February 2007 Volume 18 No. 3 Griffith Library Table slide lock dovetail U IL D E G OF TH W IRE OO SH D P W O M R

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Founded 1990 www.gnhw.org The Newsletter of the Guild of New Hampshire Woodworkers

staining & coloring • book review • schools • adventures in lutherie shop shavings • drift angle • chest of drawers • northern red sharpening carving • nine months in rockport • treadle

photo by Jim Seroskie

Feb 3 BIG Feb 17 Guild Meeting … University of NH – p3 Mar 10 Period Furniture Mar 17 Small Meetings … Three locations – p3 Mar 24 GSWT Apr 7 BIG Apr 21 Guild Meeting May 12 Period Furniture May 26 GSWT Jun 2 BIG Jun 16 Summer Trip Jul 28 GSWT Aug 4-12 NH Craftsmen’s Fair Sept 22 Annual Meeting

Bob LaCivita rough cuts apple stock destined for cabinet sides, top & shelves BIG Builds a Cabinet photo by Charlie Leto president’s message by Dave Anderson 

Behind the Scenes

am writing this message from my our rapid growth of the last three to four year, planning hotel room at Colonial Williamsburg years. The committee will meet several Sunapee where period furnituremakers gather times over the next seven months and Week, and general Ieach January for a furniture conference. will report to the Steering Committee h o u s e k e e p i n g An award of the SAPFM (Society of in August. Their report will be published duties. Near American Period Furniture Makers) is in The Old in September. the end of the given each year – the Cartouche Award. John Pitrone of Windham has fiscal/membership year, the SC reviews Tradition was broken this year. For agreed to take over the job of Video/ financial results and with the advice the first time, a group rather than an DVD Librarian from Bob Trahan. A of the treasurer, it approves a budget individual has been honored with the new marriage and other commitments for the coming year. All donations to Cartouche. Boston’s North Bennett on his time have forced Bob to ask for other organizations, new initiatives, and Street School is the winner and is a replacement. Thank you Bob, we owe expenditures for equipment are voted being recognized for their extensive you a great debt for your selfless service on and approved by the SC. contributions to the avocation we all to the guild. In a nutshell, the Steering Committee share. Congratulations North Bennett An oft asked question is – What is acts as a cross between a cabinet and Street. the Steering Committee and what does it a legislative body. It is the governing Our Long Range Planning do? The answer is as broad and varied body for the day to day operation and Committee is now established and as the interest and membership of our it operates largely behind the scenes consists of Dave Frechette, Jack Grube, guild. The SC meets about a month and without fanfare handling those Bob LaCivita, Jon Siegel, and Andy before each major meeting and at other small details that keep any organization Young. If you have ideas, suggestions, or times as needed. running smoothly. thoughts about the future direction of A typical agenda has a review of While occasionally there is a spirited the guild, please talk with or email these our budget and finances, a report on discussion on policy or on how to folks. Their mission is to explore the membership activities, a status review of achieve a specific result, the general possible paths we might take over the The Old Saw, a scholarship committee atmosphere is collegial. Most decisions next five years. The committee’s charter report, and a report on the last guild are made on a consensus basis. I hope is unrestricted and allows them complete meeting. Other agenda items vary this short explanation gives you a better freedom to develop recommendations. widely and can range from reviewing idea of how the steering committee As I said in my last column, we have both requests from other organizations, operates. – Work Safely challenges and opportunities posed by planning the guild schedule for the next

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President Dave Anderson 603-887-6267 [email protected] • Vice President David Frechette 802-633-2561 [email protected] Scholarship Committee Secretary Greg Benulis 978-314-5815 [email protected] Selection Committee John McAlevey 207-372-6455 [email protected] Treasurer Peter James 603-435-8133 [email protected] Selection Committee Peter Breu 603-647-2327 [email protected] At Large Peter Breu 603-647-2327 [email protected] Selection Committee Jack Grube 603-432-4060 [email protected] At Large Jack Grube 603-432-4060 [email protected] Member Peter Bloch 603-526-6152 [email protected] At Large Jon Siegel 603-768-5882 [email protected] Member Bob Jarrett 978-456-3928 [email protected] At Large George Saridakis 978 549-1807 [email protected] — Please send all applications to John McAlevey, Selection Committee Chair At Large Bob LaCivita 603-942-1240 [email protected] At Large Andy Young 603-672-9558 [email protected] Volunteer Positions At Large Caleb Dietrich 603-556-1629 [email protected] Books Tony Immorlica 603-673-9629 [email protected] At Large John Whiteside 603-679-5443 [email protected] Membership DJ Delorie 603-463-5996 [email protected] Old Saw Editor Jim Seroskie 603-673-2123 [email protected] Old Saw Mailing Syd Lorandeau 603-542-5295 slorandeau@verizon. net Past President Roger Myers 603-773-9634 [email protected] Shirts/Hats Peter James 603-435-8133 [email protected] Programs Sal Morgani 603-772-1006 [email protected] Small Meetings Brian Sargent 603-483-1330 blsdesigns126@earthlink .net Sunapee Fair Coordinator Open SubGroups Sunapee Raffle Coordinator Jim Dimick 603-228-1131 [email protected] BIG Bob LaCivita 603-942-1240 [email protected] Video Librarian John Pitrone 603-894-5893 [email protected] GSWT Jon Siegel 603-768-5882 [email protected] Video Recording Peter Bloch 603-526-6152 [email protected] Period Furniture John Whiteside 603-679-5443 [email protected] Web Master DJ Delorie 603-463-5996 [email protected]

The Guild of New Hampshire Woodworkers – Bringing together the diverse interests of the New Hampshire woodworking community. “The Old Saw” is published five times per year. To join the Guild, go towww.gnhw.org and click on “Membership “ to download an application form. announcements 

Feb 17th, 2007 – 10:00 am From Main St. in Durham Turn onto College Ave at the February Guild Meeting signal which is in front of the Whittemore Center. at the University of New Hampshire woodshop in the UNH Service Building Once on College Ave, the Service building Demonstration by David Upfill-Brown is the third building Have you ever tried to tune up your , on the right. It is , or other power ? Now, David Upfill- next to the fire dept. Brown in his demonstration Taming the Beast will From the East show you how. Take I-95 north to Exit-4 Spaulding David set out in the early 70’s as a sculptor, working Turnpike. Continue to Exit 6W in wood and stone in Central and Southern Africa. and follow Route 4 West past the Disenchanted with the then growing trend towards Dover/Durham Route 108 Exit. conceptual art, he began to focus on furniture and Exit at Route 155A and turn East in 1980/81, studied furniture making and design (left) toward Durham. Route 155A at Parnham in England. In 1982, David and wife becomes Main St. Follow directions Hermione established a bespoke furniture workshop listed above. he next Guild meeting will be in Canberra, Australia. From the West Theld Feb. 17th at the woodshop Part time teaching at the wood studios of the Take Route 4 East to Route 155A in the UNH Service Building. Australian National University culminated in 2000 Exit. From the Exit, Durham is to the The regular session will be from in his appointment as inaugural academic director right. Follow directions listed above. 10am-12pm followed by one hour of the Australian School of Fine Furniture in From Portland for lunch. There is a two hour Tasmania. He is now lead instructor of the Nine Follow I-95 South to Exit 5. demonstration from 1pm–3pm. Month Comprehensive at the Center for Furniture Continue on Spaulding Turnpike to Bring your own lunch and chair. Craftsmanship in Rockport, ME. – Sal Morgani Exit 6W and follow directions as listed above from the East. Mar 17th, 2007 Small Meetings

ow that winter has truly arrived, it is time again to Nput the March Guild meetings on your calendar. There are three Goose Bay Tour–9am to 11am small meetings lined up for March. Max number of attendees is 30. The meeting will be at Goose Bay Lumber on Rt 4, Chichester, NH. These meetings will follow the Carl and Liddia will be giving a tour of their facility, which will include the small vacuum kiln, log yard and same format of past year’s small lumber facility. Carl will demonstrate their saw mill – weather permitting. This is a chance to learn some- meeting venue. Instead of one thing about what happens to a tree after it is cut down and how it is processed. large meeting, there will be four meetings at different locations Curved Side Grain Inlays–1pm to 3pm during the day. Max number of attendees is 10. The cutoff date for registration is March 10. The meeting will be at John The Guild’s small meeting Whiteside’s home shop in Fremont, NH. format has met with much success, John Whiteside has been making furniture part time for the past 20 years. He is currently taking classes for so we hope you are able to take guitar making and has offered to share what he has learned. John will demo how to make a to do curved advantage of being able to see decorative inlays and the process of making the inlays. Come and see John’s 24x32 shop that he built himself some other shops where venue is and increase your knowledge of work. focused to individual interests. You must register as there is How to Make a Cabriole Leg–9am to 11am often limited shop space in each Max number of attendees is 15. The meeting will be at the Homestead School in Newmarket, NH. workshop. Just contact me at Dan Faia is a graduate of the North Bennett St. School. Dan balances his time between making furniture and 603-483-1330 or preferably by email teaching. Dan will show how to select the wood and then lay out and cut out a cabriole leg. This is a great at [email protected]. opportunity to learn from one of North Bennett Street’s top teachers! – Brian Sargent Write to [email protected] with your questions 

