Campaign Furniture - Popular Woodworking Magazine

01 02 03 FnL1 CUYrVyBNZWRpYQ9HcmVnb3J5IEtydWVnZXIAT6t+JQQxMC40AjgwATEFVVBDLUEMMDc0NDcwMDEzNTU2lQ==03 0084Table Saw Trick for Keyed MitersNew MiniPlunge RouterAugust 2012 ■ #198Campaign FurnitureRugged but so RefinedStickleyBook Rack12 Tips for FlawlessThrough-TenonsTrifid Feet3 Variations for aCarved FootRule JointsGet Perfect ResultsBy Hand or PowerInstant Coffee TablePocket Screws Make it Quick & EasyUS $5.99084 Boxes, 4 WaysChoose from Classic to Contemporary0 74470 01355 6Display until August 20, 2012popularwoodworking.comc1_pwm1208Cover.indd US15/15/12 2:07:44 PM

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For A Free Catalog Or To Find Your Local Woodcraft Store, Visit woodcraft.com Or Call 800-225-1153. Knives are tools that create culinary masterpieces in the hands of master chefs – whether professionals oramateurs. Woodworkers, now you can craft custom knives for your favorite chef with Woodcraft’s new ZHENPremium Damascus Knife Kits and knife scale stock (sold separately at Woodcraft). Utilizing years of knifemaking skill and technology, the knife blades are crafted by forge welding 66 layers of steel around a corelayer of VG–10 steel (HRC 60–62) to create a unique surface pattern and razor-sharp edge. Made of highcarbon stainless steel (HRC 54 -56), the bread knife blade features a granton edge (non-stick scallops)for easy slicing.Blade Length Overall Length153651 Cleaver, 6 9 / 16 ", 11 5 / 8 "153652 Nakiri, 6¼", 11½"153653 Chef’s Knife, 7 9 / 16 ", 12¾"153654 Santoku, 4¾", 9 5 / 16 "153655 Parer, 3 5 / 16 ", 71 1 / 16 "153656 Bread Knife, 9½", 14 5 / 8 "1.855.923.7326 12PW08PWatch the video and find out more about owninga Woodcraft Franchise. Download a QR app toscan this QR code with your Smartphone. ®CARD #49 OR GO TO PWFREEINFO.COMc2_pwm1208.indd 25/15/12 2:19:40 PM

CONTENTS AUGUST 201236 42 48FEATURES24 CampaignFurnitureThis rugged and masculine furniture styleoffers challenges for novice and advancedwoodworkers alike.BY CHRISTOPHER SCHWARZONLINE u CampaignHardwareRead the author’s reviews of campaignhardware from a number of makers.popularwoodworking.com/aug1231 4 Boxes, 4 WaysSmall boxes are a great way to test your skills– or put to use some good-looking offcuts.BY THE EDITORSONLINE u 3-D ModelsDownload SketchUp models of the fourboxes – one from each editor.popularwoodworking.com/aug1236 A Trio of TrifidsDiscover how to carve three period-correctvariations on this 18th-century-style foot thatwas typically used to dress up cabriole legs.BY CHARLES BENDERONLINE u Cabriole LegsWatch the author cut out a cabriole leg on theband saw.popularwoodworking.com/aug1242 StickleyBook RackExpose your joinery skills with this classicArts & Crafts book rack (Stickley No. 74).BY ROBERT W. LANGONLINE u Arts & Crafts FinishDiscover how to create an almost-foolproof(and safe) finish that mimics the ammoniafumedlook of Stickley originals.popularwoodworking.com/aug1248 Rule Joints:By Hand &By PowerNo matter how you choose to cut them,understanding the subtleties of rule joints iskey to making them swing smoothly.BY WILLARD ANDERSONONLINE u Hinge PositioningDiscover how to properly position the hingeson a rule joint.popularwoodworking.com/aug1254 The ElusiveEllipseLearn how to plot an ellipse (for everythingfrom inlay to tabletops) using basic geometry.BY FREDDY ROMANONLINE u More EllipsesWatch our video to see how quick and easythese methods are in use.popularwoodworking.com/aug1254COVER , BOOK RACK & COMPASS PHOTOS BY AL PARRISH;TRIFID PHOTO BY CHARLES BENDER; RULE-JOINT PHOTO BY ROY UNDERHILLpopularwoodworking.com ■ 303_pwm1208TOC.indd 35/15/12 2:23:55 PM

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CONTENTS AUGUST 201210 16 20REGULARS8 The Very BestEditor’s LetterEverOUT ON A LIMBBY MATTHEW TEAGUE10 A Close LookAt a BirdcageSwivel JointLETTERSFROM OUR READERS14 A Table for YourTrim RouterTRICKS OF THE TRADEFROM OUR READERSONLINE u More TricksRead and watch some of our favorite tricks.popularwoodworking.com/tricks16 MakitaCompactRouter KitTOOL TESTBY THE EDITORSONLINE u Tool Test ArchivesWe have many tool reviews available for freeon our web site.popularwoodworking.com/tools20 Mortisingby HandARTS & MYSTERIESBY ADAM CHERUBINI60 Keyed Miter JigJIG JOURNALBY MATTHEW TEAGUE62 ContemporaryCoffee TableI CAN DO THATBY ROBERT W. LANG64 Finishes: TheyAre A-changin’FLEXNER ON FINISHINGBY BOB FLEXNER68 A Teacher’s SeatEND GRAINBY SCOT O’SHEA62Number 198, August 2012. Popular Woodworking Magazine (ISSN 0884-8823,USPS752-250) is published 7 times a year, February, April, June, August, October, Novemberand December, which may include an occasional special, combined or expanded issuethat may count as two issues, by F+W Media, Inc. Editorial and advertising offices arelocated at 8469 Blue Ash Road, Suite #100, Cincinnati, OH 45236. Unsolicited manuscripts,photographs and artwork should include ample postage on a self-addressed,stamped envelope (SASE); otherwise they will not be returned. Subscription rates: A year’ssubscription (7 issues) is $24.95; outside of the U.S. add $7/year ■ Canada PublicationsMail Agreement No. 40025316. Canadian return address: 2835 Kew Drive, Windsor, ONN8T 3B7 ■ Copyright 2011 by Popular Woodworking Magazine. Periodicals postage paid atCincinnati, Ohio, and additional mailing offices. Postmaster: Send all address changes toPopular Woodworking Magazine, P.O. Box 420235, Palm Coast, FL 32142-0235 CanadaGST Reg. # R122594716 ■ Produced and printed in the U.S.A.6 ■ POPULAR WOODWORKING MAGAZINE August 2012BIRDCAGE ILLUSTRATION BY MARY JANE FAVORITE;ROUTER & TABLE PHOTOS BY AL PARRISH; MORTISE-AND-TENON PHOTO BY ADAM CHERUBINI03_pwm1208TOC.indd 65/15/12 2:24:30 PM

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OUT ON A LIMB BY MATTHEW TEAGUE, EDITORThe Very BestEditor’s Letter EverEditors are given to hyperbole.At least twice a year a cookingmagazine I subscribe to publishesa recipe billed as, “The Best Wayto Roast a Chicken” or “The Last RoastChicken Recipe You’ll Ever Need.” Howmany “best” ways to roast a chicken canthere be? As editors who are passionateabout the work we do every day, we geta little over-excited. And I’m as guiltyas the next guy.Off the top of my head I can think ofat least a half-dozen ways to cut a mortise(and even moreways to cut a tenon).You can hog out thebulk of the wastewith a brace and bitand then clean up thewalls with a chisel,use a mortising machinethat cranksthem out in secondsor choose any numberof methods thatfall somewhere in between.Which is best?Well, are you cuttingone of them or 200?Are you working in a well-equippedshop, or down in the basement whileyour 2-month-old finally naps upstairs?Are you trying to make a living as awoodworker or experimenting with acraft that’s been your weekend obsessionfor years?If you’re cutting a single rabbet ina board but your table saw blade is setfor a particular angle that you’ll soonneed again, why would you mess up thetable saw settings when a rabbet planecould do the same job in a snap?The same is true even of furnituredesign. I recently spoke to an awardwinningperiod furniture maker whocouldn’t mention the name of a certain“art” or “studio” furniture maker(whose work, to my mind, is rightfullypart of the permanent collection at theSmithsonian) without chuckling. Butmost of the studio furniture makersI know can’t talk about reproductionperiod work without either throwingplates or falling asleep. Is one ofthese makers “better” than the others?Well, are you furnishing Monticello ora Brooklyn loft?Don’t get me wrong; not all woodworkersare equal. Some have exquisitetechnique, somehave a brilliant eye,some are luckyenough to haveboth, and some aresimply trying toenjoy a craft that isjust beginning toopen up to them.Leave us alone inour workshops andwe’re a pretty contentbunch.So if you haven’tfigured it out already,I’ll tell youa deep, dark editorial secret: Wherechicken roasting, woodworking or anyother craft is involved, there is seldom asingle-best method that fits every situation.It might be the latest power-tooltechnique or the way something wasdone 400 years ago, but only two thingsmatter: Did you enjoy the process; andare you proud of the results?So let me apologize here for any pastor future hyperbole. I get carried away.We all do. It’s the inescapable result ofloving what you do. PWMAUGUST 2012, VOL. 32, NO. 4popularwoodworking.comEDITORIAL OFFICES 513-531-2690PUBLISHER & GROUP EDITORIALDIRECTOR ■ Kevin Irelandkevin.ireland@fwmedia.com, x11407EDITOR ■ Matthew Teaguematthew.teague@fwmedia.com, x11007SENIOR ART DIRECTOR ■ Daniel T. Pesselldaniel.pessell@fwmedia.com, x11396EXECUTIVE EDITOR ■ Robert W. Langrobert.lang@fwmedia.com, x11327MANAGING EDITOR ■ Megan Fitzpatrickmegan.fitzpatrick@fwmedia.com, x11348SENIOR EDITOR ■ Steve Shanesysteve.shanesy@fwmedia.com, x11238ONLINE COMMUNITY MANAGER ■ Tom Nunlisttom.nunlist@fwmedia.com, x11008CONTRIBUTING EDITORS ■ Adam Cherubini,Bob Flexner, Glen D. Huey,Christopher SchwarzPHOTOGRAPHER ■ Al ParrishF+W MEDIA, INC.CHAIRMAN & CEO ■ David NussbaumCFO ■ James OglePRESIDENT ■ Sara E. DomvilleCHIEF DIGITAL OFFICER ■ Chad PhelpsSENIOR VICE PRESIDENT,OPERATIONS ■ Phil GrahamIT DIRECTOR ■ Jim KusterVICE PRESIDENT, EVENTS ■ Cory SmithADVERTISINGVICE PRESIDENT, SALES ■ Dave DavelADVERTISING DIRECTOR ■ Don Schroder331 N. Arch St., Allentown, PA 18104TEL. 610-821-4425; FAX. 610-821-7884d.schroder@verizon.netADVERTISING SALESCOORDINATOR ■ Connie KostrzewaTEL. 715-445-4612 x13883connie.kostrzewa@fwmedia.comNEWSSTANDFor newsstand sales, contact Scott T. Hill:scott.hill@procirc.comSUBSCRIPTION SERVICES:Subscription inquiries, orders and address changes can bemade at popularwoodworking.com (click on “CustomerService”). Or by mail: Popular Woodworking Magazine,P.O. Box 420235, Palm Coast, FL 32142-0235. Or call 877-860-9140. Include your address with all inquiries. Allow 6to 8 weeks for delivery.NEWSSTAND DISTRIBUTION:Curtis Circulation Co., 730 River Road, New Milford, NJ07646. PHONE: 201-634-7400. FAX: 201-634-7499.BACK ISSUES are available. Call 800-258-0929 forpricing or visit popularwoodworking.com. Send check ormoney order to: Popular Woodworking Magazine Back Issues,F+W Media Products, 700 E. State St., Iola, WI 54990.Please specify publication, month and year.Copyright ©2012 by F+W Media Inc. Allrights reserved. Popular Woodworking Magazineis a registered trademark of F+W Media.8 ■ POPULAR WOODWORKING MAGAZINE August 2012PHOTO © BARBARA DUDZIŃSKA - FOTOLIA.COM08_pwm1208OOL.indd 85/15/12 2:34:31 PM

LETTERS FROM OUR READERSA Close Look at aBirdcage Swivel JointIam designing a high-end floor-modelkaleidoscope. In the December2011 issue (#194), Charles Bender’s“Chester County Style” story shows acandlestand table with a hinge thatboth tilts and rotates. I have seen hingesthat tilt but cannot discover how tomake the rotating part. The legs andspindle are similar to what I use for thebase of the kaleidoscope. Could I getsome details on this rotating hinge?Jim Duxbury,Graham, North CarolinaJim,Birdcage swivel-and-tilt mechanismsare simple. The hinge part is just a roundtenon on each end of the top block thatfits into battens under the top.To make the birdcage swivel, turn around tenon on the end of the column,then drill a hole large enough for the shaftof the column to pass through the bottomboard of the birdcage. The round tenonon the shaft at the top of the column fitsinto a hole drilled into the top board ofthe birdcage. There’s usually a mortise‘Erase’ Red Wine StainsI have splashed red wine on unfinishedpine, and I tried using Murphy Oil Soapto remove it, but to no avail. What isthe next best thing to do, with as littletoxicity as possible?Nicholas Michaels,via FacebookNicholas,This is my wife’s department, and this iswhat she does (successfully with drips ofred wine on our maple countertops).Mix some OxiClean with water tomake a paste and put it on the area. Checkto see that it’s doing something. If so, leaveit for a short time until the wine stain isremoved.through the shaft into which a wedge isinserted; that keeps the birdcage attachedto the base. On most, there’s a washer betweenthe birdcage bottom and the wedge,which stops the rotation from driving thewedge out of the mortise.Charles Bender, contributorBirdcageTabletopMortisefor wedgeWedgeTenonhingeson topblockBattensTenonOr, scrub the wood with a scouringpowder, such as Ajax, that contains alittle chlorine.The OxiClean doesn’t leave a bleachedarea on maple – but if it does on pine, youshould coat the entire surface for a shorttime to get an even coloring. Alternatively,sand or plane to even the coloring.Bob Flexner, contributing editor‘Mystery Mallet’ SuccessThe buzz you created over Roy Underhill’s“Mystery Mallet” totally hookedme. When the April issue (#196) arrivedin the mail, I wasted no time in headingto the shop to tackle this project.Except for the wood and tools, youguys included everything I needed inthe article. The step-by-step instructions,pictures and drawings walked methrough this very challenging project,increased my confidence in woodworkingand left me with a great result.Glen Van CliseTownville, PennsylvaniaNo-smell Blanket Chest FinishI have just completed a blanket chestlined with aromatic cedar. I plan tofinish the outside with Tried & Truelinseed oil and beeswax, and I was planningto finish the inside with shellacfor a finish that doesn’t smellHowever, I read a piece by JamesKrenov that recommends the followingfinish that will not interfere with thesmell of the wood (kind of the point ofhaving aromatic cedar lining). He suggestsdiluting shellac with two partsdenatured alcohol, then filtering offthe residue and diluting it again withone part alcohol. Krenov acknowledgedthat this is nearly pure alcohol and avery thin finish. I wondered what youthought about a middle course: simplydiluting the shellac 1:1.Bill Smithvia e-mailBill,I have two thoughts.First, I wouldn’t put any finish on theinside of the blanket chest if it’s aromaticred cedar. The point of the wood is to repelmoths, and the aroma that does thissoftens and strips finishes. It’s true thatshellac is resistant to this softening, butwhat’s the point? You’re going to storeblankets, sweaters, clothes etc., not wetthings. Why do you need a finish at all?If there are areas of exposed cedar, youcould finish them with your thinned shellacjust to give them a little shine. Don’tuse any oil or varnish product becausethe cedar oils will keep it from dryingwell. I have no opinion about how muchto thin. If you get the finish too thin and itdoesn’t produce the shine you want, justapply another coat.Second, be aware that Tried & True israw linseed oil. It dries extremely slowly.CONTINUED ON PAGE 1210 ■ POPULAR WOODWORKING MAGAZINE August 2012ILLUSTRATION BY MARY JANE FAVORITE10_pwm1208Letters.indd 105/15/12 2:40:14 PM

LETTERS CONTINUED FROM PAGE 10Subscription Scam AlertWe’ve recently received reports ofsuspicious phone calls and offersin the mail to renew subscriptionsto Popular Woodworking Magazine.While still rare, fraudulentmailings and phone calls are increasing,and we’ve confirmedthat unauthorized parties arerepresenting themselves as workingfor Popular WoodworkingMagazine, and asking for a checkor credit card number to renewsubscriptions.While they’ll takeyour money, they cannot deliverthe magazine.These simple guidelines can helpyou avoid becoming a victim:Before renewing, check yourmailing label.#BXNRTGN**AUTO**5DIGIT 12345#0768T 1234567895# 0542 01 JAN 11YOUR NAMEYOUR ADDRESSYOUR CITY, STATE, 123456 COUNTRYYou’ll find your expiration dateat the end of the line above yourname.If your subscription is not closeto expiring and you receive a phonecall asking for your renewal, it ismost likely fraudulent.Also, look carefully at requeststhat arrive in the mail. We willnever ask you to write a checkto anyone other than PopularWoodworking Magazine, andthe mailing address on our returnenvelope will be: P.O. Box 421751,Palm Coast, Fla., 32142.If you’re uncertain about anyoffer you receive and it is timeto renew, simply call us at 877-860-9140. Orders placed throughthis number are secure. Or, youcan go to our web site and clickthe “Customer Service” link atthe bottom of the page to manageyour account.Robert W. Lang, executive editorMany people have problems because ofthis. But it does give a nice look (not muchdifferent, however, than other oil finishesthat contain driers so they dry well). Ifyou’ve used raw linseed oil before and arecomfortable with it, no problem.Bob Flexner, contributing editorMiter Cuts Off the SawI am having trouble getting clean 45°angles in the context of thin strips ofmoulding, either with or without amiter box. I am fairly good at sawingto a line both at square angles and bydovetail standards. What else can I doto ensure I am following my cutline,front and back? How do most handtoolmoulding makers do it? I realizethat planing is almost always a part ofit, but cutting fat and planing downseems like a crutch … or is that standardprocedure?Rob Campbellvia e-mailRob,I work from the saw – unless the miterdoesn’t fit because the miter is off or thecorner isn’t actually 90°.1. Mark your cut with a knife.2. Clamp the work when you cut.3. Know the set of your saw so you canset the teeth right on the line.4. The narrower the blade on the miter box,the less deflection of the blade. PWMChristopher Schwarz,contributing editorONLINE EXTRASLetters & CommentsAt popularwoodworking.com/letters you’llfind reader questions and comments, aswell as our editors’ responses.We want to hear from you.Popular Woodworking Magazine welcomescomments from readers. Publishedcorrespondence may be edited for lengthor style. All published letters become theproperty of Popular Woodworking Magazine.Send your questions and commentsvia e-mail to popwood@fwmedia.com, orby mail to 8469 Blue Ash Road, Suite 100,Cincinnati, OH 45236.Highly RecommendedOne of my chair designs features 30-some holes (long story) that have to bemarked out from a template, and seldomis doing so as easy as I’d like. I’ve usedForstner and brad-point drill bits to findcenterpoints, but because of the shaftdesigns they’re seldom accurate.While visiting a luthier’s shop oneday, I noticed a set of transfer puncheson the workbench and my problem wassolved. After more searching than youwould imagine, I recently found this set atWoodcraft for $19.99. They come in justas handy for finding the center of squareholes, such as those used for peggingjoints.— Matthew TeagueCustomer ServiceHow can I contact customer service with questionsregarding my subscription, including a lost or damagedissue?Visit popularwoodworking.com/customerservice. Or writeto Popular Woodworking Magazine, P.O. Box 420235,Palm Coast, FL 32142-0235. Or, if you prefer the telephone,call 386-246-3369 and a customer service representativewill be happy to help you.When does my subscription expire?The date of your subscription expiration appears on yourmagazine mailing label, above your name. The dateindicates the last issue in your subscription.Can I get back issues of Popular Woodworking andWoodworking Magazine?Back issues are available while supplies last. Visitpopularwoodworking.com/backissues. Or if you knowthe exact month and year of the issue you want, call ourcustomer service department toll-free at 855-840-5118to order.What if I want more information about the projects andtools I read about in Popular Woodworking Magazine?For all editorial questions, please write to PopularWoodworking Magazine, 8469 Blue Ash Road, Suite 100,Cincinnati, OH 45236. Or e-mail popwood@fwmedia.com.Does Popular Woodworking Magazine offer groupdiscounts?Group discounts are available by special arrangement withthe publisher. For more details, send an e-mail to DebbiePaolello at debbie.paolello@fwmedia.com or call 513-531-2690 x11296.Our Privacy Promise to YouWe make portions of our customer list available to carefullyscreened companies that offer products and services webelieve you may enjoy. If you do not want to receive offersand/or information, please let us know by contacting us at:List Manager, F+W Media, Inc.10151 Carver Road, Suite 200Blue Ash, OH 45242Safety NoteSafety is your responsibility. Manufacturers place safetydevices on their equipment for a reason. In many photosyou see in Popular Woodworking Magazine, these havebeen removed to provide clarity. In some cases we’ll use anawkward body position so you can better see what’s beingdemonstrated. Don’t copy us. Think about each procedureyou’re going to perform beforehand.12 ■ POPULAR WOODWORKING MAGAZINE August 201210_pwm1208Letters.indd 125/15/12 2:40:47 PM

