It?s safety week at Popular Woodworking. Reading their blog this week took me back to my start in woodworking.

When my wife and I bought our house, we decided that we wanted a tile-top kitchen table. I opted to try making the table after we failed to find what we had in mind. I enjoyed that experience so much that I thought I?d get more involved in woodworking.

I started slowly. No multi-thousand-dollar trips to the woodworking stores, I got some handheld tools and went about reading everything I could find. Before long it became clear that a table saw would be a useful tool. I shopped around for a used contractor?s saw and found a Delta at a reasonable price (though I had to drive to Pittsburgh to get it). ?Now,? I thought, ?I?m a real woodworker.?

I got the saw setup in short order. While I had read about table saw use, I don?t believe that I had ever before used one. I set the rip fence, fired it up and began pushing a piece of oak through. After a couple of seconds the oak was on the other side of the room, striking the water heater with a very loud noise. Unhurt but a little shaken, I shut off the saw and went upstairs. My first (and only experience with kickback).

I don?t remember what I thought about -- if I considered selling the saw and taking up golf -- but after a while I ventured back down to the shop. The water heater sported a nice new dent, a convenient reminder that I could have been sporting a nice new dent. Luckily something made me decide to give it another try, to climb back on the horse.

Woodworking has been an important part of my life since. An inauspicious start notwithstanding. It?s good to think about such things once in a while, to remind ourselves that our hobby (or profession) involves inherent risks. Fortunately, the risks are balanced by great rewards.

June marks the 4th anniversary of the completion of my new workshop. Prior to that, I worked in a basement shop with concrete floors, 6 foot ceilings, exposed lightbulbs, and exposed knob & tube wiring. Dungeon-like.

Yet it was still my favorite place in the house.

I dreamed for 10 years of having an above-ground shop and when I finally decided to have one built, I spent a full year researching heating systems, insulation, material, lighting....everything.

I even built a to-scale model of the shop, complete with all my equipment, just to make sure that everything would fit and that I would be able to tell my builder where to put the outlets. I determined where to put the 18" bandsaw in relation to the back window, so that long boards could stick outside and rest on the sill while I ran them through the blade. The model also helped my builder work up pricing.

The first design had a second story and a finishing room closed off by a sliding door. After my builder told me how much it would cost, reality set in, and both those luxuries were crossed off the list.

The model itself was built hurriedly?just plywood tacked together with brads?but it helped immeasurably when I was able to tell my builder where to put my 300 pound band saw and 400 pound table saw, as he and his helper carried them out of my basement shop and into the new one. They were able to plop them down exactly where I wanted them. I doubt they would have appreciated some lady telling them to "Move the table saw to this wall. Nah, that's not right?move it to that wall instead. A little to the left, no right."

The next sound I would have heard would have been my contractor and his helper slamming the door shut behind them, leaving a trail of expletives in their wake.

Planning for and designing my shop was an exciting journey, and I ended up with a cute little woodworker's dollhouse in the process.

How you dress your windows is an important piece of your overall design and a lot of thought should go into the style and fabric used for your bedroom window treatments.

How do you know which window treatment is right in your bedroom?

There are 3 basic types of window treatments that can be used alone or in combinations. Here?s some tips on these basic types and what style of room you might choose them for.

Curtains and Drapes

Curtains and drapes are a style of window treatment that most of us can recognize but there?s many variations on this old standby. If your bedroom design is simple, you might choose just plain sheers as these will go well with many themes including a romantic theme, a modern theme and anything in between.

Valances can be used to soften the top of the window. They are great if you don?t want to cover up a great view but also don?t want the window to look too bare. Typically valances are made from fabric but you can build them form wood and decorate them with an aged or stencilled paint to go with your Tuscan or French country design. Fabric valances can go with almost any bedroom decorating theme depending on the fabric you choose and can be used in conjunction with sheers to give you a bit of privacy.

Drapes are an elegant bedroom window treatment. If you have a romantic, French or Victorian theme some heavy drapes in rich fabrics can transform your bedroom into one fit for a queen. Heavy drapes look best on tall windows, but if you short squatty windows like most homes built in the 60's - 80's don?t let that deter you from using great drapes. You can always just keep them closed to hide the window behind and no one will ever know the difference!

Wooden Shutters and Blinds

Indoor wooden window blinds are a great way to add privacy to your bedroom and can be used alone or with curtains, drapes or valances.

There are 2 styles of shutters - plantation shutters and café shutters.

Plantation shutters cover the whole window and have louvers which can be opened and closed to let light in or provide privacy. These shutters go great with a plantation style look, a country look or a coastal cottage look.

The café shutters are the kind that cover only the bottom half of the window and swing open to let light in. These also look nice in a country or beach style bedroom and are perfect for a Paris apartment style as well.

