk in a sprinkling of flour. Continue to sprinkle in the flour until it is all used, whisking vigorously so that the mixture is smooth and does not burn. Continue to whisk until mixture is a very dark brown color but is not burned; this may take 10 minutes or more.

2.    Reduce heat to low and add celery, onion, garlic, bell peppers and parsley. Stir to mix well. Add black pepper, thyme, bay leaves, salt and cayenne pepper. Add stock one cup at a time, stirring well after each addition.

3.    Add tomato paste and sausage, raise heat to medium high and simmer uncovered for 30 minutes, stirring occasionally. Add chopped chicken meat and stir well. Simmer until heated through, about 10 minutes. Serve over rice or with cornbread.

(Makes 8 servings)



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Monday, November 13, 2006 7:59:43 AM (Eastern Standard Time, UTC-05:00)  #  Comments [1] 
# Friday, November 10, 2006
Harrelson Stanley's Planing Contest and Sharpening Tour

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If you think that a .001"-thick shaving from a hand plane counts as a fine shaving, then please read on.

For the next four weeks, Japanese tool expert and merchant Harrelson Stanley is trekking through the West and the South in his motor home to teach his hand sharpening techniques and hold planing contests for the students.
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Planing contests are practically an organized sport in Japan, but they are small scale and rare here in the United States. Harrelson is trying to change that. He recently returned from Japan where he attended a planing contest and yesterday shared a few details about the contests that American woodworkers might find interesting.

These Japanese contests typically involve 250 to 400 contestants, virtually all of them are professional carpenters, doormakers or carvers, Harrelson says. The typical contestant will take the day off work before the fall or spring contest to spend the entire day sharpening the iron (or irons) they plan to use for the contest. Then they pack their planes in a Styrofoam cooler to protect them from changes in humidity, and head to the contest.

The contests are attended by thousands of spectators, Harrelson says.
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Thousands?

Yup. Thousands. The contestants then unpack their planes from their coolers, tune them up and try to take the thinnest, longest full-length shaving they can. Resulting shavings are typically 1-3/4" wide, 7' long and quite thin. The thinnest shaving on record, Harrelson says, is 3 microns thick. By way of comparison, a single strand of a spiderweb is a hefty 7 microns thick. The contest is invariably affected by the weather, Harrelson says. High humidity will vex the contestants, causing a 3-micron shaving to swell up to 5 microns.

Harrelson has been impressed by many of the results from his stateside planing contests. At the Nov. 8 class at the Woodcraft show in Dublin, Calif., the contest was won by a woman who had never sharpened before taking Harrelson's class.

So how thin are the shavings from the American students? Harrelson says he's not measuring them with a micrometer. He's simply comparing the results side-by-side. "It's usually pretty obvious which is the thinnest," he says.

For the contest, the students are planing boards of 500-year-old Alaskan yellow cedar that Harrelson has been carting around. He bought it at a lumberyard that was selling it as decking material. "They didn't know what they had," he says. "I bought it all."

If you're interested in attending one of Harrelson's workshops and getting in on the contest, check out our previous entry on his sharpening tour and his schedule of stops, which wrap up Dec. 6 in Norwalk, Conn.

— Christopher Schwarz



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Friday, November 10, 2006 1:12:10 PM (Eastern Standard Time, UTC-05:00)  #  Comments [3] 
# Wednesday, November 08, 2006
Book Review: Shop Drawings for Greene & Greene Furniture

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Before I knew Bob, one of our senior editors here at Popular Woodworking, I knew him as Robert W. Lang, the author of two landmark books I owned that were chock full of shop drawings of Craftsman furniture. Those dog-eared books (and two more he's published on Craftsman interiors and inlay) were books that I gladly plunked down my own money on. They are books that I built three projects from. They were books that I referred to almost every week as I was teasing out a detail on a piece of Arts & Crafts furniture. I was a fan.

However, when Bob gave me a copy of his latest book, "Shop Drawings for Greene & Greene Furniture," which just hit the streets this week, I was a bit reluctant to write a review. I've watched Bob slave over these drawings. When we all went to Las Vegas for a woodworking show last year, Bob slogged off through the desert after the show to spend time in Southern California researching pieces for this book. He's been agonizing over the details in the drawings for the 23 pieces shown in the books. It has been a difficult project. I'm admittedly biased because I've watched the guy push himself hard to research, write and draw this book on his own time (It's being published by a competing publisher, not Popular Woodworking Books).