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TRICKS OF THE TRADE EDITED BY STEVE SHANESYTHE WINNER:A Table for YourTrim RouterIwas looking for a safer way touse my trim router for everydaychores around the shop. My solutionwas to build a router table thathangs off the end of my bench on aFrench cleat. When I’m not usingthe router table, I store it under theend of the bench on the floor. WhenI need to use the table, I simply hangit on the French cleat.The router table is light enoughthat it is quite secure when mounted45ºthis way. This setup is great for doingsmall roundovers, chamfers, flushtrimmingand the like. A standardrouter base plate is used in the table,so it’s easy to pop the router out ofthe table for freehand work.It’s been a great addition to myshop, it doesn’t take up much spaceand it is a good way to store the routerwhen not in use.Bruce DavisStar, IdahoFrench cleatInlay Stringing the Easy WayHere is a trick I learned a few years agofrom a fellow member of the St. LouisWoodworkers Guild. It is an easy wayto make stringing for inlay.First, buy a hand-cranked pastamachine. Then run a sheet of veneerthrough it (not paper-backed veneer,obviously). Voilà! Instant string inlay!Now just shape a scratch stock bladeto match the width and you can add astring inlay border to your woodworkingpiece in very little time.Pro Tip: Don’t use your wife’s pastamachine. And don’t spend a lot ofmoney on a brand-new one. A friendof mine found one for me at a garagesale for $1. I store cut strips in a browngrocery sack on a shelf next to whereI keep the pasta machine.The only challenge is in findingthicker sheets of veneer, though youcould use complementary strips ofthinner veneers if you wanted to makebanding.Ethan SincoxSt. Peters, MissouriSpacers Prevent Vise RackingAnyone who uses a racking vise hasprobably used scraps to counteract theracking. With some basic skills it is possibleto make a stack of four spacers toproduce any thickness from 1 ⁄ 8" to 1 7 ⁄ 8"in increments of 1 ⁄ 8". The spacer thicknessesare 1 ⁄ 8", 1 ⁄ 4", 1 ⁄ 2" and 1".With two extra pieces, a 1 ⁄ 16" spacerand a 1x2 block, a full range of sizes canbe attained up to just shy of 4".Except for the 1 ⁄ 8" piece, all of thespacers have a step cut in them to allowthem to swing out of the way when notin use. The overall length of my set is11 1 ⁄ 4". The cutouts at the end and sideare so the stack can sit on my vise’sstabilizer bars without falling whenthe vise is operated.The spacers are easier to make if theholes are drilled first. They are centeredStep cutsCutoutskeep spacersfrom falling whenoperating viseat 1" from the top. The step is 2 1 ⁄ 4" deepto allow the spacers to rotate freely. Itis also easier to cut out the steps beforecutting the spacers to their finaldimensions. Check the steps beforedimensioning to make sure the smallerspacer(s) fit and move freely.The cap is made up of a 3 ⁄ 8" dowelinside a 5 ⁄ 8" dowel. Trim it flush on thebackside of the 1 ⁄ 8" spacer.My stack is made with a friction fitbetween the dowel and the cap to allowfor future disassembly if necessary.Jim KoepkeLongview, Washington14 ■ POPULAR WOODWORKING MAGAZINE August 2012ILLUSTRATIONS BY MARY JANE FAVORITE14_pwm1208Tricks.indd 145/16/12 1:32:49 PM

Blast Gate ModificationI have been happy with my central dustcollection system for a few years, butI recently noticed the performanceseemed to be a little off. Inspectingthe system, I found some of the blastgates weren’t fully closed though theywere pushed in as far as they would go.I discovered that the blind corners atthe back edge of the gates were packedwith dust, preventing the gate fromfully closing the air passage.After trying several ways to clear thepacked dust, I drilled a 5 ⁄ 16" hole in thetwo corners. Now when the gate closes,it forces any dust along the edges to theholes and out the gate. (I picked thathole size so I could use a screwdriver tipto “punch out” the really hard-packedstuff.) There is minimal air leakage withthe gate open and none with the gateclosed. I also suspect that the leakagewhen the gate is open will help evacuatethe dust in the blind end, too. This“trick” should work for any type of gatethat slides into blind corners.Ed WinfreySibley, MissouriDeadman AccessorySupports Long, Narrow StockI built a Roubo-style bench and choseto build the deadman following thedesign that Megan Fitzpatrick used forher bench (in the November 2009 issue,#179), which was termed the “slidingdeadwoman.” The uppermost holefor the deadman is about 6" below thebenchtop. To support a long workpiecethat is narrower than 6", I devised thefollowing solution.Cut a circle about 10" in diameter,bore a 3 ⁄ 4" hole through the center andinsert a 3 ⁄ 4" dowel through it. This fixturecan be inserted into holes in thedeadman to provide support at the requiredheight. Alternatively, insert aholdfast through the center hole andthe work can be secured to the benchand supported from below. PWMAdrian MarianoVienna, VirginiaSimple Clamp StorageI’m always amazed when I see anothersophisticated clamp-storage systemas a feature article in a woodworkingmagazine. Yes, such a system warrantedif you really have a lot of long and beefyclamps or you’re in a production shopthat is big enough to require a portablerack to get them to the project.But for most hobby woodworkerswho work in relatively small spaces,a much simpler clamp-storage systemwill suffice.The system I use is wall-mounted tosave floor space and will accommodatea wide range of clamp styles. The maincomponent is 1 ⁄ 2" electrical metal tubing(EMT) at a cost of $2 or less for a10' length. Other supplies needed aresome 1 ⁄ 2" EMT mounting clips, bracketsmade from scrap pieces of 2x4 lumberand a few wood or concrete screws formounting the brackets to a wall.All the required details of constructioncan be seen in the illustration.The spacing of the EMT from the wallis about 3" and the space between thewall brackets is approximately 5'.Narrow stocksupported by discMetal conduit pipeA row of shorter clamps can be locatedabove a row of longer clamps toconserve wall space. This system canaccommodate a large variety of clamptypes without modification.John CusimanoLansdale, PennsylvaniaONLINE EXTRASFor links to all online extras, go to:■ popularwoodworking.com/aug12TRICKS ONLINE: We post tricks from the pastand film videos of some Tricks of the Tradein use in our shop. They’re available online,free. Visit popularwoodworking.com/tricksto read and watch.Our products are available online at:■ ShopWoodworking.comCash and prizesfor your tricks and tips!Each issue we publish woodworking tipsfrom our readers. Next issue’s winnerreceives a $250 gift certificate from Lee ValleyTools, good for any item in the catalog oron the web site (leevalley.com). (The toolspictured below are for illustration only, andare not part of the prize.)Runners-up each receive a check for$50 to $100. When submitting a trick,include your mailing address and phonenumber. All accepted entries becomethe property of Popular WoodworkingMagazine. Send your trick by e-mail topopwoodtricks@fwmedia.com, or mail it toTricks of the Trade, Popular WoodworkingMagazine, 8469 Blue Ash Road, Suite 100,Cincinnati, OH 45236.popularwoodworking.com ■ 1514_pwm1208Tricks.indd 155/16/12 1:33:13 PM

TOOL TEST BY THE STAFFMakita Compact Router KitBigger doesn’t always mean better.Small routers are easy to handle,and the addition of multiple basesmakes them good all-purposetools. The basic 1 ⁄ 4"-collet router thatcomes in the new Makita compact kit(RT0700CX3) has good power and variablespeed. The motor slides in the baseand clamps firmly, with rack-and-pinionfine depth adjustment. A plasticshield contains chips, and there’s a fittingfor hooking up a shop vacuum.The kit we tested included the standardbase, a tilting base, an offset baseand a plunge base. Swapping basesis easy – no need for any tools. TheCompact combination. Maki-ta’s new multi-base compactrouter kit packs many featuresin an easy-to-handle format.Compact Router KitMakita ■ makita.com or800-462-5482Street price ■ RT0700CX3 kit $260RT0700C router $136■ VIDEO: Watch the trim router in action:popularwoodworking.com/aug12.Prices correct at time of publication.plunge mechanism was a bit stiff out ofthe box, but a squirt of lube fixed that.The handles are comfortable, but dueto the motor orientation, the switchand plunge lock are reached with theleft hand.Overall, this little router comparesfavorably with others of this size. Myonly complaint is with how this routeris sold. The choices are the fixed baseonly, or the full kit with all the bases.I’d like to see the plunge base as an accessory,or perhaps Makita could offera two-base kit for those who don’t workwith plastic laminate.— Robert W. LangLie-Nielsen No. 101 Block PlaneThis wee bronze plane from Warren,Maine, is a reproduction (of sorts) of theStanley No. 101 plane – a small blockplane originally designed for householduse and light work (and sold in toy toolNo. 101 Block PlaneLie-Nielsen ■ lie-nielsen.com or800-327-2520Street price ■ $95■ VIDEO: See the No. 101 plane in action:popularwoodworking.com/aug12.Price correct at time of publication.chests, according to Patrick Leach’s“Blood and Gore” web site).But unlike its inspiration, this newversion from Lie-Nielsen, which is alsocalled a violin maker’s plane, has allthe same features as its slightly largercousin, the No. 102, including a stainlesssteel adjuster to advance and retractthe blade.With a sole just less than 3" long and1 1 ⁄ 4" wide, the plane fits comfortablyin even the smallest hands, and its sizeallows you to work very locally indeed,and in tight spaces – and anywhere elseyou’d typically turn to a block plane.Plus, it’s the perfect size for slippinginto an apron pocket or even your pantspocket.The 7 ⁄ 8"-wide A2 steel iron is beddedat 20° for a typical 45° cutting angle.— Megan FitzpatrickCONTINUED ON PAGE 1816 ■ POPULAR WOODWORKING MAGAZINE August 2012PHOTOS BY AL PARRISH16_pwm1208ToolTest.indd 165/16/12 1:45:52 PM

STEVE WALL LUMBER CO.Quality Hardwoods and Woodworking machinery For The Craftsmanand Educational InstitutionsAsh .............................. 4/4 Select $ 2.60 ........................................ $ 94.00Basswood ................... 4/4 Select $ 1.95 ........................................ $ 80.00Birch ............................ 4/4 Select $ 3.55 ........................................ UPS $ 108.00Butternut ..................... 4/4 1C $ 2.95 ........................................ $ 88.00Cherry ......................... 4/4 Select $ 4.90 ........................................ Specials $ 117.00Hickory - Pecan .......... 4/4 Select $ 3.00 ........................................ $ 100.00Mahogany (Genuine) .. 4/4 Select $ 4.70 ........................................ $ 112.00Maple (Hard) ............... 4/4 Select $ 3.45 ........................................ $ 108.00Maple (Soft) ................ 4/4 Select $ 2.50 ........................................ $ 88.00Poplar ......................... 4/4 Select $ 1.80 ........................................ $ 78.00Red Oak ...................... 4/4 Select $ 2.70 ........................................ $ 96.00Walnut ......................... 4/4 Select $ 4.90 ........................................ $ 115.00White Oak ................... 4/4 Select $ 2.70 ........................................ $ 96.00Cedar (Aromatic Red) . 4/4 1C+Btr. $ 1.80 ........................................ $ 78.00Cypress ....................... 4/4 Select $ 2.60 ........................................ $ 90.00SEE OURCATALOG ONTHE WEB!White Pine ................... 4/4 F.G. $ 1.25 ........................................ $ 70.00Yellow Pine ................. 4/4 Clear $ 2.30 ........................................ $ 82.00Above prices are for 100' quantities of kilndried roughlumber sold by the Bd. Ft. FOB Mayodan, NC. Call forquantity discounts. Other sizes and grades available.Above prices are 20 bd. ft. bundles of clearkilndriedlumber 3"-10" wide • 3'-5' long (Randomwidths & lengths) Surfaced 2 sides or rough.Delivered UPS prepaid in the Continental U.S.CARD #47 OR GO TO PWFREEINFO.COMOLIVER MACHINERY DEALERHARDWOOD PLYWOODCUSTOM RAISED PANEL DOORSCUSTOM PLANK HRDWD FLOORINGTHIN CRAFTWOODEXOTIC LUMBERSTEVE H. WALLLUMBER CO.BOX 287MAYODAN, N.C. 27027336-427-06371-800-633-4062FAX 336-427-7588Email: wood@walllumber.comWebsite: www.walllumber.comSend $1.00 For Lumber CatalogPrices Subject to Change Without NoticeIncredibly accurateIf you are in awoodworkingbusiness…this could be themost valuable toolin your office sm .Please call1-800-321-9841for your 750 pagecatalog.Mention code pw12CARD #10 OR GO TO PWFREEINFO.COMCARD #38 OR GO TO PWFREEINFO.COMFREE to woodworking businesses.visit us at pro.woodworker.com/pw12CARD #54 OR GO TO PWFREEINFO.COMFrom the Editorsof PopularWoodworkingJoinery Tips & TechniquesHow to Cut Perfect Wood Joints Every TimeFrom Dados to Dovetails — It’s All Here!From the lowly butt joint to the vaunted dovetail,joinery makes a woodworking project stronger,attractive and durable. Learn how to make the mostcommon woodworking joints using hand tools andpower tools, with tips to speed and improve your work.Also included are plans for jigs to make your workeasier and more precise, advice on building frameand-paneldoors and step-by-step instructions for lotsof dovetails, including sliding dovetails. If you’re juststarting out in woodworking, or if you’re looking for away to just improve, we’ve got the joint for you!This and many more PopularWoodworking books are availableat www.ShopWoodworking.com orcall 1-800-258-0929 to order.POPULARWOODWORKINGBOOKS$21.99 US$22.99 CANPaperbackISBN: 9781440323485SRN: V7982c2_pwm1208.indd 175/16/12 1:48:28 PM

TOOL TEST CONTINUED FROM PAGE 16iVac Pro Automated Dust-control SystemLaziness can reduce the efficiency ofyour dust-collection system, whetheryou use a shop vacuum or a centralizedcollector. Sometimes just walkingaround the machine to switch on yourcollector doesn’t seem worth it.Install an iVac Pro automated systemand there’s no excuse. You can opt fora remote control push-button systemthat clips to your belt, or use a stationarycontroller that connects to yourmachines and turns the collector onand off automatically.iVac PromBright Tools ■ ivacswitch.com or888-273-5742Street price ■ Units start at $45■ VIDEO Watch a video about iVac:popularwoodworking.com/aug12.Price correct at time of publication.With the remote control, your dustcollector is plugged into an iVac Proswitch device. The remote controlcommunicates via radio frequency(RF) with the switching unit to turnthe collector on or off. And the devicedelays switching off the dust collectorfor a few seconds to clear the dust fromthe ductwork.With the stationary unit, your machineis plugged into it. When the machineis switched this device sensescurrent and communicates via RF tothe dust collector to switch it on andoff with your machine. And you canchange it from auto to manual mode.Up to eight machines can be hookedup to one switch unit. The tool unitsare available in either 15-amp or 20-amp versions for 115-volt (V) or 240Vequipment. Similar systems are alsoavailable for use with higher-voltagemachines and dust collectors, including3-phase power. When the magazinerecently moved and we built our newshop, we equipped the space with iVacPro equipment. It not only satisfied us(and our lungs), but the local building,electrical and fire inspectors, too.PWM— Steve ShanesyMastering Hand ToolsBasic Skills for Balanced WoodworkingMastering Hand Tools introduces youto the basic hand-tool skills to turn youinto a woodworker equally comfortablein either the powered or hand-toolworld — and get the best results fromeach approach. Host ChristopherSchwarz offers advice on selecting handtools, shares tips for set-up and showsyou how to put the tools to work.You’ll discover: Order “Mastering HandTools,” a 2-DVD set, now atwww.ShopWoodworking.comor call 1-800-258-092918 ■ POPULAR WOODWORKING MAGAZINE August 201216_pwm1208ToolTest.indd 185/16/12 1:46:13 PM

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ARTS & MYSTERIES BY ADAM CHERUBINIMortising by HandThe key to a lasting joint is a good fit – or good pegs.Frankly, I can do without dovetailsquite nicely. You can nail twoboards together and be left withsomething strong and serviceable.But mortises are trickier to livewithout; you need to know how to cutthem. Mortises join boards edge toend. They are super strong. Becauseof their strength, they are often used instructural applications such as timberframing, chair and table joints. Unlikedovetails, they either fit well andfunction – or they don’t and the finishedproduct suffers in some way. Andbecause they are essentially one-shotdeals, it’s pretty important that you getthem right.How do Mortises Work?Mortises are complicated pieces of engineering.Rightly so, I’ve heard a fairnumber of questions about them. “DoI need to peg my tenons?” “How largeshould my mortises be?” Understandinghow mortises work will help youdeliver the fit and features you need tomake your projects function.As you can see from the examplesbelow, retention of the tenon in themortise is an important contributorto the strength and life of your project.What’s a mortise? It’s the pocket or slot that receives a tenon, and is typically oriented along thegrain. On furniture, a tenon can be glued in place or retained by a peg. Some woodworkers advocate“warming up” with a few quick dovetail joints – why not do the same for mortises? They areequally challenging and in many ways more important.You can retain tenons in two ways: withglue or with pegs.For glued joints, it’s essential tospread glue on the broad surfaces ofthe tenons. The tenon’s end grain isessentially worthless. And differentialshrinkage may reduce the size of thetenon, causing the glue to fail. It’s alsoa very small area. I’m going to skiprecommendations about glues, butaccording to the literature I’ve seen,PVA (yellow and white glues) requirespressure to develop bond strength.Because mortises are essentially unclampable,the pressure you get insideyour mortises will be based solely onthe tenon’s fit. So if you plan to use PVA,make your joint as tight as possible.I typically use hot hide glue, which Ibelieve is a bit more forgiving of gappyjoints – though you should strive toavoid them. A properly fitted sawnMortises resist pressure. Ensure a tight fitto resist the force the joint will encounter inuse. The mortises on a chair endure a greaterload vertically than they do side to side. Soconcentrate your effort on the verticalfit. Deeper mortises andlonger tenons will generallybe stronger. As the red arrowsspread farther apart, the forcethey represent goes downproportionally.AppliedrotationPegs allow looser fits. If you are worriedthat your glue may not last, or the tenon mayshrink, pegs can help. Make the peg aboutthe same diameter as the tenon is thick. If youcan’t practically do that, add more pegs. Adecent fit at the shoulder is alsoimportant for pegged joints(the rotation is exaggeratedhere), but with a sufficientshoulder, the peg will holdthe joint together.AppliedrotationMortisewidth min.Red arrows balance the rotationRed arrows balance the rotation20 ■ POPULAR WOODWORKING MAGAZINE August 2012PHOTOS & ILLUSTRATIONS BY THE AUTHOR20_pwm1208A&M.indd 205/16/12 2:18:35 PM

tenon mating to a cut mortise gives theglue enough surface to bond.The other method of retaining jointintegrity is to use pegs. The key to usingpegs is producing contact at the shoulder.This is why I prefer to drawboremy pegs. I drill slightly offset holesand force them to align by insertinga peg with a tapered end. Some sayclamping the parts together does thesame thing.Use Dictates TechniqueCreating a good mortise requires anunderstanding of how the finished projectwill be used. A kitchen cabinet doormay not need superior mortise quality.The load on the door is low. A chair orthe stretchers joining your workbenchlegs require your best efforts. If you areplanning to hold your project togetherwith PVA glue, you’ll want nice straight,parallel mortise walls and ends. If youplan to use pegs – which I certainlyrecommend for a workbench – you maynot need perfect mortises. But by allmeans make sure your tenon’s shoulderis tight against its mating surface beforeinserting the pegs or you’ll be left witha wobbly bench.Chopping MortisesHistorically, mortises were chopped out.This technique involves holding thechisel more or less vertically, and poundingit into the work in a series of cuts.The waste is levered out and the processis repeated to deepen the mortise.This seems a simple enough approach,and it is. But I’ve encounteredseveral challenges that have made megravitate to another technique. It canbe difficult to control a chisel undermallet blows; there’s nothing to guidethe chisel.Paring the walls may not be quite assimple a solution as one would think.Used carefully, the mortise chisel alonewill produce parallel walls. Paring oftendestroys that. Then there’s the matterof the size. Chopping also compresseswood, making it difficult to lever outwaste. Last, the process of choppingand levering destroys the edge of yourANATOMY OF A MORTISE CHISELMortising chisels have specialized features. While you can try using aregular chisel to cut mortises, you’ll get better results with a propermortise chisel. The one below is a modern reproduction of a 19th-centurytool (by Ray Iles, available from toolsforworkingwood.com), and it representshundreds of years of development informed by trained professionalswho spent their lifetimes working with such tools.— ACCross sectionshow taper ofchisel fromback to front toreduce frictionRounded bevelhelps prying, andis easier to honeBackAccurately groundwidth of cut1ºBackThick bolster transmitsmallet blowsDeep bladespermit heavy workwithout bending orflexingTapered handledoesn’t slipthrough your fistwhile strikingRounded topdoesn’t requirea bolsterA CHOPPED MORTISEFirst blow. Begin your mortise by defining1 the ends. But as you begin to lever out thechips, leave about 3 ⁄ 16" on each end to serveas a fulcrum. (Chop the end material awayafter your mortise is to full depth.)Down the line(s). Continue cutting down2 the entire length of the mortise. Don’tworry about trying to reach full depth. Youcan only hit a chisel three or four times beforeit ceases to cut and is just compressing woodagainst the bevel. One pass may deepen themortise 3 ⁄ 8" to 1 ⁄ 2" or so, depending on thespecies of wood.Now lever. Finish the first pass by levering3 out the waste. Notice how the chisel priesagainst the end of the mortise? That’s whyyou need to reserve material there.popularwoodworking.com ■ 2120_pwm1208A&M.indd 215/16/12 2:19:13 PM