Fabric Blinds

Fabric blinds add a nice touch to any bedroom and can be decorated and embellished with whatever you want. Fringe, pom-poms and ribbon are just a few of the great ways to make these bedroom window treatments stand out.

Roman blinds work well for childrens rooms and informal styles such as cottage or beach style decor. These shades fold up to expose the window during the day and roll down at night.

Festoon blinds are puffy with lots of fabric. They are quite ornate and work best in a romantic style bedroom such as a Victorian, French or Italian motif. Festoon blinds look best on wide windows and might not be good for small rooms as they can tend to be a bit overwhelming.

Lee Dobbins writes for http://www.bedroom-designs-and-decorations.com where you can learn more about popular bedroom decorating styles.

Designing your rooms around an ethnic theme can be exciting and fun and allows you to bring elements of other cultures and distant lands into your home. You can be more daring in your approach to colour and with such a wide variety of textures and patterns available, this can collectively add a whole new dimension to your interior design project. Unusual artifacts from different cultures can work very well as focal points in a room and as there are no hard and fast rules to stick to and because there are so many variations, you can go beyond the usual or traditional to portray a style that is not only beautiful, it is unique.

So what do we mean by ethnic?

Ethnic basically means native or indigenous people from a particular area so in relation to Interior Design it means to bring the natural elements that are representative of whatever culture, land or peoples you choose to portray into your own home to define your space.

Naturally the world is your oyster as they say so there are countless cultures to choose from, all you have to do is bring a particular ensemble of colours, patterns, materials and artifacts together to create a "look" that is recognisable and distinctive. What about a Mediterranean flavour, Native American Indian symbolism, or perhaps Tibetan Buddhism? Popular themes include African, Mexican, and Asian but you can go with whatever inspires or appeals to you. Here are a few ideas to get you started.

African Theme

Think of Africa and all that it conjures up in your mind, the landscape, the sounds, the smells, the colours, the mood, and then if you try to pick out the key points, what would they be? Colour schemes might include earthy colours like green, beige, browns and tans, set off with orange and splashes of red. Think about floor and wall coverings, natural substances would probably work best. Finishing touches can include wall hangings, African artifacts, drums, rugs, African fabrics and prints, animals made of stone, clay or wood, ceremonial masks hung on the wall, brightly coloured African bowls and pots, and so on.

Mexican Theme

What does Mexico mean to you? Perhaps desert colours with sandy tones, beige and khaki, along with reddish, rustic colours and hues. Blankets and woven fabrics in bright colours, perhaps terra cotta pots and bowls, pine wood is popular for furniture. Artifacts can include symbols of the South West or from the Spanish influence, or from the Aztecs, Mayans and other ancient civilisations, all of which can add an interesting and authentic Mexican look and feel.

Asian Theme

There are many variations within an Asian theme but two quite popular ones are Japanese and Chinese. Japanese themes tend to lean towards a more minimalist look and have a tranquil and peaceful feel. Consider a futon and using screens to get that Japanese ambiance. Colours tend to be natural and objects from nature often feature as focal points, for example, smooth stones and pebbles, water fountains and bonsai trees. Chinese themes on the other hand might involve brighter and bolder colours, lanterns, dragons and other mythological creatures, artwork depicting the traditional people colours and landscapes and Chinese handwriting.

How to get started

Once you have established which particular ethnic culture appeals to you, browse through books and magazines and the Internet to get ideas that will spark off your own imaginative flair. Identify what elements go together to make up that particular look or feel that you want to create.

Consider the walls, ceilings and floors carefully as this will provide a base for you to work from and then you can add in the details to finish it off. For example, is the texture and appearance of the walls and ceilings rough or smooth? What floor covering is appropriate, should it be wood, stone, tiles or carpets? Will rugs and mats make a difference and if so what are they made of? Are the windows better suited to drapes, blinds or shutters? What style of furniture works? What about plants, motifs, pictures and wall hangings?

The theme you adopt and the way that you choose to portray specific elements of that theme is entirely up to you and your imagination, the end result will be your own unique interpretation of a culture or a place and you will have added a touch of the exotic to your home.

David McEvoy is an expert in interior design. If you are looking for a leather sofa to give the finishing touches to a newly decorated room then please come and visit our site http://www.leathersofa.uk.com/

Well-crafted, durable wood shutters - whether interior or exterior - represent an investment in your home you will never regret. Apart from contributing to the elegance, grace and atmosphere of your dwelling, wood shutters will prove their worth in many practical ways over time - not the least in protecting your home from the harsh extremes of sun and storm!

Exterior wood shutters are available in a number of basic designs. These range from the raised panel that is particularly popular in coastal areas, to the familiar fixed louver. Alternatively opt for "country style" board and batten, or an exotic, but practical bermuda wood shutter installation.

