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KILLINGER

November/December 1985, No. 55

me ng

Elitor

Paul Bertorelli

Cover: james Krenov, cabinet

maker, author, and educator, has

influenced a generation of Ameri·

can woodworkers. Glenn Gordon

visited Krenov, and his reflections

on the man's work begin on p.42.

Photo: john Shaw.

4 LeUers

•• ol/de Elitor.

ArtD'redor

Roland Wolf

10 Methods of Work

Improved featherboard; octagon ripping; clamping system

Jim Cummins

Roger Holmes

Dick Burrows

David Sloan

14 Questions

& Answers

Short-radius bending; lumber from lilac; lid supports

18 Books

Copy EI'tor

Nancy-Lou Knapp

•••• tlnt

120 Events

Art A

Kathleen Creston

124 Notes and Comment

Aid to artisans; product review; carver's confab

Elitorill Seeretlry

Cindy Howard

Art'cle.

Contribut.ng Elitor.

Tage Frid

R. Bruce Hoadley

Richard Starr

Simon Watts

42 James Krenov by Glenn Gordon

Relections on the risks of pure craft

50 Turning a Lidded Box by Richard Raffan

A centerwork project

Con.ult.ng Elitor.

George Frank

Otto Heuer

Ian J. Kirby

Don ewell

Richard E. Preiss

Norman Vandal

53 Poured pewter inlay by William Vick

A round box capped by a snug·

fitting lid is a satisfy ing lathe

project. Richard Raffa n explains

the technique on p. 50.

54 Holtzapffel Revised by Roger Holmes

A modern ornamental lathe

55 Buy the parts, build the bed by David Sloan

56 Two Sleds

Shiny paint dresses up Vermont clipper byJohn Sollinger

Austrian design has laminated runners by Jonathan Shafer

Metbol. of Work

Jim Richey

TheTaunton Press

Making a Panel Plane by Charles Dolan

A tool fo r the consummate cabinetmaker

, fiis co a tor; auline

n , publisher; J e A. Ro n ,

a ger;

88, Preston Wake

land and Ian Kirby tell how to

tame them.

64 Kerbschnitzen byJohn Hines

Two-knfe Swiss chp carving

aul R

ry ; y Ann ol

Wrinkly burl veneers are delight

ful to look at but a nightmare to

handle. On p.

,ry ; n M n, p ion

67 Sharpening chip carving knives by Wayne Barton

editor; Tom Luxeder, businss

Ac·

coantt, n e fs, a ger; y

68 Machining Stock to Dimension by Roger Holmes

Start right to fi nish right

io, xuive

n e Ya n .

t: R rn s, dsin o r; Paola

o,ffs. oo.. : l e ola,

; Hathr n e n , si

t c tor; cott andis, s tine

mo, sae ditos; Nany Stabile,

71 Saw it straight by Larry Montgomery

Fulillment:

o le .nu, su i pion a er; Ter

72 Jointer Talk by Jim Cummins

Getting along with home-shop machines

yhs,sn t a ger; Gloia ar

n c, e , Hather Ri i ,

copy/production editor.

; n Wner,

74 Face bevels by Galen J. Winchip

llis l. Rot B i , i

o r; avid k o, y Ann

J, nn a In ,n Nathen

,he S n g. MaCn,

75 Newport-Style Tall Clock by Robert Effinger

Tackling the tricky details

Patia Rice, Nany ch

Fine Woodworking (ISSN 0361-3453) is pub

lished bimonthly, January, March, May, July, Sep

tember and November, by The Taunton Press,

Inc .. Newtown, CT 06470. Telephone (203) 426·

8171. Second-class postage paid at Newtown, CT

06470, and additional mailing offices. Copyright

1985 by The Taunton Press, Inc. No reproduc

tion without permission of The Taunton Press,

Inc. Fine WodworkingI is a registered trade

mark of The Taunton Press, Inc.

a er, d ucion i; ave Fo,

uion u

h e,y nn Snlckus, -

a tor; rat,eoh oop

82 Wood Stains by George Mustoe

Five ways to add color

A Cabinetmaker's Baskets

a tor. Mrkt, ale

s oa tor; a a no, excu·

i e ow, e

er,

duction assistants; Claudia Blake Apple

ate, systm o

Sucription

se Sions, S18 for one

year, $34 for two years; Canada and other coun

tries, $21 for one year, $40 for twO years (in U.S.

dollars, please). Single copy, $3.75. Single

copies outside U.S. and possessions, $4.25. Send

by Charles H. Carpenter, Jr.