But when I cracked open his book and started reading it, my hesitation disappeared. This is a landmark book and deserves your attention. If you have even a passing interest in the work of Charles and Henry Greene (and their builders, John and Peter Hall), you will be thrilled with the projects in this book. The Greenes, architects working in California during the Arts & Crafts heyday, were two of the most talented designers in the 20th century, though their pens produced only about 400 pieces of furniture.

I've seen a fair number of the pieces that Lang has chosen for this book – either in photographs or in person – and I think he's accomplished what few other people in our profession can do: These shop drawings capture the true spirit of the Greenes without dumbing anything down. The furniture of the Greenes was subtle and full of detail, and Lang does the pieces justice.

These drawings are the missing link for the craftsman. There are countless books about the Ultimate Bungalows produced by the Greene brothers with sumptuous photos, sketchy dimensional details and highly romanticized copy. And there is great affection among woodworkers to produce these pieces, which are well-suited for the home woodworker in their construction details and joinery methods.

But until now, there was no easy way to go about building any of these works without a trip to California, looking both ways for the museum guards and ducking under the ropes with a tape measure.

The projects chosen for "Shop Drawings for Greene & Greene Furniture" are an excellent cross-section of the Greene's work and represent pieces of varying difficulty. Beginning woodworkers can cut their teeth on the Gamble Mirror, the Blacker Medicine Cabinet and the Thorsen Plant Stand. As you learn the vernacular of the style (the mortise-and-tenon joints are particularly unusual), you'll build confidence to tackle the stately Robinson Dining Table, the Gamble Kitchen Cabinets (I will build these someday) and the Blacker Hall Seat (ditto on this).
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The Blacker Hall Seat, a masterpiece of design, detail and craftsmanship.


Then you can give the Gamble Chiffonier a shot before you leave this earth. It combines all of the details of the Greene Brothers – cloudlifts, proud-finger-jointed drawers, inlay – into an astonishing package.

This is not really a how-to book. Lang provides some important details on construction techniques he's used to reproduce some of the important details. And he gives a workman-like history of the work of the Greene and Hall brothers. And Lang explores some of the nagging work-method mysteries that remain about the work, such as why the Halls built their drawers the way they did. These details add to the corpus of knowledge about these four brothers, rather than just hyping it.

However, if the complete shop drawings aren't enough for you and you'd like enlarged shop drawings with full-size details, Lang sells those as well on his website.

The book will soon be available everywhere, but I urge you to buy it directly from Bob. He has it in stock right now, he gets a bigger cut when he sells the book directly, and I hear his son, Hunter, also gets $1 for every book he packs up and mails.

You can purchase "Shop Drawings for Greene & Greene Furniture" for $22.95 at craftsmanplans.com or by sending an e-mail to info@craftsmanplans.com or calling 513-531-2690 x 1327.

— Christopher Schwarz



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Wednesday, November 08, 2006 9:23:54 PM (Eastern Standard Time, UTC-05:00)  #  Comments [1] 
# Monday, November 06, 2006
Great News for Greene & Greene Fans

In our December issue, our "Great Workshops" feature pays a visit to the Pasadena, California workshop of James Ipekjian. James has spent most of his career restoring and reproducing the work of architects Charles & Henry Greene. Here is a brief excerpt from the article:


James Ipekjian didn’t set out to become an expert on reproducing the early 20th-century furniture designed by architects Charles and Henry Greene, and he can’t really explain how he got to be where he is today. “If there were a contest for the luckiest woodworker on the planet” he says, “I don’t know if I’d win – but I think I’d be one of the finalists.”
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This marvelous inlay work is typical of Greene & Greene furniture, and of Ipekjian's reproductions.

Today, he works alone in a comfortably cluttered but remarkably well-equipped shop located near the ultimate bungalows built by the Greenes in Pasadena, Calif. In the 1970s, Ipekjian was working as a model maker in the aerospace industry, and building projects from Popular Mechanics out of plywood in his garage. Bitten by the woodworking bug, he wondered if he could possibly make a living working with wood. A commission for an 18th-century highboy, as well as dissatisfaction with his job, led him to give it a try.