What should you take into consideration when deciding which wood shutter set to order?

To start with you will need to decide what look you are trying to achieve, and this will depend largely on the style of your home. Wood shutters can be designed to complement just about any residence, but cost will of course play a much bigger role in highly customized, and fully functional wooden shutters.

Before making this major home improvement decision, look at your general interior design, patio design, and patio furniture. Your window shutters should blend into, and enhance these aspects.

You will also want to ensure that the right wood is used for a durable, and warp-resisting wood shutter. Although many woods are used in the construction of wood shutters, the woods of choice are Western Red Cedar, or Mahogany. Vertical-grained wood is also more resistant to warping.

If wood-work isn't your cup of tea, take a carpenter-friend along to check the quality of construction, especially the joints. Mortise-and-tenon joints are much more durable than screwed, or butt-glued joints. While you're at it, also ensure that you get wood shutters with copper or aluminum capping for more protection from the elements.

Interior wood shutters can be considered part of the furniture, and if the right design is chosen, they contribute greatly to the atmosphere, elegance and warmth of a room.

Even though interior wood shutters are not directly exposed to the same range and intensity of the elements as exterior shutters, they will still need to properly deal with temperature changes and design stresses. To avoid warping and other alignment problems, wooden shutters constructed of 100% hardwood, such as American Yellow Poplar and Elm, are well suited to the role.

Of course, interior wood shutters are also more than mere decorations! They are excellent insulators to keep temperatures at a comfortable level.

Don't go for the first fit-all-sizes window shutters you come across. By doing some research, and getting lasting, stylish and functional wood shutters, you will greatly increase the value of your home!

Awnings-and-Blinds.com - Read the Plantation Shutter article at Awnings-and-Blinds.com - also by Rika Susan of Article-Alert.com.

Copyright 2006 Rika Susan. This article may be reprinted if the resource box and hyperlinks are left intact.

Alan Turner and Mario Rodriguez*, two well-known and talented woodworkers, were the guest speakers at our most recent woodworking club meeting, a combined meeting with another club. Alan started his own woodworking school several years ago, The Philadelphia Furniture Workshop, where both he and Mario are instructors.

Mario demonstrated mitered through-dovetails and Alan demonstrated how to sharpen a scraper. Alan sharpens them a little differently than I do, so I decided to have a showdown between his technique and mine. I used the same scraper, a Sandvik, and sharpened one edge with my technique and the other edge with Alan's.

Here?s my process:

Chuck the scraper in a vise, and using a smooth file, square each edge 90º to the sides. Switching to an 8,000 grit waterstone, hone the edge. Skew the scraper as you hone, so you don't plow a groove in the waterstone. Next, hone 1/2" of the face of both flat sides. Put some oil on a burnisher (some people use the handle of a screwdriver, but I have better luck with a burnisher), hold the scraper in your hand** and, using a fair amount of downward pressure, slide the burnisher 3-5º along both sides of each long edge, 5 or 6 times. The idea is to create a hook on both sides of the edge so you can use both sides to scrape.

Here?s Alan?s process:

First, he oiled the scraper and the burnisher. Then he laid the scraper flat on the workbench near the edge and used the burnisher to draw the metal out along each long edge on both sides of the scraper, creating a ?U? shape of metal along each edge. Then he chucked the scraper in a vise and filed the edges to 90º. He added more oil to the scraper and burnisher, then he drew the metal out once more on the workbench. Back to the vise, he burnished each side of each long edge 2-5º.

To use the scraper, flex the blade between your thumbs and hold the scraper at 45º to the work surface. The moment of truth....

They looked the same to me. I was surprised because I thought Alan's would work much better. I still think his is a better sharpening technique that will produce more consistent results. But, take your pick!















*Photos of Alan and Mario courtesy of Robert Aspey.
**It's possible to cut yourself by holding the scraper in your hand while using the burnisher, so to be totally safe, you can secure it in a vise instead.

Lie Nielsen now carries tools to create string inlay* (pictured at right) based on Steve Latta's innovative designs.

I took Steve's inlay class a year ago at Olde Mill Cabinet Shoppe, where we made simpler versions of the tools (pictured below).

While I won't show you how to make the tools since they are Steve's original designs, I will tell you that they are simple to use, if you're thinking about taking Steve's class, buying the L-N set, or making your own. I practiced for only about an hour before starting a Chester County line and berry design for a spice box door. It only took about 3-5 hours to do all of the inlay for this panel, although the "berries" aren't finished yet, nor has the surface been finish-sanded. It's far from perfect, but hopefully people won't inspect it too closely once it's done (which may be never, since it's been sitting in this state of incompletion for almost a year....)