Moisture Stability – In (work rides up), or b) the outfeed table metal, you can use this “adage” – the Q dealing with a barn or garage is too low (work snipes at the end). bigger the cutter the slower the speed. shop, should I bring materials and Neither of these defects will cause the To calculate the rpm for a given bit projects under construction into work to turn out convex or concave. The the formula is: the house between work sessions only way that can happen is if the tables for stability (moisture threat)? – Ray are not parallel. If this is the case you RPM = (12 x CS)/(3.14 x D) Atwood can’t fix it (sell the jointer). So the question is wrongly conceived. • CS = cutting speed in surface feet per Joe Barry replies: I work in an For example, a good question would be: minute. Generally 100 sfpm for low carbon uninsulated and sporadically heated “I am having a problem with my jointer. steel & soft gray cast iron. 250 sfpm for barn shop. Moving tools in and out will When I joint long boards, it seems to aluminum or brass. cause rust. The humidity differs greatly take off less and less as I go, so by the • D = diameter in inches for and other between my barn and house. I try to time I get near the end, it isn’t cutting circular tools do work like cutting joints and gluing anything. What’s wrong?” Answer: The in one weekend to prevent problems. outfeed table too high. Use of power feeders for shapers and I always allow 2-3 weeks for wood to planers will also vary the speed required. reach equilibrium in my shop both Joe Barry replies: You need a proven If there is evidence of chips being before and after machining. straight edge – preferably a machined pressed into the cut surface, it usually straight edge that you use only for indicates a need to either increase feed Jointer Adjustment – What machine set-up. First check each table speed or improve chip clearance. If you Q is the best way to adjust the from end to end and corner to corner want another rule of thumb, it is that it infeed and outfeed tables on a jointer to ensure flatness. If each individual is always safer to start slow and bring so that the jointed surface is flat and table is not flat, it is time to contact the speed up rather than start fast and straight so that it is neither concave the manufacturer or a machine shop to have a catastrophic failure. bits nor convex? – Jack Minassian either replace or flatten the table. usually have the speeds they are designed Rotate the cutter head by hand with for in the catalog. Again, the bigger the Geoff Ames replies: Given that your the power disconnected so the knives are bit, the slower the speed - and no hand infeed and outfeed tables are parallel, out of the way. Raise the infeed table held big bits! the problem with usually results level with the outfeed table. Use the from one of three factors involving setup straight edge again to check that both Scraping vs – On and technique: beds are co-planar. They should be in Q numerous occasions I have line with the straight edge along their heard the advantages of using a • Your jointer knives are not flush with the length and corner to corner. cabinet scraper in place of sanding. outfeed table. If the beds are out of , you need I find it hard to believe that scraping • The infeed table must be lower than the to use the table gibs to adjust and maybe can provide a better result than outfeed table. even add shims to adjust the plane of progressively sanding with finer • You should transfer pressure from the infeed the table(s). Then drop the infeed table and finer gritted sandpaper using a table to the outfeed table. Do not lean on and adjust the high point of the knives random orbit and following the workpiece. Let the stock transfer to the to be equal to the outfeed table’s plane. with ultra-fine wet (oil) sanding. outfeed table by merely pushing the stock Please explain. – David Steller over the knives. Tool Speeds – Are there Q ‘rules of thumb’ to decide Jon Siegel replies: The current issue Assuming you are flattening a board, which speed to use on variable or of Fine Woodworking (#180) has yet run the board concave side down. The multi-speed tools such as a drill press, another article which explains that same is true for edge jointing. And for router, power saw and now ? there is no advantage to sanding safety’s sake, always use a push stick when – Alan Saffron beyond 220. When you use finer grits, flattening a workpiece. you may think you see a difference in Joe Barry replies: Regarding speeds the surface of the wood, but once the Jon Siegel replies: Problems with jointer and feeds, there is a lengthy section in finish is applied, actual tests show that adjustments are almost entirely of two The Machinery’s Handbook on this topic. there is no difference. There is certainly types: a) the outfeed table is too high However in working wood rather than 

no advantage to “ultra-fine wet (oil) sand in both directions (reciprocating or for longer pieces) and a little splitter sanding”. random directions) while most people that mounts on the table saw insert. The advantages of scraping over scrape in one direction only. You cannot Some of the advantages are: sanding are these: scraping smooths eliminate the fuzzies going in one projecting defects such as those caused direction only. • Blocks cover the saw blade and keep your by a nick in a planer blade or a spot of Someday, when time and space hands out of the way. glue better than sandpaper; scraping permit, I will write an article about how • Grips both the cut part and the cut off to smooths planer knife marks faster than to use a scraper in a reciprocating, back prevent kick backs. sandpaper; scraping is essentially free and forth, motion (like sanding) and • Great control of wood at all times with no while sandpaper is consumed and costs how to sharpen it in four seconds. snipes at the end of cut. money; scraping creates very little dust • Holds wood down to 1/4˝ wide. in the air; scraping makes very little Tablesaw Blade Guard – Does • Saves resetting the when cutting noise; scraping consumes no electricity. Q anyone know of a tablesaw narrow strips. In short, scraping is an aesthetically blade guard that is safe and effective pleasing activity, while sanding with a yet still does not get in your way? They aren’t cheap but are a lot machine is a noisy, messy chore. – Bob Jarratt cheaper than having an accident and Can you get smoothness with a the more you use them, the more you scraper that is indistinguishable (after Roy Noyes replies: I have been using the will like them. At least 18 GNHW the finish is applied) from that of 220 Microjig GRR-Ripper system for several members are using the GRR-Ripper. sandpaper? The short answer is yes. Some years and wouldn’t consider anything I can’t say enough good things about people sand with 220 after scraping, else. The best way to understand the the GRR-Ripper system. However you and offer the opinion that wood which Microjig approach is go to their web have to really use them for a while to has been scraped is still fuzzy, and only site: www.microjig.com and view their fully appreciate the advantages. sanding will eliminate the problem. Of video. The GRR-Ripper system consists course this occurs because you normally of one or more push blocks (I use two

Improved Table Saw Dust Control by Hal Mahon

penings in table saw cabinets which the elevation control moves. They are easily reoriented when the allow dust to escape. The opening Some users have resorted to removing saw angle is changed. For complete Othrough which the saw elevation wheel the table top and covering the opening coverage, a sheet magnet could be cut moves as the saw is tilted is a significant from the inside with flexible plastic with shears to fit closely around the exit hole for dust because it is in line foam having a slit through which the shaft and indicator arm. However, I with the blade. shaft moves. chose to fit a small piece of foam that The first photo (left) shows the There is a simple fix for this problem. moves with the shaft as the saw angle is opening in my cabinet saw. This is The telephone books I receive each year changed. I then covered the remainder typical of most. Hitachi is one of the few often have an advertizing refrigerator of the opening with three refrigerator cabinet saw manufacturers to address magnet included of a size useful for magnets. this problem. They have designed a covering this hole. The second photo Using refrigerator magnets for moveable fitting in the cabinet of their (right) shows some of these sheet improved dust control was easy to new saw to cover the slot through magnets covering most of this opening. achieve and has worked very well. photos by Hal Mahon by photos shop shavings by Garrett Hack

From Cutlist to Construction

ood choices can with defects, sapwood, end color or to see how deep Tiny, tight and bark-free have a profound checks and maybe some a sticker stain might go, I knots might be blemishes, Wimpact on a design. Each warp. Exceptional wood plane off the rough surface but they are probably not type has distinct colors, grain has become so expensive I or pare some away with my going to cause structural patterns, figure, workability, could hardly justify slicing knife. problems. Big knots can. The stability, hardness or ability a wide board into 4” strips The end and face grain grain swirls around every to hold detail and stand up to anyway. I’m looking for stock of a board will tell you a knot creating at times some wear and tear. It even affects of quality consistent with tree’s history if you can read exquisite figure, but also the width of the boards you what I am making with as it. The more the grain lines tension in the fibers. Even are likely to find. In my last little waste as practical. But resemble a topo map of hills the “echo” of that knot in Shop Shavings, I discussed I don’t compromise for the and valleys, the more curved other boards from the same these many characteristics. sake of economy and use that tree grew, and the more log can cause a noticeable Two thoughts are worth pieces I like less than 100%. chance it will remember this kink. Black knots or with repeating. Very beautiful About 15% extra is enough later on. ingrown bark can fall out. objects – ones with stunning to handle surprises such A crotch is the extreme To be safe, I give most knots form – can be made from as unseen defects, off color of this. Swirly wood is less and defects a wide margin – well selected common hidden under the rough stable than straight even unless I am clever enough to . And the process of sawn surface, weird grain growth, but it also might lay out cuts where they will going from drawings and – or mistakes. be a more beautiful and be eliminated in a shapely cutlist to a pile of rough cut Some parts in my cutlist interesting choice for a chest base or apron. Knots materials, all before actually are naturally more important tabletop or drawer face. For are also entry points for rot making anything, can take a than others, such as nicely door stiles and rails, I want or stain. long time. matched drawer faces or a the harmony of straight grain I mark everything as I go An organized cutlist is the single board tabletop. I’ll and the stability of end grain with a red crayon but I cut place to start. – how many choose from my best stock more quarter sawn than flat nothing until I know I have of what sizes, which will be for these and my longest sawn. Uneven growth rings every part. It’s a lot easier most seen, what might have parts first. For easier color indicate potential problems, to re-mark something than to be glued up, and secondary and grain matches, I look for maybe tension or twist that make do with a miscut board. woods such as for case backs boards from the same tree, will show up later. To get maximum yield, I’ll or drawer bottoms. I always which I can sometimes tell by The center pith and early cut the board any way that list finished sizes but will finding ones the same length growth of the tree should I have to, sometimes like a rough cut longer and wider. and width. Long boards are be avoided (it might be very big puzzle. At a minimum, If all lumber came in wide, often better quality than dark too), but such boards I cut parts 1/4˝ wider and 1˝ clear and long boards, going short ones, because they can yield some beautiful longer, or more if I can, and from cutlist to came from trees with longer narrower stock to either side. include some extras for the rough stock straight trunks. If I am going The flatter the board, the most important parts. Extra would be to use figured wood, I have better behaved it’s apt to be longer and wider stiles can easy. More to keep looking until I find as finished parts. become shorter rails if I likely is enough of similar intensity. Any defects or knots need them later. I don’t cut lumber To get a better look at the deserve special scrutiny. the smallest parts difficult to

Knots Continued on Page 9 Pith

End Checks book review by Jon Siegel

A book authored by New Hampshire’s Harvey Green

writes, “As late as 1850, wood still things of almost infinite number and provided more than 90% of the energy variety have altered human existence used in the United States…” It was attest to the significance of wood as a sobering for me to consider that in 150 material in everyday life…The little years, we went from that point to getting things…are often more difficult to most of our energy out of the ground in perceive because they are common… the Middle East. But shoes, matches, toothpicks, rulers, Green’s exhaustive knowledge of pencils, clothespins, and the like are European history is nowhere more essential precisely because they are so evident than in the chapter The Empire used and so common, and their history, of Wood. It is largely about form, and shape to us more ships and their importance complicated and unexplored regions of in national power, both experience, if we know where and how for trade and military to look at them.” purposes. Few of us can Green says he did not write this book imagine the quantity of for woodworkers, but rather for anyone t is hard to believe that such lumber (two million board curious about the material in a historical a broad subject could be feet, 50 acres of trees) and cultural context. Nonetheless, I covered in one book, but consumed in building just found it a fascinating read and I think Wood by New Hampshire author one of the 100 cannon other woodworkers will too. Harvey IHarvey Green is an amazingly war ships of the 18th has woven a story inspired by his own complete treatment in 400 pages. A century. Attempts to secure supplies of experiences in woodworking and his quick scan of the contents, reveals that lumber throughout Europe and how love of New Hampshire forests. shelter, ship building, and fine furniture this played a significant role are major topics, but there are also in history is described in chapters on everyday objects ranging this chapter. There was from boxes to pencils. also the realization of Interviewed on New Hampshire the abundance of trees in Public Radio’s The Front Porch shortly North America. Green after the book’s release, Green said this writes, “Almost from the is not just a book about a material, but beginning of European because wood is organic, it is also about contact and exploration, trees and all the symbolism they possess voyagers to the northern parts – life, rebirth and renewability. of North America remarked So many books of this type are on the abundance of enormous written by journalists who attempt to conifers growing within sight of make themselves experts on some narrow the shore. It took no genius or vision subject for the purpose of cranking out to recognize that on this vast continent a book. Green’s book is different. It were the raw materials of empire that, has substance and depth because he is if secured from the invasion of one’s a professor of history at Northeastern enemies, could be the source of riches University and his broad knowledge for centuries to come.” is woven into every fiber of this book. From immense buildings and ships Each topic, from bows and arrows to down to toothpicks, this book has it all. golf clubs are given the background of The following quote from the wonderful history they deserve. chapter Little Things With a Point For example, on the seemingly exemplifies the scope of this book. “The mundane subject of firewood, Green myriad ways in which small wooden around new hampshire by Caleb Dietrich