Ipekjian’s skill and attention to detail have brought him to a place that most woodworkers only dream about. He works in a pleasant space, at a comfortable pace, recreating some of the finest furniture ever made. His reputation keeps him busy. “If everything I have talked with people about comes through, I’ll be busy for the next three or four years. I’m comfortable, but still I can’t keep from worrying about what I’ll do after that,” he says.

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Unfortunately for the rest of us, Ipekjian doesn’t have any plans at this point to teach or write about his work, “I’m too busy really doing the work. I work a lot of hours because it’s fun, and I love what I do.”

You'll want to read the entire article, and if you're planning a trip to Southern California in the next year, you might want to schedule around some special tours of the Gamble house, the only Greene & Greene home open to the public on a regular basis.

The regular tour of the Gamble house is a lot of fun, but for serious woodworkers it's way too short and hurried. You can always tell the woodworkers on the tour because they are lagging behind and crawling around to look under the furniture.

In 2007 Jim Ipekjian will be conducting some special tours that will be much longer than the standard tour, and will be from a woodworker's perspective. The exact dates have not been announced yet, but this will be an incredible opportunity to see one of the finest examples of woodworking on the planet, guided by one of the most accomplished woodworker's on the planet.

In our next issue, we will have not one, but two articles on Greene and Greene furniture, so stay tuned for the kind of woodworking information you won't see in any other magazine.

Bob Lang



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Monday, November 06, 2006 4:31:52 PM (Eastern Standard Time, UTC-05:00)  #  Comments [0] 
# Monday, October 30, 2006
Best New Tools of 2006

One of our year end traditions is to pick our favorite tools of the year. Usually this list contains 10 or 12 tools, but this was no ordinary year. Our December issue has our choices on the 16 best new tools. Here is a brief excerpt from the article:

Steel City Machinery

We’ve never given a “Best New Tool” award to a company’s entire line of machinery, but this is an exceptional year, and Steel City makes exceptional tools. Elsewhere on the blog are reports on our first impressions of their small table saw.

These tools are serious, as evidenced by the close look we gave the company’s table saws. The trunnions on the company’s three styles of cabinet saws look like the trunnions STLCTY_band1.jpgon older beefy machines we’re familiar with. The T-square-style fences on the saws glide smoothly across the table – thanks to some clever engineering. And what is also nice is what the saws don’t have: a lot of bells and whistles. Instead, the company’s engineers upgraded what was important, such as the optional titanium nitrite coating for the top, which reduces galling and rust.

This was the same level of attention to detail throughout the line. The 15" planer comes standard with a clever Wixey-brand digital depth gauge – the only upgrade a machine like this needs.
The Steel City steel-frame band saws (a 14" cast-iron saw is in the works) are thoughtfully designed with a tensioning system that uses two springs. Plus, on the band saw as well as all the other machines, many of the handles are metal instead of the plastic we’ve come to expect.

And the prices? You’ll be pleased. The machines aren’t a low-price leader, but they do seem a lot of machine for the money. Additionally, we just received a report that Steel City will be offering rebates of $50-$200 on their machines from Nov. 1 to  Jan. 31, 2007.

Of course, the proof will be in how these machines perform, and we’re making plans to test several more of the tools in the line. But after inspecting the entire line machines like a customer would in a store, I can honestly say I was ready to get out my checkbook and plunk some serious money down on these tools. And after 10 years of seeing more new tools than I can count, that is saying something.

Lie-Nielsen Shave Horse
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I’ve gotten to work on a lot of shave horses at chairmaking classes and at other woodworkers’ shops. This one is the most comfortable, easy-to-use and versatile one I’ve ever straddled.

Designed by Kentucky Chair-maker Brian Boggs, this shave horse from Lie-Nielsen Toolworks lets you quickly move the head up and down for different stock thicknesses. And the leather on the head grips the stock with remarkable tenacity – it is almost impossible to pull your spindle stock out of the jaws, even in a heavy cut with a drawknife. The sculpted seat, which is nice for long spindle-shaping sessions, adjusts back and forth with ease so you can apply just the right amount of pressure to your work without straining your legs.

There are many plans for making your own shave horse out there, but if you’d rather just giddyap and get on with chairmaking, this shave horse belongs in the winner’s circle.