The radius cutter pivots on a point while little teeth plow a groove for the inlay. You can see a close-up of the teeth configuration on the L-N website. In Steve's class, we also made a tool that plows a straight line and a thicknessing gauge that ensures the veneer strips are consistent in width. To use the gauge, you pull the veneer strip through a kerf in a block of wood. One side of the kerf is wood. The other side has a little scraper attached to it.

L-N also offers a dvd featuring Steve Latta creating the line and berry technique. I have not seen this video, but I can vouch for Steve's excellent teaching skills.

It's easier than you might think to add decorative string inlay to your projects.

*I do not sell for Lie-Nielsen (or Steve Latta), nor have I used their inlay tools, so I cannot comment on their performance.

I have completed dimensioning, handplaning and scraping the surfaces of the panels for the drawer cases. The panels were longer in length than necessary, an extra length allowance of each of the panels comprises one side of each drawer case. These drawer case sides will be rabbeted into the top and bottom panels. The grain orientation of the drawer cases is similar to the cabinet top and bottom, this is purposely designed in to accommodate any expansion and contraction due to humidity changes in the ambient air. In the lower drawer case, the sides are somewhat longer to accommodate two drawers and a drawer divider. The hardwood drawer divider will be fitted into dadoed slots in the center of either side of the drawer case. Dadoes run perpendicular to grain orientation as opposed to grooves which run parallel to the grain orientation.

The drawer case sides, and top and bottom panels are oriented in the same direction to have the complete drawer case movement occur front to back similar to the cabinet itself. The drawer case sides need to be trimmed to size next and then a dado created in the dual drawer case. The drawer cases are assembled afterwards with careful attention to maintaining the drawer cases perfectly square. Once the assembly is complete, I will fit the drawer divider into its dado.

I'm anxious to begin work on the drawers and have yet to decide whether the drawer faces will be a contrasting color, most likely so. In this case, I need to find a wood which complements European Beech.

Black Desk, Part 1
Black Desk, Part 2

Now I get to start on the top of the desk. The original plan was to use the same plywood and maple as the bottom shelf, however plans change. Especially when I get my hands on a 7ft oak ply desktop!

The church I work at had torn down a desk made by the in-house cabinetmaker. The top was made from 3/4" oak ply with solid oak edging and birch ply reinforcement underneath. It's heavy, sturdy, and best of all: Pre made!

I trimmed it to the 74" length I needed for the desk with a circular saw. I then spread CitruStrip on to remove the varnish. Scraped with a plastic scraper an hour or so later, then wiped down with mineral spirits to remove any trace of the stripper.

I let it dry overnight then started applying the Minwax Water Based Wood Stain in Onyx. On the underside I only applied one coat. Just enough to darken the bright bare wood.

One note about this stain. It dries FAST! In 3 minutes or less here in Colorado. I was unable to stain the entire top in one pass because the stuff would dry before I could wipe it off. I had to do it in sections. I found stripes the length of the top to be most effective in masking the overlapping sections.

I applied the stain in 6 coats over the course of several days, as time permitted. Because the oak ply had been stained and varnished before, the stain didn't penetrate the same as fresh wood would have. It took 6 coats to get the ebonized look I was shooting for. There is some small amount of the original color showing through under just the right light, which adds to the look.

After the stain fully dried (read: when I finally got some more time to work on this), I began applying the varnish. I chose Deft Semi-Gloss Brushing Lacquer because I'm addicted to the smell of lacquer. NOT! The stuff is brutal! I had to open the garage door all the way and use a respirator to put the stuff on. And the smell still permeated the house.

But it gave me the finish I wanted. Because I was going for a satin look over a solid black desk I wanted the look a solid semi-gloss finish would give. It was the closest to the dresser I had already purchased for him that I could get. Normally I would use a gloss finish for all coats except the final one, only then applying a semi-gloss. That does the best job of preserving the color and beauty of wood. But this wood is black. There is no color.

I've gotta say that I really like the way this stuff flows out when it's brushed on. Hardly a trace of brush marks throughout the desk. And with 6 coats (yep, six!), I expected to need to sand it down pretty heavily. But it was unnecessary since there were no brush marks to have to sand down!

My box fan with a furnace filter did a terrific job keeping the dust from landing on the wet finish. No bits or bumps to deal with.

The finish also flowed nicely into the oak's grain, allowing the texture of the wood to show.

I'm happy with the results. I just wish I could keep the odor from getting into my house. I think I'm going to have to stick with the less nasty finishes like shellac and poly in the future.

After the 6 coats were applied over a full Saturday, I let it cure overnight in case there were any thick areas that needed extra time to harden. I doubt it, but better safe than sorry.