Part 2: Massachusetts The Woodworking Schools of New England

a visit to boston’s north end and a look at the woodworking schools of Massachusetts

A talented woodworker and a gifted teacher, many of us might remember Janet from the demonstration she did a little over a year ago at Pinkerton Academy. Her lesson was one of the most clear and well put together the Guild has offered since I’ve become a member. If you missed it, or would like to follow it up with a more in-depth lesson, she is scheduled to teach a similar course North School Bennett Street at NBSS from March 26-30. North Bennett Street School In addition to the workshops and three month raveling south, you’ll offers a calendar filled with intensive program, North Bennett Street School find that our neighbors tempting workshops like the one remains committed to turning out graduates ready in Massachusetts provide Janet will be leading at the end to enter into a career in woodworking. To this end, plenty of options for the New of March. Curtis Buchanan will they have developed their Full Time Professional Hampshire woodworker. I visited be teaching Traditional Windsor Training Program. The program introduces students Boston’s North end in November Chair Making from June 11-22. to all phases of cabinet and furniture making, and and stopped at North Bennett And later that month, from June graduates craftsmen that are prepared to enter into Street School’s annual open house. 25 to July 6, Brian Boggs will be the trade. The NBSS website states, “Graduates of North Bennett Street School a guest of NBSS. His week long this course work as employees or for themselves in has earned a reputation as one workshop Ladder Back Chair fields such as custom furnituremaking, architectural of the best. First established Making promises to be another millwork, teaching, furniture repair and restoration.” in 1885, the school got its highlight of the school’s spring/ Outside of Boston and the North Bennett Street start teaching valuable skills to summer schedule. Both workshops School, Massachusetts is peppered with a number immigrants. They remain true will be unique in that students will of experienced craftsmen that have organized small to these roots by offering unique learn to work with “green” wood in schools in order to teach the in-depth lessons of education in bookbinding, jewelry a traditional chairmaking fashion. their specialty. David Calvo of Calvo Studio, Bruce making, preservative , If you are looking for locksmithing, and the making something more than a specific of fine musical instruments workshop, NBSS offers a Three in addition to the cabinet and Month Fine Woodworking Intensive. furnituremaking program. The course will fulfill both Today, in the midst of the Fundamentals of Fine Woodworking often hectic city of Boston, North and Fundamentals of Machine Bennett Street School seems to Woodworking. It will also cover calm things down. They pride drafting and reading furniture themselves in teaching “time plans, choosing and purchasing honored methods and skills.” At lumber and project organization. their open house, Janet Collins Students will use all they learn in showed visitors around the completing projects that have been school’s first floor workshop, and specifically designed to involve explained the pieces of furniture a wide variety of woodworking typically completed by students. joinery and technique. 

Hamilton of The School, and Paul White Cutlist to Construction – continued of Paul White Woodcarving are examples of this brand of schooling. In contacting these specialty schools, mill, but keep these as boards. As When , take your time. I found them very helpful and willing to send I cut everything, I check them off Surface things part way and information. I’m convinced they could be the best my cutlist and mark what they are then let the pieces rest a day or option for a woodworker looking to pick up or fine on an edge or end grain where it two before continuing to final tune a specific skill. will survive surfacing. dimension. If things are moving, Other schools, like The Furniture Institute of Rough cutting the parts has slow down and give your wood Massachusetts, have grown to compete with more multiple advantages besides more time to acclimate. Stack established institutions like North Bennett Street knowing I have everything. As everything on edge or end so that School. FIM is headed by Phil Lowe, a frequent smaller pieces, they will acclimate maximum air moves over your contributor to Fine Woodworking Magazine. Like his to my shop environment more wood. Try to plane both faces articles which cover all aspects of furniture making, quickly than they would as boards. equally to maintain equilibrium – the Institute offers a diverse schedule of workshops. I can inspect each piece for quality the center might be wetter or drier. Topics range from building a to carving a and reject it now before investing For efficiency, mill as many parts ball and claw foot. any more time. And any tension as you can at one time. Careful The Furniture Institute of Massachusetts also in parts will show up as a warp of selection and handling of your offers a full-time twenty-month Furniture Making some kind, maybe not causing me materials all the way down the Program. Students enrolled in the program will be to reject it, but to be wary. At this line makes the building process involved in “a thorough study of classical furniture.” point, the longer I can let those smoother and more enjoyable. This year’s class graduates on June 16th. The day will parts sit before milling the better. also be an open house for anyone interested. The side bar provides an extended list of Massachusetts’ woodworking schools and their contact information. Most of them have comprehensive web sites that include the new 2007 spring and summer schedule, and a good description of the school’s programs. Like North Bennett Street School and The Furniture Institute of Massachusetts, many of these schools will hold an annual open house. And, from Massachuetts Woodworking Schools my experience, they are glad to have visitors by appointment. So, if you are planning to invest your North Bennet Street School The Eliot School of Fine and Applied Arts time and money in woodworking education, you www.ndss.org www.eliotschool.org might also pay the school a visit to get a clear idea 39 North Bennet Street 24 Eliot Street of what they offer. With so many options available, Boston, MA 02113 Jamaica Plains, MA 02130 this extra effort can guarantee your expectations are (617) 227-0155 (617) 524-3313 met. photos by Caleb Dietrich The Furniture Institute of MA Calvo Studio School www.furnituremakingclasses.com www.davidcalvo.com 116 Water Street 186 Main St. Beverly, MA 01915 Gloucester, Massachusetts 01930 (978) 922-0615 (978) 283-0231

New England School Heartwood School of Architectural Woodworking www.heartwoodschool.com www.nesaw.com Johnson Hill Road One Cottage Street Washington, MA 01223 Easthampton, MA 01027 (413) 623-6677 (413) 527-6103 The Wood Finishing School Paul White Woodcarving www.patinarestoration.net www.paulwhitewoodcarving.com Bruce Hamilton 295 Rte 6A P. O. Box 835 E. Sandwich, MA 02537 West Newbury, MA 01985 (508) 888-1394 (978) 363-2638 traditional cabinetmaking by Al Breed

(which will not pass through the cut made by the V-shaped tip) has been reground to the same pointed shape as the inside of the tool. This not only allows the rest of the tool to follow the front, but also lets the tool track in a straight line or an even sweeping curve. This lower angle of attack Special Sharpening permitted by our new gradual also allows the carver to apply the power to the tool in the same line that the tool is travelling for Carving Tools so that a line drawn from the front of the tool to the elbow would pass straight out the handle through the hand, wrist and forearm. The second modification I nlike most woodworking tools, many carving What I do is to re-grind the make to some of my V-tools is Utools will perform very well right out of the tool in two major ways. The to grind the front of the tool so box with just a little stropping. The more you carve, first lengthens the bevel to a that the wings of the tool slice the however, the more the need will arise to change the long, continuous one with no wood before the bottom of the V factory grind to perform better in a special situation. discernible transition. Photo 1 does thus acting like the nickers on The carving tool that I find is a primary one in shows an unmodified V-tool a plane running cross-grain. most of my carving is the V-tool, and happens to above a re-ground one. This This is done by lightly touching be the one that I find almost unusable in as-bought regrinding enables the body of the the front to a grinding wheel and condition. The reason for this is that the tool is too tool to pass through the cut made putting about a five degree angle thick and the bevel too short so that in order to create by the front of the tool with very back from the tops of the V to a V- of the size intended, the handle must be little resistance. the base where they intersect. The raised way up in the air. This is an awkward position Photo 2 shows a bottom view bevel is then carefully brought up to carve in, preventing the user from resting the hands of the two tools showing how the to the edge. on the work, which gives the control needed. rounded keel of the factory grind I do this on the side of my wheel so that I can see what I’m doing. This back-bevel will allow you to cut not only across the grain but also in curly wood and 2 sometimes even into oncoming grain with no tear-out. Photo 3 shows cuts made by gouges and V-tools ground back, 1 all cuts done across the grain. Photo 4 illustrates the cross- grain cuts made by a small veiner with a back-grind. This shows how the cuts can be made very close to each other without tearing out. As useful as this back-grind photos by Al Breed 11

3 4

is, there are places where it will modifications to gouges. Here the work of a back-bent gouge, and the beauty of it not be able to cut up close to a I’m using a 5-25 gouge to smooth is that you can create an endless variety of back-bent line without damaging the wood the ball. The front of the gouge sizes not available off the shelf. You have pretty much ahead of it. In this case you’ll has been slightly rounded to fit put these gouges out of use for anything else, but if want to grind your V-tool or other up against the web of the foot so you’re doing some carving where a dedicated tool will gouges so that the bottom of the that the ball can be finished with speed things up, it’s worth it. V precedes the top as in photos 5 one or two final passes without As far as modifying your tools is concerned, use and 6. the worry that the factory corners some restraint both in the decision to do it and in Here, I’ve cut a line with a razor at the front will chew up the web. the actual process of grinding. Don’t modify a tool blade and cut to it with a 9-10 Again, grind the rounded profile until you need to for a specific cut. Changing it gouge and a small V-tool to show first and then gently bring the will make it great for that cut but maybe useless for the cuts. This grind is handy when bevel to it. most everything else, so you’ll probably have to get a or fluting terminates at a The second tool visible here replacement with a normal grind for most work. turned element or where a shell’s is approximately a 7-20 with the Where the actual grinding is concerned, I can lobes stop up against a central wings preceding the bottom of attest that most of my carving students take more motif such as the rosette in an the gouge and the bevel ground in than one try to get it right, especially on the V-tools. incised shell. channel, or on the inside. I find this Use a very light touch, holding the tool with your The ball and claw photo tool enormously useful in shaping fingertips. shows two more of my favorite the backs of the ankles of ball Grind the angle of the back-grind first, then the and claw feet as well as the claws gentle bevel of the keel back towards the handle, and the transitions at the ankle in then the corner where the flat grind of the front. The modified tool is doing keel meets the side angle, slowly grinding until there is only one plane on each side that converges in a pointed keel at the bottom. Gouges are easier. Roll the tool on the wheel and slowly lengthen the bevel until it is one continuous gentle taper back towards the handle. Remember that as you progress, the steel gets thinner and becomes more prone to burning, so you need to have a lighter touch at the end. Don’t grind right up to the edge, save the last tiny bit for a stone. I rest the tool on a bench and pickup my 1000 grit waterstone and push it away from the handle on the bevel. 5 Finally, when choosing carving tools, I find that the thinner the tool is forged to begin with, the less time 6 needs to be spent at the grinding wheel and the more time can be spent doing the fun stuff – carving! current work by Marty Milkovits