– Robert Lang


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Monday, October 30, 2006 3:09:43 PM (Eastern Standard Time, UTC-05:00)  #  Comments [1] 
Turn a Block Plane Into a Bench Plane

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Lee Valley Tools’s latest catalog is filled with lots of interesting stuff that we’re beginning to wade through, including two new plane totes that allow you to convert the Veritas low-angle block plane into a No. 3-sized bevel-up smoothing plane. The totes come in two sizes, large (for adults) and small (for children and adults with small hands). We got the totes here in the office last week, along with a replacement wooden knob for the front of the plane, which replaces the brass front one (the one that resembles a button).

When the totes came out of their boxes, Christopher and Bob were a bit skeptical (no surprise there). The backseat-driver comment was that the totes wouldn’t be as rigid as on a Stanley-style bench plane. So after talking about them a bit, we decided to put them on our Veritas low-angle block plane and give them a test drive.
 
I was intrigued by the whole idea. I’ve been wanting to learn proper planing technique, but every time I’ve used a plane for more than a few minutes, my hands and fingers get very sore. This is no doubt due in part to lack of adequate hand strength – but it doesn’t help that the handles on most of our tools are entirely too big for my ridiculously small hands (I wear a child’s “large” in gloves).
 
The attachment of the rear tote was a little fussy on our block plane. The metal bits at the end of the tote had to be filed slightly so they would fit under the screws that secured the tote to the plane (thanks, Chris, for taking care of that). We have one of the earliest Veritas block planes ever made, so that might have been the issue; regardless, the modification took about 60 seconds.

In the end, I was mighty pleased with the results. I was able to easily wrap my fingers around the tote, and I finally felt like I had a strong enough grip to control the tool’s motion properly. And, since the iron was wicked sharp (thanks again, Chris), I was able to smooth some pesky burled walnut in just minutes.

Chris spent about an hour with the tool as well and reported that he also really liked the smaller version of the tote, despite his having larger hands. As a long-time user of planes, the only real complaint he had with the tool is that it was a little lightweight for a bench plane so you had to use a lot of downward force when you started the cut on a board. However, you could really bear down on the tool and the handle stayed completely stable. The other thing Chris really liked is how easy it is to adjust the projection of the iron. The design of the rear knob leaves the adjustment knob entirely open above and below for turning. In fact, it’s easier to adjust than other bevel-up bench planes.

If you go by the numbers, the plane is interesting. It’s a bit narrower than the Veritas Low-Angle Smooth plane, and a little less expensive as well ($150 for the plane, tote and knob vs $177 to $179 for the dedicated smooth plane). We think it’s worth a look for those who need a small plane or have smaller digits.

— Megan Fitzpatrick




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Monday, October 30, 2006 9:06:51 AM (Eastern Standard Time, UTC-05:00)  #  Comments [0] 
# Friday, October 20, 2006
Answering Your Questions about the Steel City Table Saw

Our full-fledged, in-print review of the Steel City table saw will appear in our February 2007 issue. In the meantime, we've had several questions about what we've posted so far here on the blog. One of the great things about this format is that we can get answers much faster. I spoke on the phone yesterday with Scott Box, one of the big-shots of the new company.TestSAW.jpg

The first question people had was about the packaging of the saw, and whether or not it had been given special treatment before being sent to us. As I mentioned in a reply to a comment on an earlier post, the elapsed time between requesting the saw, and its being loaded on a truck to us was just a few hours, and there wasn't any indication on our end that the boxes had been opened before shipping. Scott assured me that the saw we recieved came from their standard inventory at their warehouse, and that the steel cage crating is the way that all of their saws are packed.

The second question was about the similarities between this saw, and a similar saw sold by Sears.
When machines are made overseas, the level of quality of the finished product isn't set by the manufacturer. They work under contract to whatever specifications the purchaser sets in the contract. While the two saws are made in the same place, the differences between the two are significant. The differences Mr. Box pointed out, and my observations confirmed are:
  • Tighter tolerances and heavier castings, particularly on the tabletop and alignment
  • Different motor, fence, rear trunnion support, depth of cut and supplied blade
These things may not be obvious at first, but they will increase the cost of manufacturing and make a big difference in how the saw performs, both out of the box and years down the road.fence.jpg

Before seeing this saw, I was skeptical about it because of its size and cost. My concept of a basic table saw is a Delta Unisaw or a Powermatic 66. I've been pleasantly surprised by the quality of the saw, the thoughtfulness behind the packaging, and the extra features. So far, I've been impressed with its capabilities. I haven't given it a lot of use, but I have ripped 8/4 oak with the supplied blade without bogging down the saw. We'll be using the saw on a regular basis here in our shop, and we'll follow up on its performance in a few months.