So this morning I got my son to help me carry it into his bedroom and install it under his bunk bed. The layout of his room precluded a full shot of the bed with the desk underneath. And, honestly, it's a teenager's room. You really don't want to see any more than I'm showing!!

I had drilled pocket holes in the leg frames with a Kreg drill bit, and these were used with Kreg 1" Fine pocket hole screws to fasten the top to the legs. I also put some felt pads at the top of the legs to keep the top from loosening and rattling on the legs over time.

Once everything was installed and tested by my son and I laying on it (I'm not skinny either), I put his lamp on the end and took some final pics.
My son is really happy with the results, as am I. I love how everything turned out and suspect he'll be using this desk for a long time.

Soon he'll have his computer, some shelves, and piles of crap all over the thing.

He is a teenager, after all.

Should you ever happen across me anywhere on the face of the interweb, muttering at length on the evils of poly-uckathane varnish, don't think it's from a position of strength now, will you? No, it's not because my hand is innocent of inflicting such horror; rather that's it's largely based on personal experience. One such varnished chicken came home to roost not long ago. Talk about a blast from the past - an early endeavour that was condemned to be returned to its perpetrator on the demise of the owner. There's an argument against living a long life, if ever I came across one. The idea of further youthful projects returning like so many homing pigeons is enough to make me wake up in the early hours in a cold sweat. But that's by the by.

It's April and Hendrik is back to answer more of your questions.  This month we're talking about dealing with troubled stock.  Since nothing is worse than dealing with cupped, bowed, twisted or crooked boards we answer your questions about how to tame these problems or maybe even avoid them.

Today is part 2 of our discussion, so hopefully if we haven't answered your question yet we will today.

Remember for comments, questions and schwag entries drop me a line at mattsbasementworkshop@gmail.com.

 Listen to today's show by clicking on the player below

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It's April and Hendrik is back to answer more of your questions.  This month we're talking about dealing with troubled stock.  Since nothing is worse than dealing with cupped, bowed, twisted or crooked boards we answer your questions about how to tame these problems or maybe even avoid them.

Today is part 1 of our discussion, and since it's Friday that means it's Feature Friday so one of you lucky listeners is winning some free schwag!  Are you the lucky listener??

For anyone interested, coming up on April 11 & 12, 2008 there's a great little tool demo and woodworking school openhouse going on at J. Miller Handcrafted Furniture in Chicago. The details can be found at Lie-Nielsen.  There will be some great demos by a number of well known woodworkers and I'm planning on checking it out myself.

Remember for comments, questions and schwag entries drop me a line at mattsbasementworkshop@gmail.com.

 Listen to today's show by clicking on the player below

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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.

Aside from eBay descriptions, photographs might be the biggest fibbers in the world of tools.

I?ve just finished judging a toolmaking contest sponsored by WoodCentral and Lee Valley Tools. During two days, I and two other judges examined, used and quarreled about more than 70 amateur-made tools. Our task was to award three prizes: the best-looking tool, the one that displayed the highest craftsmanship and the tool that worked the best.

As the entries came in, Ellis Wallentine of Wood Central posted pictures of the tools that were snapped by the makers (you can see those pictures here). I checked back every week or so to take a look at the entries and get a head start on judging.

Judging this contest, I thought, was going to be a cakewalk. We?d wrap it up in a couple hours and hit the Irish pub near the Lee Valley headquarters and spend the afternoon yucking it up.

It didn?t work out that way. In fact, the Lee Valley folks had to gently push us out the door after the first day of judging.

Here?s what happened: Photos are sometimes deceiving. Though some tools looked as good as they worked, other tools that looked like a million bucks in photos couldn?t cut a soggy toothpick in half. Tools that looked like they came over on the Mary Rose were so sweet they would almost do the job themselves when you went for a bathroom break.

And then there were the "ugly" tools. The tools that looked like they were made in a style that you had to wear either a black beret or Big Smith overalls (and no shirt) to truly appreciate. These tools managed to bore their way into your heart like a tapeworm in an Arkansas rice paddy.

So we argued about the tools. We almost abandoned any hope of awarding a prize for aesthetics. We were just too far apart. The craftsmanship award, however, was a little easier. There were lots of well-made tools, but some required more varied skills to make than others.

And function? That was the easy prize. When the steel hit the wood, it was quick to see which tools cut the mustard and which should be used only for resawing the mustard. In the end, using these tools radically changed my view of them. I didn?t care if the photos looked like junk or they had been professionally shot. When I looked at the pictures I saw only a tool that worked or didn?t work. As a result of all this, I was really pleased that we judged this contest in person and not via the photos. I think we got it right.

