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# Wednesday, November 29, 2006
A Preview of a Creole Table Project



Coming in the February 2007 issue (at the printer now) is a close copy of an 18th-century Creole-style table I built earlier this year. It looks like an ambitious and curvy project – but that assessment would be only half-correct. While curvy, this French number is surprisingly easy.

To whet your appetite for this spicy Creole dish, we're posting a SolidWorks drawing of the table for you to download (for free) and examine.

EDrawings is a free little program you can download (for both Mac and Windows machines), which allows you to open up the drawing file and examine the projects in extraordinary detail. And even if you have never used a CAD program, I think you'll find this program a cinch to use.
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When you open up the files you'll see the assembled project floating in space – this is called a "live model." And boy is it live! Using the tools at the top of the window, you can rotate this project in every direction to see all sides of it in its assembled form. You can pull individual parts off and rotate those around to look at all the joinery by zooming in and out. See how the web frame works. Make the legs transparent and zoom in on the tenons to see how they are offset from the aprons. Check out the tight dovetails (the only sure-fire way to get tight dovetails: draw them that way!)

These drawings are the next best thing to inviting you into our shop for you to examine the completed project. Heck, I think this is actually better. The projects are much easier to turn upside down and disassemble when they're digital.

Once you see how easily this piece is put together, you might want to do some more investigation of Creole furniture. Until recently, Creole-style furniture was a bit obscure, known mostly to a handful of furniture collectors who specialized in pieces made in the Mississippi valley. But that’s changing.

The original version of this 18th-century walnut table sold for $54,625 at a 2003 auction. And other Creole pieces, such as armoires, are commanding prices up to $140,000. So what is the Creole style? Essentially, Creole encompasses  furniture made in the Mississippi valley by furniture makers who were usually French-Canadian. The pieces have lots of French touches, such as cabriole legs, but also have the unmistakable restraint of early American furniture that collectors seek.
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This table, for example, looks quite a bit like drawings of 18th-century French furniture from Denis Diderot’s “L’Encyclopedie ou Dictionnaire Raisonné” (1751-1780) – but without the banding, inlay, carving and marquetry.

I first saw this table in the magazine Early American Life and was completely enamored. Our project illustrator, John Hutchinson, took a photograph and produced the construction drawings. And 37 hours of shop-time later, this is the result.

Download the drawing here:

Creole Table Assembly1.zip (1.1 MB)

— Christopher Schwarz




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Wednesday, November 29, 2006 10:41:46 AM (Eastern Standard Time, UTC-05:00)  #  Comments [4] 
# Tuesday, November 28, 2006
Tool Test: Infinity Router Bit Set
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How do you accurately test a seven-piece professional set of Infinity router bits?

Let’s face it, you could spend months in the shop trying to accomplish such a feat by using them day in and day out while building several projects and studying their performance along the way.

I didn’t have that kind of time, so I applied some standard tests to check the precision of the manufacturing.

I used micrometers to check the various steps in the rabbet combination bit, to check the diameter of the bearing in relation to the cut on the flush trim bit and to the cut of the 3⁄4" pattern bit.

I moulded a piece of hardwood with the 1⁄2"-radius roundover bit in a hand-held router, and with the 1⁄2" cove bit in the router table in order to check for a matching fit and determine if they could be used for a drop-leaf profile. I found that they all worked superbly under shop conditions.

But the true test of a packaged set is: Are these bits the ones most often used in a professional woodworking shop or that most woodworkers would use in their shops? Or, did they select a few usable bits and finish out the set with less-than-desirable contents? No, this is a useful set.

Each of these bit profiles has been a workhorse in my  shop during the past 12 years. I’ve used them all and I find myself using at least one during each of my woodworking projects.

This is a nicely assembled selection of router bits for use in your shop and these bits also have 1⁄2" shanks for added strength and durability. The set is $149.90. For more information, call 877-872-2487 or visit infinitytools.com.

— Glen D. Huey




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Tuesday, November 28, 2006 3:06:46 PM (Eastern Standard Time, UTC-05:00)  #  Comments [8] 
Router Bit Depth Gauge


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Editor's note: Here is one of the coolest Tricks of the Trade from our December 2006 issue from reader Rick Wilson of Houston, Texas.

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Setting the projection of a router bit using a ruler can be problematic, and not terrifically accurate, especially if your eyes aren’t what they used to be. To solve the problem, I made this simple but very accurate router bit depth gauge from a scrap of wood and an inexpensive dial indicator ($15.50 from Lee Valley, 800-871-8158). It measures bit projection in thousandths of an inch up to 7⁄8", which is enough for most of my grooving and slotting tasks.

