Tommy goes to work cutting the scallop shape on the doors with the band saw. After cutting the shape for all four sides, he glues and clamps them together.

Tommy takes a moment to talk about the Federal style table's bandings. Moving to the whiteboard, he outlines how he created the look. It might all be a little confusing but it will make sense when he moves to the table saw in the next video.

Highland Woodworking is excited to announce the addition of John Jordan Turning tools! An internationally renowned Wood Turner and teacher, John Jordan's works have graced The Renwick Gallery of The Smithsonian, The White House, The Boston Museum of Fine Art and Atlanta's High Museum of Art.

John Jordan tools have been developed over time and are a result of his many years of creating pieces that are known for their creative detail and texturing. Mention the name John Jordan while around any group of wood turners and the reaction is one of amazing respect. The fine reputation that follows him is echoed in the tools he has created.

Visit the John Jordan Wood Turning Tool collection at Highland Woodworking!

My niece Hannah turned 12 today.

Because there were pre-teen girly sleepover things happening at her house, Gail and I invited her 10 year old brother, Isaac, to spend the night with us last night.

Isaac and I played Wii. I am not a video game person, but as soon as I tried Wii bowling last year, I knew I had to have one. Isaac doesn't even have a Wii, but as an American 10 year old he has logged about 3000 more Wii hours than me, a full fledged Wii owner.

However, I had never attempted Wii golf until last night with Isaac. The stupid thing is that as Isaac was "teaching" me to play Wii golf, I was having to go first. So, on the first hole AFTER I managed to drive the ball about 30 yards right of the fairway, Isaac told me I should watch out for that 25mph wind blowing left to right. Then, he aimed way to the left and drove the ball about 300 yards landing right in the middle of the fairway. (Thanks for the tip, Isaac.)

Then, AFTER I used an iron to hit the ball so far over the green that it went out of bounds, Isaac pointed out the swing power meter, and he hit his iron with about a half swing and dropped the ball onto the green inches from the hole. It seems that my nephew is the King of Post-Failure Instruction.

Perhaps in a few years he will get the woodworking bug, and I can get some paybacks:

1) Oh, yeah....I forgot to tell you about dry-fitting the parts prior to glue up.

2) Wow, Isaac. You're quite the bleeder. I guess I should have told you about pushsticks....

3) Dude, you should have heard the Banshee scream you let out when that glove got caught in the jointer. Sorry for not warning you not to wear gloves, Little Buddy.

Another week in the wonderful Isles of Scilly.

Theresa will be manning office, Monday, Wednesday and Friday afternoons, approximately 2.45 - 3-45.

Short ...

I have begun work on the front doors in the past day or so. I'm not sure if you recall, but in an earlier post I decided to create the doors of the cabinet as veneered panels rather than solid wood. The primary reason for this is the width of each of the doors and the large expansion and contraction coefficient of the solid wood, along with the exceptional stability of veneered panels. Although I had originally intended to use quarter-sawn wood, the expansion rate is still uncomfortably large with the approximate 13 inches of width for each door. The first part of creating the individual doors is to have a straight, flat and solid substrate. I have selected multi-ply baltic birch for the substrate, the virtues of this wood are dimensional stability and strength. It is very well suited for use as a substrate for veneering.

After cutting the pieces for each door to approximate size, I added some solid beech edging to all four sides of each panel. This allows me to overlap the veneer the full expanse of each panel and in turn I gain solid wood at each of the ends and sides. As part of the design I need to have solid wood at the junction of the doors to be able to create a rabbeted lip. The strips of beech I use along with the substrate together provide me with two oversized door panels which I will trim after veneering.

While the glue is setting on the substrate door panels, I take the opportunity to lay out some veneer pieces from solid European Beech stock I have. Once the stock is marked I begin to resaw the veneers. This operation is fairly slow as each piece of veneer needs to be sawn fairly uniform in thickness and with minimal saw marks and due to the depth or width of the veneers, the stock can only be passed through the bandsaw at a low feed speed. While laying out the veneers I stumbled across some nicely figured stock which I will use to create the veneers for the front of the doors. This was not anticipated and a welcome surprise, the inherent beauty of wood and the surprises it holds. I now need to spend a little more time bookmatching the figured veneer for each door panel. Hopefully this will work out and the veneered sheets come out fine.