shaker inspired

legs, it becomes an extremely strong piece. Assembly can be a bit tricky but if broken down into component groups and then assembling those groups, it really goes together quite nicely. Case The three poplar bottom panels and its frame constitutes the bottom group. Three curly panels, the top and bottom rails, the two center stiles and the rear legs are the back group. The two front legs and the drawer dividers and his is a very close copy of an collection of bedroom furniture to go center stile are the front group. original Shaker chest of drawers with this chest of drawers. This is where the accuracy of your that is pictured in The Complete Book of layout really pays off. After turning Shaker Furniture by Timothy D. Rieman Materials and Construction the lower portion of the legs, I and Jean M. Burks, pp 175. I had just The piece is done in cherry, curly all four legs together and mark them as bought the book and was thumbing maple, and instrument grade birdseye a group, using a to transfer my through it, looking for ideas for a piece maple to match the bed and tables lines across all four pieces. of furniture to build for the annual that I had already built for my client. It Chop your mortises and rout a groove Guild exhibition at the Sharon Arts measures 34˝ high by 52˝ wide by 20˝ for the panels. Pay particular attention Gallery. This piece was one of several deep. The drawer arrangement of four to which sides are your outside face that caught my eye. by three is proportioned in a horizontal and on which edge of the inside face The original piece was built and used one third to two thirds. the mortises are to be cut. I’ve ruined as a work counter. With a smaller top, I The legs, top and frame are cherry. I more than one piece thought it would serve quite well as a chose curly maple for the side and back by not taking the chest of drawers in our bedroom. This panels, and instrument grade birdseye time to check all my was a piece that we could use to replace maple for the drawer fronts. Poplar is marks before I started one of the old bureaus that we have. the secondary wood used for the bottom cutting. Shortly after the show, I was panels and drawer bottoms. I begin by making contacted by a woman who had seen Construction of this piece is fairly up the case front, the the piece at our show. She bought simple and straight forward and easily back of the case, the the piece and I went about building a accomplished having only the basic case bottom and second one to have in my booth at the woodworking skills. I pre-finish all of the drawer runners as Sunapee Crafts Fair. That piece also sold panels before they are assembled in their separate groups. I also at Sunapee and I never did get to build frames. This way, when the humidity make two extra pieces one for myself. level drops, the panels will not be left of stock mortised the I’m still stuck using that ratty old with that faint line of unfinished wood. same as the side of bureau whose style is somewhere The case is a good exercise in frame and the rear legs. These between Early Salvation Army and Late panel construction with the legs acting will be used to aid Relative. It has been a very popular piece as the stiles of the frame. And with the in alignment of the for me, and I have designed a complete drawer runners also mortised into the drawer runners, and Zero entry dovetail photos by Mary Milkovits 13

the top and bottom side rails during The drawer boxes are of straight Finishing gluing up. I leave the bottom a bit grained maple with poplar bottoms. In I sand all of the parts to 120 grit oversize and then plane it to size as it cutting the dovetails for the drawers, I when I do my final dimensioning and is fitted in the whole assembly. like to use what some call a “zero entry before I cut any joinery. After glue Most important is to keep checking dovetail”. This type of dovetail is where clean up, I’ll sand up to 180 grit and for square as it is very easy to glue this the cut for the narrow point of the pin then wet the piece. This is not only to up slightly racked which would make is just the width of the saw kerf. A pin raise the grain but it also makes any fitting the drawers a real nightmare. this narrow may not be as strong as missed glue spots more apparent and When I have the front of the case a wider pin but is still plenty strong raises any of the little dents and dings glued up and out of the clamps, I glue enough given the forces the drawer will that worked its way into the project the drawer runners to the front of the be subjected to. That fine look more during assembly. Then I back down to case, the top and bottom side rails and than makes up for anything that may 150 and hand sand back up to 180. Wet then slide in the side panel. I use that be sacrificed in strength. again just to make sure you’ve got all extra piece with the side mortises cut I also pre-finish the inside of the the glue and if so go to 220. into it to align and square the sides. I drawers before assembling them. This I finished this piece by spraying put a red mark on the rear tenons to not only saves time but it also makes three thin coats of lacquer and then a remind myself not to put any glue glue clean up much easier. light sanding with 220 grit followed by there just yet. I turned the cherry knobs from three slightly thicker coats. After letting With the sides attached to the front, scrap stock making the four knobs for the finish cure for a few days, I rub it I slide the bottom into a that I cut the smaller drawers slightly smaller out up to 600 grit using mineral spirits in the bottom side rails. I positioned than those for the larger drawers. as a lubricant. Polish off with 0000 steel this dado so that the top side of the wool and a coat of renaissance wax. case bottom is flush with the top of the front bottom rail. In doing this, the dust panel frame also acts as the bottom drawer runners. I’ll then remove the two side alignment pieces and glue on the back assembly. Drawers I originally planned on re-sawing the birdseye into 1/8˝ veneers and then applying it to the drawer fronts. But by cutting and sanding wood with Poplar drawer bottoms this amount of figure this thin, I was Front destroying more pieces than I was making. Trying to scrape out the saw marks was a complete disaster – it only produced more tear-out. Due to the very limited amount of this birdseye maple that I had, I would not be able to resaw it any thicker than 1/4˝. At that thickness, I would have just enough material for the drawer fronts. Bottom Drawer runner mortises Matching the color and figure of this wood from another board would be nearly impossible, and finding more stock with this amount of figure right now was not possible. After lots of praying and rechecking the bandsaw, I Top drawer kickers decided to go for broke and cut for a 1/4˝ front. After lots of sweat and more prayers, I had my drawer fronts. With this success under my belt, I decided the drawers would look better if they were lipped with a thumbnail . Back Drawer knobs The Slide Lock Dovetail by Ted Blachly photo and drawing by Ted Blachly Ted by and drawing photo

ood joinery is an office credenza made from issue is the basic fact the to touch on accuracy as I lay area of woodworking Sonokeling – a plantation tail has to travel a full 10˝ or out the steps, but basically that brings me grown . It had more before it’s home. This for me, it amounts to being great enjoyment. There is an assortment of drawers, can be tough if the joint is able to put a sharp point something about making file drawers and storage nice and tight. on a pencil, draw a straight and putting together a well shelving behind doors. It Start paring some off the line and having a full and engineered and fit joint – one required a number of interior tail so it will go the distance complete understanding of that has mechanical integrity, partitions. and you end up with a sloppy what square means and is… is sympathetic to the After seeing the joint go joint. We soon learn that the and of course being able to structural and hygroscopic together, I eagerly looked tapered sliding dovetail is the measure. So excellent layout characteristics of wood and is forward to trying it in my answer because it gets tight tools are essential. not necessarily dependent on own work partially so I could just before it’s home. I feel I Drawing full scale can adhesives to hold it together. remember how it was done. have more control with the be a valuable tool when If I could put my finger on it, It’s a great joint to use when slide lock dovetail because the building furniture especially I’d say it’s making something joining wide solid panels tail section is dropped in and when planning joinery, so that will have longevity. that intersect at a right angle. slid a short distance until it’s this is where I start. After This could be in a cabinet home no matter what the laying out the size of the tail The Slide Lock Dovetail partition to a cabinet bottom width of the stock. proportionate to the stock I I occasionally use a or an extra wide drawer front am using on paper, I transfer “slide lock dovetail” which is to its sides where the front Accuracy my layout lines onto the mostly router cut. I learned it overhangs the sides. It is a joint that requires stock. The socket piece will while working as an assistant Using a standard sliding accuracy with your router be made first and I’ll need in Jere Osgood’s studio. dovetail when making set ups. Actually, having two two lines delineating the It’s roots can be found in connections in stock 10˝ and routers would be a plus – one thickness of the side that traditional Chinese joinery. wider presents a number of with a straight bit and one Lay outwill pins be on joined tail stock to first it and a Jere was building a large problems. The number one with a dovetail bit. I’ll try center line. 15

Router Setup “locking tail” at both edges which is to what was done on the socket. To get the router setups, I have a important. With the straight bit now in the test piece that is the exact thickness A straight bit is used on alternate router, remove the slopped sides of of the tail piece, and a test piece for sections to remove the sloped sides those sections leaving only a web the socket. I clamp a straight edge created by the dovetail bit. Use between the tail sections. This web to the socket piece and with the enough width to permit the tail has no real structural value when dovetail bit set at the finished depth, to be dropped straight in. Again the joint is together other than to I run it in a short distance. the fence has not been moved and give strength to the tail sections. It’s From this test cut, I can get spacers have been used to achieve the always a relief to put the noisy router information for the exact location desired cut. away and pull out a sharp to of the fence in relation to the cut. cut back the front tail slightly for a I square up and measure as needed Cutting the Tail shoulder. and make a small layout block from Next it’s on to the tail section. For a piece of ½˝ large scaled work, I’ll make the cuts Glue Up that will be used for setting the fence. with the panel clamped vertically After checking the fit, the joint I have a collection of these little in the . I’ll clamp a squared up is ready to be glued up. The glue blocks each made can be managed for a specific fence nicely here by just setting depending brushing it on the on what bit is in tails and sockets. the router. Since it’s not going a great distance Cutting the Socket there shouldn’t be S t a n d a r d excessive squeeze practice when out. Drop the making a sliding side in and tap or dovetail socket pull forward with with a router is to clamps if necessary waste the bulk of the 13˝ or what the material in a ever your increment few light passes is until it’s home. with a straight bit first. Set the The first time I depth just shy of made this joint, I the finished cut to spent a little time let the dovetail bit trying to figure out do the final milling of the bottom 2˝x4˝-plus block of hardwood to how the joint could come apart. It as well as the sloped sides of the the side of the panel and flush with became obvious that it was going socket. its top edge. This gives a wider and to be together for a long time…and Setting the fence once and more stable base for the router to that is a good feeling. switching between the straight ride on. Smaller size pieces could be and dovetail bits is the key to done on the router table. Ted Blachly makes fine furniture in Warner, maintaining parallelism in the joint. I’ll get my router fence settings NH. Ted is also a past Guild president. This is where two routers can be with the test piece and set the depth helpful. Use spacer sticks as needed just a blonde hair shy of the socket against the fence to get both bits depth so the tight tail will pull the running on the same center. shoulder tight. When I’m satisfied To lay out the “escapements”, with the fit of the tail on the test the socket is divided into equal piece – admittedly this can be fussy Editor’s Note increments of about 1¾˝. A story – I mill the tail on the panel. stick is helpful here if you are doing With the story stick I lay out If you have a joinery technique you’d multiple joints. An odd number the increments on the tail and mark like to share, we’d like to hear from you. of increments will give you a clearly every other section opposite – Jim Seroskie at large by John Whiteside