ARTS & MYSTERIESA PARED MORTISEUse your weight. This technique is describedby Joseph Moxon in “Mechanick1Exercises.” Hold the chisel like a pencil. Yourhand is fully supported on the work so precisecontrol is achievable. Place the helve in thehollow of your shoulder so your full weightcan be brought to bear behind the edge.Waste removal. Remove the waste carefullywith light cuts in the opposite direc-3tion. Once you’ve created a shallow trenchto guide the chisel, you can push harder. Adownward chop at the end of the mortise willallow the chips to break free.tool. Either you sharpen constantly,or you learn to work with a dull tool,which makes chopping all the moreunpredictable. Still, this is a techniqueyou must master.Paring MortisesOver the years, I’ve developed a paringtechnique for mortising. Using myshoulder, and the weight of my upperbody, I push the chisel into the wood.Paring mortises can help in several ways:It’s significantly easier on the tool andchopping is kept to a minimum.Because paring doesn’t compressthe wood, the edge-blighting causedby levering out the waste is reduced,which aids in edge retention. The resultingmortise is often cleaner andmore uniform than a chopped mortisebecause the mortise guides the tool.Shallow cuts. Make a series of shallow2 cuts, aligning the chisel to the scribe lineeach time. While it’s a little tedious, it doesn’ttake long.Sloping bottom. With the chisel held4 bevel down, pare the bottom of the mortiseas aggressively as you dare (a sharp chiselhelps). Work into one end of the mortise tocreate a sloping bottom, then finish by workingin the opposite direction.I’ve used this technique to great effectwhen cutting angled mortises in irregularstock.ConclusionMortising by hand is a basic skill that Ithink all woodworkers should master.Need an angled mortise? Or a mortisein a piece of wood you can’t squeezeunder the hollow chisel mortiser? Youcan do it by hand pretty quickly.I don’t think the basic technique isdifficult. You can try my two methodsor try other ways. The place to start iswith an understanding of the mortiseand-tenonjoint’s engineering – and agood chisel. PWMVisit Adam’s Popular Woodworking Magazine blogat artsandmysteries.com for more discussion oftraditional tools and techniques.PERIOD CHISELSPeriod makers often had alarge set of mortise chisels.I do, too, but I find I use onlytwo or three sizes for furniture.Mortises are typically one-thirdof the thickness of the stock inwhich they are cut. Our modern4/4 stock planes down to about3⁄ 4". So a 1⁄ 4" mortise chisel isappropriate for this. For furnituremade from 5/4 stock you shoulduse 5 ⁄ 16" chisels. I’m lookingforward to a project using 1 ⁄ 2"mahogany I have laying around.I’ll use my 3 ⁄ 16" mortiser for that.Lay out your mortises carefully.Use a mortising gauge toscribe the sides of the mortise.Define the ends however youwish. I typically cut the mortisesfirst, then fit the tenons to them,so I’ll use my chisel to quicklymark the ends. If you’ve alreadycut the tenon, then of courseyou need to mark the mortisefrom the tenons. Just rememberthat this dimension is importantto the fit and function and needsto be done appropriately.I typically leave some extralength in the workpiece that themortise isn’t so close to the endof the board. The force of choppingand prying can break outthe short grain at the end of theboard. After the mortise is complete,and often after the tenonis fit, the excess can be trimmedaway.— ACONLINE EXTRASFor links to all online extras, go to:■ popularwoodworking.com/aug12BLOG: Read Adam Cherubini’s Arts & Mysteriesblog.IN OUR STORE: “The Arts & Mysteries of HandTools” on CD.Our products are available online at:■ ShopWoodworking.com22 ■ POPULAR WOODWORKING MAGAZINE August 201220_pwm1208A&M.indd 225/16/12 2:20:04 PM

Sharpen your hand- and power-tool skills at the ultimate woodworking weekend—now two locations for your convenience!NEWLOCATION!OCTOBER12–14, 2012Pasadena, CANOVEMBER2–4, 2012Cincinnati, OHPERFECT YOUR WOODWORKING SKILLSImmerse yourself in three days of your very own, hand-crafted woodworking experience.Network with fellow woodworkers and tool makersStock up on tools in the marketplaceGrow your skill set with educational sessions taught by the legends ofwoodworking. Top speakers include: David Marks, Curtis Buchanan,Paul Schurch, Roy Underhill, Ron Herman, Jeff Miller, AdamCherubini, and many more!Registration is open! Register now at woodworkinginamerica.combrought to you byFIND US ONc2_pwm1208.indd 235/16/12 2:26:34 PM

CampaignFurnitureBY CHRISTOPHER SCHWARZSimple, rugged,masculine andawesome – thissometimes-forgottenstyle of furnitureis great forbeginning andadvancedwoodworkers.Contrast. Many galleriesin campaign secretaries wouldhave contrasting woods or be finishedin a different color than the exterior.Campaign-style furniture isas sturdy and simple as Shaker. It is asmasculine as Arts & Crafts. And it isfree of adornment, like Bauhaus pieces.Yet many woodworkers are unaware ofthis furniture style, which was popularfor more than 150 years in Great Britain,its colonies and North America.Perhaps the problem is that campaignfurniture goes by many names:military furniture, “patent” furnitureor traveling furniture. Perhaps enoughoriginal examples of the style haven’tsurvived or been featured at majormuseums. Or maybe there just aren’tenough books written about it. Forwhatever reason, campaign furnitureis rarely discussed or built by modernwoodworkers, and I would like tochange that.I grew up surrounded by the style,which has roots in both Great Britainand Asia. My grandparents collectedthe stuff, and my grandfather builtseveral pieces in the style, includingsome campaign chests and at least twocoaching tables. Coaching tables, bythe way, are folding tables with a gracefulX-shaped base that were used toserve refreshments at carriage stopsin the pre-Industrial world.24 ■ POPULAR WOODWORKING MAGAZINE August 2012OPENING PHOTO BY AL PARRISH; STEP PHOTOS BY THE AUTHOR;ILLUSTRATIONS BY ROBERT W. LANG FROM THE AUTHOR’S MODELS.24_pwm1208CampaignFurniture.indd24 245/16/12 2:46:30 PM

For a mobile military. André Roubo’s 18th-century book on woodworkingfeatured designs for several pieces of campaign furniture, including a foldingbed, chair and stool (left). The drawing below, attributed to a LieutenantWilmot, depicts a Bengal Regiment of Infantry in Scinde, India, on the movecirca 1843. Note the furniture packed onto the camels.After my grandfather died, I inheriteda box of his leftover pieces of castbrass campaign hardware. And afterstumbling upon this box in 2011 inmy basement, I decided to embark onbuilding a number of campaign pieces,including a chest of drawers with asecretary in the top drawer.A campaign chest is a great project– a classic campaign-style piece. But insteadof focusing this article entirely onits straightforward joinery and simpleconstruction, I’d like to introduce youto the campaign style, its history andits important details. Though manyjoints are similar to those in Shakerpieces, there are many constructionpoints that are unique to campaignfurniture. So let’s get started in medievalEurope.Furniture of War – at FirstInvading armies have to travel, so itmakes sense that they would own furniturethat was lightweight, portableand rugged. And indeed there is documentaryevidence of special field bedsfor officers during the Renaissance andeven earlier, according to publishedresearch by William Rieder, a curator inthe Department of European Sculptureand Decorative Arts at the MetropolitanMuseum of Art.But it wasn’t until the Europeanwars of the 18th century and early19th century that we encounter a fullyformed and separate style of militaryfurniture. British officers purchasedtheir own furniture, and so an entireindustry developed to supply themwith beds, fold-up tables, collapsiblechairs, campaign chests, writing slopesand commodes.With such strong demand, manyleading furniture designers publishedtheir own versions of furniture for themilitary, including Thomas Chippendale,Thomas Sheraton, André-JacobRoubo and George Hepplewhite.And many British firms patentedtheir collapsible mechanisms – therewere quite a number of these patentsissued between 1790 and 1830. Hence,sometimes this style is called “patent”furniture. Many of these mechanismsare ingenious: The seat of a chair foldsup and the chair’s front apron foldsflat against the chair’s back – like anaccordion. The Morgan and Sanders“patent metamorphic library chair” isone famous example of patent furniture– it changes from a chair to library stepsin an instant. Plus there are all mannerof dining tables that fold down into thesize of a suitcase.These pieces of furniture becamepopular with civilians. Students pur-Drawers & feet. On this periodexample you can see that the smallerdrawers are on the bottom and thebigger ones are at the top. Also notethe turned feet added below a traditionalplinth.popularwoodworking.com ■ 2524_pwm1208CampaignFurniture.indd25 255/16/12 2:47:23 PM

“The purpose of the cavalry is togive panache to what wouldotherwise be a vulgar brawl.”— Early 20th-centuryBritish military cartoonchased folding bookcases for school.And the limited space in urban centersin England made folding, stow-awayfurniture quite handy, according toNicholas A. Brawer’s “British CampaignFurniture: Elegance Under Canvas1740-1914,” one of the few books onthe style.But one of the most popular andenduring pieces of campaign furniturewas the chest of drawers – usuallycalled a campaign chest. These chestswere typically made in two pieces thatstacked on top of one another. Whytwo pieces? Well, there were severalreasons. The British Army General Order131 (d) from 1871 states that themaximum size for a chest of drawerswas 40" wide x 26" x 24". So two pieceswould create a typical chest of 40" to42" high. Also, according to Brawer,the two halves of a single chest couldbe strapped over a mule’s back to createa balanced load on the animal.As a result of this rough treatment,the chests needed to be rugged. Dovetailsalone would not be enough.Design of Campaign ChestsI’ve inspected a fair number of theseoriginal chests, plus I’ve collected photosand measurements from auctioncatalogs of many more. When designingyour own campaign chest, here aresome guidelines to follow.When stacked and in use, mostof the full-size chests are 40" wide,sometimes a little less. Their height isusually about 40", though sometimesthey are as tall as 43", especially theDOVETAILS FOR CASEWORKWhen dovetailing drawers, most people tend to preferskinny pins. But when you are dovetailing caseworkand the dovetails will be hidden, the rules change.For a typical 18"-deep carcase, I’ll lay out five or six tails,which will result in considerably bigger pins. That’s OK– six dovetails offer plenty of strength.With this project, there are three kinds of dovetails:through-dovetails for the backs of the drawers; halfblindsfor the drawer fronts and the hidden parts of thecarcase; and full-blinds for attaching the top of the topcarcase.Most woodworkers will scratch their heads aboutcutting the full-blinds. Stop scratching. They are easy andforgiving. Here’s how to do it.— CSRabbets. There are two rabbets for this joint: a narrow one that1 lips over the sides of the carcase, and a wide one that helps registerthe top onto the sides while cutting the joint.Avoid & overcut. To cut the blind tails in the top, overcut your2 baseline. But don’t nick the narrow rabbet, because that wouldshow when the joint is assembled.Clear out. Remove the waste between the tails with a Forstner3 bit and a chisel. Don’t worry about the overcuts on the tails.Those will be hidden inside the carcase. Only a conservator will seethem.Transfer the weight. A jointer plane is used to hold the tail board4 securely on the pin board while marking out the pins with a knife.Then you saw the pin waste and remove it just like you would whenyou build a drawer.26 ■ POPULAR WOODWORKING MAGAZINE August 201224_pwm1208CampaignFurniture.indd26 265/16/12 2:49:11 PM

18"40"3 ⁄4" 14 1 ∕2"1 ∕2" 1 ⁄4" 3 3 ⁄16"9 11 ⁄16"10 7 ⁄16"1 3 ⁄4"23 1 ⁄8"10 7 ⁄16"10 7 ⁄16"40 1 ⁄8"40 1 ⁄8"7"7"16 1 ⁄4"7"7"3 ⁄4"3 ⁄4"SECTION5"5"ELEVATION40"ones with turned feet. The depth ofa campaign chest tends to vary – 17"to 18" is typical, though some are asdeep as 23".There are a few different kinds ofbases, or plinths, on these chests. Theone shown in this article is the simplest– it’s just four square feet screwed to theunderside of the bottom case. Whilethat base was fairly typical, I’ve encounteredmany campaign chests withfour turned feet. These turnings areremovable and have a wooden screw atthe top that threads into the base. You’llalso find campaign chests with bracketfeet, like a traditional chest of drawers,though many of these have been addedto the chests later on in their lives. Andfinally, I’ve seen a few weird chests thatcombine two of these kinds of bases.You’ll have square feet or a bracket baseplus turned feet below.The other curious design feature ofcampaign chests is the way the drawersizes are graduated. While some campaignchests have a typical drawergraduationscheme – the taller drawers9"3 ⁄4"3 3 ⁄16"are at the bottom and the shorter onesare at the top – many chests do not.Instead, the two drawers in the lowersection are short and the drawersin the top section are tall – it basicallyreverses the design scheme to whichwe are accustomed.37"8"PLAN18"After many years of looking at thesecampaign chests, I actually like thisreverse-graduation scheme. Somepeople do not. In the chest I built forthis article, the two lower drawers areeach 7" tall; the two upper drawers areeach about 10" tall.popularwoodworking.com ■ 2724_pwm1208CampaignFurniture.indd 275/22/12 10:04 AM

HOW TO KEEP THE CASES ALIGNEDWith campaign chests you need to keep the top unit from sliding offthe bottom unit when you open and close the drawers. Some chestswere screwed together. Others used gravity and four wooden dowels tokeep the top unit in place. And that’s what I opted to do.The top surface of the bottom unit has four 1 ⁄ 2"-diameter holes that areabout 1 ⁄ 2" deep. Then I glued and screwed in a 1"-long section of 1 ⁄ 2" dowelinto each hole. The underside of the topcase has four matching 1 ⁄ 2" holes. So thetop case just drops in place on the bottomone and stays put unless lifted off. — CSSmall rabbetFull blinds. Here are the dovetails for thesecretary’s top. Note the small rabbet at theend. When the joint is assembled the rabbetis the only part of the joint that shows.Why are the drawers sized likethis? Usually it’s because the chest alsofunctions as a secretary, or desk, for itsowner. One of the drawers in the chestopens up to offer a writing surface andthat needs to be 30" off the ground. Thatdictates all the other drawer sizes. Atypical arrangement is for the front ofthe drawer to fall forward and lock flat– revealing a host of internal drawersand cubby holes.A less-common arrangement is forthe second drawer to pull out and reveala writing surface that is actually a lidon the drawer. Lift the writing surfaceand you can get to your writing suppliesbelow. Close the lid and you can beginyour correspondence.The other prominent feature of campaignchests is the flush hardware. Andthere is a lot of it. Some of the hardwareprotects the corners; some of it is inthe form of brackets that reinforce thejoints. The hardware is flush-mountedHoles & pegs. The 1 1 ⁄ 2" holes were bored using amodern Forstner bit and a brace (yup, that works).Before inserting the dowels into each hole, theends were chamfered a bit to make the units’ dockingprocedure easier.so that chests could be stacked closelytogether on ships, according to an articleby Jerome Phillips in the June 1984issue of Antique Collecting magazine.The furniture also had to be tieddown, and so the ends sometimes havehandles that accommodate ropes. Andsome antique chests have indentationsfrom ropes. Other chests were packedinside wooden crates to protect themfrom abuse while traveling.Wood Selection & JoineryCampaign chests were built using awide variety of domestic and tropicalwoods, from oak and beech to mahogany,teak and camphorwood. Mostexamples I’ve seen use solid wood as opposedto veneers. What is particularlyinteresting about the wood selectionis that in many campaign chests thereis no secondary wood. Every scrap– even the drawer bottoms – are solidmahogany or teak.Why would they use such expensivewood inside a case? Simple. Todefend against bugs and rot, accordingto Brawer’s book on the style. In fact,their owners would occasionally setthe feet of their furniture in ceramicbowls of water or oil to prevent bugsfrom eating their furniture. Of course,soaking the wood in water led to rot,which is why you will find many pieceswith missing or shortened feet, accordingto Brawer.When it comes to joinery, mostcampaign chests were assembled usingdovetails, though the joints aren’tobvious. While some campaign chestshave through-dovetails or half-blindsthat show at the corners, most chestsdo not. It’s only when you unstack thechests that you can see that the tops andbottoms are dovetailed to the sides.The biggest question for most woodworkersis how the top of the top chestis connected to the sides. From the outside,it looks like the top is rabbetedto receive the sides. Some chests havenails through the top and into the sides,which has led some people to think thechests were just nailed together.When you look inside the top chest,you can usually find the answer: Thetop can be connected to the sides usingfull-blind rabbeted dovetails. You cansee evidence of the maker overcuttingthe tails on the inside of the top. Or youcan see small gaps where the pins go.This joint gives the exterior a cleanappearance and offers a lot of strength.28 ■ POPULAR WOODWORKING MAGAZINE August 201224_pwm1208CampaignFurniture.indd28 285/16/12 2:50:03 PM

No surprises. The lower drawers have half-blind dovetails at the front and through-dovetails atthe back. The drawer bottom sits in a groove.SUPPLIESHorton Brasseshorton-brasses.com or 800-754-91271 ■ Campaign secretary hardware package;call to order and for pricing.Tools for Working Woodtoolsforworkingwood.com or800-426-46131 ■ BT&C Tiger Flakes Shellac, garnet#MS.TF.XX, $32.95Woodcraftwoodcraft.com or 800-426-46131 ■ General Finishes Gel Stain, java#826979, $19.99Prices correct at time of publication.Plus, it’s a forgiving joint to execute.You cut the tails, transfer the shapeonto the sides and cut the pins in thesides. When you assemble the chestthe only gap you have to worry muchabout is where the rabbet on the topboard meets the side board.The rest of the joinery in these casesis fairly standard stuff. The drawer dividers,which are typically solid panels,are dadoed into the sides. The back isnailed on (in cheaper versions) or securedin a groove in the top and sides ofthe chest – then nailed to the bottom.The drawers have typical joinery– dovetails at the corners with the bottomsecured in a groove in the front andsides. Some of the drawers use slips tosecure the drawer sides.About the GalleryCampaign chests that have a galleryare a little trickier to construct. Butonce you understand the mechanism,it’s pretty standard stuff. The galleryis a separate assembly that is insertedinto the top drawer of the chest. Thetop drawer’s sides are dovetailed to theback piece. The front of the drawer isattached to the rest of the assemblywith desktop hinges.What makes everything worksmoothly is that the bottom edge of thedrawer front is beveled, as is the frontedge of the drawer’s bottom. When thedrawer front is folded down, these twobevels touch, which stops the drawerfront. For extra security, many secretariesalso had brass quadrant stays – thequarter-circle pieces of hardware in thephotographs.The fussy part is getting the bottomedge of the drawer front sized so that itfolds down easily yet looks like a plaindrawer front when closed.Other than that, the gallery is typicalof what you will find in old work.The dividers are either dadoed into eachother or connected with a V-groove.Some chests have secret drawers inthe gallery; others do not.FinishesExtant campaign chests have a widerange of coloring. I’ve seen plain pinewith a clear finish, all the way to a stainthat looks like ebony. Because of theage of these pieces, it’s difficult to knowCritical bevel. A bevel on the desktop and the drawer’s bottom allowseverything to fold down flat and fold up neatly.Router work. Many campaign chests have a desktop reinforced withquadrant stays. Lay out the channels for the stays with care and cutthem with a router guided by templates.popularwoodworking.com ■ 2924_pwm1208CampaignFurniture.indd29 295/16/12 2:50:32 PM

what was original. But because theyexhibit a full range of hues, we have alot of choices that will look correct ona modern campaign chest.The Decline ofCampaign FurnitureMost furniture historians place thetime period for campaign furnitureas beginning in 1790 and lasting untilthe Boer War (1899 to 1902) againstthe Transvaal and Orange Free Statein South Africa. It was “the last of thegentlemen’s wars,” according to Brawer.The British were outmaneuvered andhumiliated by the quick-moving Boers.Soon after that, the British Army andNavy began producing their own formsof simple traveling furniture, and thefirms that built the high-style stuff wentout of business.But that’s not the end of the story ofcampaign-style furniture. British militarymen still had a sense of style, andthat led to the development of the Roorkheechair, which in turn influenceda generation of contemporary furnituredesigns. And it is the direct ancestor ofthe chair you probably take with youwhen you go camping or on a picnic. Sothe campaign furniture style lives on,even if we don’t realize it. PWMChristopher Schwarz is the editor of Lost Art Press(lostartpress.com) and is currently building a series ofRoorkhee chairs for a future issue of this magazine.INSTALL FLUSH HARDWAREtypical campaign chest canA have about 20 L-shapedbrackets, four corner bracketsand eight flush pulls. And all ofthese pieces are recessed flushto the case. Though I wouldnormally install hardware likethis with hand tools, the numberof pieces of hardware pushed meinto using the router and somecustom templates. Each pieceof hardware had its own specialchallenge, as you can see in thephotos.— CSIn two dimensions. For the L-brackets, anL-shaped template is clamped to the carcase toguide the router.Gouges are better.You could makea template for thecorner brackets, butif they have a cymashape as this onedoes, you are betteroff doing the workwith a firmer gouge.Two templates. Theflush pulls requiredtwo recesses. Thefirst template maderoom for the pull’sback plate. Thesecond templatemade room for thepart that shows. Theshape was roughedout with a routerand the work wasfinished with chisels.For use or show. Campaign furniture is simpleenough that it fits in with almost any home’sdecor, from Colonial to contemporary.ONLINE EXTRASFor links to all online extras, go to:■ popularwoodworking.com/aug12BLOG: See an array of historical campaignchests with unusual drawer arrangements.VIDEO: Watch a video of the author installingthe L-brackets on this chest.BLOG: The author reviews several brands ofcampaign hardware.HARDWARE: The hardware used on this chestis from Horton Brasses. You’ll also find a fullrange of excellent hardware for campaignstylepieces at Londonderry Brasses.TO READ: “British Campaign Furniture” byNicholas A. Brawer (check at your library).IN OUR STORE: “The Joiner & Cabinet Maker,” aBritish book that will introduce you to traditionalcasework techniques.Our products are available online at:■ ShopWoodworking.com30 ■ POPULAR WOODWORKING MAGAZINE August 201224_pwm1208CampaignFurniture.indd30 305/16/12 2:52:31 PM

Keyed MitersFinger JointsTurnedDovetails4 Boxes,4 WaysThe editors present someof their favorite designs.Whether we spend most ofour time building 18th-century highboys,production cabinetry or toys forour kids and grandchildren, we allbuild small boxes from time to time.Because we produce so many small offcutsof beautifully grained and highlyfigured woods, to do otherwise wouldbe a shame. Building small boxes can bethe mainstay of our shops – or simply anice diversion from our usual work.Often, a simple box can be madein just a few hours, either to breakup the work on a more involved project,or simply to test our skills with aminiature masterpiece. Boxes can becustomized for display, built to housejewelry, cigars or various keepsakesand collections. Plus, small boxes arelightweight, which makes them a nicerespite if we’ve logged hours musclinglarger timbers around the shop.Most every woodworker has at leastone go-to box design that he or she buildsfrom time to time. And we could all usea few more to throw into the mix. Whatfollows are four of our favorite small boxdesigns – one from each of the PopularWoodworking Magazine editors. You’llfind links to SketchUp models of eachof these boxes on our web site, but feelfree to mix and match our methods, andadapt the designs to suit. Building boxesof any shape, style and size presents agreat opportunity for skill-building andexperimentation.BY MATTHEW TEAGUE, ROBERT W. LANG,MEGAN FITZPATRICK & STEVE SHANESYLEAD PHOTOS BY AL PARRISH; STEP PHOTOS BY THE AUTHORSpopularwoodworking.com ■ 3131_pwm1208FourBoxes.indd 315/16/12 3:06:47 PM