Next I will continue to work on the veneers and use the individual veneer slices to create sheets large enough to cover each side of the door panels. Working with thin sheets of veneer like this involves careful attention to their fragile nature. Although the resawn veneers I am creating are an order of magnitude thicker than commercial veneers, they can still be fragile.

Great looking projects don’t just happen — they’re made. It takes a lot of time and effort to come up with the best looking lumber to create a project that really stands out.

Dennis starts the seminar by discussing the differences between “hardwood” lumber and the stuff you’ll find on the racks at the lumber yard. Then he talks about board footage, grades, surfacing, moisture content, and finally, how to choose the best parts from a board for a particular project.

During the seminar, Dennis keeps reaching for a tape measure. The one he used is available at the Woodsmith Podcast Store, along with a few other items he uses to make selecting lumber easier.

I remember watching my Dad work around the house and in his basement shop when I was a young boy.  Most all of the tools he had back in the 60’s and into the 70’s were Sears Craftsman.  At some point in time he managed to get a Porter-Cable circular saw and the occasional Skil tool.  But really, there wasn’t a whole lot of choice in readily available tools for woodworking. Nowadays, you can go online or pick up the phone and order almost any tool from anywhere and have it delivered directly to your door.

But not only have tools changed over the years, our attitudes and methods have changed, too.  To get an idea of what I mean, look in on this discussion on WoodNet.  Add your 2¢ on how woodworking has changed in your lifetime.

I’ll admit it. When it came time to set up my shop, I didn’t want to spend a lot of money on lighting. Yep…I’m cheap. So I went to my local big box store and picked out the least expensive flourescent shop lights I could find. But just so you don’t think I’m a total cheapskate, I did upgrade half of the tubes to the newer (and more expensive) daylight or full-spectrum tubes for more natural lighting. I learned that lesson from our new shop here at August Home Publishing. Natural lighting makes a big difference.

Now, my cheapness may come back to haunt me. The Consumer Product Safety Commission has sent out notification of a product recall for shop lights made by Cooper Lighting. You can read all about the recall here. To see the announcement on the CPSC web site, click here.

Well, since my shop lights look suspiciously like the ones that are being recalled, looks like I’ll have to climb a ladder and check them out. And if yours look like the one shown in the photo here, you should do the same.

Kenneth Owen of Tulsa, Oklahoma is proud of his wife. And he has every right to be. They were looking to outfit a new bedroom and fell in love with a Moser-style bed. So she decided to build one. That’s right — she did the milling and gluing and bending and clamping.  Everything.  And the results are outstanding.

Ken posted photos of the process of building this bed. You can read all about it over on WoodNet. It’s an amazing story of how the project was completed and Ken gives all the details of how his wife progressed from start to finish.

I remember growing up that my dad always had a sharp pocketknife in his pocket. He still carries one with him all the time. He could never stand not having a sharp knife and sharpened it often. So, I guess I picked up the habit of carrying a pocket knife from Dad.

My first decent pocket knife I purchased for myself was a small, two-bladed Buck knife. It had stainless steel blades and real wood scales.  I bought it on my honeymoon and carried it with me every day for about 15 years. Imagine how heartbroken I was when I emptied my pockets one evening and it wasn’t there. I looked all over, but couldn’t find it. A few weeks later, I resigned myself to the fact that it was long gone. Soon after, I replaced it with a Case knife. It, too, had stainless steel blades.  Some months later, I pulled into our gravel driveway, and as I was getting out of the car, I saw what remained of my original Buck knife.  Actually, it was pretty intact, but the combination of gravel and cars running over it removed one of the wood scales.

When I carried a pocket knife, I used it mostly for opening packages, cutting cardboard, and tightening the occasional screw.  (I know…don’t tell my dad.)  Every so often, I’d take it out to the shop and sharpen it. But it seemed like it never held an edge for very long (even when I didn’t use it as a screwdriver). I’m no metallurgist and certainly don’t understand the finer points of blade steel, but I wondered if the stainless steel blades were the problem.

It occurred to me that the reason my dad’s knife is always sharp might not be just that he sharpens it often, but perhaps his has a high-carbon steel blade. (I’ll have to ask next time I see him.) I think carbon steel can be sharpened to a finer edge and holds its edge better than stainless steel. All I want is a knife you can almost shave with. I could never get that with my stainless steel knives.