The dial indicator shaft fits snugly into a hole drilled in the top of the inverted U-shaped gauge block. A slot extending out from the hole is pinched together with a machine screw to lock the indicator in place. After  unscrewing the stock tip, a small hardwood block is friction fit onto the end of the plunge rod to serve as a plunger pad.

To use the gauge, first zero it out with the plunge-rod block pressed against the router base or router tabletop. Then center the block over the bit, and raise the bit until the desired projection is reached.



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Tuesday, November 28, 2006 2:55:23 PM (Eastern Standard Time, UTC-05:00)  #  Comments [6] 
# Wednesday, November 22, 2006
Behind the Scenes: Ahead of the Game?

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Before coming to Popular Woodworking, I had many years of building furniture for customers and clients under my belt, and I found that I had developed a few habits that were hard to break – a few ruts that I fell into most willingly. Sure I liked to use a table saw to make all of my cove mouldings, I cut my tenons with my shop-made tenon jig and more often than not I would use aniline dyes to finish my work.

But I had one habit that was not one that the average person would want to develop. I guess that would make it a bad habit. We all know how hard it can be to break one of those.

This habit was my extraordinary ability to create furniture that was complete at the last possible minute; what I called my “Just in Time” inventory system. I used this system throughout the years of building for magazine articles with Popular Woodworking, as well as for my paying clientele.

When I joined the staff here at the magazine, I said goodbye to that nasty habit. Good riddance! See you later! Or so I thought.

We are headlong into the Spring 2007 issue of Woodworking Magazine. This is our newsstand only, no advertising, black-and-white woodworking magazine for which I am building an Arts & Crafts mirror for the cover.

The building process is a study of the mortise-and-tenon joint and the addition of the inlay pushed the piece to something that was more than fun – it was my first trip into Arts & Crafts furniture and working with white oak in some time.

I completed the building of the piece and was waiting for the finishing process to be developed by Bob Lang, senior editor and our specialist in all things Greene & Greene to Stickley and beyond (be sure to check out his finishing concoction in the same issue.) Once the finish was applied I installed the inlay and boom, project completed! Except for the mirror and back, that is. Let her sit, other things need my attention!

On Tuesday of the next week I was asked when I would have the mirror ready for pictures. I could have it on Thursday was my reply. Not good enough, Wednesday would be much better. The next morning I scuffled off to the mirror supplier, picked up the reflective slab and returned to the shop. The fit was right-on so I added a backboard of plywood and as I had just finished wiping the front of the piece, Al Parrish, our photographer extraordinaire, steps into the shop to gather the mirror for pictures.

Wow, even though the magazine is working four to six months ahead, deadlines are deadlines and my “Just in Time” inventory system is alive and well. Oh well as they say, some things change and ….

Glen D. Huey



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Wednesday, November 22, 2006 12:30:50 PM (Eastern Standard Time, UTC-05:00)  #  Comments [1] 
A New Job Within a New Job

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Everyone knows about Chris Schwarz’s affinity with hand tools and readers know that David Thiel was the power tool counterpart here at Popular Woodworking. With David’s move to the books division (thank you David – because that made way for me to join the staff), we had an area that needed to be filled. This past week it was decided that we fill that vacancy with a new contact for power tool information and questions – that contact would be me!

Where else could a guy who enjoys building furniture, writing and talking about woodworking get a chance to converse with the company reps about their tools and bring in a selection of products to test in our shop so that we can pass along that information to you? I am the lucky dog! And, I get paid to do this!

But, that is not the only place where this new responsibility will become such fun and interesting work. If you, the readers of the magazine, have any questions, comments or concerns about tools, you now know where to direct those messages. If you write, I will get back to you with an answer or comment as quick as I can.

I will tell you that there will be a learning curve for me. I have spent a lot of time in my own woodworking world. I would read the magazines, but I also had my shop set for many years, especially for large tools. Not many reasons popped up that would compel me to delve into buying new tools. I now not only have the reason, I have the directive to do just that.

I had a comment one night in our Woodcentral chat that the reviews are only as good as the guy that writes them. That got me wondering how Pop Wood conducted these test. Here at the magazine all the editors partake in the testing of the tools and that will continue in the future.

But we are even going one better. We are have asked Contributing Editor Troy Sexton to take some of the tools into his shop to test them in the real world. What better evaluation can be done on tools? It is always better to get a number of informed opinions versus one opinion. However, I will be charged with the writing and the follow-up on the reviews.


Glen D. Huey


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Wednesday, November 22, 2006 11:52:51 AM (Eastern Standard Time, UTC-05:00)  #  Comments [0] 
# 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)

CreoleDuotone.jpg

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] 
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