Strong MitersBY MATTHEW TEAGUESimple but handmade. Curly maplesides are highlighted with contrastingwalnut splines and a texturedbirdseye top panel.spreading glue on the joints. Then I setthe top and bottom in place, and roll thebox up around them; the tape providesthe clamping pressure. After the gluedries I use a keyed miter jig to cut slotsin the corners to accept the keys. Formore on making and using the spliningjig, see Jig Journal on page 60.Once the keys are installed, I cutthe box apart at the table saw. I set theblade so that it’s about 1 ⁄ 16" shy of thedepth of the sides. After running allfour sides through the saw I finish upthe cuts with a backsaw.The finish is one that I picked upfrom Jeff Jewitt years ago when I waslooking at a dozen unfinished boxesthat had to be delivered the next day.Jewitt refers to it as his “30-Minute Finish”– wipe on a light coat of linseed oiland rub it until it is dry. Immediatelyapply a coat of thinned shellac and finishup with a topcoat of wax. It’s quick,easy and it looks good every time.Almost every woodworker buildssome variation of this simplemitered box. My version featurescorner joints reinforced withkeys cut from a contrasting wood, and araised-panel top that is textured alongthe edges – it’s just enough handwork togive the box a tactile, personal touch.Building the box is pretty straightforward.Start with a nice board andbase the length and depth of the boxoff the width of your stock – I usuallyrely on golden rectangles or simpleproportioning ratios: 1:2:3 or 3:6:12.This box is 3 1 ⁄ 4" x 5" x 8".Take the time to make test cuts toensure that you start with miters thatare spot-on so the project will go togethereasily. So that the grain continuesaround the corners and wraps allaround the box, keep track of the orderof the sides by using tape or markingthe pieces in order before you makethe first cut. Cut the miters and thengroove the top and bottom edges of thesides to capture the top and bottom ofthe box. I texture the edges of the topand finish both the top and bottombefore assembly.I assemble the box by simply tapingthe outside faces of the corners thenTEXTURED EDGES ON A RAISED PANELMy favorite details are easy to create buthave a big effect. The texturing on theedges of this raised-panel top falls into that category– at least to my eye.I start by taking two passes on the table saw.The first is made with the blade angled 45° andthe stock flat on the table. The second establishesthe tongue and is made with the blade setto 90° and the panel held upright against a tallauxiliary fence.The texturing is done with a gouge. Align theedges of the gouge with the top edge of the fieldand simply press down. Take the cut slow.Whenyou approach the bottom of the angled fieldresist the urge to lever the gouge and transition tocut the flat tongue; leaving the tongue flat createsa cleaner look where the panel fits into groovesat the top of the box. If you want, you can evenleave the tongue 1 ⁄ 32" or so fat until after the carvingis done. Then give it one more pass at thetable saw to trim away the U-shapes the gougecan create on the tongue.It takes only a few minutes to get the hang ofthe process, but it’s worth practicing on scrap.You can also experiment with gouges of differentwidths and sweeps to achieve different looks.Wider gouges or deeper sweeps often requiretwo lighter passes for each hollow. — MTSmooth motion. Start at thefield edge; take a light cutdown the slope and ease upas you reach the bottom.Add depth. Once the finishis applied, color variationcreates interesting shadowlines and highlights a texturethat begs to be touched.32 ■ POPULAR WOODWORKING MAGAZINE August 201231_pwm1208FourBoxes.indd 325/16/12 3:07:16 PM

Small boxes can make everydayevents special occasions, andthey are an excellent way to exploredesign ideas. I had a purpose inmind when I designed this box: a containerfor tea bags. But I didn’t wantan ordinary box. I was curious aboutvariations of shape and decided to applya new shape to a familiar joint.As I started to sketch, I decided totaper the sides in two directions. Fingerjoints that varied in size seemed a goodfit, and leaving the ends of the jointsproud of the adjoining surfaces addedinterest. The top-most finger became aplace to locate a sliding lid, and I thoughtit would be clever to make the thing sothat it wasn’t obvious how it opened.I set the dimensions from the insideout, starting with the envelope for ourfavorite tea and adding 1 ⁄ 4" to the widthand the height. At the top I added 1 ⁄ 2"for the sliding top and some space aboveit. To keep the piece from looking topheavy,I set the 1 ⁄ 4"-thick bottom in arabbet (routed after assembly), flushwith the bottom.Nine inches seemed right for thelength. To avoid clunkiness, I chose5⁄ 8" as the thickness of the sides andends, tapering to 1 ⁄ 2" at the top andbottom. The tapers begin at the top ofthe lowest finger.I milled the parts from a walnut board,keeping the sides and ends in order andresawing the top and bottom. The jointslook trickier than they are. They aremade while the pieces are square.After laying out the joints, I attachedan L-shaped fixture to the sliding tableon the table saw and installed a 1 ⁄ 4"-wide blade. I adjusted the height ofthe blade to the thickness of the piecesplus 1 ⁄ 8" from the horizontal part of thefixture. Then I passed that over theblade to leave a slot lined up exactlywith the blade’s location.That slot allowed me to line up mylayout lines and clamp the small partsto the fixture for cutting. I stuck the twoshort ends together with double-sidedtape and after milling the joints, I usedthe ends to mark the joints on the longerside pieces. I then milled the sides andmade a test assembly.I marked the finger location on theend that opens, and I cut off the top witha dovetail saw to make a clean cut witha narrow kerf. I ran the groove for thetop on the router table. The grooves runthe length of the sides, but stop withinthe last finger on the short end. The toppanel is glued to a stopped rabbet in thebottom of the pull.With all the parts cut and fit, I laidout the taper on one of the side pieces. Itilted the table on the band saw to matchthe angle and removed most of the waste,Fit to a TeaBY ROBERT W. LANGthen planed the surface smooth.After tapering the sides, I reassembledthe box and marked the angles onthe end pieces. I placed a straightedgeabout 1 ⁄ 16" thick across the outside ofthe joints to mark the ends. I made theangled crosscuts on the band saw andcleaned up with a disc sander.I eased the edges of the exposedjoints and glued the box together, thenplaned a bevel on the bottom of the toppanel to allow it to slide, and on the bottomof the pull until it would slide overthe top finger with enough resistanceto hold the lid in the closed position.The finish is sprayed lacquer.Careful aim. The blade cuts a slot in the bottomof the fixture; use that to line up the cutsbefore clamping the parts.Lean on me. Beveling the sides turns thesquare and mundane into a lively shape.Purpose-built. This box was designed aroundits contents, and it takes a moment to discoverhow it opens.Visual aid. The line of the joint helps toreduce the visibility of the junction of the topand bottom.popularwoodworking.com ■ 3331_pwm1208FourBoxes.indd 335/16/12 3:07:45 PM

Period PrettyBY MEGAN FITZPATRICKI’m typically drawn to period work,from the Renaissance up to the earlyyears of the Victorian era. So whenI have to make something – anything– the first place I look is to auction catalogsto see if there’s a period piece thatinspires me.I found a poplar grain-painted cheston-feetonline at Antique Associatesat West Townsend (aaawt.com), andadjusted the dimensions a wee bit tobetter suit my eye and available stock.The sides are 5 ⁄ 8" x 6 5 ⁄ 8" x 9 1 ⁄ 2"; thefront and back are 5 ⁄ 8" x 6 5 ⁄ 8" x 16"; thebottom is 1 ⁄ 2" x 9 1 ⁄ 2" x 16"; the lid is 3 ⁄ 4"x 9 3 ⁄ 4" x 15 5 ⁄ 8"; and the feet started outas 2"-square, 4 1 ⁄ 2"-long blocks.Construction DetailsThe box is simply dovetailed together.I followed period joiners in leavingmy layout lines (if that offends yoursensibilities, plane or sand them offafter the glue on the dovetails dries).While I don’t typically obsess aboutperfect spacing of my pins and tails,in this case they’re a major part of thedesign. So I marked a half-pin 3 ⁄ 8" upfrom the top and bottom on each end,then spaced the full pins at 1 1 ⁄ 2" intervals,and marked 1:8 slopes.The bottom is then nailed on flushwith the box edges using rosehead nails;these have relatively broad, flat headsto securely attach the bottom to thesides.The lid is simply one piece of mahogany,with the two ends and frontedge moulded by hand using a No. 10hollow. (You can achieve the same lookwith a router and roundover bit, but Iprefer to use moulding planes becausethere is little cleanup.) I added slidingdovetailbattens to the underside of thetop to combat the almost-inevitablecupping.To cover the seam between the boxand the bottom, I used quarter-roundmoulding cut with a No. 12 hollow. Ithen wrapped and mitered the corners,added glue to the front piece andfront 2" of the side pieces, and nailedthe moulding in place flush with thebottom using standard “fine finish”cut nails.The FeetI turned a tenon on the top of each foot,then left a 3 ⁄ 4"-long square to form thefoot block. The top of the block wasundercut starting about 1 ⁄ 4" in fromthe edges, to allow it to easily sit flushwith the box bottom. I turned the remainderround, then cut two beadsunder the block, a vase shape below,and what’s basically a wee bun foot atthe bottom.In a larger piece, the feet would typicallybe attached to the bottom withwedged through-tenons, but in this case,the tenons interfered with the box walls,so I trimmed the tenons to about 1 ⁄ 4"in length, drilled corresponding holesin the bottom of the box bottom, thensimply glued the tenons in place.Traditional approach. Period details popwithout 300 years of patina to mask them.Hand-cut moulding. Cut a chamfer toremove the bulk of the waste and create a flatat the apex of the hollow moulder’s iron, thenrun the moulding plane along the stock untilyou’ve created the desired ovolo.Stub tenons. The feet are installed flush to thebox edges with glued-in stub tenons fit intocorresponding holes in the box bottom.HardwareThe hinges are 6" iron strap hinges, set in1⁄ 4"-deep mortises in the box back to accommodatethe knuckle swing. They’rescrewed in place with black roseheadscrews. I also installed a half-mortiselock and keyhole escutcheon.After applying a coat of oil/varnishblend, I put the piece in the sun for atouch of tan, then I applied a secondcoat of oil-varnish blend and buffed ona topcoat of paste wax.34 ■ POPULAR WOODWORKING MAGAZINE August 201231_pwm1208FourBoxes.indd 345/16/12 3:08:18 PM

Abox is a popular item in theworld of turning. And as forour woodworking brethren inthe “square and parallel” universe, theinspiration for a box may often beginwith a small piece of special wood.And so it was with my box project. I’dbeen hoarding a small chunk of walnutfor several years. It was just thick enoughat 4" square and about 8" long.And like so many works that comeoff my lathe, the wood dimensions suggestthe overall shape and size of thepiece. I decided to add the delicate andcontrasting maple detail for ornamentation.The vertical lines were added bysawing the block in half, gluing it backtogether with a piece of maple veneerbetween, letting it dry, then repeatingthe process so the veneer formed fourquarters within the block.To turn the walnut portion, includingthe knob on the figured maple lid, Iformed the outside shape with the blankmounted between a spur drive centerand live tail center. Then I added a dovetailedtenon at the base so I could changeworkholding to a four-jaw scroll chuck.That allowed me to hollow the inside.With the base in the chuck, I finishedup the knob and included a smallTurn the outside. The first step is turningthe outside shape with the blank mountedbetween a spur center and a live center in thetailstock.Turned & Delicatetenon for gluing it into the maple lidlater. Then I parted the knob off.Hollowing the upper portion ofthe base was easy because the mouthis wide and the outside shape is easyto follow; below the waist it’s tricker.That’s why I switched to a setup thatfeels a bit like cheating – a rig that hasthe hollowing tool set up with a smalllaser attached above it. You simply setthe laser to project a light just off thetip of the cutting edge. When the laserbeam starts to trail off the outside edgeof the work, you know you’ve hollowedto the wall thickness you want. For thisbox, that’s about 3 ⁄ 16".I sanded the piece on the lathe from#120 up to #320 grit.BY STEVE SHANESYBoxes can be round, too!Turning boxes on a lathe canproduce many varied shapes– and turned boxes are usuallyquick and easy to make.The lid is made in much the sameway, starting with the work betweencenters. In this case, I formed the insideshape, a center dome area witha lip cut at the outside perimeter. Butinstead of changing to the four-jawchuck, I made what’s called a jamchuck. A jam chuck is a piece of wastewood slightly hollowed to the exactsize of the step in the lid’s lip. The lidis held in the jam chuck by virtue atight friction fit.The outer domed shape of the lidwas quickly turned and sanded, then Idrilled a hole in the center for the knob’stenon. After gluing the knob in place, Ifinished the box with a couple applicationsof boiled linseed oil. PWMHollow the inside. A laser (note the red spoton the side) tracks the location of the tooldeep inside the box and makes it simple tohollow.All jammed up. Once the lid’s inside is done,the lid is mounted in a jam chuck to turn theoutside.ONLINE EXTRASFor links to all online extras, go to:■ popularwoodworking.com/aug12BLOG: View a series of step photos that showhow to assemble a solid box then cut thetop off using the table saw.IN OUR STORE: “Box Builder’s Handbook,” byA.J. Hamler.Our products are available online at:■ ShopWoodworking.compopularwoodworking.com ■ 3531_pwm1208FourBoxes.indd 355/16/12 3:08:45 PM

A Trio of TrifidsBY CHARLES BENDERThree variations on a carved foot offer high style.Access to information providesthe modern woodworker with greatervariety, and it challenges their skillsmore than their 18th-century counterparts.When we consider how fashionconsciousboth producers and consumerswere in the 1700s, it’s truly amazingto think how quickly the word spread ofstylistic changes such as cyma-curvedbacksplats in chairs, cabriole legs andball-and-claw feet.Over the course of a few decades,furniture construction methods andaesthetics shifted between simple, unadornedpieces to richly carved anddecorated pieces – then back again.Even with all this tumult in the furniturefashion world, period cabinetmakerswere limited by regional tasteand tradition.While they may have known aboutball-and-claw feet, per se, they may nothave understood the regional variationsthat took place between areas such asBoston, New York and Philadelphia.Fashion changed from the rigid Jacobeanto the more curvilinear William& Mary style and, eventually, to thedainty, feminine style of Queen Anne.Throughout the Colonies, cabriole legswere all the rage. Pad feet ran rampant– everywhere except in Philadelphiaand its surrounding environs.A great influx of Irish cabinetmakersand carvers brought with them afoot design that would dominate thePhiladelphia Queen Anne style: thetrifid foot. Pad feet were made in theregion but no other foot design caught36 ■ POPULAR WOODWORKING MAGAZINE August 2012 PHOTOS BY THE AUTHOR36_pwm1208Trifid.indd 365/16/12 3:59:52 PM

the ever fashion-conscious consumer’seye like the trifid foot. An outgrowth ofthe pad foot, a trifid foot is elegant yetsimple – which played well with localQuaker sensibilities.Carvers divided a pad foot into threedistinct toes creating a more “naturalistic”looking foot – so much so that trifidfeet are also called “drake” feet (after themale duck). The style sense was shiftingfrom the rigid toward the rococo. Havingfurniture with more “realistic” carvingadorning it was quickly becoming theheight of fashion. Trifid feet filled thatneed in the greater Philadelphia areaunlike any other. The simple fact is thateven though trifid feet were extremelypopular in Philadelphia and England,they just never really caught on muchelsewhere else in the Colonies.Trifid feet are as varied as the consumerswho coveted them. They canbe clubbish or delicate and elegantlycarved. They can have well-definedtoes or be far more abstract. They canbe cuffed, stockinged or plain. I’m surethat if cabinetmakers throughout theColonies had the same access to thevariety of trifid feet we have today, thefeet would have been far more popularin many areas of the country.SHAPE A CABRIOLE LEGOnce carvers took over the block feetof a cabriole leg, it wasn’t long until therewere a multitude of trifid foot variations.The first trifid feet were little more thanthe block foot with three defined toes– and even with just three toes therecan be variations. The toes round overinto one another creating line divisionsbetween them, or hollow valleys can becarved between the toes to give them amore separated look. The edges of thetoes can be sharp or rounded off, oreven a combination of the two.In an effort to further distinguishthe toes of the trifid foot, carvers begandefining them through the ankle andup the leg, essentially creating webbingbetween the toes. Sometimes this webbingwas squarish in nature and othertimes it was a hollow. Either way, thisextra definition gave the feet greatervisual punch by creating more areasof reflection and shadow.Although the majority of 18th-centurycarving on American furnitureisn’t very deep, it creates surfaces thatcapture and reflect light to impart depthand interest. The appearance of unwebbedtrifid feet is much flatter. Byadding webbing, the carver adds interestand depth to the entire foot.In yet another example of the carver’sefforts to create more light andshadow lines, some trifid feet had acuff line added. These cuff lines definedthe end point of the webbing just abovethe ankle. They are also sometimesreferred to as “stockinged feet.” Thecuff not only adds another shadow, butgives the leg a visual transition betweenthe ankle and the calf of the leg, thusaccentuating the foot even more.The BeginningThe making of a trifid foot is fairlysimple. The bulk of the work happenswhen shaping the cabriole leg. Properplanning of your pattern preventsimproperly proportioned trifid feetfrom plaguing your furniture designs.If we begin with the simplest versionof a trifid foot, I’m sure you’ll see howminor changes in the sweep of the legcan dramatically affect the look of thefoot. This foot truly leans toward thesimple Philadelphia Quaker taste.From One, ManyIn the 1720s and ’30s the cabriole legwas rapidly becoming the height offashion. Furniture to this point hadbeen primarily the playground of thejoiner and turner. As the cabriole legcame into vogue, the turners kept theirhand in furniture making by creatingpad feet. And while there are a fewvariations on that theme, for the mostpart, one pad foot looks much like anyother.Looking for ways to set their workapart from one another, craftsmen ofthe 18th century added their own flairto cabriole legs. Some of the simplestversions were really no more than thecabriole leg cut out and shaped smooth.And while that simple look may havebeen appealing to certain clients, itcertainly wasn’t the look that everyonecoveted. Also, it didn’t give the risingclass of carvers a chance to show offtheir skills.Draw the pattern. The cabriole-leg pattern doesn’t varymuch from a pad-foot pattern.Cut the leg. Cut out the cabrioleleg using the method you like(my “Cabriole Legs Simplified”DVD offers good instruction).Refine the shape. Smooth, shape up and refine the curves on the leg using a spokeshave.popularwoodworking.com ■ 3736_pwm1208Trifid.indd 375/16/12 3:56:00 PM

LAY OUT THE FOOTDraw a pattern. Draw a diagonal line fromthe back of the foot pattern to the toe, thenstrike the arcs for the toes.Now the negative. Use the larger negativepattern to mark the top of the foot.It all begins with the pattern for thecabriole leg. For most chairs and tables,I begin with 2 3 ⁄ 4" stock. The patternshould not vary too much from that ofa cabriole leg with a pad foot. The maindifference comes in how far down thetoe of the pattern is swept. While thereis variation amongst feet, the most delicatelooking have the toe of the patternswept down a good bit thinner thanyour standard pad foot. I usually startsomewhere around 1 1 ⁄ 4" in height. Thebest trifid feet are smaller at the pointwhere they touch the floor than theyare at the top of the toes.Cut out the cabriole leg blank thesame way you would for a pad foot leg.The point where the pattern exits atthe top of the toe should be about 2 3 ⁄ 8"square. The foot should angle back sothat the bottom of the foot is about2" square. When you’re finished youCut it out. Cut out the patterns carefully. AnX-Acto knife is ideal for the task.Foot bottom. Draw, cut out then mark thesmaller pattern on the bottom of the foot.should have a leg with a square blockfoot. For this first foot you need to decideif you want the toes separated bydivision lines or hollows. Either way,we’re going to need two patterns inorder to lay out our feet: one for thetop of the foot and a smaller one forthe bottom. I’m going to show you howto lay out the foot where the toes areseparated by hollows; the other twotrifid feet in this article will be basedon that same basic design.To draw the patterns I usually beginwith cardboard or poster board. Drawtwo squares: the first should be 2 3 ⁄ 8",and the second about 2" square. At thetop of our foot the outer two toes willbe about 5 ⁄ 16" in width. The center toewill be about 1 1 ⁄ 4" in width where theconvex portion ends. On the bottomof the foot, the outer two toes will beabout 1 ⁄ 4" in width and the center toewill be about 1" in width where theconvex portion ends. In order to makesure both patterns are symmetrical,start by drawing a diagonal from onecorner of the pattern to the other.On Your ToesIt’s time to begin laying out the toes.I usually start with the larger pattern.Lay out two lines parallel to two adjacentsides that are 5 ⁄ 16" from the outsideof the pattern. These lines represent thewidth of the outside toes. In fact, twohalf-circles can be drawn at the outsideof the patterns within the 5 ⁄ 16" spacefor the toes. From the back corner ofthe foot, along the diagonal line, marka point at 2 1 ⁄ 2". This will become thecenterpoint of the central toe. With acompass set at 5 ⁄ 8", strike a half-circlefrom that centerpoint on the diagonalline.Mark two centerpoints 1 ⁄ 8" fromthe front edges of the pattern that are11⁄ 16" from the back edge of the foot.With the compass set at 7 ⁄ 16", strike thetwo concave lines that will separatethe three toes. The toes should flowsmoothly from the outside toes throughthe middle toe. Because the arcs do notmeet, you’ll need to sketch them in sothe lines flow together.The next step is to cut out the pattern.With this upper pattern, we’llbe saving and using the outside of theposter board. The inner portion will bediscarded because there is no way totransfer the pattern to the actual foot.In essence, we’ve created a negativepattern.The lower pattern is created in muchthe same way. We begin by striking twolines on adjacent edges of the patternthat are 1 ⁄ 4" from the outside of the pattern.Draw in the diagonal line fromthe back corner of the foot to the frontcorner. Along that line, plot a point thatis 1 11 ⁄ 16" from the back corner. At thatpoint, with the compass set at 9 ⁄ 16", drawa half-circle. These arcs should meet butyou still may have to modify the areawhere they come together to get a goodflow. Cut out this pattern the same wayas the upper – but we’re going to usethe positive pattern this time.Begin by placing the bottom pattern38 ■ POPULAR WOODWORKING MAGAZINE August 201236_pwm1208Trifid.indd 385/16/12 3:56:47 PM

on the bottom of the leg blank and traceit off. This becomes the line to whichyou will carve the bottom of the foot.Along the back edge of the foot, markpoints 2 3 ⁄ 8" from the heel of the leg.These become the alignment pointsfor our pattern. Taking the negativepattern for the top of the foot, line itup with the marks you just made andtrace off the pattern.This will be the general shape forall three feet we’ll be carving. The toolsnecessary for carving most trifid feetare: a 5 ⁄ 16" bench chisel; a 1 1 ⁄ 2"-wide(or as wide as you have) bench chisel;a 20mm No. 5 gouge; a 10mm No. 8gouge; a 15mm No. 7 gouge; a 12mm No.9 gouge; and a 6mm No. 15 V partingtool (a No. 12 would work as well).Begin by knocking off the toe withyour wide bench chisel. I follow this byinverting a 20mm No. 5 gouge to shapethe front toe. It’s as easy as connectingthe upper and lower lines on your foot.With the 12mm No. 9 gouge, begin tohog out the waste between the toes.Once you get close to the lines, you’ll“I can’t be funny if my feetdon’t feel right.”— Billy Crystal (1948-)American comedianswitch to one of the other gouges tosmooth out the surface of the curve.Round over the vertical ends of theoutside toes and we’ve nearly finishedthe first trifid foot.Mark from the bottom of the footup between 1" and 1 1 ⁄ 8" to establishthe thickness, or height, of the foot. Iused a spindle sander to knock off thebulk of the material above my line thenmoved right to my wide bench chisel tofinesse the surface to the line. I finishusing a spokeshave to smooth out thechisel marks. A little sanding and thebasic trifid foot is complete.Hollows: a Lasting ImpressionWhile the basic foot adds interest comparedto a pad foot, it still lacks thefacets to create light and shadow. Togive the basic foot a bit more punch,let’s define the toes a bit by adding somesimple webbing.Begin by carving the basic foot thenmeasure and mark a centerline fromthe front toe through the ankle of theleg. This will be the base of our centertoe. Using my finger I extend the lineof the outer toes up the ankle of the leg.This line is about 5 ⁄ 16" from the backedge of the foot. Using my centerlineas a reference, I draw the outer linesof the center toe webbing so that thecenter toe flows in a smooth taper fromthe front of the foot to the ankle. Thewebbing area between the toes mayneed to be adjusted slightly to keep apleasing flow. I usually do this by cheatingthe outer and center toe lines in orout just a bit to give the foot a pleasingappearance.In between the toes, I usually sketchin an approximate depth of the webbingby bringing it down to the line thatestablished the thickness of the foot.Taking the 12mm No. 9 gouge, hollowout the webbing area to the lines. You’llwant to fade out the carving as youVARIATION ONE: SIMPLE TRIFID FOOTMiddle toe. Invert the 20mm No. 5 gouge toshape the front toe.Toe jam removal. Use your 12mm No. 9gouge to remove the bulk of the wastebetween the toes.Curve. Round over the hard edges of theoutside toes.Height. After marking off the height of thefoot at about 1 1 ⁄ 8", use a bench chisel to bringthe foot to final height.Foot one. The simple trifid foot – the basis for variations two and three – is now ready for sanding.popularwoodworking.com ■ 3936_pwm1208Trifid.indd 395/16/12 3:57:31 PM