I’ve been intrigued by these little Opinel knives from Lee Valley. The smallest one is small enough to carry in a pocket. And the blades are made from high-carbon steel. The price is right at just under $11US each for the two smaller ones. I’ve been carrying one around in my pocket for a few weeks, so maybe I’ll get a feel for how well the blade holds up to packing tape and cardboard and maybe the occasional whittling (but no tightening of screws). When I got it, it just took a little honing to get it impressively sharp.  A lot sharper than my Buck or Case stainless steel knives, anyway.  So far, for being an inexpensive knife, I’ve been impressed.

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A sure sign that your table saw blade needs attention is when it becomes difficult to push the workpiece through the cut. Or when the shop fills full of smoke as you try to cut that piece of maple.  That’s what happened to me in my continuing saga of saw blades.  I mentioned in this post that I had a couple of blades that needed sharpened. Now I’m not so sure.  I spent some time the other evening working on them with an old tooth brush and Boeshield Blade and Bit Resin, Pitch, and Gum Remover.

In ShopNotes No. 96, we had an article about Choosing and Using Bit and Blade Cleaners, including home-made cleaners.  A number of folks wrote in to tell us that some of our ideas were crazy or that their solution worked better.  We’ve had suggestions from oven cleaner to Formula 409. I say, use whatever works for you.  For me, I tend toward the commercial cleaners.  Our guys here in the shop seem to like CMT’s Formula 2050 Blade and Bit Cleaner.

Whatever chemical you use, chance are you’re going to need to use a little elbow grease, too.  As a matter of fact, it took a couple of applications of cleaner while I was busy scrubbing the residue off of the teeth.  I had the blade on several thicknesses of old newspaper and sprayed on the cleaner.  After scrubbing one side clean, I flipped the blade over and worked on it.  That left all the crud in between the teeth and on the face of each tooth.  Here, I stood the blade up, sprayed on some more cleaner, and worked my way around the blade with the toothbrush.  A little wiping with a rag removed the last of the residue and cleaner.

You’ll be amazed at how your blades look after a good cleaning. I inspected mine closely and couldn’t find any chipped or dull teeth. But it’s hard to make that judgement on looks alone.  I’m anxious to make a few test cuts and see if I need to take the next step and actually have them sharpened.

I have been mocking up a few different layouts for the interior of the cabinet in the past few days. There are certain criteria which need to be considered in this process. The original design calls for three drawers with maximized interior space for art objects. One of the factors used in the design of the layout is the height and width of the cabinet itself and allowing as much room for taller art objects. This space will co-exist with the three drawers. Initially, I designed the drawers on the right hand side of the cabinet interior with two lower drawers, a space for art object(s), and a drawer above. I had also considered shelving in the design but decided against this as the height of the cabinet would further limit any taller art objects from being displayed.

In the photo, is my latest design of the interior. This layout is a good example of the design adage, "less is sometimes more". There is a fair amount of room on both the left and right side of the cabinet interior. The drawers have been divided into two assemblies with one drawer at the top left and two drawers at the bottom right of the cabinet interior. The design is also somewhat interesting and does not conform to the typical, established layout of drawers within a cabinet. This feature enhances the uniqueness of the cabinet interior in my opinion.

This design is not quite cast in stone as yet. I intend to further refine the layout with both interesting, unique design and optimized space as criteria. Mocking up is a great exercise in the design process, both initially and in finalizing the design. Having the components of a furniture piece mocked up to scale proportions reveals any design considerations which might have been overlooked in the initial design.

About a decade ago, my boss Steve Shanesy told me something about design that knocked me flat. When he was a struggling custom furniture maker, he took some time off to do something that few people do.

Create a new style of furniture.

That is one of the most ambitious personal projects I could imagine. I wonder if there has there been a new style of furniture created in my lifetime. Does James Krenov’s work constitute a new style? Sam Maloof? George Nakashima? I don’t know the answer to this question, but I do know how one mouth-breather of a woodworker (me) goes about it.

And because I never tire of hearing how other people design pieces, I thought I’d share with you the convoluted path I’m taking this week to make a simple thing for our fall 2008 issue.

I like old furniture – anything from Ancient Egypt to World War II interests me greatly. So when I set out to build something I hit the books to look at as many examples of furniture and decorative objects from that period as I can. In this case, we decided to build an 18th-century wall cabinet for the fall issue, so I cracked open all my books from Wallace Nutting, particularly “A Furniture Treasury.” This out-of-print book is available in many forms and is fairly inexpensive. I paid $20 for my two-volume set at Half-Price Books.

I might not look at wall cabinets when I scan these books. I look at lots of casework pieces and their proportions, mouldings and the arrangement of the components, such rails and stiles from doors.

