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,
IMPORTERS OF FINE
x
47"
JOINTER
x
65" JOINTER
MACHINERY
6"
8"
6/9 COMBINATION
SANDER
6/12 COMBINATION
SANDER
1 H.P. motor. All cast-iron
construction. We ighs 260 Ibs.
MODEL G1182
Regularly $335.0
ONLY
$310.00
15" PLANER
1
2
H.P. motor. All cast-iron
6"x48" belt, 9" disc.
34
H.P. motor.
6"x48" belt, 12" disc. Quick belt
release lever. Weighs 155 Ibs.
MODEL G1183
Regularly $395.0
ONLY $365.0
6"
construction. Weighs 460 Ibs.
MODEL G1018
Regularly $665.0
ONLY $6
45.00
20" PLANER
Machine weighs 140 Ibs.
MODEL G1014
Regularly $195.0
ONLY $1
75.00
16" BANDSAW
X
30"
EDGESANDER
New 2 speed model. 2 H.P.
motor with magnetic switch.
Weighs 500 Ibs.
MODEL G1021
Regularly $695.0-without stand
NOW -
ONLY
$6
95.00
STAND NOT INCLUDED
3 H.P., 2 speeds. We ighs
9001bs.
MODEL G1033
Regularly $1295.0
ONLY $11
75
.00
1
" blade capacity, 1
2
H.P.
motor. Shipping weight is
2801bs.
MODEL G1538
ONLY $
4
95.00
Take the drudgery out of
sanding. Weighs 263 Ibs.
MODEL G1531
ONLY $3
95.00
10" HEAVY DUTY
TABLE SAW
10" SUPER H. D.
TABLE SAW
18" BANDSAW
3 H.P. SHAPER
Precision ground cast-iron
table and wings. 1
V2
H.P.
Precision ground cast-iron
table and wings. 3 H.P. motor.
Weighs 500 Ibs.
MODEL G1023
ONLY
$850.00
1 " re-sawing blade capacity.
2 H.P. motor. Shipping weight
is 380 Ibs.
MODEL G1012
Regularly $625.0
ONLY
$59
5.00
2 spindle seeds plus reversing
switch. Comes with
V2",4"
and
motor. Weighs 255 Ibs.
MODEL G1022
Regularly $345.0
ONLY
$3
25
.00
1" spindles. eighs 450 Ibs.
MODEL G1026
ONLY
$850.00
-
+
>
OUR 1989 fULL COLORCATALOG ISLO ADED WITHGOODIES AND IT'S fREE!
-
O
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(For Inquiries
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D
ER SERICE NO. 47
WOODWORKING
All above prices are F.O.B. our Bellingham, WA or Williamsport,
PA Warehouse.
�d �brnK
________
-==Decembcr
1989
DEPARTMENTS
4
Letters
14 Methods of Work
Storing router bits; using headlamps; dovetail jig
&
Answers
24
Questions
Finishing canisters; repairing an antique; bandsaw vibration
34
Folow-up
More on designing computer furniture
122
Evens
62.
Cover: Easy chairs highlight the
N.,
cabinet
74).
128
Books
130
Notes and Comment
The New Yankee Workshop;
product reviews; furniture fair
living room set by Long Island,
ARTICLES
maker Ray McCarthy (see article on p.
48
Building a Roll-Top Desk
by Kenneth Baumert
Interlocking slats form an all-wood tambour
Editor Dick Burrows
Art Diredor Roland Wolf
Associ"te Editor Sandor Nagyszalanczy
Assst"nt Editors Jim Boesel, Charley Robinson
Copy Editor Carolyn Kovachik
Associ"te Art Diredor Kathleen Rushton
Editori"' Secret"y Claire Warner
Contributing Editors Tage Frid, R. Bruce Hoadley,
Christian Becksvoort, Michael Dresdner
Consulting Editors
George Frank, Richard
54
Cutting Sliding Dovetails
by William Thomas
Guide blocks aid hand tool precision
55
Building a dovetail plane
E.
Preiss,
57
Routing sliding dovetails
by Pat Warner
58
Building an Ahrens-Fox Fire Engine
by Doug Kenney
A colorful classic in
Norman Vandal
Methods of Work Jim Richey
Indexer Harriet Hodges
66
Jointing beyond the basics
68
Edge Gluing Boards
by Christian Becksvoort
Making flat panels with nearly invisible joints
Publisher
John Lively
M"rketing M"n"ger James P. Chiavelli
Circul"tion Assst"nt Lynn Mefert
CopylProdudion Editor
Christy McCormick
71
Eficient Spindle Tuning
by Steve Gellman
Tricks for speed and consisteny
i
ng C
d
i
o
r
Ka
n
Mo
n
Simonds
Advertsing Secret"y Sherry Duhigg
Tel.