VARIATION TWO: WEBBED TRIFID FOOTFinger guide. Use your finger to extend thetoe line up through the ankle of the leg.Upper marks. Using poster board as aflexiblestraightedge, mark the upper portions of thecenter toe.Cove. Mark out the cove for the webbingbetween the toes.Carve. Using a 12mm No. 9 gouge, carve tothe lines.Foot two. The webbed trifid foot variation is now ready for sanding.THE NECESSARY TOOLSFrom left to right:• compass for drawing the arcs• ruler for measuring the variouscenters of the radii necessary tolay out a trifid foot• wide bench chisel for rough andfine shaping of the calf ankle andfoot of a cabriole leg• narrow bench chisel for carvingand defining the webbingbetween the toes of a trifid foot• 20mm No. 5 gouge for shapingthe center toe• 15mm No. 7 gougefor smoothing theconcave areasbetween the toes• 10mm No. 8gouge for definingand shaping thearea between thetoes and the webbing• 12mm No. 9 gouge for roughingout the concave areas betweenthe toes• 6mm No. 15 V parting tool fordefining the cuffs and the webbing• flat-face spokeshave for shapingthe cabriole leg• round-face spokeshave for refiningand shaping the ankle and thetransition between the calf andstocking— CBmove from the foot to the ankle. Thetransition between the ankle and thewebbing should be defined but fairlyshallow.Round over the top of the centertoe a bit with a wide bench chisel. Youmight also need to refine the shape ofthe outer toes a bit to give the ankle agood flow. A little more sanding andyou’ve completed another variationof a trifid foot.Stockings add StyleFor the final variation, we again beginwith the basic foot. Establish thecenterline as in the last example thendraw in all three toes up to the ankle.Coming up off the bottom of the foot4 3 ⁄ 4", draw in a cuff, or division, thatwill accentuate the transition from legto foot. This is usually done by flowingconvex lines where the toes are intoconcave lines at the top of the webbing.I usually give my cuffs about 3 ⁄ 16" ofrise or fall.40 ■ POPULAR WOODWORKING MAGAZINE August 201236_pwm1208Trifid.indd 405/16/12 3:58:07 PM

VARIATION THREE: CUFFED TRIFID FOOTEstablish the cuffs. Draw in the cuff and putconvex lobes over the toes and concave lobesover the webbing. Then use a V parting toolto carve in the cuff.Refine lines. Use a small bench chisel toshape and define the webbing.Transition. Use a bench chisel to flow the leginto the cuff.Even it out. Use a wide bench chisel to roundover the center toe and even out the depth ofthe webbing.Define lines. With a V parting tool, carve inthe toe and webbing dividing lines.A little sanding, and the third variationof a trifid foot is complete.No LimitsTrifid feet were my primary diet of carvingearly in my career. At the time, Idreamed of carving ball-and-claw andhairy-paw feet. Trifid feet were ratherplain to my eye because the shop inwhich I worked sold only one or twostyles. As my study of period furnitureprogressed, and I saw so manyvariations, I came to truly appreciatethe grace and beauty of the nearly infinitelyvariable trifid foot. Let yourimagination take your trifid feet in differentdirections. Who knows, maybeyou’ll start the latest furniture fashionfrenzy. PWMCharles is a renowned period furniture maker and thelead instructor at Acanthus Workshop in Pottstown,Penn. (acanthus.com).Foot three. Here’s the third, cuffed, variation on a trifid foot, now ready for sanding.Using a 6mm No. 15 V parting tool,carve along the cuff line about 1 ⁄ 16"deep. You’ll need to fade this cut out atthe beginning and end of the cuff for anelegant look. Then, using a wide benchchisel and a spokeshave, flow the calfof the leg into the cuff.Using the V parting tool, carve alongthe toe lines to separate the toes fromthe webbing. This cut should be about1⁄ 16" deep along the entire length ofthe line. With the 5 ⁄ 16" bench chisel,carve out the webbing. Between thetoes, the webbing should have a slightconvex arch.As the webbing moves up the leg, iteventually flows out through the cuffand blends with the calf of the leg. Iprimarily work with the chisel heldbevel down to help control the depth ofcut. Round off the central toe and trimthe outer toes to give the leg a nice flow.ONLINE EXTRASFor links to all online extras, go to:■ popularwoodworking.com/aug12BLOG: Read Charles Bender’s blog, “Parings:A Woodworker’s Journal.”TV: Subscribe to Charles Bender’s online TVshow, “No B.S. Woodworking.”CLASS: Take a class with Charles Bender atAcanthus Workshop.IN OUR STORE: “Cabriole Legs Simplified,” aDVD by Charles Bender.IN OUR STORE: “Carve a Ball & Claw Foot,” aDVD by Charles Bender.Our products are available online at:■ ShopWoodworking.compopularwoodworking.com ■ 4136_pwm1208Trifid.indd 415/16/12 3:58:58 PM

Stickley Book RackBY ROBERT W. LANGExpose your joinery skills with this Arts & Crafts classic.In the early 1900s, furniture makerGustav Stickley began producing aunique style of furniture that he called“Craftsman.” At the time, the worldwas coming into the modern industrialage, and Stickley, among others, beganto question the value of mass-producedfurniture and its effect on those whomade or owned it.Victorian furniture featured manymachine-made elements that soughtto mimic the handwork of earliertimes. In most cases these adornmentsdetracted rather than added. Justbecause machines could produce intricateimitation carvings and mouldingsdidn’t mean that they should. Stickleydecided to get back to basics.This simple book rack is a goodexample of the style. The joinery, alongwith the character of the quartersawnwhite oak, becomes the decoration.Function comes first, and the form isa combination of nice wood, good proportionsand honest joinery.Making this piece is like going toCraftsman boot camp. You’ll get toknow the nature of the wood and howto make exposed joints. It’s not a bigpiece, but there are enough joints anddetails to provide plenty of practice.Craftsman furniture was factorymade, but Stickley’s aim was to usemachines to save the workers fromdrudgery while providing room to displayskilled workmanship. At the time,most of the machines we know todaywere in common use, but the subtledetails that make this piece specialhave to be completed by hand.42 ■ POPULAR WOODWORKING MAGAZINE August 2012LEAD PHOTO BY AL PARRISH; STEP PHOTOS & ILLUSTRATIONS BY THE AUTHOR42_pwm1208StickleyBookRack.indd 425/16/12 4:23:50 PM

10"30 1 ⁄8"13 ⁄16" 28 1 ∕2"13 ∕16"1 1 ∕2"1 1 ∕4"4 1 ∕8"1 ∕2"1 1 ∕2"4"31"8"31"1 1 ∕2"1 ∕2"13 ∕16"1 1 ∕2" 1 3 ∕4"9 11 ∕16"10 1 ∕2"1 3 ∕8"1 5 ∕8"SIDE VIEWFRONT VIEWWe have the choice to work by hand,work by power or work with both. If weunderstand where each method excels– as well as where each falls short – wecan master both sides and produce furniturewe’re proud of, without takingforever to make it.Precision & ProductivityThe heart of this piece is the keyedthrough-mortise-and-tenon joinery.There are eight of these joints to make,each with two through-mortises. Oneof the givens in this type of work isconsistency, and the electric router,combined with the precision of a template,provides that.I print a full-size pattern of the sideprofiles and joint locations, and attachthe prints to a piece of 1 ⁄ 2"-thick Balticbirch plywood with spray adhesive.These patterns are available online inPDF format. You could do all of thelayout by hand, but using the patternis faster and more accurate.I use a straightedge and an X-Actoknife to mark the lines of the mortisesfrom the pattern. Then I remove thepattern, drill a 7 ⁄ 16"-diameter hole ateach mortise location and place doublesidedtape over the lines. That allowsme to place small pieces of plywoodalong the lines. The adhesive is pressure-sensitive,so I smack the pieceswith a mallet to fix them in position.With the pattern pieces in place, Iuse a 3 ⁄ 8" bearing-guided flush-trimbit to cut the openings exactly on thelayout lines. After routing, I peel off thepattern pieces and remove the residueleft by the tape with lacquer thinner.The router makes straight and paralleledges, but leaves round corners thatmust be squared with a chisel. To makethe D-shaped handle opening at the topof the pattern I drill a hole at both endsof the top edge, and cut the curve witha jigsaw. The edges of this opening arethen cleaned up with a rasp.Why bother cleaning up the cornersof the template when the routerwill also leave round corners on theworkpiece? The router does a good jobof making straight edges, but can tearout the solid wood. I score the grainon the work with a knife and a chiselto prevent that.I cut the sides to finished size andMAKE THE TEMPLATEDon’t cut, assemble. Small pieces of plywood,attached with double-sided tape, willbe added to surround the opening.Cut above. Routing around the pieces cutsthe template exactly like the drawing.popularwoodworking.com ■ 4342_pwm1208StickleyBookRack.indd 435/16/12 4:24:46 PM

then make a rough cut with the jigsawat the top opening to lessen the loadon the router and bit. Then I clamp thetemplate to the side, and clamp both toan open-ended box on my bench. Thisholds the work at a comfortable heightand I run the router around the insideperimeter of each opening.Chisel TimeAfter the noise and flying chips of routing,cleaning up the corners with achisel and float is a nice change of pace.I hone a fresh edge on a wide chisel,and place the flat back face on the longrouted edge. Then I rotate the chiseldown and into the corner to begin theCUT THE MORTISESScore first. Prevent tear-out by scoringaround the openings before cutting with therouter.Saw first, then trim. Cut close to the lineswith a jigsaw and use the router to trim theopening at the top.“…One element does not strike a noteof luxury discordant with a neighboringelement of extreme simplicity.”— Harvey Ellis (1852-1904)American architect and artistsquaring process. This keeps the chiselfrom drifting past the layout lines as Imake the cuts.I alternate cuts with a chisel thatmatches the width of the mortise andthe wide chisel until the corners arecomplete. All of this takes place withthe outside face of the side facing up.Any tear-out or chips will be hiddenby the shoulder of the tenoned shelf.On top. Positioning your shoulder over thechisel allows you to use your body weight topare the end of the mortise.A flat float is used to put the finishingtouches on the mortises.All in a RowAfter cutting the three shelves to finishedsize, I place them beside eachother on the bench and mark all of theshoulders at once using a large square.This ensures that the distance betweenthe shoulders is consistent. Then I takea smaller square with a metal rule andknife in the shoulder lines all aroundeach piece.In theory, the mortises are all exactly1⁄ 2" wide, but in reality there will besome variation. I place the end of oneof the narrow shelves next to a mortiseto gauge the width directly from onepart to the other. I set the shelf end onone long edge and mark where the otheredge of the mortise hits.I set my marking gauge by eye tothe middle of the distance from thepencil mark to the edge of the shelf. Ithen mark with the gauge from oppositefaces of the shelf, and make anyneeded adjustments until the tenon layoutmatches the mortise. When I havethe setting right, I mark around theends of the tenons with the gauge.This seems like extra work, but thecut layout lines won’t rub off, and theyhelp to prevent tear-out as the tenonsare cut and fitted. The layout marks willbe the visible edges when the joint isfinished. Tenons look simple, but thereare several cuts to be made.I cut the shoulders with a backsaw.The shoulders are only about 1 ⁄ 8" deep,and a fine-toothed saw leaves a nice,clean edge. There are a several ways tomake the cheek cuts, and on the narrowshelves the cheeks could be cut onthe band saw.Stickley No. 74 Book RackNO. ITEM DIMENSIONS (INCHES) MATERIAL COMMENTST W LSwing it. Press the back of the chisel againstthe mortise wall, then rotate the edge downto the corner to maintain a straight edge.❏ 2 Ends 13 ⁄ 16 10 31 QSWO*❏ 1 Lower shelf 13⁄ 16 8 33 5⁄ 8 QSWO 1 3⁄ 4" TBE*❏ 2 Upper shelves 13 ⁄ 16 4 33 5 ⁄ 8 QSWO 1 3 ⁄ 4" TBE❏ 8 Keys 5 ⁄ 8 5 ⁄ 8 5 QSWO Trim after fitting* QSWO=Quartersawn White Oak, TBE=Tenon Both Ends44 ■ POPULAR WOODWORKING MAGAZINE August 201242_pwm1208StickleyBookRack.indd 445/16/12 4:25:47 PM

MARK OUT THE TENONOn your mark. Use the mortise to determine the exactthickness of the tenon.Get set. Set the gauge tohalf the distance betweenthe pencil line and theedge.Check & go. Mark from both sides to center the tenonand adjust until the parts match.The cheeks on the lower shelf are toowide for a small band saw, so I removethe material with a straight bit on therouter table. This leaves a consistent flatsurface across the wide board. Thesetenons need to fit neatly, but one of thechallenges is that the last cut is the visiblesurface in the finished piece. I routclose, but fine-tune the fit by hand.A Different RoutI begin the setup by raising the topof the bit to the bottom of the layoutlines on the ends of the shelves. Thereis some trial and error here, so it is bestto begin with a fat tenon, then makeCUT THE TENONminor adjustments until the machinedcorner of the tenon will just fit in a mortise.Adjustments to the cut are tiny,because the cuts are made on both sidesof the piece. The difference is twice theamount of the height adjustment.I set my combination square to thedistance from the end of the tenon tothe shoulder, then use the square toset the router table fence. I’ve alreadymade the finished shoulder cut, so Iset the router bit to just meet the sawkerf. The first pass is made with theend of the board against the fence. Iuse a wide backing board to push thematerial across the bit and move theboard out with each pass.When the cheeks are the properthickness, I place the end of each shelfon end next to its mortise. I mark allthe joints with a lumber crayon so thatI keep the arrangement of the parts thesame as I fit each joint. I mark the endcuts with a pencil, then use the combinationsquare to carry those linesback to the shoulder.I make the tenon end cuts for thenarrow shelves with a band saw, andstop just before the blade reaches theedge of the shoulder.On the wide shelf, material betweenthe two tenons must be removed. IRise to the challenge. Set the cutter to thebottom of the layout line.Got your back. Use a wide block to move thenarrow shelves across the router bit.Now you know. Aim for a snug fit by testing acorner of the tenon in the mortise after routingthe cheeks.From the source. Mark the ends of the tenonsdirectly from the mortises.Stop in time. Cut the end of the tenon, butstop just short of your shoulder line.popularwoodworking.com ■ 4542_pwm1208StickleyBookRack.indd 455/16/12 4:26:29 PM

Easein.Bevel both the ends of the tenons andthe edges of the mortises for fitting.Off the top. The pencil marks indicate thehigh spots. Remove them with a float, thentest the fit again.make a rough cut at the band saw, andaim wide on these cuts so that whenI remove the band-saw marks I don’tend up beyond the layout lines. I seta guide bearing on a flush-trim bit inthe router to ride on the pre-cut edgeof the shoulder and use the router toclean up the junk between the tenonsback to the shoulder line.Fit to be FitIn a perfect world, the tenons wouldslide neatly into the mortises at thispoint, and I would move on to the nextstep. In real life, however, it isn’t thateasy. There needs to be a slight amountof clearance to assemble the joint, butnot so much as to leave a visible gapon the outside. The prudent course isto make the tenon just a bit big, thenreduce its size in controlled, smallamounts.Before fitting the joints, I take achisel and bevel both the ends of thetenons, and the inside edges of themortises. This makes it easier to slidethe tenons in, and it prevents the hardedges of the tenons from breaking theedges of the mortises as they exit.I start with the narrow top shelvesSHOP DRAWINGS FOR CRAFTSMAN FURNITUREIn 2001, my first book, “Shop Drawings for CraftsmanFurniture,” was published by Cambium Press (now FoxChapel). I had been a fan of Gustav Stickley designs sincethe start of my woodworking career, and I was tired ofseeing misguided interpretations and watered-down imitationsof this wonderful furniture presented as authentic.My idea was to show detailed drawings of originalpieces, along with text pertinent to making good reproductions,and a brief history of those who made theoriginals. That book was a success, and it was followed by“More Shop Drawings for Craftsman Furniture” and “ShopDrawings for Craftsman Inlays and Hardware” (both from Fox Chapel).Those three books are now combined in a new, single edition titled“Great Book of Shop Drawings for Craftsman Furniture” (Fox Chapel). Thenew book contains all of the drawings for 57 different pieces of furniturefrom the original books, drawings for authentic hardware and the inlaydesigns produced for Gustav Stickley by Harvey Ellis. The introductory texthas been combined and updated and there are many new photos of bothvintage pieces and the steps for making reproductions.If you’re among the many woodworkers who enjoy this style of Americanfurniture, this is a comprehensive resource for understanding thesedesigns, and building pieces of your own.— RWLINSTALL THE WEDGEBack it up. A thin piece of scrap under thetenon provides support when making thesecond mortise.with the single tenons, and I push thepiece in as far as I can. I remove thetenon and look for dents or shiny spotsthat indicate where material needs to beremoved. It’s easier to remove materialfrom the tenon, and depending on howmuch needs to be removed I will use achisel, shoulder plane or a float.Before the second attempt at fitting, Itake a soft pencil and make hatch markson the tenon. Then I shove the piecesback together. The pencil marks smearon the high spots, and I’ll work on thosewith the float. The mortises shouldn’tneed any work, but sometimes therewill be a bump on the inside walls thathas to be removed, so I always take agood look at both parts of the joint.It’s tempting to break out the malletand start pounding away, but it is saferto work on the joints with hand pressureonly. Banging can split the sidepiece, especially if it has been gluedup from narrower pieces and is weaknear the opening at the top.The lower shelf is worked the sameway, but it is trickier to fit both tenonsat the same time. Each round of fittingand trimming requires some detectivework to find out exactly what is keepingthe joint from going home. Whenall the tenons have been fit, the shelvesshould fit snug and square.Mortises, Take TwoI lay out the secondary mortises bymarking the outside of the upright onthe tenon. Then I set my combinationsquare to leave a 5 ⁄ 8" opening whenmarked from each side. Then I make amark 9 ⁄ 16" away from the upright, parallelto the first mark.46 ■ POPULAR WOODWORKING MAGAZINE August 201242_pwm1208StickleyBookRack.indd 465/16/12 4:27:26 PM