When I’m saturated (a few trips through the treasury will do that), I’ll start sketching. It’s not formal. I just draw without regard to perfectly straight lines or dimensions. I sketch in the car while waiting for the kids to finish track practice. Or in the few minutes of peace I get between the bedtimes of the two kids. I sketch things that I’m sure won’t work just to give them their day in ink.

The more examples I draw, the better the chance I’ll hit something I really like. I don’t use the Golden Section or any other mathematical formula. It’s all gut.

Then I fire up a CAD program on my laptop and try to turn the sketches into something that can be built and has some dimensions that make sense – a dining table that’s 30” high, for example.

While In CAD I’ll make a few variations that take advantage of the cut-and-paste power of the program. I’ll move the drawers and doors around. Add a cupholder. With this wall cabinet I tried it with two doors (like the Nutting original), one door, then a door with a drawer.

Then I show the CAD drawings to others and ask them which ones they like. Why they like it isn’t as important – though I always ask. Maddy, my 12-year-old, liked the two-door version of this cabinet because of the symmetry and that you could display two contrasting pieces of pottery behind the glass panes. Katy, the 8-year-old, liked the drawer because it could be used to “hold little things.” Lucy, my wife, declined to put a dog in that fight.

Next stop: If I have time, I’ll knock together a prototype in poplar to see if it looks awkward. Prototyping always pays off in two ways: I make small adjustments that improve the design, and I’ll typically keep the prototype for our family.

— Christopher Schwarz

In ShopNotes 95, I wrote an article about some quick (and some unusual ways) you can keep rust at bay on your hand and power tools. For those of us with basement or garage shops, rust is an issue we have to deal with. I remember moving into our second home of our marriage and almost losing every tool I owned because I kept them in the basement. Actually, the basement was more like a root cellar and whenever it rained, water poured through the walls. It wasn’t until years later that I was able to jack up the house, replace the foundation, and finally have a dry basement for a shop.

Some months ago, I ran across this web page by Bob Neidorff. He does a great job of explaining what rust is, how to remove it, and how to prevent it. He also lists several resources for products and suppliers, including web links. Check it out.

Welcome from WoodworkersResource.com. In our first audio only episode, we get the chance to interview Christopher Schwarz. Chris is the editor of both Popular Woodworking and Woodworking Magazine. He also maintains two blogs @ www.lostartpress.com and www.woodworking-magazine.com/blog/. Now, you can add to that author. Chris' new book, "Workbenches: From Design & Theory to Construction & Use" is going to be the focus of our interview. But, I couldn't help but ask Chris some other questions as well, like what's it like being an editor of a woodworking magazine? Yeah, you're probably going to be a little jealous when you hear his answer.

If you've ever wanted to build your own workbench, or if you're frustrated with the design of your current workbench, you're going to want to hear what Christopher Schwarz has to say about one of his favorite topics: Workbenches.

Also, don't forget to go to our website and sign up for our newsletter. When you do you'll get a free gift. Go to our website to find out more.

www.WoodworkersResource.com

Saturday Mornings at Highland complement our woodworking class & seminar offerings. Join us at our store in Virginia-Highlands on Saturday mornings at 10am EST for FREE, live demonstrations featuring a wide variety of woodworking skills, tools & techniques. These 1 to 1-1/2 hour-long demonstrations feature our knowledgeable staff and instructors, local clubs & guilds, guest authors, and others. Upcoming events include woodturning, woodcarving, care & use of hand tools, joinery, book signings, an introduction to woodworking design software, and much, much more.

Saturday, September 27, at 10:00am—Phil will demonstrate how to turn a natural edge bowl. He will talk about consistency in wall thickness, chucking and mounting the piece on the lathe.

Phil Colson is the most personable and happy Operations Manager at Highland Woodworking. Ask him about turning! He's been with Highland Hardware for 22 years and has a vast reservoir of woodworking knowledge. Visit his website at www.philcolsonwoodturner.com.

All demonstrations take place in Highland Woodworking's retail store in Atlanta, Georgia and begin at 10:00am EST.

They really are that big!

These are the irons for a rather unique pair of planes I have been working on for the last 12 months. One iron is for the commissioned plane - the other for the spare “prototype”. The pair should be completed in the next few days - stay tuned...

You can sharpen your woodworking skills with helpful tips and techniques from the editors of Woodsmith and ShopNotes magazines. Get a FREE tip sent to your email address each week! Go to WoodworkingTips.com and sign up today.