I cannot say yet which tools I personally liked or which tools I didn?t, but I?m including a few photos I snapped during the judging to break up the awful grey page generated by my typing prowess. When you take a gander, just make sure that you remember that pixels can be a crock of poo.

? Christopher Schwarz

Black Desk, Part 2
Black Desk, Part 3

"Emo"? "Goth"? "Death Rocker"? What name do the kids with pale skin and black clothes go by now? Bleh. Can't keep it straight.

My 16 year old son, however, just likes black stuff. Especially with an asian twist. Can't help with the asian thing (I bought his dresser because of the asian styling), but I can go with black.

We picked up a bunkbed for him from AFW. It came with a little desk underneath. The desk was a piece of crap that broke during assembly. It was too small anyway, so we decided to make a desk the full length of the bed. So basically the bed and desk are the same size, bed on top, desk on the bottom.

We needed to do this on the cheap, so dimensional lumber from Lowe's is the material. $1.80 2x4's for the legs, and 1x2's for the framing. I usually like working with construction lumber, but not this time. I don't know if I didn't wait long enough to use it (I jointed and planed the 2x4's 3 weeks before milling for the legs) or if it was just craptacular wood. In addition to this, the 1x2's were made of friggin styrofoam or something. They virtually disintegrated when machined in any fashion. They splintered, chipped, cracked, etc, to the point where I gave up trying to improve the crap. It'll all be hidden anyway, so I've just got it as nice as possible then left it alone.

Whatever the reason, this became more of a challenge than I am used to.

Because of the expected abuse this desk will take (it is going into a teen's room, remember?) I wanted mass in the legs. So I doubled up the jointed and planed 2x4's. Rolled on the glue and used lots of clamps. This took forever because I only have enough clamps for one leg at a time. Glue, clamp, wait 2 hours. Glue, clamp, wait 2 hours.Glue, clamp, wait 2 hours.Glue, clamp, wait 2 hours.

The problem was I got some checking while the glue was drying. I couldn't believe it! I was furious. Stupid construction lumber.

Sigh.

Luckily, the ends of the legs will be hidden by the desk top and the floor. As long as the checks stay within the end grain, I'll be OK!

I trimmed to final length (29") and started on the design. First I used a 1/8" kerf saw blade to cut two lines around the bottom of the leg. This was a simple task with the crosscut sled. I just clamped a block at the distance to the first line, cut the kerf on all four sides of the leg, and repeated for all four legs. I then moved the block a little over an inch and repeated. Sanding was accomplished with 150 grit paper folded over a ruler.

I also wanted some vertical designs on just the front legs. So, thanks to the inspiration I received from a member of Woodnet's forums, I slapped together a jig to guide my router in cutting some tapered coves in the front of the two visible legs.


I basically used a strip of plywood, cut it in half, then cut a 3/8" piece off each half. Those acted to separate the two halves when glued together, creating a template for my router.

I used a 1/2" cove bit with a 1/4" shaft, and my 1/4" Porter Cable guide bushing.

A note about the PC bushings. If they're nickel plated, they're crap. The @#$%%^ nut will NOT stay locked in place. I bought a Woodcraft branded brass 1/2" one that stays tight with no problems. Porter Cable really REALLY needs to address this. I'm not the only one with problems with the silver bushing sets. In fact, it seems to be nearly common knowledge among the more experienced woodworkers online.

I made one cove shorter than the other by clamping a wrench across the opening to the jig, causing the router to stop sooner. This gave a little variety to the otherwise geometric designs in the legs.

When routing the coves, I had to fill in the middle because the coves were larger than my bit. But the 1/2" one was all that I could fit in the opening of the jig. So the effort was spent cleaning out the bottom of the cove with multiple router passes instead of coming up with a mickey mouse method of getting a larger bit into the jig, or redesigning the jig.

The taper was accomplished by sticking a piece of wood under one end of the jig, raising it up 3/8" or so. I set the bit depth so it took out less than 1/8" of the leg at the top, but a full 1/2" at the bottom. Because the cove bit cuts deeper, it also cuts wider at the bottom, giving even more interest to the design. This is the first time I've tried varying the depth of a cove like this, and I'm happy with the results.

The legs were attached with 1x2's using glue and pocket screws. The construction grade 1x2's were complete crap. Splintered and cracked at any opportunity. And it considered dirty looks opportunity enough!

I only attached 3 sides because the desk top and shelf will hold them together much better than these shitty 1x2's.

Once glued and screwed, and the glue scraped off I cleaned up the garage to make room to finish the legs. Because I'm going to have to make this a knock-down piece of furniture, I needed to make sure the normally hidden surfaces were stained. So the bottom got stained first. I used Minwax's water based stain in Onyx.