Part Two – Making a Side-Grain Inlay Rosette Adventures in Lutherie

The process of doing this is I achieved this taper by building fairly elaborate, so this article will a special jig. Indeed the entire just cover some of the highlights. pattern required making twenty One highlight is that this is side- jigs and this one shows how they grain inlay – the grain of the holly work. It consists of two maple and strips runs parallel blocks mounted on a flat piece to their long . Most guitar of MDF. Between the blocks is a rosettes are not like this. Instead, channel in which a third piece of they use bundles of tiny strips maple sits (Photo 1). The top of with end-grain showing, which is this third piece is slanted such that considerably easier. on one side, it is 1.95 mm below Another highlight, in terms of the surface, and on the other it is an interesting problem to solve, is 1.55 mm below. A small slab of the geometry. The Greek key is a ebony or holly, precisely 12.5 mm rectilinear design which I wanted in width is placed into the channel to transpose into a circular pattern. and then a is run s reported earlier, Franz Summers, myself, Below is my final ten times scale repeatedly over the top until the and Paul Miller received a Guild grant to drawing which shows some of the slab is planed down to the level of help us study lutherie – the art of guitar intricacies. The right angles in the the side blocks. The plane blade making. We are just over four months into what will original pattern fall along precise does not dig into the side blocks probably be a year-long effort in building our first diagonals. because the blade does not extend guitars. This is the second in a series of three articles In a circular version, this is all the way to the sides of the detailing our adventures. Fortunately both Franz impossible because the points plane. Notice a rabbit plane would and Paul have become excited enough to plan their describe a spiral. So the design not work in this application. own articles, leaving me free here to focus here on an has to be a compromise of some The next photo shows how this aspect of lutherie that has utterly captivated me – the sort. If you look carefully, you works from above with the plane making of rosettes. will see several places where the in place (Photo 2). In case I am not I have now spent about 200 hours on the work corners do not fall precisely on the making a slab, rather I am defining here described and the first photo above shows what diagonal lines. Many adjustments one side of a glued up sandwich I have so far achieved. What you see is a side-grain were necessary to get them as of slabs, which when flipped and guitar rosette in a circular modification of the classic close as they are. One of the most planed on the other side will Greek key pattern. The 130 separate pieces (each important was recognizing that become a log. This particular log of which is in turn made up of small strips glued the vertical strips do not have makes the “alpha” piece which together) are placed loose on a test board. The test parallel sides – they have a slight you can identify in the drawing board has a 1 mm deep circular channel cut into taper. – I found it necessary to give all it, with outer and inner diameters of 68 mm and 55.5 mm respectively. This is exactly the size of the channel on the soundboard into which these pieces will eventually be placed, glued, planed flush, and French polished. The woods are ebony and holly. The ebony dust you see on the holly is a result of sawing the pieces and will disappear with the final of the surface. It is difficult to convey how much fun it has been to progress this far and how surprised I am to be doing intricate inlay, something I never would have imagined wanting to undertake. It just goes to show the remarkable benefits of belonging to the Guild which provides inspiration, camaraderie, and even financial support. photos by John Whiteside

The entire pattern 1 required making twenty jigs to be used in exact sequence. Shown are the five pieces 3 needed to make up the pattern. 4 2

the pieces names to keep them straight. The alpha to make up the pattern (Photo For all of this to work out, log itself is shown in the next photo (Photo 3). Later 4). The most complex is the right- elements have to be cut to an the actual inlay pieces that go into the rosette will be most piece, called delta – notice accuracy of 0.1 mm or less. The sliced off this log, in fashion similar to slicing pieces the tapered elements in this piece. angles have to be extremely precise of bread from a loaf. First, though, in the case of Delta required five jigs. The first as well. I had to redo a number of alpha, there is another special operation. Consulting two are shown in the next two the jigs several times to get them the diagram we see that alpha, the top-most element, photos, giving some idea of the right. Getting the angles correct is in the shape of a triangle. The long side butts up shaping sequence (Photos 5 & is not as hard as it sounds. Notice against the edge of the groove, which is curved. The 6). Notice how once one surface on the delta jigs that corners are diagram shows how the alpha corners extend outside of the log is planed in jig delta 1 taken off the maple blocks to get the groove by 0.35 mm. To correct this, I sanded that (Photo 5), the log is rotated to fit the correct angle for the groove. edge of the log using as a the inside properly into jig delta 2 (Photo To cut these corners, I scribed surface of a 68 mm diameter hole cut in a piece of 6). Thus the jigs have to be used lines along the length of the wood. This had to be done before slicing off the 2 mm in exact sequence. The striped log blocks using a marking set thick elements which are too small to handle for such bits glued in the ends of the jig to whatever distance was required an operation. The need to do this made for a further channels are stops. I made them as given from the master diagram. complexity; the outermost ebony slab on the alpha of the logs themselves to give a Then I planed down to those lines log had to be 0.35 mm thicker than the other slabs visual guide as to how to place the with the block plane. As a double – which meant, of course, an extra jig. log in the channel in the proper check for accuracy, I also measured The next photo shows all of the five pieces needed orientation. the width of the revealed angled surface, which is derivable from the master diagram. A final check on accuracy is whether the patterns come around full circle. According to the plans, it should take 27 pattern repetitions. The picture shows 26 5 6 and a gap that is not large enough to hold a 27th. It is about 7 mm Continued on Page 23 current work by David Lamb

Materials - Primary wood – and cuban mahogany veneers - Secondary wood – white oak, maple and cherry - Brass, leather

photos by Bill Truslow Griffith Library Table

his past fall, I had an opportunity to show recent work at the Anderson-Soule Gallery in Concord, NH. This show was unusual in that it was not speculative work being shown, but was part of a collection of work I’ve been doing for a customer of over twenty years running.. The pieces exhibited were the most recent of these fifteen pieces. A settee in Griffith Library Table 2006 the show, while having a different owner, I consider this mahogany table was related to these other works both one of my finest pieces to date. I truly stylistically and by its original patronage enjoy the challenge of taking successful of the first rendition. existing form and redesigning it to There were four pieces shown reflect my aesthetic sensibilities as well – all significant and all consuming in as my patron’s interest in my work and conception, design and creation. They its function and presence in her home. were: stone and cherry hall table, library In the case of this table, inspiration table, armchair and the settee. As with was found in the documented library most of my work, I follow a traditional table made by John and Thomas format and aesthetic. It works for me Seymour of Boston of about 1815. This and I enjoy designing within prescribed period design is especially appealing for parameters while also pushing my me because its form in both proportion ideas and interpretations of its pattern and detail is delicate, highly detailed language. and employs differing materials and I will concentrate my written efforts processes in its creation. Also, the fact here on the library table. that this classical design is also the photos by Bill Truslow root form of much of Shaker design is important to me because of my connections to Canterbury Shaker Village. I did feel, however, that the inspirational piece was lacking in design development. To me the connection between base and top was ill conceived and irrelevant to the rest of the design. In my redesign, I elected to transform the uninspired rectangular posts into two pairs of turned columns that are a reflection of the medial stretcher and tie in seamlessly with the formal drawer arrangement. The second major visual introduction I made was in the use of carving. These carved details in the legs and turnings follow a random, organic nature rather than the typical and expected carved detail. Typically carvings are repetitive, symmetrical and rigid as on the Seymour table. I was looking for something much more playful and relaxed but at the same time developed and formal. I chose to use native wild time developing a brass mechanism that the eye from the mahogany figure flowers for this purpose. Blue flag (wild could solidly support a heavy reference but still relate to the feet. One of my iris) was chosen for the legs. The form of book and fold away. A local model shop favorite uses of brass on this table is the plant perfectly fit the space, is linear supplied me with brass stock that I later here on the beading on the base plinth yet flows and is sensuous. The turnings attacked with a hack-saw, drill and torch. and on the lower edge of the drawer use the bindweed (wild morning glory) The result was very satisfying. faces. These fine lines of brass are just vine for its propensity to wind around The polished drop-leaf top has enough to tie the elements together and climb objects. A more random extraordinary Cuban crotch mahogany and provide a solid sense of formality and chaotic approach was chosen to veneer. The exceptional width and to the design. create balance. Five patterns of flowers swirl pattern of the veneer reflects the There are many subtle details in and multiple patterns of leaves were randomness of the carved detailing. The both construction and patterning developed from life drawings and later drawer fronts also use this same Cuban on this piece that seem difficult to clay modeling. These patterns were mahogany material and demonstrate a include totally – such as the veneer then orderly but randomly laid-out on randomness in the material layout that detailing around the drawers faces and each turning. The result is a balanced is very pleasing. The two drop-leaves are framework. Hopefully the viewer will look on all these parts but clearly each each supported by a pair of solid wooden relish the discovery of many of these being distinct and varied. I believe it is knuckle hinges carved of mahogany features over time and appreciate the very successful and a unique approach. with an elegant profile. incredible effort of such work the The upper casework contains four The final design element is the use longer it is in ones’ presence. drawers, finely dovetailed with interiors of brass. The feet and pulls are a typical of quartered white oak. This table has approach. I chose a simple form of ring two drawers on each side. One of the pull for the drawers so as not to distract sides employs disguised slides that function as an alternative writing surface to the main table top and an adjustable pitched book support. These slides are framed in mahogany and paneled with leather. The articulating book support was particularly challenging in that I had 1˝ to create this feature, make it function and have strength. Using veneered plywood and , I was able to overcome these challenges. I also spent considerable U I L D E G OF TH W IRE OO 20 SH D by Dave Frechette P W O M R

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• • Nine Months in Rockport Scholarship

y interest in woodworking was one instructor, David Upfill- There was a set period of time for each project and was always percolating Brown, who was with us for the it was to go in the basement at the end of it. Mbeneath the surface. I got a year. However, he always had a I have included pictures of my projects. The three Shopsmith about thirty years co-instructor who changed with that drew the most interest were the coffee table, the ago and eventually taught myself each project. Two half days a chair and the cradles. Pictures of the coffee table to turn. Syd Lorandeau then week were devoted to didactic were published in Woodwork and Woodshop News and introduced me to the Granite learning which included drawing, the chair was in an article in Maine Boats, Homes & State Woodturners, which in inlay, veneering, finishing (, Harbors and was shown at the Philadelphia Furniture turn caused me to start going shellac, lacquer spraying, , Show. I will briefly describe the making of each. Like to Guild meetings. I took a stains, dyes, etc.), carving, etc. We all the projects (except the tool case), these were of one month course at the North also took field trips to furniture my own design but there was a lot of help from the Bennet Street School to see if I companies, woodworker’s shops instructors. was really interested in learning and museums among others. more and decided I was. I applied My Tool Chest to the two year program at North The projects were: The tool chest was an exercise in machinery. Only Bennet and was wait listed. The the interior was of the students design. It held our Guild field trip in June of 2005 • Four boards joined with dovetails and hand tools for the remainder of the course and each was to Maine visiting Lie-Nielsen a through (usually a of us hung our’s on the wall by our bench. The hand and the Center for Furniture stool) tools I used most were the bench (in my case Craftsmanship. The Center’s • Tool box to a set design - a machinery a motley selection purchased at auctions and antique emphasis on design and doing project (finger joints, hinges, curved stores) followed by the bench planes (mostly #5 & a variety of projects and the fact piece with shaper #6), block plane and scrapers. that it was nine months instead • A door and a drawer - something with The tool chest was made to teach us how to use of eighteen and the fact that the at least one and no more than two machines, to work from a pre-existing plan and to shop never closed won me over. I drawers and doors work in a production mode. This was our second applied and was accepted. • Bending - something with bent wood, project, the first being a stool from four boards which I rented a house about 25 either laminated or steam bent, veneer taught us to use hand tools. For the tool chest, we minutes from school and moved encouraged were instructed in the use of the jointer, planer, shaper, there in September. School was • Multiples - something with a retail band saw, drill press, router and table saw (with use from 9 to 5 with an hour for value of under $300 made in a batch of a jig). The chest carcase was made with lunch, but these were the hours mode solid rails and stiles joined together with finger joints. of instruction. You could come • Chair - had to be a dining chair The door frames also had solid rails and styles. All and go as you pleased. I usually • Final - anything we wanted - an the corners of the doors started between 7 and 8 and opportunity to explore new things or were mitered with the inner finished between 6 and 7. There make a show piece. corners (hinged side) with a spline running across the grain and the outer corners joined with a spline running parallel to the grain. Each door and the carcase was required to have a permanent shelf attached. These were jointed with a through mortise and tenon and we were given the option of using birdmouths on the doors. The back and door panels were plywood and we were given the option of veneering these. The rear panel was two pieces with a solid stile in between. These were joined using biscuits. We had the option of putting in permanent or adjustable shelving and 21