Here’s last week’s tip from Woodsmith online editor Ted Raife:

Finishing shelves can be a time-consuming chore. After applying finish to one side, you often have a long wait before the finish is dry and the shelf can be turned to work on the other side. When each side needs several coats of finish, the whole process can really drag on.

Impatience finally spurred me to figure out a way to streamline the job. If I could safely stand the shelves on edge, both sides could be finished at the same time. Support feet attached to the back edge of the shelf to keep it upright were the answer.

As you can see in the drawing, the feet are simply thin strips of wood that are screwed to the back edge of the shelf — one at each end. When the job is done, I simply remove the feet and no one is the wiser. Except maybe me, I’ve cut the finishing time in half.

Good Woodworking,

Ted Raife
Online Editor, Woodsmith

© August Home Publishing Company
2200 Grand Avenue, Des Moines, Iowa 50312

Click here to subscribe to Woodsmith magazine.

I am delighted to note that Alan Peters' book
Cabinetmaking The Professional Approach is due to be republished in the autumn this ...

What's the best way to ensure a perfect dado? With a router plane. Tommy demonstrates why and how to use the router plane, a simple but valuable tool in a woodworker's arsenal.

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My mother-in-law had commented how much she liked the cabinet unit I made for my wife's cookie sheets, so for my mother-in-law's birthday, we decided something should be done about the cupboard in her pantry. There were a couple of"shelves" in there already, and by "shelves" I mean a couple boards that technically were holding a few things up.

So my wife and I pulled everything out of the cupboard, discussed possible solutions and took some measurements. Then I got to work.

Here's a look at what it looks like now:






I made this in three separate units (left side, center and right side) to make it a little easier to build and install. Other than building square components to go in an area that isn't square, everything went along quite smoothly. And best of all, my mother-in-law is very happy!

All three units are built with pine harvested locally by my brother-in-law. I sanded with 100 grit and then applied a BLO (Boiled Linseed Oil) finish. And here's one final picture to give a little perspective:

Jig plans for cutting circles, adjustable dadoes, and a flush trim jig are included in this week’s Woodsmith Woodworking Seminar Podcast. Bryan Nelson will also give the low down on how to build a hinge mortising jig and a unique router table sled that holds narrow workpieces firmly while routing across end grain.

Check out the Woodsmith Podcast Store for more deals on router bits and the seminar guide.

As woodworkers dive into handwork, they usually start with a block plane, then the bench planes, the saws and the joinery planes.

Joinery planes – such as plow planes, router planes, shoulder planes and rabbeting planes – are some of the easiest planes to set up and use. Their irons are straighforward to sharpen (no curves needed), and because the tool doesn’t produce a show surface, you don’t need to be a maniac about the keenness of your cutting edges.

One of the most essential joinery planes is the moving fillister. It cuts a rabbet either across the grain or with the grain. And it can make a rabbet of almost any size thanks to its adjustable fence.

Moving fillisters are different than other planes in the rabbeting family in that its fence is adjustable (planes with a fixed fence are called standing fillisters), plus it can work across the grain because it has retractable nickers (planes without the nickers are just plain old rabbet planes).

The iron Stanley No. 78 is the most common vintage version of this tool, however I’m not fond of the form. The fence wobbles because of the way it is attached to the body, so the plane does a poor job in hard woods (in my experience). Record, by the way, fixed this problem with its metal version of this plane, though it’s a tough tool to find in North America.

This really is a case where the wooden versions of a plane are superior. Wooden-stock moving fillisters are fairly common in the secondary market, though they usually require some rehabbing to be usable. So what do you do?

You could ask Clark & Williams to make you one – they showed me an excellent moving fillister they make a couple years ago. You could buy an ECE from toolsforworkingwood.com. Or you could buy a new traditional one from Philip Edwards at Philly Planes in England.

Philip’s planes are excellent. I recently reviewed his miter plane plus a plane designed for raising panels for drawer bottoms. They both work like a charm. So it’s very exciting to me (and a good sign for hand work in general) that there is a new moving fillister on the market from Philip’s shop.

We’ve ordered one for our shop here, and I will offer a full report once it arrives. Until then, however, if you need a moving fillister, I can recommend Philip’s planes highly.  

— Christopher Schwarz

P.S. Want to learn more about joinery planes? Then definitely pick up a copy of “The Wooden Plane” by John M. Whelan.