We did lots of tests with different "black" or "ebonizing" stains on pine and birch along with different final finishes. We ended up with the Minwax stain applied in two long-soaking coats, followed by 3 coats of water based poly. For the appearance checks I just used some rattle-can Minwax crap I happened to have. I'll find a better WB poly to use for the final finish next weekend.

The last photo was after the first coat of the onyx. It shows grain and even knots nicely, while keeping the feeling of a naturally black wood. The depth of the color will really come out when the second coat is shown and the poly applied. But before the poly, there will be an added detail that I'll show in the next installment.

So the motto over at the ?Rough Cut Forum? is ?less type-type, more chop-chop? and that?s meaningful to me. I?ve cleared some time, because I?ve been ?chop-chop?in?.

When you are a builder, in our case in wood, each endeavor, demands laser beam focus. A bit of self evaluation has me noticing that I post more when my work is completed and I?m transitioning, a very good trait for a building woodworker. I get notes from the guys over in T-Mac?s Forum telling me to get ?chop, chop?in? on Carlo.

Well yesterday, I put Carlo back in focus, along with a Wendell Castle inspired piece. The 2 pieces are in good phase right now, gluing-up on one and sculpting on the other is a nice mix. We?ll see alot of Carlo and peak-in on the Castle piece.

I?ve also taken on the nighttime challenge of being a part in the first that I know of, Furniture: Internet Classroom Blog Build.

Tommy MacDonald (AKA: Chizz, T-Chisel, T-Mac, Big-T) of Rough Cut Fame, with Al and a North Bennett Street School student, Eli Cleveland, have produced an internet woodworking podcast curriculum taking those interested through the building elements of the Federal Period. Yesterday we got our first look at the project, the forum, gives T-Mac a good chiseling and calls it the Crazy Leg table, but I see it as a great marketing tool. Which leg do you prefer?? Would you like satin wood or lace wood in the drawer front??? The bellflowers are an expensive option; would you like to include those????

T-Mac?s design has those building and those watching; making 4 different style legs? of the Period, bellflower inlay, sand shading edges, making inlay banding, cockbeading and a top decorated with all kinds of inlay elements of the Federal Period. T-Mac?s thinking is that once the forum is exposed to the Federal Period, a Pembroke table, Demilune table and such, could be the next project. The project presentation will be geared towards evening shop time.

For those of you unaware, the Rough Cut forum is what I term, a ?building or working forum?, not many posts show after 8am or before 6pm. That may change as the build gets underway. What I like about the forum is nobody tries to dominate knowing everybody on the forum is very knowledgeable and each woodworker has something to offer. After all the tag line is?.. ?a podcast for the serious woodworker?.

If you are interested in period furniture, or like me believe there is nothing wrong with ?Mona Lisa?s Mustache? after all; I have done a Chippendale top in mica and metal and see value in mixing periods, jump into the Rough Cut Forum build or just watch the podcasts. There?s positive energy to feel and it should be interesting to be a part.

As for our blog??.. expect a lot of Carlo, peaks at my Castle inspired piece, an ICFF interview, and a visit into the shop of David Ebner who is presenting at this years Furniture Society Conference. That video is shot, I?m scheduled to shoot another Furniture Society player April 10th.


?less type-type??more chop-chop????Neil

GO TO: Rough Cut Forum

The Union Village Shaker community is about an hour north of my home in Fort Mitchell, Ky., but it doesn?t figure large in the world of Shaker furniture like the eastern Shaker communities do.

Union Village was the first and largest Shaker community west of the Allegheny Mountains, and it was the parent community for the western Shaker communities in Ohio, Kentucky, Indiana and Georgia.

Founded in 1805, more than 4,000 Shakers lived at Union Village during its peak and they were known for selling herbal medicines, seeds and brooms. The community declined until it was sold in 1912. The site is now a retirement community in Warren County, Ohio.

One of the artifacts remaining from the village is a walnut blanket box with fine lines and tight dovetails. The box is similar in form to many Shaker chests that are extant, but this one has always been a favorite.

I chose to adapt this design because it highlights the advantages of my preferred chest-building method. The fine bit of transition moulding around the plinth is easy to accomplish with this traditional construction technique.

While I retained the proportions and lines of the Union Village original, I used finger joints instead of dovetails. And I used figured maple instead of walnut. These two alterations give the box a contemporary feel.

Statistics:
Dimensions: 21-3/8? high x 38-1/2? long x 18-1/4? deep
Materials: Tiger maple exterior; poplar interior parts
Finish: Custom blend of oil, varnish and linseed oil.
Construction Details: All surfaces are handplaned using traditional techniques. Plinth and box are joined using entirely traditional joinery methods. All the hardware is iron with traditional pyramid-head screws.