Angle by eye. Use a chisel to taper the end ofthe mortise for the wedge.The mortise is initially cut at 5 ⁄ 8"square, with the inner edge set 1 ⁄ 16"behind the outer face of the upright.This ensures that the wedge holdsthe joint tight, no matter what kind ofswelling or shrinking may take placeover time. The mortise can be cut withone pass of a 5 ⁄ 8" hollow-mortise chisel,or four passes with a 3 ⁄ 8" chisel.Cut a piece of scrap to match theheight of the shoulder so that the tenonisn’t hanging in space at the mortisemachine. Set the fence of the machineto the exposed outer end of the mortiseand make the cuts. Reset the fence tocut the back edges. The outer edge ofthe mortise is angled by hand to matchthe angle of the wedge.I don’t worry about theangle; I make a sloping cutthat starts 1 ⁄ 16" away fromthe layout line. I mark theline, then press my chiselagainst the wall of the mortiseand swing the edgedown to the corner. Then Istand facing the tenon, putthe edge of the chisel onthe line and angle it backby sighting down the backof the chisel to the edge ofthe mortise below.After tidying up theedges of the small mortises,I cut 5 ⁄ 8"-square pieces a fewinches longer than neededfor the wedges. I carry thelayout lines from the mortiseto an edge of the tenons,and mark the slope on eachwedge from the marks onthe tenon. I make the angledJust behind. The square end of the mortiselies behind the face of the side to allow thewedge to seat tightly.cuts on the band saw, then remove thesaw marks with a few swipes of a blockplane.The wedges are seated by tappingthem gently with a mallet. The soundchanges when they are tight. If you hitthe wedges too hard, it’s easy to breakout the end of the tenon. Should thathappen, the broken piece can be gluedback in place.When the wedges fit nicely, I markan equal distance above and below thetenon, and cut them to length. I makea discrete mark on both the wedge andthe inside of the mortise so the wedgeswill go back in the same holes to whichthey were fit.Hard & soft. Edges on the tenons and keys are beveled, butthey fade away to leave clean lines at the joints.Fit first. Leave the wedges long until theyfit nicely in the mortises, then mark and cutthem to length.After Everything FitsAfter completing the joinery, the bookrack is taken apart for finishing. All theparts are exposed, and need to have theedges eased and surfaces smoothed.The curved portions of the cutout at thetop and the scroll at the bottom of thesides are smoothed with rasps.I put a slight bevel on the edges of theshelves and sides using a block planefor the long edges and a fine rasp forthe curved parts. I remove any millmarks from the faces of the boards witha smooth plane. The ends of the tenonsand the wedges are also eased, startingwhere these pieces exit their mortises.The chamfers on these edges graduallyincrease the farther away they get fromadjacent surfaces.Original pieces were ammoniafumed,then shellacked. I used a combinationof oil stain, walnut Danish Oiland shellac for a similar look. PWMBob is executive editor of Popular WoodworkingMagazine. You can get in touch with him by e-mail atrobert.lang@fwmedia.com.ONLINE EXTRASFor links to all online extras, go to:■ popularwoodworking.com/aug12ARTICLE: Learn to create an authentic-lookingfinish with modern materials.PATTERNS: Download full-size patterns for theStickley Book Rack.IN OUR STORE: Buy the “Great Book of ShopDrawings for Craftsman Furniture.”Our products are available online at:■ ShopWoodworking.compopularwoodworking.com ■ 4742_pwm1208StickleyBookRack.indd 475/16/12 4:28:03 PM

Rule Joints:by Hand & by PowerBY WILLARD ANDERSONNo matter how you cutthem, understand theirsubtleties to make asmooth-moving joint.The rule joint is elegant in its apparentsimplicity and is a classic elementof fine furniture. Much of what has beenwritten on rule joints – or table joints asthey’re often called – is from the power-toolperspective. While there’s nothing wrongwith cutting this joint using power tools– a process I’ll discuss later – the way to truly learn aboutthis joint is to cut it by hand using layout techniques andtools that craftsmen of the 18th and 19th century used. Onceyou understand the subtleties of this joint, you’ll be able toachieve better results no matter how you cut them.What is a Rule Joint?The rule joint gets its name from its similarity to the brassjoint in folding rules. With a rule joint, the round portionof the joint provides support for the drop leaf and, when thedrop leaf is lowered, eliminates the unsightly gap betweenthe drop leaf and the tabletop. The joint is composed of afillet at the top, a quarter-round profile on the tabletop sideof the joint, a mating cove and a land on the drop-leaf side(see the illustration at right on the next page).The hinge for this joint is unique in that it is mountedupside down (so that the barrel is buried in the workpiece)and set flush in a mortise on the underside of the tabletop.In its down position, the drop leaf rests evenly with theheight of the land. The observer sees only the fillets and thebarrel of the joint, but no evidence of the hinge or the hingemortise. For the joint to operate smoothly, the hinge has tobe located precisely.Table Joint PlanesJoinery planes usually cut grooved joints (tongue-and-groove,dado, rabbet etc.), and moulding planes are generally usedfor decorative profiles. While table joint planes could beclassed as joinery planes, they look like moulding planes.One member of a table joint pair is used to cut the profile onthe tabletop (the round) and the other cuts the mating profileon the drop leaf (the hollow or cove). Table joint planes weremanufactured in matched pairs but sets have often beenseparated over the years and they are not easy to find.The most obvious characteristic of table joint planes isthat they cut a 90°, or quarter-round, profile. In contrast,hollow and round planes cut a 60° profile (equivalent to thesegment of the circle on which the profile is based). Almostevery table joint plane I have seen cuts a 3 ⁄ 8" arc or round.Any pair of these will cut rule joints on stock ranging fromabout 1 ⁄ 2" to 1" thick – the difference in thickness is made upby the height of the fillet. With any of these planes, the fenceof the plane references off the underside of the stock.The advantage of using table joint planes is that you canknock out a serviceable joint in just a few minutes, and essentiallyno layout is required. You get only one choice forthe profile, a 3 ⁄ 8" radius arc, but you can use the same plane48 ■ POPULAR WOODWORKING MAGAZINE August 2012PHOTOS BY ROY UNDERHILL; ILLUSTRATIONS BY ROBERT W. LANG FROM THE AUTHOR’S DRAWINGS48_pwm1208RuleJoint.indd 485/17/12 10:58:20 AM

WHAT ANTIQUES TELL USTo truly understand how rule joints were laid out andcut, go back to the source – the tables of the 18th and19th centuries. Existing tool marks and layout lines tellus a lot. I was fortunate to be able to spend a day at theMuseum of Early Southern Decorative Arts (MESDA) atOld Salem in Winston-Salem, N.C., looking at drop-leaftables in the collection.A few things stood out. The fillet height accounted forone third to one-half of the tabletop thickness (A, belowleft). The round part of the table leaves was correspondinglysmaller, often with a radius of only 5 ⁄ 16" or 3⁄ 8".Tabletops were generally undercut on the bottom edgeand sometimes the curve on the drop leaf was overcut tomatch. The hinge spacing was also wider than expected,with outside hinges placed close to the edges, often onepart in 20.In every case where I could make a determination,the hinge leaves were tapered in thickness and the hingeswere mounted flush to the underside. In most tables,rather than a simple chiseled and excavated hinge mortise,the shoulders of the hinge mortise were sawn withshallow kerfs then chiseled out across the grain. Thesekerfs were about twice as long as thehinge leaves, providing a pragmaticmethod of laying out a tapered mortiseto fit the leaves (B, below center).In a majority of the tables, thehinge mortise was visible along thejoint when the drop leaf was down, although this couldeasily have been due to wear on the tables (C, belowright). In fact, in all of the tables that I looked at (nine atMESDA and another nine at Whitehall Antiques of ChapelHill, N.C.), a surprising number had significant repairsdone at the joint barrel around the hinge mortise. Thismakes sense when you realize that when the drop leaf isin the down position, the whole weight of the drop leafessentially hangs on the few short screws holding thehinge to the leaves.The most surprising feature of every joint I studiedwas that the lands were thin ( 1 ⁄ 16" or less), even thoughthe hinge barrels were in the range of 1 ⁄ 4" to 5⁄ 16" in diameter.Everything I’ve read and every picture I’ve seenabout the joint layout states that the land is laid out tothe height of the midpoint of the hinge barrel. Clearlythese craftsmen did not read the same texts. The jointsshould rub, but they do not because in most of thesetables, the table leaf was undercut to allow the joint toclear as the drop leaf rotates. In some tables, the makersolved this problem by setting a significant gap betweenthe two leaves to allow clearance. This undercutting hasanother advantage, which I will discussa little later on. The drawing onpage 51 compares a textbook rulejoint and my observations of 18thcenturyrule joints. — WAA B Cto make a rule joint for a thin-topped card table or a heavydining table. To vary the proportions of your rule joint,however, you need to use hollows and rounds.Cutting the Drop-leaf JointIf you use a matched pair of table joint planes, most of theparameters of the joint are decided for you by the planedesign. Because they cut a 3 ⁄ 8" radius round on top of a thinland, fillet height varies with the stock thickness.These planes are straightforward to use, with a possibleexception: The round member of each pair has no depth stop,so to get a straight joint you must cut precisely to a scribedline. Makers of table joint planes sometimes provided a twosidedgauge to lay out this line – one side to strike this line onthe top and bottom of the stock, and the other side to lay outthe width of the hinge barrel on the bottom. Even withoutthe original gauge, these markings are easy to replicate.If instead you use a pair of hollows and rounds, everyaspect of the joint must be laid out precisely. The other disadvantageof using hollows and rounds is that they requirepractice to control, in part because they cut only a 60° arcrather than a full quarter-circle.TabletopFilletHingeDrop leafLand (distance from bottomto center of hinge)RoundCenter of rotationHOW A DROP LEAF WORKSLeafmortiseCovepopularwoodworking.com ■ 4948_pwm1208RuleJoint.indd 495/17/12 10:58:48 AM

The advantage of using paired hollow and round planes isthat you can vary the proportions of the fillet and the curvatureof the joint. You can also work in either direction alongthe workpiece, based on grain direction. Because table jointplanes only make the process easier, we’ll focus on cuttingthe joint using a set of hollows and rounds.1. Define the Land. Set a marking gauge to the thicknessof the hinge barrel at the center of the hinge pin. Referencingoff the bottom of the workpiece, mark the ends of the tabletopand drop leaf to a length equivalent to the thickness of thestock. With this same setting, scribe the long edge of the dropleaf, too, referencing from the bottom edge. On the edge of thetabletop, connect the two land marks with a pencil line.2. Define the Round & Cove. The curvature of the jointis built on top of the land. As a rule of thumb, the quarterroundprofile should be about half as thick as the stock. Seta marking gauge to this height (the circle radius) and referenceoff the edge to mark the tabletop along both its top andbottom edges. Then scribe down the ends through the linedefining the land. This will be the centerline for the hingeswhen they are installed.Use this same setting to mark the drop leaf; reference offthe bottom edge of the workpiece, and scribe up on the endsthrough the line defining the land.Set a pair of dividers to the radius of the circle, and usethe intersection of the land line and the vertical line as yourcenterpoint for scribing an arc on both ends of the tabletop. Toscribe the drop-leaf arc, clamp a board to the edge to providea seat for the compass point.3. Define the Fillet. The height of the fillet equals whateveris left over from the two layouts you just finished. Referencingoff the top face of the workpiece, set a marking gauge tothe top of the curve. On the tabletop, scribe this line aroundboth ends and along the long edge. This defines a rabbet thatneeds to be removed. On the drop leaf, again referencingfrom the top face, mark the two ends. Connect these twoscribe lines with a pencil line.4. Cut the Rabbets. You’re left with two rabbets to cut: Theone on the tabletop defines the fillet, and the one on the dropleaf defines the land. To rough out the rabbets, use a movingfillister set shy of both layout lines. Then use a small shoulderplane to first bring the rabbet to depth and then to move theshoulder back to the proper width. As you plane, look for theshavings to “feather” – that tells you you’re one shaving shyof cutting through the middle of the scribe line.5. Cut the Round. The round profile on the tabletop curvesfrom the base of the fillet to the pencil line at the top of theland. Choose a pair of hollows and rounds that cut to thisradius. Hollows and rounds are often numbered to increasein 1 ⁄ 16" increments (up to a 3 ⁄ 4" radius; after that, they increaseby 1 ⁄ 8"). Thus a pair of No. 6 planes will likely cut a curvecorresponding to a radius of 6 ⁄ 16", or 3 ⁄ 8". In practice, I tendto use a hollow that is a bit wider than necessary.I sharpen my hollows and rounds so that the outsideedges of the irons disappear into the profile of the planebody. This means that the round will have a slightly morepronounced curvature and the hollow will have a slightlyflatter curvature, but the two profiles will still match. Settingyour planes this way eliminates the groove marks, orshoulders, these planes generate when the corners protrude.With the hollow set for a light cut, work the profile down tothe arc scribed on the ends of the tabletop.A WELL-PLANNED JOINTMark out for hollows & rounds. Scribelayout lines on the ends and faces of thestock to guide the planesWork down with hollow & round. Use a rabbet planeto establish the fillet and land. Then finish shaping thejoint using hollows and rounds.Or use dedicated planes. Matched sets oftable joint planes cut perfectly matchedprofiles – simply work to a scribed line.50 ■ POPULAR WOODWORKING MAGAZINE August 201248_pwm1208RuleJoint.indd 505/17/12 10:59:22 AM

Take your pick. Rule joints can be cut using either a set of hollows and rounds, like the setat left, or with a matched set of table joint planes, like the four other sets shown.6. Cut the Cove. The cove on the drop leaf curves upfrom the top corner of the land rabbet to the pencil linealong the front edge, defining the depth of the fillet. Use arabbet plane to bevel off the waste and then an out-cannelgouge to make a track for the round plane. Stay well shy ofthe two layout lines but try to generate a relatively straightand even groove.The round plane makes short work of any inequalities.Because the hollow and round only cut a portion of the arc,work these planes out to the edges, using the fingers of youroff hand to guide the plane. Hold the round plane verticalat the bottom of a curve, and work through the rising arcso that the plane is essentially horizontal at the top of thecurve. It is very easy to run off the edge here, so a take alight, controlled cut.7. Fit the Joint. Set the tabletop and drop leaves on a flatsurface and bring the joint together. Ideally, the two edges willbe flush without any gap between them and the two curveswill match on the ends. If this is not the case, look for highspots. Profile gauges allow you to identify ill-formed curves.It is also useful to put a straightedge along these joints tomake sure that the edges are straight. You may have to goback with the hollows and rounds to clean up the profiles.On the drop leaf, where the cove moves in to the verticalshoulder of the land, you may want to use a slightly largerround to ease the transition. Scratch stocks can help fairthe curve as well.1700s), most of these decisions would alreadyhave been made for him. Of the dozens ofplanes that I have examined, all cut a profilewith a very small land. Also, many of themwere designed to undercut the bottom edgeof the round part of the joint as part of theprofile.The only layout job left to the craftsmanwould be to first scribe lines on the top andbottom edges of the tabletop to defi ne theface of the fillet and the centerline of the hinge. He wouldhave planed to that fillet line, cut the cove on the drop leafand then hinged the two together. If the joint still rubbed abit, he’d have rounded over the bottom edge of the tabletopuntil the joint moved freely.Undercutting this joint has another benefit: It allows thedrop leaf to be hinged a bit closer to the tabletop. Becausethis moves the drop leaf in a bit, the leaf sits higher when inthe down position. The higher the drop leaf rests, the morecompletely it covers the mortise in the tabletop.Cut Rule Joints With a RouterThough not my first choice, you can also cut rule jointsusing a router. For lengths under about 36" you can use arouter table, but longer lengths may be easier to cut witha handheld router. There are two main kinds of table-jointrouter bits available – those with guide bearings or rubcollars and those without. Those with bearings or collarswork best in a handheld router. However, most of these bitshave a 1 ⁄ 2"-radius curve, which means they work better on1"-thick stock. On 3 ⁄ 4" stock, the fillet and the land could beno more than 1 ⁄ 8" each – not enough to accommodate andconceal the hinge mortise. A matched pair of 3 ⁄ 8" cove androundover bits could work better.Other rule joint bits, like a set of Corob bits I have, aremore carefully designed. Their profile radius of 3 ⁄ 8" makesthem suitable for use in 3 ⁄ 4" stock. They come as two separatebits that bolt to a 1 ⁄ 2" shaft (provided). The bits can be usedin a shaper or on a large table-mounted router. Because theydo not have rub collars, the bits must be used with a fence.However, I view this as an advantage. A router table providesa lot of surface area for stability and the stock bears with itsArc & hinge centerLandHingemortiseTEXTBOOK JOINTCenterof arcCenterof hinge18TH-CENTURY JOINT18th-century StyleSo how do I think an 18th-century craftsman varied fromthis procedure? Let’s assume he used a hollow and roundpair and freehanded the joint. The land would have beenset just high enough to get the divider points on the edgeof the workpiece and maybe to provide a small flat on theedge of the table leaf for reference purposes. The fillet andthe hinge centerline on the underside still needed to be laidout in the same manner. The rabbet would still need to be cuton the table leaf. Once the joint was cut and the hinges setin, however, the joint would have rubbed along the bottomportion of the arc. As you can see in the drawing at right, thecenter of rotation for the hinge would have been higher thanthe center of the arc (the land). Because the land is reducedin height during layout (below the center of the hinge pin),the tabletop must be undercut to allow the joint to rotate.If the craftsman used a dedicated pair of table joint planes(I have seen several such pairs that were made in the midpopularwoodworking.com■ 5148_pwm1208RuleJoint.indd 515/17/12 10:59:52 AM

RULE JOINTS BY MACHINERout better rule joints. For period-lookingmachined rule joints, choose a set of bitsthat cuts a rule joint with a 3 ⁄ 8" radius.Rout it out. Riding against the length of thefence rather than off a bearing does a betterjob of routing a straight profile on the leaves.A perfect fit. When set up correctly, amatched set of table-joint bits guraranteesprofiles that will mate and work smoothly.full thickness against the fence, rather than just on the narrowsurface of a collar or bearing. The fence also helps keepthe developing edge straight and true. Another advantage ofusing these bits is that after you cut the hollow, you slip the bitoff the shaft and easily replace it with the mating round.Start by milling your stock and marking the matingtabletop and drop-leaf parts with a cabinetmaker’s triangleto aid in alignment. Install the hollow bit in the router tableto cut the round part of the joint. Set the height of the bit sothat the land is about 5 ⁄ 32". This makes the fillet 7 ⁄ 32", leaving3⁄ 8" for the barrel of the joint.Once cut, unbolt the bit and replace it with the matingcutter. In theory, you should be able to get the second profilewithout any additional fettling. That said, you should stillrout a test piece. Most often, you’ll have to lower the roundbit by a few thousandths to get a good final fit.RULE-JOINT HINGESAgood table joint requires good hinges. And they mustbe installed precisely. The leaf of the hinge is mortisedinto the underside of the tabletop, but this mortiseis hidden by the way that the drop leaf hangs. How thedrop leaf hangs depends on the difference in thicknessbetween the hinge barrel and hinge leaf, how it is set intothe stock and how the profiles of the joint line up.With most hinges, the drop-leaf side is longer than thetabletop side (to bridge the cove). All are flush-mountedupside down (barrel-up) on the table’s underside. Unlikemany modern and reproduction hinges, antique ones areoften tapered in length. No matterwhat style you use, look for a hingebarrel that is thicker than the leaf.Actual antique hinges. Whencompared to modern hinges, thediameter of the barrel tends to belarger and the leaves thinner. Theleaves are flush with the barrel soone face of the open hinge is flat.The combination of a large barrelInstalling Drop-leaf HingesWith traditional tapered leaf hinges, you could set a routerup to cut the mortises, but you’d spend more time makingjigs to taper the mortise than it would take to cut the mortiseby hand. Since my visit to MESDA, I have changed mythinking about how to mortise in tabletop hinges. I like thepragmatic approach of making long saw cuts to define themortise shoulders, and then chiseling the tapered mortisecross grain. This is quick and can be very precise.Almost every antique piece I’ve seen has a full-lengthscribe line on the underside of the tabletop. The scribe linemirrors the shoulder of the fillet above and is the line alongwhich the barrel of the hinge is aligned during installation.Regardless of the method of cutting the joint, this line shouldalways be laid out because you’ll need it for mortising.Start the hinge installation on the tabletop. The photosand thin leaf makes it easy to hide the hinge-leaf mortisebehind the drop leaf.Modern high-end (brass) hinges. Like antique versions,quality hinges like those from Horton Brasses, Ball& Ball or Whitechapel have one face of the open hingeflat, the leaves are thick and the barrels are close to 1 ⁄ 4".The leaf action is tight, which means the hinge operatessmoothly and hangs firmly. The difference between thecenter of rotation and the top of the leaf hinge is small, soyou must cut precise mortises to hide it behind the leaf.Low-end modern hinges. These have thin leaves,wide barrels and a lot of play. Onmost, leaves are almost centered onthe barrel. The center of rotation forthe hinge is therefore closer to thebottom of the workpiece. The differencebetween the center of rotationand the top of the tabletop mortise isusually less than calculated. The leafplay also tends to expose the tabletopmortise.— WA52 ■ POPULAR WOODWORKING MAGAZINE August 201248_pwm1208RuleJoint.indd 525/17/12 11:00:10 AM