glass opening were veneered after routing but prior to gluing. Then the two sets of discs were glued together and the remaining surfaces veneered. The glass was attached by sliding it into the slot and using a silicone adhesive. The legs were made with considerable difficulty. Cherry was resawn to approximately 1/4˝. Then a 1/8˝ groove was cut in the center of each board to allow another piece (also grooved) to cross it to form an “X”. All pieces were then steam bent around a mold. After drying, the now somewhat curved pieces were epoxied together and vacuum laminated around the same mold. There was any other fittings we desired to and wanted to have a hole in the center of each hold our varied collection of tools. the most used readily board to hold them in place, The milling of the solid pieces available. I drilled but the methodology left was all straight forward with the a series of holes and then cut something to be desired. It was hoped that the x-legs exception of the curved door channels to each hole. Finally I would be usable right from the mold, but there were inner stiles. The curved pieces countersunk holes to screw the some epoxy filled gaps at the joints so, after cleaning were cut out on a bandsaw using board to the door panel, drilled up the legs with a spoke shave, the legs were also a pattern. The pattern was made pilot holes in the door and veneered to hide the gaps. into a template and the template mounted the chisel holder. I did This was an opportunity for me to learn to use was attached to a jig which would two more holders for my carving hide glue. The rail between the legs was turned with hold both curved pieces in place chisels and put the ones I used a at the end to go through the guide holes in for running through the shaper. mostly on the door. I used the the legs and the balls to cover up the dowel were also After one side of each was done, shelves in the carcase to hold my turned. The legs and rail were very rigid when glued the pieces were swapped and the bench planes which ranged from together. The top was attached with and the procedure repeated so that both #3 to #8. I found I used the #5 and table was shellacked. sides of each piece were clean and #6 mostly, probably because they identical. were tuned the best. I also kept Bent Wood Chair I choose cherry as my solid a couple of block planes (used The chair was to be a reproduction Chinese chair. wood mainly because I had some. all the time), a (used a Our co-instructor was David Caldwell and I was Since the plywood was , I lot in making the cradles), and a talked into making a chair from bent wood with also opted to veneer it. I picked . I made a holder considerably fewer joints. As with all our projects, we out some matching sheets of curly for my small square and for my did drawings and mockups. Please look at the picture cherry and, using a vacuum press, collection of scrapers as well as of the chair so you will have some idea what I am veneered the door panels. I did a holder for my markers which talking about. My mockup for this chair was made not do the back but put the dark have little gates to keep them with an adjustable spoke going to the curved leg. The side of the plywood on the inside from falling out when the shop is chair has spring because the bent ash is not restrained of the chest. You would be hard humming. at the top. By moving the spoke, the fulcrum changed pressed to tell it is not cherry with The chest is now in my shop and so did the seating characteristics of the chair. all the surrounding cherry. and still holds about what it held With the spoke in the middle, there is some spring The cabinets were glued up before. The carving chisels have for a small person but not too much for a large. In and finished with a choice of moved out to join their brethren using the chair for dining, when one leans forward varnish or shellac. Because I had it a bigger rack on the shop wall. to sip one’s soup, the chair goes with you and when not used shellac before, I chose it I have yet to decide what will one leans back to savor the post prandial brandy, the and learned what not to do. I put replace them in that space. chair moves too. it on with a poor quality brush The chair legs were made by ash and spent a lot of time sanding off Cherry Coffee Table to a mold then drying the ash in an oven to keep the the streaks. Making mistakes and The coffee table top was made precise curvature desired. I did not think this would fixing them was a large part of our of four plywood discs with space work but it really did. I was able to reproduce the learning. routed out of each for the glass. curve without difficulty. The leg assembly was made The interior was customized Two discs were sandwiched over separately from the seat assembly. Other than the by each of us. I have a mixed set the glass on each end to form the curved piece, the remainder of the leg assembly is of paring and mortising chisels top. The lips of the discs over the made of dowels and hubs like tinker toys. This hub 22

the log which had an amazing twist. plane or in this case, since I wanted a After a few days of frantic phone calls, I rough look, the inner board was flattened found some white oak logs at a firewood and the outer was wire brushed until mill near Bangor, ME. Off I went and there were no more splinters. I used a we split it on the lot with wedges and a power drill with a wire wheel. hammer and found it to be reasonably Once the boards had been made, straight. The guys were so interested the rest was straight forward. Mortises they gave me the log. were cut in the posts but rather than the The process of producing boards was usual rectangular mortises, they were straight forward but time consuming. adjusted to fit the incoming boards The split log was cut into lengths using where they were thin so they were a a chain saw and then split into smaller little wavy. Tenon were then cut on the sections again with wedges. Once thicker parts so the board and the whole manageable, the boards were split off was joined with draw pegs. I was very using a . For those of you who have nervous about using draw pegs where not used a froe, it is very different than the holes were designed not to line splitting with wedges. The froe is started up to force the tenons to be tight. My at the end of the log using a , then fears were for naught. I made my own the non-froe end of the log is wedged dowels out of oak and hammered them and spoke idea was carried to the back under something (traditionally a tree in without difficulty. They did draw the assembly. The seat was made of a plywood fork) and the handle of the froe is bent joint together nicely but when there was base and then wedges and a plywood cut down or up forcing the wood fibers a problem which there inevitably was, I out to contain the upholstered plywood apart. A block is inserted in the end found that I could pound out the pegs, fix center. Initially the seat was attached and the froe moved down into the just the problem and pound new ones back to the legs with hidden furniture bolts made space and the process repeated. If in. The rockers were made from thick covered with epoxy. But the epoxy the grain is true, it goes rapidly. Hit a boards (about 1˝ - 11˝) and I started would move in relationship to the knot and it takes forever. The nice thing out by sawing them with a saw. surrounding wood and I never was able is that you end up with a board that is That did not work, so I chiseled them to to get a good paint surface. Eventually, unlikely to cup or warp because it is in shape and smoothed them with a spoke the hidden bolts of the seat were drilled the same shape as it was in the tree. It shave. They were also pegged onto the out and replaced with carriage bolts. The will of course shrink somewhat. Once corner pieces. The floor boards drop in seat was upholstered with split out, the board is and are pegged. The upholstery is foam foam and fabric. The most squared up by removing covered with a king size pillow case. work and the least fun was the pointed side that is This was fortuitous – not good planning. getting a good enough not thick enough and Before final assembly, I carved the twins surface to cover with black removing the material names into a board. The finish was gloss paint. from the thick side. This linseed oil and beeswax. is done with an ax, draw While far from an accomplished Two Cradles for Twins knife and jack plane. It woodworker, I do know a lot more than I had heard of people takes a while but is very I did and I also know that I am going to making furniture from wet soothing. The board is keep my day job. I would like to thank or green wood. As a turner, then flattened with a the Guild for the scholarship grant. I was familiar with green wood and wanted to make something from it. The instructors assumed this would be a chair but they were wrong. My son and his wife were expecting twins so I decided on cradles. I visited Plymouth Plantation to learn more about riving wood, but no one was riving that day and the furnituremaker was off. That was a bust but I got information on the internet on pegged mortise and tenons and clearly people made things from green wood. My brother in-law came up with a fresh red oak log and I was in business. That was until I split tips & techniques by Bob Oswald

the fence, or bind against it causing the adjustable fence blade to deform sideways away from system. See the the fence. The end result, in either case, photo of mine for one approach; this is a tapered, irregularly shaped piece of one also has a tall fence for 10˝ re-saw. work. Slide the saw fence safely off to The effect is usually exaggerated the left but keep it accessible. Start a as you rip taller pieces. And it’s more freehand cut along the line on the test noticeable when you are ripping thin board. Be smooth in your adjustment to pieces. It is usually devastating to your follow the line. Don’t wander back and project or else you cut extra thick to forth. In other words, don’t be swinging plane it true, wasting valuable wood. the board left and right to stay on the This is a 100% common experience line. Make little corrections so that you with . The basic reason is that ultimately establish a “cut path” before the blade is not parallel to the miter slot. you run out of board. Cut slowly and Several factors are the cause including continue until you get a cut that is blade tracking on the wheel, wheel tracking the line. alignment and blade tension. In the About three quarters of the way ideal world we would tune those out. In through the cut, or when you are sure reality it’s very difficult, won’t stay for you have established the track, holding long periods, and actually has a pretty the board firmly, turn off the saw. Do photo by Bob Oswald by photo easy work-around. The answer is to Not Move the board. Clamp it to the “compensate” table in this exact position or hold it ver notice how hard it is to rip a Take a piece of 3˝ scrap at least two firmly. Slide the fence against the clean piece of wood on the bandsaw, feet long and about 4˝ wide with one edge and tighten the angle adjustment. Eespecially ripping a tall, thin piece clean, straight, jointed true edge. Draw That’s the tracking angle for this blade – re-sawing. You set your fence which a line one to two inches parallel to the under this tension at this particular you previously aligned parallel to your clean edge. Use a gauge if necessary but time. miter slot. You set the width of the cut the line must be parallel to the edge. I was skeptical, especially when I allowing a little extra for a jointer pass. Loosen the angle adjustment on the could see the offset angle. But then I cut You line up the board against the fence fence. If you have a factory fence that a 1/16˝ slice off a 6˝ board three feet long. and push. And pretty much without takes a wrench to set the fence angle, Awesome! I never knew the saw could exception, it will either crawl away from you might want to build a your own perform so well.