In the Nantucket tradition

nn e t , sn t t tor.

II e, sn t n

Bown, tor; R

Vido: Rick Mastelll, prducer/ c tor;

dve secretary.Promotloa: Jon Miller,

ar ; Molly

rates: United Slates and

Anr ad l .. : Richard Mulligan

(Q Subscription Dept., The Taunton Press, PO

Box 355, Newtown, CT 06470. Address all corre

sondence to the appropriate de patment (Sub·

scription, Editorial, or Advertising

88 Hexagonal Table from Buckled Burl

by Preston Wakeland

A new approach to an old pressing problem

aer;

a velli, national accounts

E. orman, a c iate

) , The Taunton

l or als cordinator; Jo Voigt, als

sa nd distribution by

Eastern News DiSlcibulOrs, Inc., 1130 Cleveland

Road, Sandusky, OH 44870.

90 Rejuvenating veneers by Ian Kirby

sales representative; arole Weckesser,

Press, 63 South Main Street, PO Box 355, New

town, CT 06470. U.S. ne

91 Survivors by Roger Holmes

Earning a living working wood

cordinator; Claudia Innss, circulation

assistant. Td. (203) 428171.

Sendaddresschanges o TheTauntonPress, Inc., PO Box355, Newtown, CT06470.

Postmaster:

November /December 1985

oa te publisher; John Keley, enlor

Carol Marotti, eronnel manager; Lois

ist; Robert Lovejoy, maintenance.

Ames, atherine Sullivan,

ate

n, oothy Dreher, onna lavitt, P gy

aln avis, t or; Gay nl,

nof, Jr., d uction ss n t.

and Jams P.

managers; Vivian

Leters

To our readers:

This space is usually devoted to reader letters, but it seems

appropriate to take a little of it to note, in passing, that this

issue of Fine Woodworking marks our 10th year of publishing.

When we began, during the winter of 1975, we hoped to

open a forum in which woodworkers of all persuasions could

exchange useful technical talk, ideas about design and con

struction, and maybe a good yarn or two about the unabashed

satisfaction of making something beautiful out of wood.

Against the conventional publishing practice of the day, we

proposed that this new magazine be written not by profession

al journalists, but by readers actively involved in the craft. We

have succeeded chiefly because we had the good fortune to

attract talented, knowledgeable woodworkers generous

enough to share their experiences with others. For that, we are

profoundly grateful.

That there has been a renaissance in woodworking during

the past two decades is undeniable. Everywhere we travel, we

commonly see woodworking of an uncommon standard. Ex

ecuted by amateur and professional alike, this work encom

passes a rich variety of style, from rustic to radical, functional

to fatastical. Underlying this diversity, however, is a shared

concen for making something well. One of the most reward

ing aspects of our work has been to pass along the efforts of

woodworkers who are rescuing traditional techniques from

oblivion, and those who have enriched that tradition with new

methods and insights. Above all, we have learned that there is

rarely just one right way to work wood.

It is customary for magazines to thank their readers on occa

sions like these. Our gratitude runs deeper than that, however,

for our readers are also our writers, our sources, our inspira

tion and our editorial advisers. For all that and more, we'd like

to say thanks.

showing people how to do things the most efficient way? The

person responsible for this article should be made to go lum

bering with a fretsaw.

WW #54) on the rare quilted mahogany

-Allan Breed, York, Me.

Mark Berry's article

(

was enjoyable but contained a minor error. Chiquibul (not

Chicibul) is not located in Honduras but in western Belize,

formerly British Honduras. The Chiquibul valley is part of an

extensive forest preserve and contains some of the best re

maining stands of tropical hardwoods in the country. The for

est reserve is currently administered by Mr. Green from the

small village of Augustine.

Figured mahogany of any kind is difficult to find and the

large-quilt mahagony featured in the article is rare indeed.

Plain mahogany is readily available in Belize, at prices lower

than those usually paid for our most inexpensive woods. It is

used as a general purpose wood in the construction in

dustry.