INSTALLING DROP LEAF HINGESMake it easy. In most cases, paper shims createjust enough space between mating partsso that the rule joint works smoothly.above show the progression for laying out and cutting themortise on both halves of the joint. Note that the mortise forthe hinge is actually two mortises: one for the hinge barrel(cut first) and one for the hinge leaves (cut second). Locatethe hinge along the table edge by whatever proportioningmethod you choose. Lay the hinge flat on the workpiecewith the barrel up. Center the barrel on the center scribeline. With a marking gauge, scribe lines on either side of thecenterline to define the width of the barrel. Carry these linespast the mortise shoulder a bit to preserve this layout duringthe cutting of the barrel mortise. Set the marking gauge tothe thickness of the hinge leaf where it will cross the edgeof the workpiece, then scribe this line along the front edgeof the tabletop. This will be the depth of the mortise at thatpoint. You can see these layout lines on the top piece in thephoto above right. Turn your attention to the mortise forthe hinge barrel. A square mortise would remove enoughmaterial to weaken the joint, so I use a gouge (6mm No. 10or No. 11 sweep) to excavate this part.Once the mortises are cut, lay the hinge in the barrel mortise.Mortise for the hinge. Saw guidelines for themortise sides and then cut to two differentdepths – one for the leaf and one for the barrel.Make sure the hinge is square across theedge of the workpiece, then knife in thetwo edges of the hinge-leaf mortise. Sawout the mortise shoulders with shallowcuts about twice as long as the length ofthe hinge leaf. Be sure not to cut throughthe scribe line on the front edge of theworkpiece. With a bench chisel or paringchisel, begin cutting from the end ofthe saw cuts toward the barrel mortise.This will give you a tapered cut. Fit thehinge again. You may find that the barrelbottoms out and you need to deepenthat part of the mortise. If the leaves areonly very slightly tapered (when usinghigh-quality brass hinges for example)you can scoop down with the chiselalong the sides of the mortise to deepenthe cut.Once the leaf mortise is cut, verifythat the hinge sits square to the edge ofthe table leaf and that the barrel is aligned with the centerscribe line.Align the drop leaf with the tabletop and transfer thelocations of the mortise shoulders using a knife. Scribethe shoulders with a square and with deep knife cuts. Asabove, saw the mortise shoulders and chop out the wastewith cross-grain chisel cuts.Anchor the hinge to the tabletop with one screw. Alignthe drop leaf with the tabletop. Use pieces of paper as shimsbetween the two. Set the hinge in the drop leaf with onescrew and test the action of the joint. If any rubbing occursyou may need to tweak the alignment of the drop leaf, orslightly round over the underside edge of the tabletop. Oncethe action is even and in the down position the drop leafhides the tabletop mortises, install the other screws. Usewax or mutton tallow to ease them in. PWMWillard is a retired research scientist who now walks to ”work” in his shop. Heteaches woodworking at the John C. Campbell Folk School and at The Woodwright’sSchool. His web site is edwardsmountainwoodworks.com.Correct setup. When set up correctly, amatched set of table-joint bits guraranteesprofiles that will mate and work smoothly.SUPPLIESPeter Rosspeterrossblacksmith.com or919-663-3309■ drop-leaf hingescall for sizes and pricingCorob Cutterscorobcutters.com or 800-745-9895■ 1 ⁄ 2" bore shaper/router bitsCC08SC and CC09SC, $18 ea.■ extenderCCADP10, $21Prices correct at time of publication.ONLINE EXTRASFor links to all online extras, go to:popularwoodworking.com/aug12BLOG: Get more information on hinge placementand how it affects the joint.VIDEO: Episode 3203 (Table Joints Rule!) of”The Woodwright’s Shop” features WillardAnderson and will air later this year.BLOG: Discover more good resources fordrop-leaf hinges in many finishes and priceranges.Our products are available online at:■ ShopWoodworking.compopularwoodworking.com ■ 5348_pwm1208RuleJoint.indd 535/17/12 11:00:41 AM

Elliptical inlay. This Federal card tablereproduction made by Phillip Houck (originalby William Whitehead) makes liberal use ofelliptical shapes for both stringing and otherdramatic inlays.EllıpseThe ElusiveBY FREDDY ROMANPlot an ellipse using simple geometryin 4 minutes or less – really!As a furniture maker with afondness for the Federal period, I’minterested in the ellipse-shaped decorativedetails that regularly appear infurniture from the era. When I studythese details, I think of master craftsmenof the day and wonder how theydrew and cut elliptical shapes.So I turned to one of today’s masters,Will Neptune, to learn more aboutdrawing and cutting this intriguingshape. Here, I’ll share with you severalof the tricks and techniques hetaught me.Like the old masters, you need tohave a basic working knowledge ofgeometry that can be used to lay outthe cavities for ellipse-shaped inlaysand stringing, and to generate pleasingelliptical shapes for tabletops, doorpanels and more.Ellipse – True or False?When working with ellipses, the firstthing to understand is the differencebetween a true ellipse and a false ellipse.A false ellipse is two differentsizedradii blending together at fourintervals around an oval shape. A trueellipse, on the other hand, is an everchangingseries of radii. But if you layout a false ellipse on top of a true ellipse,you’ll see they are very close to beingexactly alike.Why is this important to furniturecraftsmen? The difference comes whenlaying out an ellipse. If you first lay outthe false ellipse on paper, you know thefour key center or swing points. Knowingthese locations, you can connect ahand tool to a trammel-beam or a routerto a circle-cutting jig and swing the arcsof the ellipse. Using the false ellipseprovides accuracy and repeatability,and it saves time. In many cases, usinga false ellipse is the smarter choice.While it is easy to draw a true ellipseusing the old “string and nail”method, it isn’t always easy to applythat method to a tool in the shop. Butit helps to understand the true ellipseand how it’s drawn. Nails are driveninto two points known as the foci (theplural of “focus”). The size of an ellipseis determined by the total distance betweenthese two points and the lengthof the string that moves around them.To set the string length, a third nail isplaced on the minor axis at the widestpoint of the ellipse and the string is thentied as it loops around all three nails.The third nail is then removed.Once the nails are set and the stringis taut, you are ready to scribe an el-54 ■ POPULAR WOODWORKING MAGAZINE August 2012 OPENING PHOTOS BY LANCE PATTERSON; DRAWINGS BY STEVE SHANESY54_pwm1208Ellipse.indd 545/17/12 10:20:16 AM

GOOD-LOOKING FALSE ELLIPSESIt’s often the case that when you first draw an ellipse itlooks too squashed or too round. If you are making anellipse to inlay stringing, an ellipse that is too squat maycause the stringing to break when making the sharp bendsat the ends of the major axis. An elliptical table that’smore round than oval looks more like an out-of-roundcircle than a graceful elliptical shape.While beauty is in the eye of the beholder, goodlookingellipses have a range of proportional ratiosbetween the major and minor axes. A rule of thumb is tostay between 55 percent and 75 percent as a ratio of thelength of the minor axis to the major axis. — Steve ShanesyMajor axisMinor axis = 55percent of majoraxisMinor axisMinor axisMinor axisMajor axisMajor axisMinor axis = 65percent of major axisMinor axis = 75percent of major axislipse. When you draw it, notice thatthe length of the string on either sideof the pencil tip changes as it movesalong. This variance occurs throughoutthe scribing of the ellipse, but the totallength to the foci is continuous at everypoint throughout the ellipse.Endless arrays of ellipses are formedby the location of the foci. The fartheraway from one another the points are,the more squashed the ellipse. The closertogether the points, the more the ellipseresembles a circle. In fact, if the foci areat the same point, it forms a circle.Draw a False EllipseLike most things in woodworking,there’s more than one way to get thingsdone. On the following pages are threedifferent methods to generate an ellipticalshape. In “Method 2” and “Method“Everything is hard before it is easy.”— Johann Wolfgang von Geothe(1749-1832)German writer, author of Faust3,” you start with the length of the majoraxis, and use a pleasing proportion todevelop the minor axis. The resultsare two visually different ellipses; oneis more round and the other is moresquashed. “Method 1,” which is themost involved, is used when you want todesign your ellipse to a width and lengthof any dimension you choose. While theprocedure requires a few more steps,you have more control over the resultingshape because you are choosing boththe width and length dimensions.These methods are great for a varietyof uses in furniture making. I have usedthem many times to make ellipticaltabletops, mirrors, carving blanks andinlayed fans. All three of these methodscan be used with a trammel beam, aknife blade, a router or Dremel tool tocut out elliptical patterns, housingsfor inlay or grooves for stringing. Yousimply swing a tool from the radiuspoints instead of swinging a compass.There is an endless array of uses forthese methods in the shop.You may think these methods area lot of work, but once you draw a fewellipses and get the hang of it, you willquickly knock them out in a matter ofminutes.Freddy is a graduate of The Furniture Institute ofMassachusetts, a member of the Society of AmericanPeriod Furniture Makers and the New HampshireFurniture Makers Assoc. See his work and contacthim through his web site: periodcraftsmen.com.popularwoodworking.com ■ 5554_pwm1208Ellipse.indd 555/17/12 10:21:02 AM

How to Draw a False EllipseStudy the drawings and get familiar with the terminologybefore you get started. Then as you read the steps for drawinga false ellipse, refer back to the drawings to understandthe specific locations of points being referenced, as well astheir relationship to other points. It is also helpful, but notnecessary, to have a compass or set of dividers on hand touse while studying the illustrations.METHOD 1: DRAW AN ELLIPSE – ANY DIMENSION BOTH AXESThere are really two stages to drawing afalse ellipse using the method describedhere. In Stage One, establish the lengths ofthe major and minor axes and transfer fixedlengths to other lines:1. Draw the major and minor axes (I amusing 2 1 ⁄ 2" x 1 ⁄ 2") and label the extremitiesA, B, C, and D and the intersection(centerline) of the lines E.2. Set your compass to distance CE andtransfer the length starting from point B( 3 ⁄ 4" in this case) heading toward point E,strike an arc and label it G. Label the distancethat remains on BE as X.3. Next, draw a line from point B to point C.On this line measure from C the length ofX, strike a line and label it F.In Stage Two you swing the arcs using thecompass points established in Stage One.4. Set at a convenient length a compasspoint on F and scribe an arc into quadrants(Q) 4 and Q2. Using the same compasssetting, scribe an arc from point B inQ4 and Q2 that intersects the arcs.5. Strike a line through the two arc intersectionsand continue the line until it meetsthe minor axis. At the minor axis label thispoint H, label it J at the major axis, andlabel it I where it crosses line CFB.6. Now scribe the arcs and draw the ellipse.Set a compass the length of HC, use Has the centerpoint and draw an arc frompoint C to line IJH.7. Reset the compass to the distance of JB.Use J as the centerpoint and draw the arcfrom line IJH to B on the major axis. Q4 isdone.8. Complete the remaining quadrants bytransferring the locations of the arc centersto the opposite ends of the major andminor axes.Once you’re familiar with the process, youcan complete the other quadrants by simplyusing the same compass settings for the otherquadrants.— FRSTAGE ONEASTAGE TWOAQ1Q3CDMinor axisGQ2Major axis E X GB=CEQ1Major axisQ3CDEHXMinor axisHFFGStep fourarcsJQ4Q2IQ4BStep four arcsB56 ■ POPULAR WOODWORKING MAGAZINE August 201254_pwm1208Ellipse.indd 565/17/12 10:21:38 AM

DRAW A FALSE ELLIPSE – SQUASHED SHAPE1. Draw a horizontal line and name it AB. Inthis example, it is 3" long.2. Divide line AB into four equal parts ( 3 ⁄ 4") toform points C, O and D.3. Set a compass the distance from AC and withC as the centerpoint draw a circle. Repeat forDB with D as center.4. Set your compass the distance from pointC to D, and scribe arcs from these points.Where the arcs intersect label them E and F.5. From points E and F draw lines through Cand D to form points G, H, I and J.6. With points E or F as center, set your compassto the distance of either line ECI or FDHand draw an arc from I and J. Move the compasspoint to F and draw an arc from G to H.7. All the arcs are now swung and an ellipse hasbeen established.— FRAGCMajor axisIOEFStep four arcsDStep four arcsHJBDRAW A FALSE ELLIPSE – ROUNDER SHAPE1. Draw a horizontal line; for this exercise let’sdraw the line to a length of 3" and name itAB. This is the major axis.G2. Divide line AB into three equal parts of 1",and introduce points C and D.3. With points C and D as centers, set yourcompass to the radius of AC.4. Draw circles from points C and D, with thecompass setting from step 3. Please note thatACthe ends of the ellipse are now complete.Major axis5. The two circles scribed intersect at twopoints. At these intersections points E and Fare formed.6. From point E draw a line through point C andcontinue to cut the circle to establish pointIG. Line ECG is complete and this step mustoccur three more times to form lines EDH,FCI and FDJ.7. With all the points established, set your compass to the distance of lineEG, then draw an arc from the centers of E and F to form arcs GH and IJ.All the arcs are now complete and your ellipse has been formed. PWM— FRFEDONLINE EXTRASFor links to all online extras, go to:■ popularwoodworking.com/aug12VIDEO: See an ellipse plotted in less than fourminutes using ”Method 1” as described inthis article.MORE VIDEO: See a true ellipse drawn usingtwo sticks that slide in perpendiculargrooves.WEB SITE: Visit Freddy Roman’s site to see hisfurniture, cabinetry and restoration work.Our products are available online at:■ ShopWoodworking.comHJBpopularwoodworking.com ■ 5754_pwm1208Ellipse.indd 575/23/12 1:36 PM

WOODWORKER’S MARKETPLACECraftsmanStudio.comTOOLS TO BRING OUTTHE BEST IN YOUR WORKAuthorized dealers forAuriou, Lie-Nielsen,Shapton, Veritas &TANOS systainers®CARD #70 or go to PWFREEINFO.COMFREE SHIPPING ON ONLINE ORDERS - SEE WEBSITE FOR DETAILS - 888-500-9093CARD #5 or go to PWFREEINFO.COMCARD #74 or go to PWFREEINFO.COMHands on Instruction for All Skill LevelsMario Rodriguez - Alan TurnerFor more info on Courses:215.849.5174PhiladelphiaFurnitureWorkshop.comPhiladelphiaFurnitureWorkshopCARD #2 or go to PWFREEINFO.COMTHE FURNITURE INSTITUTEof MASSACHUSETTSStudy with Philip C. LoweClasses range from 1 day to 1 weekand 2 and 3 year mastery programs.See new class schedule on:(978) 922-0615 www.furnituremakingclasses.comCARD #16 or go to PWFREEINFO.COMCARD #26 or go to PWFREEINFO.COMCARD #48 or go to PWFREEINFO.COMWatch what you want,any time you wantwith a 6-month subscription.You’ll get instant access to everywoodworking video PopularWoodworking Magazine produces.New videos added regularly!100+ Hardwoods Hand selected orders 100 woods in stock Expert knowledge 100% satisfaction800-423-2450No one has a better website for ordering wood:www.101woods.comCARD #53 or go to PWFREEINFO.COMSUBSCRIBE NOW ATshopclass.popularwoodworking.com.COMBooks CDs DVDs Digital Downloads Plans Print & Digital Subscriptions58 ■ POPULAR WOODWORKING MAGAZINE August 201258_pwm1208MktplClassifieds.indd 585/17/12 9:41:37 AM

WOODWORKER’S MARKETPLACECLASSIFIEDBooksWE HAVE A WIDE VARIETY of woodworkingbooks - from small projects, to home improvement,to enhancing your woodworking skills,and more! To see our full line of books,please visit our web site atShopWoodworking.com!Finishing Supplies & EquipmentBLOXYGEN SAVES LEFTOVER FINISHES - JustSpray, Seal and Store. www.bloxygen.com or(888) 810-8311.Hand ToolsDI LEGNO WOODSHOP SUPPLY Qualitywoodworking hand tools at an affordable price.www.dlws.com or 1-412-331-1236.WWW.JIMBODETOOLS.COM The LargestAntique Tool Website on Earth! Fine AntiqueWoodworking Tools of every kind.845-505-8665.Kits & PlansFULL SIZE FURNITURE LAYOUTS Drawn byPhilip C. Lowe. 978-922-0615. 116 Water St,Beverly, MA 01915.www.furnituremakingclasses.comSchools/InstructionJOHN C. CAMPBELL FOLK SCHOOL, Brasstown,NC. Courses for all skill levels. Weeklongand weekend classes year-round, taughtby nationally known instructors. Friendly, supportiveenvironment. Comfortable, on-campushousing. Delicious meals served three times aday. www.folkschool.org. 800/365-5724.PRIVATE CLASSES with woodworking author inthe Great Smoky Mountains- All skill levelswww.GregoryPaolini.com(828) 627- 3948THE ACANTHUS WORKSHOP, LLC Traditionalwoodworking education with lead instructor,Charles Bender, using conventional hand toolsand modern machinery. Call 610-970-5862 orvisit www.acanthus.com.THE SCHOOL AT ANNAPOLIS WOODWORKS,Davidsonville, MD.Turning, Carving, FurnitureMaking, etc. Weeklong and Weekend classes forall skill levels.www.annapoliswoodworks.com301-922-0649Seat Weaving SuppliesCHAIR CANE & SPLINT, Shaker tape, fiber &natural rush. Complete line of basketweavingsupplies. Royalwood Ltd., 517-WW WoodvilleRd, Mansfield, OH 44907. 800-526-1630.www.royalwoodltd.com.Classified rate is $6.00 per word, 15-wordminimum. Order must be accompanied bypayment; ads are non-commissionable. Send to:Popular Woodworking Magazine, 10151 CarverRoad, Suite 200, Blue Ash, OH 45242 orDon Schroder, d.schroder@verizon.net.Phone: 610-821-4425, Fax: 610-821-7884.ADVERTISER’S INDEXPAGE # CARD # WEB ADDRESSAcanthus Workshop 59 1 acanthus.comApprenticeshop, The 58 74 apprenticeshop.orgBeall Tool Company 58 2 bealltool.comBloxygen 59 3 bloxygen.comCraftsman Plans 58 - craftsmanplans.comCraftsman Studio 58 5 craftsmanstudio.comDi Legno Woodshop Supply 59 6 dlws.comDR Power Equipment 13 - drpower.comEBAC industrial Products 17 10 ebacusa.comForrest Mfg. 11 13 forrestblades.comFurniture Institute of Massachusetts 59 16 furnituremakingclasses.comGorilla Glue 13 18 gorillaglue.comGregory Paolini Designs 59 19 gregorypaolini.comGrex USA 13 20 grexusa.comGrizzly Industrial Cvr 2, 1 57 grizzly.comHarbor Freight 65 76 harborfreight.comHighland Woodworking 13 22 highlandwoodworking.comInfinity Tools 19 23 infinitytools.comIrwin Tools 9 - irwin.comJim Bode Tools 59 24 jimbodetools.comJohn Campbell Folk School 59 25 folkschool.orgPAGE # CARD # WEB ADDRESSKeller & Company 58 26 kellerdovetail.comLake Erie Toolworks 58 70 lakeerietoolworks.comLie-Nielsen Toolworks 11 29 lie-nielsen.comOneida Air Systems 19 35 oneida-air.comOsborne Wood Products 19 36 osbornewood.comPhiladelphia Furniture Workshop 58 - philadelphiafurnitureworkshop.comPowermatic 4, 5 58 powermatic.comRadarCarve 17 38 radarcarve.netRoyalwood Ltd. 59 - royalwoodltd.comSchool at Annapolis Woodworks 59 43 annapoliswoodworks.comShopbot 19 44 shopbot.comSikkens Wood Care 7 - sikkens.comStanley Tools Cvr 3 84 stanleytools.comWall Lumber 17 47 walllumber.comWhitechapel Ltd. 58 48 whitechapel-ltd.comWoodcraft 2, 11 49 woodcraft.comWoodfinder 58 - woodfinder.comWoodpeckers Cvr 4 52 woodpeck.comWoodworker’s Source 58 53 woodworkerssource.comWoodworker’s Supply 17 54 woodworker.compopularwoodworking.com ■ 5958_pwm1208MktplClassifieds.indd 595/17/12 9:42:10 AM

JIG JOURNAL BY MATTHEW TEAGUEKeyed Miter JigThis shop-made table saw jig makes quick work of reinforcing miter joints.Ilove the clean look of a mitered boxthat has continuous grain wrappingaround the corners. It’s an easydetail to create, but a sure sign thatthe maker is paying close attention tothe details. The downside of a miteredbox? Miter joints are notoriously weakbecause they have no real mechanicalstrength; glue is all that holds themtogether.You can reinforce miter joints ina few different ways, but my favoritemethod is to use exposed keys. Thesehardwood keys are nothing more thanthin lengths of wood glued into slotsthat span both sides of the joint to helphold everything together. To cut theslots for these keys at the table saw youneed only a small jig that runs againstthe saw’s fence. The jig cradles the assembledbox at a 45° angle and allowsyou to guide it through the cut.Keys not only add great strength tomiter joints, they also provide a decorativeeffect. Once the jig is made, youcan arrange the keys in any number ofways, using either a matching or contrastingwood. For a slightly differentlook, you can cut wider key slots bysimply adjusting the table saw fence totake two or more passes for each slot.For angled keys, which create jointsthat arguably are even stronger, simplyangle the blade. You can even use thissame jig at the router table to createdovetailed key slots – just be sure tohog out the bulk of the waste in the jigitself before you cut the actual box.height of the box. I simply glue andscrew through all the thicknesses tocreate one large chunk of material. It’sa good idea to glue up a longer length ofstock than necessary, just so that it iseasier to hold during the next step.Once the glue dries I remove thescrews so that there’s no risk of thesaw blade catching a screw when thejig is in use. You can then cut both endsof the stock at 45° angles on the mitersaw or use your miter gauge at the tablesaw. Instead of cutting the miters to asharp point where they meet, I like toleave about 1 ⁄ 8" or so flat on each piece;once the jig is assembled and in use,this raises the box off the saw table andallows the jig to move more smoothlyacross the table.Once the end cuts are made, crosscutthe stock into two separate pieces.Attach them point-to-point centeredon a backer board. You should size thebacker board so that it will stand a fewinches above your table saw fence. Usethe extra height as a handle to keep yourhands out of harm’s way when the jig isin use. This extra height also providesenough room for you to secure your boxwith clamps when necessary.You can glue the angled blocks to thebacker board, but I simply secure themwith a few screws driven in close to thetop of the angled blocks (where there isno risk of a blade catching them as youpass the jig across the saw). When thejig gets chewed up from use, this allowsyou to replace fouled parts easily.Using the JigOnce the jig is ready to go, start by settingthe height of the table saw blade.Position the box in the jig and hold italongside the blade. For both strengthand aesthetics, make sure your blade islow enough so that it won’t cut into theMaking the JigThis jig can be made from plywood,MDF or whatever scrap you have onhand. If you choose sheet goods or thinnerstock, you’ll need to face-laminatea few thicknesses so that the cradle ofthe jig is wide enough to hold the fullClean cuts. Registered against the fence, this cradle jig safely holds the work 45° to the saw tableas you cut the slots for miter keys.60 ■ POPULAR WOODWORKING MAGAZINE August 2012PHOTOS BY THE AUTHOR60_pwm1208JigJournal.indd 605/17/12 9:25:18 AM