Adventures in Lutherie – continued too narrow. Since there are 8 strips per ink pen that would not smear, yet would Nonetheless, my Indian rosewood back pattern and 26 patterns, that means each produce a fine line. The answer turned is done, my sides are bent and attached strip is about .03 mm too wide, which is out to be an obsolete drafting medium by head and tail blocks, and my top is about 1/1000 of an inch. Not bad with called mylar. My friend Dan Bennis, ready to have its rosette channel cut and hand tools! Fortunately the design of who is a drafter, suggested this and gave the rosette installed. a guitar makes this error invisible; the me some from a cabinet of obsolete The final picture is my favorite. It neck joins the body in such a way as to supplies in his company. He even had shows the shavings produced in planing cover several of the patterns completely. special ultra-thin pencil leads designed the logs. One of the hardest problems was for mylar. Funny how woodworkers finding a good material to make the make use of things that technology has drawings for the jigs on. I needed to stack rendered obsolete for other uses – Dan’s several of these on top of one another company has long done everything on and be able to look through several CAD computers. layers to see what I was doing, Tracing Wait, you ask! What about the rest paper was too opaque to see though up of your guitar? Well, I’m a little behind to six layers clearly. Transparent film Paul and also Franz who has bought was too slippery and I could not find an a fine, ready-made rosette for $16. by Gary Wood special projects Staining and Coloring

ine furniture and cabinet work solvent, they can be used as a glaze a good choice because it provides good often starts with carefully chosen to highlight grain. Alternately, there bonding between the initial base coats Fwoods that have appealing grain are manufactured glazes and wiping and the following top coats. and color. Although the natural wood is stains available in basic colors that use It is ideal when you can topcoat a often desirable, even the most colorful pigments and dyes. The key ingredient project with the same or compatible woods can be enhanced by the addition here is pigment because it provides the finish. If you use shellac in the sequence of extra color. The many brands of stains contrasting color that will lodge in the described above, then shellac remains a on the market have one or two basic pores of wood. Open grained woods logical choice. components that make up color. like oak, mahogany and walnut readily When table top durability is needed, Dyes are colorants that totally accept glaze when applied with a wiping however, I often switch to varnish. It’s dissolve in a vehicle (solvent) and are technique. Even close grained cherry tricky to assess every combination of nearly transparent in that they do not will accept some glaze. compatible finish over stain, sealer and obscure the grain. I often apply a relatively slow drying glaze. Pigments are finely Rely on the ground, solid particles m a n u f a c t u r e r ’ s that, when suspended in recommendations and do a vehicle, will partially or a test board. One or more totally obscure the grain. topcoats will produce a Partial pigmentation would fully finished look and, in be typical in a glaze color keeping with the layering for a translucent effect. technique, you can add small Full pigmentation makes a amounts of color (usually paint. If you want to alter dye) in your top coats if or enhance the color while desired. Remember that the maintaining the clarity of a natural ambers and browns nicely grained wood, then in and shellacs a dye type stain is the best will add a minute amount of choice. color at this stage. A basic finishing schedule combines an oil based glaze that has a dark brown, Many finishes get rubbed down after the application of stain followed by two almost black pigment, wait a few topcoats have dried. An old stand-by or three coats of a clear finish. But the minutes for it to partially dry and wipe for “finishing the finish” is to use fine addition of color can be much more off the excess. steel wool followed by wax. Here is your creative by using a layering technique. If your desired result is enhanced last opportunity to add color. Light or For instance, a thinned coat of stain grain without an aged look, experiment slightly colored paste wax on light woods can be followed by the addition of a with a lighter, perhaps medium brown and darker wax on dark woods will add little color in the first sealer coat. Some glaze. Let your glaze coat dry thoroughly. depth to a finish, but also consider that finishes like varnish already have a This is important, especially when colored wax can slightly alter the final natural amber tone and shellac, an using an oil based glaze because your effect. Two examples are a reddish wax excellent sealer, is available in a range subsequent top coats must adhere well. that can highlight the color in a finish of subtle ambers and browns. To these Twenty four hours should be enough for or a medium brown wax that often can or any finish, you can add compatible a well wiped, thin coat of glaze. tone down the color in a finish. aniline dyes, either liquid or powder, Shellac comes in handy again to seal Coloring wood is challenging and, in very small amounts to vary the tone. in the base layers of stain, sealer and of course, practice is the key. Study This toning “layer” still maintains the glaze. I recommend that you brush or the supply catalogs, get to know what clarity of beautifully figured woods. spray this coat (approx. 2 lb cut) rather colorants are compatible with the After stain and sealer you may want than wipe on so that you do not pull the finishes you use and make sample to highlight the pores of open grained glaze color. Remember that the shellac boards for yourself. The next time you wood. I am not a big fan of thick, slow can be either clear or colored, giving you are asked to do a special color, you may drying grain fillers, but I do find that the option of one more layer of color for find yourself moving beyond an off-the- when thinned with the appropriate the finished effect. Dewaxed shellac is shelf can of stain. 25 by Ron DeWitt Northern Red Oak © 2006 Ron DeWitt • Reprinted with permission of the Northeastern Woodworkers Association

s a tree, the botanical New York where it gets too straight, supporting a broad, oval in shape. The lobes Afamily that includes the cold. symmetrical, rounded crown are separated by V-shaped, began about 90 million Northern red oak may of heavy radial branches and round-bottomed notches, years ago, probably in Asia. be called red oak, gray oak, an upright lead shoot. Forest- tapering from base to tip, the Evolutionary studies suggest eastern red oak, mountain growing trees have taller clear larger bearing several bristle- the first Quercus appeared red oak or common red oak. stems and smaller crowns, tipped teeth. Upper surfaces in Southeast Asia around 60 It grows well in a variety of sometimes reaching 150 feet of the leaf are dull green on million years ago. soil conditions doing best with 6 foot diameters. The top, pale underneath with The northern red oak is in deep, well- drained loam oaks tend toward large, deep tufts of hairs on the lower a member of a very large in any topographic position. taproots. A record northern vein joints. Leaves turn rich conglomeration of trees; Not very fussy in climatic red oak, reported in Monroe red in autumn. Dead leaves the Quercus genus is now requirements, it only seems County, NY, is 80 ft. x may cling to the branches variously estimated at about through winter. Tannin in 500 species worldwide, the leaves makes them very depending on who is durable and resistant to counting. Fold in the tan oaks compo sting. of the genus Lithocarpus and Red oaks are monoecious; the number increases by 100 male and female flowers are to 200. Further increasing produced on the same tree. the numbers (and confusion) Male flowers are in the form is the fact that the oaks are of multiple 4˝-5˝ pendulous an incestuous lot, commonly catkins; female flowers are hybridizing among one tiny and inconspicuous. another. “Spin-drift” pollen from All oaks today are found in the catkins of neighboring trees Northern Hemisphere except for fertilizes the female flowers. a few outcasts in Columbia The fruit of any oak is an and Indonesia. Of the 68 acorn or nut. Its shape is quite species indigenous to North variable, generally unique America, 58 are found in the to each species. This oak’s U.S. These oaks are generally large acorn is about an inch “simplified” into two groups; long and wide. They usually the white oaks that include hang in pairs from short the white, and the to avoid extreme cold. The 10 ft.-9 in. diameter with a stalks. The saucer-shaped live oaks, and the red oaks northern red oak freely spread of 102 ft. cap encloses about a quarter that also include the associates with a number On young trees, bark of of the nut. Acorns of the red oaks. of other forest species this red oak is dark gray and oaks ripen in the autumn The northern red oak including , ash, birch, smooth. As the tree matures of their second year. A red (Quercus rubra) is the maple, cherry, white the bark becomes grooved by oak will usually produce most cold-loving and and hemlock as well as white wide, shallow, dark furrows first fruit at about 25 years widely distributed oak in oak. It may also be found in that are separated mostly by of age, but won’t produce North America. It ranges pure stands. Average age for unbroken, long, flat, silvery- abundantly until about age from Nova Scotia and mature trees is about 100, but gray ridges. Uniformity of 50. It will then bear good the northern tip of Maine they may live for 450 years. the furrows and ridges in the crops irregularly at 2-5 year across southern Canada to Open grown northern red oak bark results in a very neat intervals. A 12˝ tree may Minnesota, and south into is a rapid-growing, medium- appearance. produce 14,000 acorns in Oklahoma, Alabama and sized tree, typically 70-90 Leaves, on 1˝-2˝ stalks, a year and a million in its Georgia. A notable exception feet with a diameter of are 4˝-8˝ long with a lifetime. to this range is the central 1-3 feet, occasionally to 4 wedge-shaped base and 7-9 Red oak is a ring-porous Adirondack Mountains of feet. The trunk or stem is lobes. The leaf is generally hardwood. Earlywood pores 26

are quite large, distinct to the green condition to oven dry husks, boiled in water to naked eye, solitary, occurring is high at 14.7% of volume, remove the bitterness and in up to four rows. Tyloses 8.9% tangentially and 4.2% then ground into flour for are usually absent. Latewood radially. Some dimensional bread. Acorns remain a pores are also solitary, not change is to be expected in vital food source for many numerous, distinct with a service. animals, domestic and wild. hand lens and occur in radial Northern red oak has good to Galls, a hollow, insect- lines. Rays are up to an inch excellent machining qualities and induced growth common high, of two widths. Narrow works well with hand tools if on oak leaves and twigs, very numerous rays are one grain direction is respected. were dried to produce a or two cells wide, easily seen It finishes nicely to smooth, high-quality black ink. Fluid with a hand lens. Wide rays, polished surfaces. Carbide drawn from fresh galls was many fewer, may be 30 or tooling is recommended as drunk as a sweet treat. more cells wide, conspicuous the wood has some dulling Abundant glucosides to the naked eye. effect. Fasteners hold well in red oak provided many Earlywood is light tan to but pre- is necessary astringent, early health T h e almost white, up to 2˝ wide. to avoid splitting. Gluing remedies from bark collected oaks attract Heartwood is pinkish to requires careful control in spring. The astringency many kinds of insects, but light reddish-brown. Growth with good adhesives. Unless constricted capillaries to few do much harm. Gypsy rings are quite conspicuous, treated, this wood is not reduce blood flow. Wounds, moths can defoliate a tree, typical of the ring-porous durable when exposed to soil, burns, sores, boils and mortally wounding it only . Transition from weather or moisture. The hemorrhoids were treated after several successive years earlywood to latewood can wood has no characteristic with bark poultices or tea. of infestation. Heart rot vary from gradual to rather taste or odor. Bark tea also relieved occasionally damages the abrupt, usually well defined Red oak stains uniformly and diarrhea, stomach distress wood and shortens the life of by the earlywood pores. readily accepts all finishes and menstrual cramps. Bark a tree, usually after an injury Wood of the various oaks of except paint. The large infusions were gargled for a of some kind. the red oak group cannot be earlywood pores require sore throat and bundles of The northern red reliably separated. filling to achieve fine finishes. leaves were used with soap to oak, commonly used for Northern red oak wood is Try a quick rub of wet steel cleanse the body. These cures reforestation projects, classified as strong, heavy and wool to highlight the grain. are not recommended today transplants easily in its first hard with a sp. gr. of 0.68 and Typical of the red oaks, because of the high tannic few years. Much admired weight of 44 lb. cu. ft., at 12% this wood can be fumed acid content of the bark! for its handsome form and M.C. It is usually straight (carefully) with ammonia Northern red oak is reputedly rugged appearance, it is grained, coarse textured, to produce rich dark brown- the most widely used and frequently planted as an pleasingly figured, strong in black surface staining. Worth commercially most important ornamental. bending and high in crushing noting…figure can be very domestic hardwood in the This oak, the preferred and shock resistance. It is different between flat-sawn U.S. It is used for charcoal, species of red oak, is in good rated satisfactory in steam and quarter-sawn surfaces. dry cooperage, sliced veneer, supply. Lumber is readily bending. Boards for a project should interior paneling, sashes, available at retail outlets or Red oak dries quickly, about be carefully selected to avoid doors, trim, dimensional local mills. Price fluctuates one year per inch of thickness, undesirable matches at joint lumber, general millwork and with a number of factors but requires special attention lines. plywood. It is also used for – the economy, U.S. dollar to minimize a great tendency Tannin content in red oak farm equipment, truck and strength, export demand, to warp, check or split. End results in some toxicity that trailer beds, handles, pallets, season, transportation sealing is helpful. Careful can cause skin, nasal passage, boxes, crates, paper pulp costs, etc. Locally red oak stacking with many (dry) eye and lung irritation. and firewood. It is popular is available for about $3.50 stickers and lots of weight on Appropriate precautions are for steam bending, flooring, bd. ft. in l00-foot lots of top of the stack will reduce well advised. furniture, especially desks, 4/4 random widths and degrade. A rain shelter will Acorns have been a primary tables, chairs and cabinets lengths. eliminate water staining. food source for Native and for caskets. Great Iron must be kept away Americans as well as some quantities of oak were cut for from green oak to prevent early Americans. The nuts the bark to obtain tannin for metal staining. Shrink from were removed from their leather processing. by Ernie Grimes building a Treadle Lathe