(800) 243·7252
d
itional approach with horse-hair padding
80
High-density foam: a convenient alternative
82
Creating a Limed Finish
by Michael M. Dresdner
An old look for new wood
FineWoodworking
is a reader-wriuen
g
azine. We welcome
78
Upholstering a Slip Seat
by Don Taylor
A
FineWoodworking,
Box
355,
Newtown, Conn.
0470.
Fax.
(203) 426,3434
FineWoodworking
magazine remains in the authors, photog
proposals, manuscripts, photographs and ideas from our read
ers, amateur or professional. We'll acknowledge all submissions
and rerum those we can't publish. Send your conu'ibutions to
FineWoodworking.
84
Metalworking in the Woodshop
by Roger Heitzman
Materials and methods for better shop-built machines
Title to the copyrights in tlle conu'ibutions appearing in
88
Building a Stationary Sander
by Roger Heitzman
90
Pine
by]on Arno
Capturing the special charm of a common timber
Fine/working
(ISSN 0361·3453) is published bimonthly, February, April,]une,
August, October and December, by he Taunton Press, Inc., Newtown,
r
06470.
T
06470, and
additional mailing oices. Copyright 1989 by The Taunton Press, Inc. No reproduc
lion without permission of The Taunton Press, Inc. Fine Wdworking® is a regis
tered trademark of The Taunton Press, Inc.
g
e of pine
94
Carving Wooden Spoons
by Delbert Greear
Serving up the basics
Subcipionates:
United States and
possessions, 522 for one year, S40 for two years; Canada and other countries, 526 for
one year, 548 for two years (in U.S. doUars, please). Single copy, 54.95. Single copies
outSide U.S. and ossessions, S5.95. Send to SubCription Dept., The Taunton Press,
PO Box 355, Newtown,
Telephone (203) 426-8171. Second·c1ass postage paid at Newtown,
93
Grade stamps: understanding the lan
,
CT06470.
cr
06470. Address
ll
correspondence to the appropriate
department (Subscription, Editorial, or Advertising), The Taunton Press, 63 Soun
Main Street,
O
Box 355, ewtown,
T
6470. U.S. newsstand distribution by East
ern News Distributors, lnc., 1130 Cleveland Road, Sandusky, OH 44870.
97
George Nakashima
by lan PIau
Letting the wood speak for itsef
Postmaster:
SendaddresschangestoTheTauntonPress,Inc.,PO
Box
355,Ne
t
o
wn
3
Fne
A
jointer can rabbet edges and do many other
jobs besides squaring edges. Bernie Maas tells
how on p.
J16
in. scale
62
The Jointer
by Bernard Maas
Getting it straight
74
Making Easy Chairs
by Ray McCarthy
Tenoning square rails to round legs
N"tion"' Accounts M"n"gers Don Schroder,
Dick West
Senior S"'es Coordin"tor Carole Weckesser
Adv
raphers and artists, unless otllerwise indicated. They have
granted publication rights to
Letters
n
g and
t
disease-I
think we should avoid the
Narrow
(
7
We have a cute saying running mrough our school these days.
"Hardening of the categories, leads to art disease."
-V
e
Stanford, The Penland Sc hool of Crafts, Penland,
t
objecs-
The July/August issue
N.
kind of narrowness concerning art and crat expressed in Woody
Pistrich's lener
(
7
#77) printed letters commenting on the relative merits of
#77). He sums up his position in the last
line: "Instead of blurring distinctions, it is now time to estab
lish some and put the proper forms back under their proper
categories and contexts."
Unfortunately for Mr. Pistrich, times are not moving in his di
rection. The interrelationship between fine arts and the Ameri
can crat movement is a fact of life. Wid10ut providing a history
lesson in The Development of Crats (andJor Art) in America, it
may sufice to explain that as the "Fine Artists" in this country
estranged themselves from much of the American public by deal
ing with more and more esoteric subjects and as they showed
more and more esoteric work, they came to need interpreters or
at least
More on woodworing and
"practicality and aesthetics" and "art and craft."
I
know a number
of avocational and a few professional woodworkers. We share
the opinion mat urniture is something to be used to sit on,
sleep on and store things in and that good uniture should be
both useul and pleasing to the eye. In addition to uniture, most
of us will occasionally undertake to make a wooden
t
historians to translate that work for public consumption.
"t
object"
which, like a painting or sculpture, is intended solely to please the
eye and does not pretend to have any other useul function.
I
enjoy reports on good furniture and good art, but not re
ports on "furniture that has been consciously designed to be
either useless or near useless." Woodworkers have an amazingly
broad spectrum of interests and
7
is doing well at the difi
Primarily for historical reasons, many people now relate well
to "Crat" materials and crat techniques and have turned more
and more to them, thus causing much of the resurgence we are
now experiencing. Unfortunately for Mr. Pistrich, good tech
nique, full understanding of materials and design are not
enough for many Crat Artists. They have imaginations; they are
innovative risk takers, they are more and more inclined to chal
lenge the assumptions of history. They see in
new
ways.