? Christopher Schwarz

 

 Ah, the hard work was done...  Or was it?  I got the roof framed, and it was time now to get it shingled.   Before I get to that, the last little bit of framing needed to happen - the cupola.  Here you can see the base I had constructed while framing up the roof:

You can also see the roofing materials nowhere near I wanted them to be - I wanted them on the roof, but there they are on the ground...  Of course, they are the heavy ones - architectural layered shingles, which basically means each bundle weighs twice as much as a regular bundle...  but I digress... 

Here's a rear view of the building, showing the cupola framing and the rear overhang I neglected to include in the last installment of this unending adventure:

It was much easier to frame up the cupola on the ground, as there were several angled cuts to make and it's easier to make any adjustments where the saw is closer than a run down the ladder...  besides, that 8/12 pitch is hard enough to stand on.  That - and I wanted to make sure I got the weather vane installed properly.  I purchased it from The Weathervane Factory located in Bar Harbor Maine.  I had considered something more whimsical, but in the end I am happy with this purchase - it fits the finished design of the building quite well.  Here is the framed cupola, complete with vane, on the floor of the shop:

And - of course - in it's final resting place on the top center of the shop:

The cupola is a functioning roof vent, along with gable vents at each end - there should be plenty of air traveling through the attic space with this setup.   I used pre-made louvers just to save on time and keep them a bit more maintenance free...   In retrospect, I think if I were to build it now, I would use a larger roof on it - something with a little Asian influence - but, I'm not going to tear the thing down for it!

Anyhow - I had the roof sheathed now, the cupola framed and in place, and all that was left was to heft all the shingles up onto the roof.  By my calculations, it was going to take about 18-1/2 square or so, or 56 bundles.  That's 56 trips up the ladder carrying some god-awful heavy material.  Of course - it was mid August, the hottest part of the year... You can't shingle a roof unless it either the hottest or coldest part of the year, you know.

I have mentioned that one of the reasons I was able to build my own shop was because I had become my dad's caregiver after mom passed away.   Dad had come to live with us right at  New Year's, and did quite well at first.  But it was about at this time that his condition (Alzheimer's) became quite severe.  It made working on the shop during the day difficult at best...  Dad had taken to wandering off on me, wouldn't come out to the shop to "help" me any longer, and I couldn't leave him by himself for more than about 10 to 15 minutes, even if he was sleeping.  Usually I would have to wait for my wife to get home from her work to "take over" for me so I could work on the roofing in the evening.  The nights were long, and the weather cooler in the evening, so it wasn't all bad, I guess...  

We took him in to see a doctor and she suggested we contact Hospice of North Idaho - that they might be able to help us out.  What a godsend those people were...  They came out three times a week, giving dad care and me some time to run errands and get some work done.  I cannot thank them enough for their exemplary service, they were truly wonderful.

As a result, I don't have any photos of progress on the roof so here it is magically complete, about a week after Labor Day:

It took me about a month to get it from the picture before to that one.  First to go up was the class A chimney for the wood stove, the mast for the electrical service, then the fascia board followed by the shingle underlayment   Here you can see the mast for the electrical service, and my temporary scaffolding re-erected after being torn down when the roof framing was completed:

It was no fun doing this side of the roof - an 8:12 pitch gets hard to stand on after a while, and I'm no fan of heights...  It took all of my courage at some points.  I did use roof jacks for this side, which made it easier. 

It ended up taking about 19 squares of shingles to complete, I used the heaviest kind (of course!), an architectural "layered" shingle that has a 35 year warranty.  What I really remember is how exhausted I was by this time...  When I did work on the shop, it was at a frantic pace.  The shingles were heavy, of course - and I can still feel the pain in my shoulder from lifting them into place.  I had to wear tape over my fingertips, as rubbing the stone on the shingles had worn my fingernails down to where they were bloody.  Worst of all was that Dad was a 24 hour a day job, as he had no sense of day or night anymore. 

Dad was rapidly getting worse, and I stopped work on the shop to spend time with him.  He passed away on the 21st of September.

The next month was spent bringing him back to his home to be buried next to mom, and to get together with family to decide what to do with their estate. 

Getting back, it was well into October.  Life was about to change for me - no longer tied to the house, I needed to get back out into the workforce.  My focus now was on updating my resume and on storing what I had received as an inheritance from the estate.  When I started the shop, we had no idea how long dad was going to be with us, and there was a finite amount of money to work with.  We had it worked out where once the shop was complete, dad and I could start working out of it, making money out of it, hopefully enough to allow me to remain as his caregiver.  It turned out that wasn't to be, the time with him was too short, and the shop was incomplete.  I wasn't far enough along with it for it to work for its income, so it would have to take the back burner while I once again joined the 9 to 5'ers.

When everything was settled, I did spend some time on the shop buttoning it