- William G. Adams, Richmond, Ky.

WW #53). About

Fine Woodworking reached a new literary high with Poetry

and Pun in the article on Celts and "Tates"

(

15 minutes after finishing the article I realized, "He who has a

tates is lost." Double reversal sounds a little impossible, but I

will still try one or two. Always looking for interesting tricks

and puzzles.

-Eugene Mechler, Bridgton, Me.

WW #54 on growth-ring

Further on Ed Stolfa's question in

orientation: I have had edge-glued panels cup regardless of

the orientation of the growth rings. Another woodworker men

tioned that he found the fault lay in his tablesaw's blade-to

table orientation. Regardless of how accurately set the blade

seems to be, it is easily a hair off true 90°. He flips alternating

boards to neutralize the tiny error. I've followed his example,

to my great satisfaction.

-The Editors

-M.F Marti, Monroe, Ore.

Michael Dunbar's response to Calen Fitzgerald's question re

garding a uniform stain for Windsor chairs (Q&A, FWW #53)

spoke eloquently about traditions and about Dunbar's personal

outlook on finishing Windsors. Unfortunately, it did not an

swer Fitzgerald's question. I have run into the same problem

a client requests a "natural" finish, preferably an oil, on a

Windsor, but neither the client nor I wish to be distracted from

the chair's lines by the rainbow of different woods. The answer

lies in a lacquer-based penetrating dye stain, applied by spray

ing. I use stains made by Mohawk Finishing Products, Rt. 30

North, Amsterdam, NY. 12010, using a regular spray gun for the

seat and, to achieve finer control, an airbrush for everything

else. The stain dries almost on contact, and thus is not affected

by the different hardnesses and porosities of the woods. I finish

with 3 to 5 coats of tung oil (also from Mohawk).

I think this finish is more durable than paint, since the inevi

table dents and scratches show up far less in the stained sur

face than they would in a painted one. I respect Dunbar's obvi

ous expertise and experience with Windsors, but I think he is

being somewhat shortSighted in refusing to allow anything but

a painted finish.... Moden finishing technology can give em

phasis to the lines of the chair by making the wood tones more

uniform, while still allowing the wood to show through. It is

an excellent combination and one which falls well within the

original concept of the Windsor chair.

-Mac Campbell, Harvey Station, N.B.

. Bonelli, Bristol, ln.

First, I would like to thank you for taking the time to shop test

our Williams and Hussey Molder Planer (FWW #52). Everyone

learns something from these tests, including us.

I feel the article was fairly accurate with the exception of the

"power feed being disappointing." As you are aware, we

shipped you a hand-feed machine, along with a power-infeed

attachment to convert the machine to a power infeed and out

feed. At the time we were using two rubber feed rolls. Very

shortly afterwards we changed to a serrated-steel infeed roll

and rubber outfeed roll, which corrected any slippage that

might have occured. I feel we should have been contacted

when your author was having problems with the feed. We have

a toll-free number, and a trained staff of people to answer any

questions or problems that may arise.

As for the operator's manual being "the worst I've seen with

a woodworking machine," I have to agree it's not up to par.

We've been [planning to improve it] for years but thanks to the

article, we have decided not to wait any longer.

-Allan L. Foster, vice preSident

-R.

The article [by Aldren Watson and Theodora Poulos] on turn

ing without a lathe (FWW #54) is an exercise in frustration.

One could make a spring-pole lathe in the same time it would

take to make the lathebox, and get a nice-looking leg in much

less time than Mr. Watson's beaver method. They don't call

them "tunings" for nothing. Aren't you guys supposed to be

& Hussey Machine Co., Miford, ..

I found out last night that my friend and woodworking mentor,

Emil Milan, had died. I guess as my circle of friends gets larger

Williams

4 Fine Woodworking

I called Delta in Memphis to see if I could find a fence part for

my 4-in. jOinter-planer of 1950's vintage. Sure enough, they

could supply it. The price? $100! The original cost of the joint

er was about $50 without motor or stand. Needless to say, I

didn't buy the part and will seek an alternate solution. I'm not

sure what's worse-not being able to get parts or paying exor

bitant prices for them. They might just as well have not been

able to supply it.

Why not design your next project

around a Mason

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