All in all, if you have limited space or a limited budget, this saw would meet your needs, and you wouldn't have any regrets.

Bob Lang


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Friday, October 20, 2006 1:25:33 PM (Eastern Daylight Time, UTC-04:00)  #  Comments [8] 
# Thursday, October 19, 2006
A Slanted View of Mortises and Tenons

In the Stickley side table from the November issue, there are enough variations of mortise and tenon joints to give your hands and your head a real workout. One of the things I enjoy most about woodworking is puzzing out how to do things.AM_backtop.jpg This is the top of one of the back legs. The tenons in the back rail are standard-right angles all the way around, but the side rail tenons are at an angle to match the splay of the legs.

The two mortises intersect, so the ends of the tenons are beveled back to keep them from interfering with each other. The idea is to keep as much length as possible in the tenons, not to have a pretty miter joint inside the leg where no one will ever see it.

I fit each tenon individually; then I take my block plane to the ends. The tenon on the back rail is straight; so I could cut the shoulders on the table saw. I was tempted to use the same method for the angle tenon on the side rail, but I didn't want to mess around with changing the angle on the fence of our sliding table back and forth between square and the angles I needed. To make the shoulder cuts on both faces of the rail, the setup would need to be reversed. That isn't impossible, but it's one of those cases where using a machine isn't the easiest, most accurate method.

gdblkB.jpgInstead, I made an angled guide block to use with my Japanese-style saw. I'm using the fingers of my left hand to keep the saw tight to the block. Once the kerf is established, I don’t need it there and move it out of the way. The kerf then registers the next cuts and the placement of the guide block.

After making the four shoulder cuts, I used a tenoning jig that slides on the table saw fence to cut the cheeks. I used an agled block to support the rail against the vertical fence on the jig. At the start of construction, I cut a piece of scrap to the angle of the legs from horizontal. I used it for the tenons and also under the legs when cutting the mortises for the angled tenons. My bench always looks pretty trashy because I hang on to things like this, but you never know when something might come in handy.

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Here's one of the completed tenons. I aim to get a fit that can be put together by hand without beating on it that will stay together if you pick up the piece with the tenon. I usually use a shoulder plane for trimming and tuning the fit, but sometimes I use a rasp on the faces of the cheeks. A couple days after I finished fitting everything, we recieved some cool planemakers floats that I will use next time I do something like this.

I want the shoulders to come down tight, and the cheeks to be snug, but I leave a little room at the bottom and ends of the mortise. I tend to put things together and take them back apart as I go, and the space at the ends of the mortise lets me wiggle the joint to get it apart.

Down at the bottom of the table, there are keyed through tenons where the front to back stretcher joins the arched lower rails. Once again, I could have cut these with the table saw, but I thought it faster and more accurate to do it by hand. I used another guide block for the saw, this one was beveled to make the top and bottom shoulder cuts. Everything looks a little rough at this point, I like to fit the joints before making the parts smooth enough to finish. Pieces can get beat up during fitting, and if I make a mistake on the joint I don't have a lot of labor invested.

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Most of the mortises were made with a hollow-chisel mortiser or a plunge router. I really don't have a preference between the two. I started this project intended to use the mortiser for everything but it broke down after a few mortises and I had to switch to plan B and used the router for the leg mortises. The rails were too short to clamp down and get the router in position, so I switched to plan C, wasted most of it with a forstner bit in the drill press and finished up with chisels at the corners and the rasp for the long edges.

A couple of readers have asked how the web frame is attached inside the rails below the drawer. It's simply glued in place, it can go in either during or just after assembling the base.