When I lament the narrowness of crat (especially in wood)
I'm seeking to remind us all that the field is broad enough to
accommodate the full spectrum of work, from the most folksy
traditional utilitarian to the most ethereal and expressive.
.
Hse, Oak Ridge, Te nn.
cult task of having someming for everyone. While "artiture" may
be a valid pursuit, it is simply not woodworking. It should be
reported in an appropriate journal, but not in
Fi ne Wo odworking.
-Eugene
w
orking-s
an amateur w
w
orker, I
15
yars with no ill
i
ng, ater leaving my shop for the evening, I be
t
historians,
t
critiCS, academic institutions and various crat
llergies and w
have worked with various wods for more than
efects, such as allergies, or health problems. Suddenly one week
end, without
gan coughing, experienced a shortness of breath and began to itch
in several areas of my body. (I had been working with oak.)
The next day I visited a dermatologist who prescribed an oint
ment and some pills for the breaming problem. In a day or two I
was ine again. He said mat sometimes the body will suddenly
reject or become allergic to substances (food, medicines, dust,
etc.) that had never before been a problem. He said to stay away
from oak and try some other wood.
I always wear a dust mask when working with woods, but I
have a very small work area wim no exhaust system. At any rate,
I worked wim some pine and maple a week later and the very
same coughing and shortness of bream problems occurred, al
though this time there was no rash.
I am very concerned that I will have to give up my most
cherished hobby due to allergiC reactions. Perhaps other read
ers have had similar reactions to wood dust and could offer
some advice on how they coped with the allergies and what
mey did to avoid suffering and keep on woodworking.
-Lanejonap, Evanston,
schools and crat organizations all find it convenient to "Put the
proper forms back under their proper categories... " as Mr. Pistrich
puts it. It's cerainly much easier and in most ways clearer. Howev
er, this thinking has been a large impediment to the progress of
new ideas. This progress need not be made at the expense of ine
cratsmanship. We see, these days, the most exciting work coming
from people who employ a solid understanding of materials, and
the techniques that form these materials, to create extraordinarily
thoughtful and intelligent work. Oten that work contains more
than cratsmanship and utility: it contains, or expresses,
ideas.
Writers and w
f
they are to use it to its best advantage. Having a repertoire of
n
no longer get by on our exquisite gr
1fi
ar in either medi
w
orkers share the need to understand material
o
"say" what one wants,
techniques in wood is what allows one
just as grammar, punctuation and spelling are necessary in writing.
We
ll.
um. Both in words and wood it's what we have to
say
that counts.
s
h needed-ter
reading Craig Deller's
7
Tel us about your accidents:
Broader view of
The Taunton Press is gathering material toward a video
workshop on safety and is looking for cratsmen with stories
to tell. If you have had an accident and think others would
benefit from your experience, write us with a short
description of the accident and how you're working
differently now. Send leners to Video Department, The
Taunton Press, Box
355,
ewtown, Conn. 06470.
#77, I feel some comments
are in order. The term "varnish" has been corrupted today to
include a number of resin systems that can be quite different.
These include alkyds, linseetung oil phenolics, oil-modified
polyurethanes and vinyl toluene/styrene modified oils.
I felt Deller's article seemed slanted to alkyds only. Mr.
Deller may not be aware of the fact mat polyurethanes or
d
uction ditor,
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ll
r,
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Andrea Onda,
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iT
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o
rate
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books;
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tie
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oporate sals director,
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coordinator.
lm
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&
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uction assisants;
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scan.
l!h
,
n
e Yamin
Boo
V
ideos:
John Kelsey,
publisher;
r
operators;
aurene J
b
,
c% r
oo
fing operator;
Dinah George,
ie
seretary. Accounting:
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amontagne,
manager;
Jerey Sherman,
financial analyst;
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accountant;
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s
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a
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list;
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P. Valerie .utters, s
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design director,
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.:ectl
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ucr/direcor,
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si
ate
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o
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per
os
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ss
td
uer;
t:
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director;
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secetary;
Circulation: Karen
Cheh,
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nn
nn
arella,
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sen
ior editors;
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Videos: ick Maste1li,
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pp
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y D'Antonio,
m
g
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o
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su
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,
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ys
liation. publia
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leBlanc,
aa entry;
Distribution:
pu;
sonnel ssistant;
Chris Lincoln,
seetary.
4 Fine Wo odworking
article, "Versatile Varnish" in
A
O
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Manua
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The ultimate precision chuck for woodturners.
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