INSTALLING MITER KEYSInstalling keys is a simple process.Mill a long length of hardwoodto fit snug in your key slot. Use abacksaw or band saw to trim it downto make triangular keys of a moremanageable size. Glue the keys intoplace and trim them flush to the boxsides with a backsaw or flush-cutsaw.— MTSquare the slot. If you cut slots using analternate top bevel (ATB) blade, you’ll needto square the bottom of the key slots with achisel.Glue the keys in place. After a dry-fit tomake sure the splines are snug but not tightin the slots, add glue and slide them in place.Saw away the waste. A backsaw or flush-cut saw is used to cut awaythe bulk of the waste.Clean it up. A sharp chisel trims the key flush. Work from the cornerof the box toward the center to prevent tear-out.interior of the box. I usually raise theblade so that it cuts only about threequartersof the way through the miterjoints.Once the blade height is set, markout the position of the keys on the box.(If you’re working with a solid box thatwill have the top cut loose later, rememberto locate keys with the futurecutline in mind.) Hold the jig againstthe fence and position the box againstthe upright face of the jig. Then adjustthe fence so that the blade aligns withyour desired key location.To cut the slots for the miter keys,I usually just hold the box in placeagainst the upright face of the jig andthen run the entire assembly againstthe fence. If the box is particularly large,small or otherwise awkward, you canclamp the box to the backer board of thejig before you cut the slots; just makesure to position the clamps so that theywon’t interfere with the cutting procedure.You should be able to make eachcut in a single pass.Make the same cut on all four cornersof the box. Relocate the fence toalign with the next key location andrepeat the process until all your keyslots are cut. Once the slots are cut, thekeys are easy to install, as you can seeabove. (You can see the finished boxon page 32.)I’ve come to love the look – and thestrength – that hardwood keys add toa miter joint. PWMMatthew is the editor of this magazine. He can bereached at matthew.teague@fwmedia.com.3 ⁄4"20"laminated from3 ⁄4"- thickmaterialONLINE EXTRASFor links to all online extras, go to:■ popularwoodworking.com/aug12BLOG: See more on building mitered boxesand a slide show on installing the keys.MODEL: Download a 3D SketchUp model ofthe box seen here.ARTICLES: Find plans and instructions for makingand using a wide variety of jigs.Our products are available online at:■ ShopWoodworking.com7"4"6 3 ⁄4"6 3 ⁄4"KEYED MITER JIGpopularwoodworking.com ■ 6160_pwm1208JigJournal.indd 615/17/12 9:25:48 AM

I CAN DO THAT BY ROBERT W. LANGContemporary Coffee TableTake the easy way out:Find sizes without measuring.This small coffee table is a greatintroduction to building furniture.It doesn’t require muchmaterial and it’s an opportunity to developyour skills. This project is sturdy,attractive and easy to build. All of theparts come from standard widths oflumber. I used poplar from my localhome center, and I made the table fromone 6'-long piece of 1x8, one 8' lengthof 1x6 and two 8' lengths of 1x4.Start by gluing the top from twopieces of 1x8 and one piece of 1x6. Ifyou are cutting the parts from 6'- or8'-long boards, leave them a couple ofinches long, then trim them to the finallength after the glue has dried.The goal during glue-up is to keepthe faces of the boards aligned. Use acouple straight strips of wood below fora level work surface and, if you need to,clamp straight pieces across the top andbottom to hold the edges in alignmentwhile the glue dries.Let the glue dry overnight, then trimthe top to length. Clamp a straightedgeacross the top to guide your jigsaw orcircular saw to make the cut. When thetop is at its finished size, set the bladeof your combination square at 2" anddraw lines in from each corner on theunderside of the top.Start From the BottomUse the angled side of the combinationsquare to draw a line at a 45˚ angle fromthe corner of the top to the intersectionof your layout lines. Cut the legsto length. Then mark the center of oneedge of each leg.Stand the legs in the corners and lineup the center marks with the angledlines on the top. Use your combinationsquare to set each leg at a 45˚ angle tothe edge, then trace around the endsof the legs.When the leg locations are marked,use the lines to determine the exactlengths of the rails. Cut the rails a fewinches longer than the dimensionsin the cutlist, with a 45˚ angle on oneend of each piece. Place the angled endagainst the line, with the back of therail even with the back of the leg.Draw a line up the edge of the railfrom the layout marks drawn at theother end, then draw an angled lineacross the face. Cut the second end ofeach rail to the line.After cutting the rails to length,draw a line 1" in from the outer edgesOn your mark. Lay out all the pieces on theunderside of the top. You won’t have to measure,and all the pieces will be the exact sizeyou need.of the rails. This is the location for theouter face of the aprons, and you can putthem in position to mark the lengthsexactly without measuring. Cut theaprons to size at the miter saw with a45˚ cut on each end, then mark and cutthe angle at the bottom of each leg.Check, Layout, DrillPlace the rails and the legs in positionon the tabletop. The rails and legs joinwith two types of screw connections:countersunk screws through the legsinto the long rails, and pocket screwsthrough the short rails into the legs.Mark the rough positions of thescrews with the countersunk screwsDouble-check. After cutting, put the parts inplace and mark the locations for the screws.62 ■ POPULAR WOODWORKING MAGAZINE August 2012LEAD PHOTO BY AL PARRISH; STEP PHOTOS & ILLUSTRATIONS BY THE AUTHOR62_pwm1208ICDT.indd 625/17/12 9:17:02 AM

Contemporary Coffee TableNO. ITEM DIMENSIONS (INCHES) MATERIALT W L30"1"2"2"❏ 1 Top* 3 ⁄ 4 20 30 Poplar❏ 4 Legs 3 ⁄ 4 5 1 ⁄ 2 17 1 ⁄ 4 Poplar❏ 2 Long rails 3 ⁄ 4 3 1 ⁄ 2 24 11 ⁄ 16 Poplar❏ 2 Short rails 3 ⁄ 4 3 1 ⁄ 2 14 11 ⁄ 16 Poplar❏ 2 Long aprons 3 ⁄ 4 3 1 ⁄ 2 22 11 ⁄ 16 Poplar❏ 2 Short aprons 3 ⁄ 4 3 1 ⁄ 2 12 11 ⁄ 16 Poplar20"3 1 ∕2"1"Outline of topLayout line 2"in from edge*Glue up top from two 1x8 and one 1x6 pieces3 ⁄4"3 ⁄4"17 1 ⁄4"20" 30"5 1 ∕2"near the edges, and the pocket holestoward the center of the rails. Be sureto locate the screws so they won’t runinto each other during assembly.Drill through each leg into the endsof the long rails. A bit with an integralcountersink makes this a one-stepprocess. Use a pocket-hole jig to drillthrough the ends of the short rails. Sandall the parts before assembly.Connect the legs to the long railsfirst. Apply some glue to the end grain ofthe rails and wait a few minutes (a.k.a.“sizing”). Apply a fresh bead of glueand screw the legs to the rails with #8x 1 3 ⁄ 4" screws.When all four legs are attached to thelong rails, connect the two subassemblieswith the short rails. For strongerjoints, size the end grain with glue. Tokeep the boards from shifting, clamp thesubassembly down to your worksurfacebefore driving the pocket screws.Size the mitered ends of the apronswith glue before assembly and run anarrow bead of glue on the long edge6"2"24 11 ⁄16"22 11 ⁄16"3 1 ∕2"EXPLODE7 1 ⁄4" 51 ∕2" 7 1 ⁄4"3 1 ∕2"5 1 ∕2"14 11 ⁄16"12 11 ⁄16"of each apron to hold it to the rail. Drillpilot holes in the apron ends then fastenthem to the legs with 4d finish nails.Set the nails below the surface and fillthe holes.Top it Off & FinishThe top is screwed to the base throughthe rails. The pan head screws used forthe pocket holes work well. The solidwoodtop will expand and contract asseasons change, so take that into accountwhen drilling the screw holes.At the center of the short rail, drill aclearance hole slightly larger than thediameter of the screw’s shank.In the long rails, the holes should belarger to allow the top to move. Drilla 1 ⁄ 4" hole and use a washer under thescrew head, or drill two smaller holesand tilt the drill back and forth to connectthe holes and make a slot.Place the assembled base on theupside-down top and drill pilot holesfor the screws. Use a bit the size of theunthreaded part of the screws, and bePLANcareful not to drill through the top.When the top and base are assembled,give the entire table a finish sanding with#180- or #220-grit sandpaper. Round orbevel the sharp edges at the corners ofthe boards with coarser sandpaper, thengo over it again with the finer grit.I used a water-based stain, and afterletting the stain dry overnight, Ibrushed on two coats of a water-basedpolyurethane finish. This is a durablecoating, but it can show brush marksafter the finish dries. I rubbed the drysurface with a non-woven abrasive padto remove the brush marks and leavethe surface with a satin sheen. PWMBob is executive editor of this magazine. You canreach him at robert.lang@fwmedia.com.ONLINE EXTRASFor links to all online extras, go to:■ popularwoodworking.com/aug12VIDEO: Learn a quick and easy method forfinding the center of an edge with a combinationsquare.PLAN: Download a free SketchUp model forthe “Contemporary Coffee Table.”ARTICLES: All the “I Can Do That” articles arefree online.Our products are available online at:■ ShopWoodworking.comAbout This ColumnOur “I Can Do That” columnfeatures projects that can becompleted by any woodworkerwith a modest (but decent) kit of tools in lessthan two days of shop time, using materialsfrom any home center. Our free PDFmanual explains how to use all the tools inthe kit. Visit PopularWoodworking.com/ICanDoThat to download the free manual.popularwoodworking.com ■ 6362_pwm1208ICDT.indd 635/17/12 9:17:31 AM

FLEXNER ON FINISHING BY BOB FLEXNERFinishes: They are A-changin’Reformulations may compel you to adjust your finishing process.Many years ago a friend explainedto me the differencebetween woodworking toolsand finishes. Woodworking tools, hesaid, are physics. You can see them. Youcan see that a band saw isn’t a table saweven though it has a table.But finishes are chemistry. You can’tsee chemistry. Varnish and lacquer, forexample, look the same, both in the canand on the wood.So there is much more opportunityfor finishes to be confusing, especiallywhen manufacturers misrepresentthem and magazines publish contradictoryinformation about them.I think this description goes a longway toward explaining why the healthproblems associated with finish solventsare feared more than those thatare obvious with woodworking tools(cutting off your fingers, for example).This, even though the infrequent, lowlevelexposure to solvents experiencedby most amateurs is quite unlikely tocause any problems at all.Finish RegulationsWith this said, the particular solventscurrently used in coatings (paints, finishesand stains) are changing, but youwon’t “see” any differences. You will“feel” them, however, because theymake the products dry faster, smellworse and may make them more viscous(thicker) – and more expensive.So it will help your adjustment ifyou are aware of these changes so yourecognize what is happening if a newcan of the finish you’re used to behavesdifferently.The impetus for the changes is tolower the volatile organic compounds(VOCs) and hazardous air pollutants(HAPs) that are exhausted into theatmosphere.Can you spot the difference? If the solvents aren’t listed on a can of finish, you can always findthem online on an MSDS from the manufacturer, usually on the first page. Search for the name ofthe finish plus MSDS, or go to the manufacturer’s web site and search from there.All solvents are VOCs, which react insunlight with nitrogen oxides to formground-level ozone (smog). Nitrogenoxides are produced in high-temperature-combustionpower plants and carand truck engines.Some solvents, however, are so lowin reactivity that they have been made“exempt” from VOC regulations. Forcoatings, these include primarily acetone,but also a few that are unfamiliar,including methyl acetate, parachlorobenzotrifluoride(PCBTF) and tert-butylacetate (TBAc). You may see theselisted on finishing products promotedas environmentally friendly.Solvents that are considered healthproblems are called HAPs. Actually, itcould be argued that all solvents arehazardous at some level of exposure,but some are more so than others.Most solvents are restricted both asVOCs and HAPs, but there are someexceptions. The most notable is methylenechloride, the fast-acting strippingsolvent. It is a HAP when used in largeamounts, but it is exempt as a VOC.Therefore, high-volume refinish shopswith employees come under OSHArestrictions, but everyone has accessto high-percentage methylene-chloridestrippers in small quart and galloncontainers.LocationLocation is everything when it comes torestrictions on exhaust and availabilityof products. Some areas are much morerestrictive than others, and the trendeverywhere is to become increasinglymore restrictive.The counties around Los Angeles(which united to form the South CoastAir Quality Management District, orSCAQMD) are leading the way with thestrictest regulations. The entire WestCONTINUED ON PAGE 6664 ■ POPULAR WOODWORKING MAGAZINE August 2012OPENING PHOTO BY AL PARRISH; STEP PHOTOS BY THE AUTHOR64_pwm1208Flexner.indd 645/17/12 9:05:29 AM

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FLEXNER ON FINISHING CONTINUED FROM PAGE 64coast and states in the Northeast andMidwest are not far behind. Variouslarge-population localities in betweenalso have restrictions.One of the big problems is that thedefinition of exempt solvents keepschanging. There are many ways tomeasure VOCs – for example:• by percentage, counting each nonexemptVOC as having the same environmentallydamaging effect• by relative reactivity, with the mostbrush marksdry spraylacquer blushingFast-drying problems. Reformulated finishes,made to comply with new VOC regulations,tend to dry faster than the finishes you maybe used to. Faster drying causes problemssuch as more pronounced brush marks (top),dry spray when spraying (center) and lacquerblushing on humid days (bottom).reactive (with nitrogen oxides) beingrestricted the most• by evaporation rate, with theslowest evaporating being the leastreactive.Various regulatory bodies use differentmethods and standards for measuringand setting limits.Moreover, standards differ for differentproducts. For example, oil stainis usually allowed a higher non-exemptVOC content than polyurethane, andgloss paint is allowed more than flatpaint.It all becomes so complicated thatmany finish manufacturers hire trainedenvironmental specialists (with collegedegrees in the field) just to keep abreastof everything that is happening so theycan advise their formulators and theirlarge-user customers.The restrictions are aimed primarilyat these large users, so you aren’t affecteddirectly if you are an amateur orsmall-shop professional doing finishingon an irregular basis. But the restrictionsare increasingly being applied towhat can be sold, so you are affectedif the varnish or lacquer you’ve beenusing changes in viscosity, dry time orodor, or it increases in price.Even if you don’t live in one of themore restrictive areas, you may still beaffected because manufacturers oftenreduce costs by complying only withthe most restrictive regulations andselling these products everywhere. It’smuch less expensive to have just oneformulation and one label.Other VOC & HAP SolutionsReformulating finishing products isn’tthe only way to reduce VOC and HAPemissions. There are several others,two of which you’re probably familiarwith: high-volume, low-pressure(HVLP) spray guns and water-basedfinishes.HVLP is a spray-gun technologyintroduced in the 1980s that produces asoft spray with much less bounce-backand waste than traditional high-pressurespray guns. HVLP spray guns workwith both compressors and turbinesand are now so efficient that they havealmost entirely replaced high-pressureguns. In fact, it’s difficult to even findnew high-pressure guns anymore.Water-based stains and finishesused at the mass-consumer level continueto contain non-exempt VOCs andHAPs but in so little quantity that theyrarely exceed even the most restrictiveregulations.Formulation using exempt solvents,however, can actually produce a solvent-basedfinish that contains fewerVOCs and HAPs than a water-basedfinish. So don’t think that solvent-basedfinishes as a category are going to disappeareverywhere anytime soon. They’rejust going to change.On the industrial level, there arethree types of coatings in wide use besideswater-based finishes that makecompliance possible: high-solids,such as polyester and two-part polyurethane;UV-cured; and powder. Allrequire specialized equipment.Bottom LineUnless you are a large user of finishingproducts, you don’t fall under anyenvironmental restrictions regardingthe products you use. But you will increasinglyfind that the products you’reaccustomed to using change in theirapplication characteristics, or disappearentirely from your local storesand mail-order suppliers. PWMBob wrote about specific examples of environmentallyfriendly solvents in the February and April 2012issues (#196 and #196) of Popular WoodworkingMagazine.ONLINE EXTRASFor links to all online extras, go to:■ popularwoodworking.com/aug12ARTICLES: You’ll find many free finishingarticles on our web site.IN OUR STORE: “Flexner on Finishing” – 12years of columns illustrated with beautifulfull-color images and updated, and “WoodFinishing 101.”Our products are available online at:■ ShopWoodworking.com66 ■ POPULAR WOODWORKING MAGAZINE August 201264_pwm1208Flexner.indd 665/17/12 9:05:53 AM

LEARN BY WATCHING …AND SAVE MONEY!There’s no better way to learnwoodworking than by having anexpert show you the steps andexplain the details. That’s what thePopular Woodworking Magazinechannel of ShopClass on Demandis all about. Video is the next-bestthing to being there, and nowis your last chance to lock in our$24.95 permanent renewal rate tolet you learn at the elbows of dozensof woodworking experts withoutleaving the comfort of your home.The Popular Woodworking Magazinechannel of the ShopClass On Demandstreaming video site gives you fullaccess to all these features:Learn all the greatdetails about the PopularWoodworking channel on ShopClasson Demand, and sign-up atwww. PopWood.com/ShopClassTVand lock in the $24.95 permanentrenewal rate. Offer valid onlythrough August 31, 2012.• More than 50 hours of woodworking instructionabout tools, techniques and design fromexperts on every topic• New videos posted every week fromwoodworkers you know and trust, includingChristopher Schwarz, Thomas Lie-Nielsen, BobFlexner, Kelly Mehler, Frank Klausz and more…• Instant access to every Popular WoodworkingMagazine video• Free preview of any full-length DVD you areconsidering for purchase• Watch videos on your computer or iPad• $1,000 worth of woodworking videos thatinstruct and entertainc2_pwm1208.indd 675/17/12 9:07:14 AM

END GRAIN BY SCOT O’SHEAA Teacher’s SeatImperfect woodworking often imparts the best lessons.Agood friend asked meif I could help his sonput together a chairhe wanted to make and like agood neighbor, I said, “Sure,I will be happy to look at itand offer a little advice.” Thatwas two years ago and weare still happily learning afew things each week aboutwoodworking.You may have noticed Isaid “we” – and it is true. Webegan with six cedar treesthat my young friend hadchopped down and strippedof bark. He had no real toolsand even less knowledgeabout how to construct achair. He did come with lotsof ideas and opinions. I amsurprised when I look backthat the two of us not onlysurvived but managed toconstruct Justin’s chair.The chair was a journeyof 10 months, four hours andone week. My learning consistedof listening to an 11-year-old with lots of ideas,more energy than I could rememberhaving and no woodworking knowledge,focus, concern for quality or aclue about tools.Along the way Justin learned howto cut tenons by hand. I learned that itwas OK if they did not fit perfectly. Helearned how to make half-lap joints.I learned it was OK to shim them. Helearned how to make rails with wedgedtenonjoints. I learned a small split wasOK. He learned to sharpen my chisels.I learned it was OK to touch them upwhen he went home. He learned tovacuum the shop. I learned it was OKto not get it all. He learned to put thetools away. I learned it was OK to letsome sit out for a while. He learned toweave a rush seat. I learned it was OKto have a few spaces.We took a break from the chair ashe became tired, frustrated and a littledisappointed that it was taking so long.Justin carved crosses for Christmasgifts. He made a sturdy box. He took atree limb from an oak that had fallen ina storm and he hand-carved a bowl. Hetook offcuts of pine and built a box forhis tools. He carved a spoon for campingwhich began a whole new journeyof working with green wood.I must have moved that chair andall of its parts a hundredtimes, wondering if it wouldbecome firewood. Finallythe day arrived, and as Justinfinished weaving the seathe said to me, “Mr. Scot, Inow know why chairs costso much.”Justin’s chair sees dailyuse and no one notices all thesmall issues; they see onlythe beauty of a rustic chair.After two years we stillmeet. I never know what Justinwill bring or what we willdo. What I do know is thathe now has good tools andmaintains them. He is buildinghis own home shop. He isteaching his younger brotherto carve. He now begins bydrawing designs and worksto finish his projects.Justin keeps me on mytoes because he always has anew project along with ideasabout how it should work.He is still learning and he’sstill teaching me. The importantthing is that Justinbrings freedom and joy to the craft ofwoodworking not only for himself, butfor me. PWMScot worked in furniture and home restoration for anumber of years in the historic districts of San Antonio,Texas, before building a career in ortho-bionomy.He now works wood for pleasure and relaxation– much of the time alongside Justin.ONLINE EXTRASFor links to all these online extras, go to:■ popularwoodworking.com/aug12ARTICLES: Check out our I Can Do That columnsfor simple projects that are great forkids and other beginning woodworkers.68 ■ POPULAR WOODWORKING MAGAZINE August 2012PHOTO BY PATRICK MCGRATH68_pwm1208EndGrain.indd 685/17/12 9:03:03 AM

RESTORING ACLASSICSTANLEY ® SWEETHEART8 PC. SOCKET CHISEL SETWITH TOOL ROLLSTANLEY ® SWEETHEART4 PC. SOCKET CHISEL SETWITH TOOL ROLLSTANLEY ® SWEETHEART SOCKET CHISELAvailable in eight sizesfrom 1/8" to 1-1/4".The Sweetheart Legacy Lives OnUsing the original Stanley ® 750 Series chisel design, woodworkers can expectthe same level of quality and craftsmanship that made the Sweetheart logoone of the most respected symbols among woodworkers during the pastcentury. Featuring high-carbon chrome Sheffield steel for edge retention andhornbeam wooden handles for durability, today’s woodworkers will rediscoverthe reasons why generations before chose Stanley ® Sweetheart Chisels.Visit a participatingStanley ® dealer near you.©2012 Stanley ToolsCARD #84 OR GO TO PWFREEINFO.COMc2_pwm1208.indd c35/17/12 8:57:38 AM

Square Up Your ProjectsFaster Than EverNEW fromThe New Woodpeckers Box Clamp is just the ticket for yourcabinet and box making projects. This simple tool eliminates the hassleof cumbersome bar clamps and eliminates the need to continuouslymake adjustments to square the corners.Imagine being able to dry-fit all parts at the same time withoutany clamps to interfere with the assembly process. You’ll know right fromthe start if your project is square and be able to confirm part placementand dimensions.Even better, you can to do all that without a second set of hands.Once your project is glued and clamped, you can easily install pocketscrews from the inside or any otherfasteners from the outside. Both partswill be square and secure fromunwanted movement.Woodpeckers Box Clamps are designed for most 90 degree jointsincluding pocket hole joints, lap joints, dado as well as T-joints. Virtuallyany joint found in common cabinetry.The new Box Clamp is also perfect for box joints, half-blind andthrough dovetail joints. Whether the corner is flush or has materialextending from the surface, the clearance is there to ensure a squarecorner.When you need square corners, you can’t beat theWoodpeckers Box Clamp.Made in U.S.A.On sale for only $36 99 a pair.See our full line of American made woodworking tools at woodpeck.com and your local dealer. CARD #52 OR GO TO PWFREEINFO.COMc2_pwm1208.indd c45/17/12 8:56:42 AM