Bob Lang



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Thursday, October 19, 2006 4:11:13 PM (Eastern Daylight Time, UTC-04:00)  #  Comments [3] 
# Monday, October 16, 2006
DVD Review: "Precision Preparation of Chisels for Accurate Joinery"

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The opening sequence of David Charlesworth's latest DVD shows him securing a chisel in a honing guide and putting the tool to the stone for four strokes. He adjusts the tool in the jig, cleans the jig's wheel and takes four more strokes on a polishing stone. Two more strokes polish the unbeveled side of the chisel and then he shaves his left wrist for the camera.

Total elapsed time: 1:21.

It's a compelling series of shots because it shows how quickly a chisel can be honed and put back to work if the tool is properly prepared and maintained from the get-go. And so, for the next 60 minutes, Charlesworth explains in detail how he takes a new chisel and turns it into a precision instrument that can be easily maintained at that high level of performance.

For woodworkers who have watched his DVD on preparing plane blades, "Hand Tool Techniques Part 1: Plane Sharpening," this new DVD will feel like an extension of the lessons on that disc. That's an important point. Charlesworth's sharpening techniques are a fully realized and evolved system. The system is consistent throughout and operates on pure logic – nothing in his regimen is there because of mere tradition or idiosyncratic training. Charlesworth starts with the simple fact that a sharp edge is nothing more than two intersecting planes of steel that have been highly polished. And so everything he does – from the way he flattens his waterstones to the angle that the tool is held in the jig – follows from that.

If you've ever sharpened a chisel, you know that the biggest challenge with a new tool is in preparing the unbeveled side. If the tool is going to be used for precision work then this surface must be true because it is used as a guide when paring. Charlesworth walks you through this process with excellent attention to detail. He explains how your waterstones will respond to your hand pressure, and how you can use those wear patterns to your advantage when preparing your chisels.

The medium of video really shines when explaining operations such as this because you can see body mechanics and motion; this transmits as much information as thousands of words will. Plus with video you can see exactly how much effort and elapsed time is required to produce a desired result, and what the desired result looks like. It is the next best thing to learning sharpening face-to-face, which is the best way to learn this skill.

After discussing the preparation of the flat side of the tool, preparing the bevel is simple. Charlesworth explains why he uses a bevel that has three angles on it. It's a compelling argument because it greatly speeds sharpening. I've prepared a few chisels this way (plus  many plane blades), and I can personally attest that it works as advertised.

The most shocking thing about the DVD for many woodworkers will be to see how few strokes Charlesworth uses when honing. Four or five on each grit, maybe. I watch some woodworkers do 50 to 100 strokes on a single grit. I've always thought this is an enormous waste of effort, so it's good to see this lesson reinforced.

If there is one weakness to the DVD it's the fact that grinding the primary bevel is only discussed and not shown. Many woodworkers are wary of the power grinder but when they are shown how straightforward it is they take right to it. They may mess up the first tool but they are old pros once they fix their first tool and pick up the second tool.

What's also good to know is that this DVD is not for people who want to breathe new life into nasty old and damaged chisels. Charlesworth shows the defects of a vintage chisel that has been mis-sharpened typically, but he offers no solutions for how to fix it. Perhaps there are no easy solutions, except to use that tool for rough work and to purchase a high-quality tool for your high-tolerance work.

Charlesworth is – above all – a patient teacher. And his pace is slow and measured. Experienced sharpeners may kick up the playback speed on their DVD player a notch, but I found the pace to be perfectly correct for new sharpeners. There is a lot of information (visual and verbal) that has to be absorbed and understood, and the pace ensures that you will be able to digest each point before moving onto the next one.

Many woodworkers, both new and experienced, have been frustrated by their chisels. Perhaps the tool performs unpredictably in their work. Or the sharpening never goes as planned. These two problems are linked, and with the excellent instruction on this DVD, you will begin to unravel they mystery of this simple and versatile tool. The DVD is available from Lie-Nielsen Toolworks for $25.

– Christopher Schwarz

Editor's note: In the interest of full disclosure, Christopher also has two DVDs that were produced by Lie-Nielsen Toolworks, which produced this new DVD from David Charlesworth. Christopher receives no income from his DVDs. All his proceeds are donated to the Early American Industries Association.



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Monday, October 16, 2006 9:12:38 AM (Eastern Daylight Time, UTC-04:00)  #  Comments [4] 
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