Press) had just come out. He wrote it Be sure to use while taking a year off from teaching. a sprocket from a Richard’s lathe used a bicycle five or ten speed bike so that the chain sprocket to convert the up and down can return while the sprocket is free motion to a rotary one. The best part wheeling. And by obtaining the sprocket is that this can only rotate in the right first and mounting it on a shaft, you will direction. A crank and pitman can turn be doing what is the most difficult work toward the operator but also the way first. depending which way it was started. I Building one is not too difficult used the basic idea from the Starr book but not too easy either. The best part but used a tailstock and tool rest from is that since each one will be different, an old lathe. you will be using math, some geometry My latest lathe has a sprocket that is and who knows what that you haven’t not in the headstock like the previous used since your high school years. And one. A small regular lathe can be used if you are like by making this change. Perhaps a , me, you might bandsaw or grinder can be substituted find it better when the need changes. than what is on Like Richard Starr mentioned in TV and it sure have always been interested in his book, building a treadle lathe or beats falling treadle ever since I was ten anything similar calls for “seat of the asleep in the Ior eleven years old. My neighbor pants planning” one step at a time, trying rocking chair and friend, Ray, had built a “Shopsmith” one idea or another or several until at last after dinner. type machine that was a , the end result is what you want. A case lathe and jigsaw all powered by us kids. in point was when I made the change to It was made from an old treadle sewing use a lathe that could be slipped in place machine and a collection of junk that or exchanged for another. used to be found around every city This change required the addition of neighborhood in the 1930s. pulleys and a belt besides the original Another 60 years passed before I saw chain and made necessary to guess how my next treadle lathe. It was at a museum big a flywheel would be needed. The one in Pennsylvania. This lathe was about pictured needs to be larger than the 12˝ one hundred years old and restored to diameter I used. I will replace it with running condition by Dave Hardy. That one about 18˝ and hope for the best. hooked me enough to want to build Maybe using a heavier wood would also one for my be a good idea. w o r k s h o p . For wood, I used what was hanging There was around the shop. Most is construction not much 2x4s. I used the better grade from information Germany and glued pieces together to available, but get the 2x6s and 2x8s that were needed. I was lucky The treadle has some pieces of mahogany enough to for added strength. meet Richard The basic size of the base is 28˝ wide, Starr who 28˝ front to back and 27˝ high so that was also on most lathes will have the center of the that visit to between 36˝ to 42˝ from the the museum. floor. These dimensions were dictated by His book the need to have it fit in a Ford Escort Woodworking Wagon. If it will never need to travel, With Your it would probably be better to make it photos Ernie Grimes photos Kids (Taunton larger. meetings and events photos by Syd Lorandeau 28

Oct 21st, 2006 Small Meetings – Big Day How to Make an Adirondack Twig Chair by Ed Orecchio Steve Winchester in Center Barnstead, NH

He has evolved his craft over the craft. An enjoyable morning! Steve years selecting branches with subtle works only on commission. He is bends to place legs at a slight backward renovating an old rundown automotive lean for sitting comfort. Lower supports garage and so far has a superb shop up for the spindles have a slight inward and running. He has completed a new curve to provide lumbar support. The front to the building with signature chair is narrower at the back than the pillars. front. All this requires precise angles for stretchers, chair rungs, and spindles. teve Winchester has been a Steve has evolved a group of jigs to allow Swoodworker for years and made proper angles to be made repeatedly. his first rustic twig chair in 1995. Since The tenons are cut with a 5/8˝ tenon then he has refined his technique and art. cutter mounted in a drill press with the He is much more than a rustic furniture appropriate jig holding it in position. and cabinetmaker. One of his greatest All this sounds automated, but it challenges was complete for requires the craftsman touch, intuition a bedroom of a house on Squam Lake and experience to bring the project to duplicating the interior of a sailing yacht fruition. We all tried our hand at the with all the complex angles and curves tenon process with modest success. For and interior like a ship would require. longer tenons, he uses a slow speed Steve had his first chair on exhibit lathe but readjusts centers several times and has built a demonstration spindle because of the branches natural curves. back chair which completely dissembles A few of these jigs are pictured in the to show stretchers, legs, spindles, tenons article. and mortises. He begins with a collection The tenons have to be dry before of twigs – maple, birch and cherry. If assembly and are textured with channel gathered in the spring, the bark peels lock pliers for gluing. The shoulders of off easily and he washes the wood. Fall the tenons are whittled toward the tenon wood is left with the bark in place. His to accomplish a hand carved appearance. storehouse is the great outdoors, fields The branch points on the twigs are and woods as people invite him to come preserved but positioned so they don’t over and clean their lots. interfere with comfort. They are glued up with Tightbond II and multiple clamps to maintain the chair true. The tenon/ mortise combination have to be twitched to insure an accurate fit. Finish varies depending on use. Steve shared with us pictures of several projects including a love seat with a slate seat done with more weather proof glues and finish. Steve is an excellent teacher, well prepared and We all tried our hand at the tenon process with modest success knowledgeable about his meetings and events 29

Oct 21st, 2006

Radial Arm Saw … Small Meetings – Big Day 9” Dewalt – late 60’s early 70’s. Heavy, accurate saw &OR3ALE How to Organize a Small Project by George Edson in good condition – $250 Peter Breu in Manchester, NH or BO. Dennis Capodestria: 603-968-3145 or [email protected] always say that at every guild meeting, Power Tools … Robland Combo Machine … II pick up a hundred ideas. Slight exaggeration maybe, but I always learn. 10” Inca cabinet makers &OR3ALE Robland X31 compact combination The meeting at Peter Breu’s shop as tablesaw w/stand $550 . Includes 10˝ part of the Small Meetings was no 10 1/2˝ Inca Model 340 tablesaw, jointer, shaper, planer and exception. bandsaw w/assorted horizontal boring/slot mortising attachment. Our first “stop” was the Saw Stop. unused blades – $395 Also includes a sliding table attachment Peter has one of the new that you for the saw (very useful!) and a selection 12” Delta Portable Planer – $200 of tooling including a Forrest and have no doubt seen written up in the 10” Sears Craftsman w/dado a number of miscellaneous carbide and woodworking magazines that comes to & head – $200 standard blades. The machine runs on 220V a screeching halt (in 5 ms) when it come Reliant portable dust collector – $100 single phase and is in very good condition. in contact with skin, or a hot dog, or, in Asking $2700. Heavy! Peter’s case, a cross country ski. Saw Stop Makita 3 1/2˝ Model 1900B power planer was sufficiently intrigued that they gave – $100 A.L. Merlis: [email protected] Peter a new “brake” mechanism instead Rockwell 3˝ , Model 361 Drum Sander … of charging him for it and wanted him – $50.00 Wood Master – 26˝ drum, 5HP, 240V, 4˝ to send a sample of the ski. This is why Central Machinery 12 speed HD drill press outlet for dust connector with ample supply we visit each others shops. Seeing is Model T-726 – $125 of belts. Like new. believing and understanding. Delta 10” miter box model # 34-080 – $125 Harvey Provencher at Cabinetry & Peter is a professional in every way, Woodcraft of Dunbarton: 603-774-3331 except that this is still a sideline and Fine Woodworking magazines, ( #14, 1979 hobby and not his prime vocation. He - # 147, 2001) – Make a reasonable offer Hand Planes & Chisels … does take commission jobs and showed Assorted woodworking text and videos Stanley No. 604 - Rosewood us extensive photographs of previous – Make offer handle and knob. Original blade and Lie- Nielsen blade. – $165. work. We also got up close and personal Assorted hand tools – Make offer with two very different tables that he Stanley No. 605 Bedrock Plane - Rosewood Tools listed in excellent condition built. One is a beautiful side table and the handle and knob. Original blade and Lie- other is a dining room table, measuring Victor H. King: 603.345.8558 Nielsen blade – $195. or [email protected] 40˝ x 84˝, complete with a marble inlaid Stanley No.112 Scraper Plane - Rosewood in the center of the table. He showed us handle and knob. Almost mint condition how he had made the prototype of the – $195. smaller table out of cardboard and scrap Festools are the greatest and I can attest Barr Hand Forged Chisels - Set of six wood to get the proper proportions as the owner of a saw, vacuum, 6˝ round - 1/4˝, 3/8˝, 1/2, 5/8˝, 3/4˝ ,1˝ with leather tool and size before proceeding to actual orbital sander, and saber saw and three roll – $395. production. We also examined one of different lengths of guides. Peter’s famous stools of the style that he Listening to others, especially John McAlevey : 207-273-6455 or [email protected] produces every year for our Craftsmen’s people with Peter’s experience, provides Fair raffle. This is a regular item for Peter confirmation of beliefs already held such and he has produced many of them. as best methods to do things, preferred Our shop tour included a stop at the brands, or even sometimes buying cheap be expanded such as our discussion and One Way lathe, certainly the premier (excuse me) inexpensive router bits. demonstration of various sharpening brand in lathes. Next we stepped into Often we get a tip or ideas that would functions. We looked at and discussed his spray booth, a very much hand only come from others, such as the high inlaid and veneer work that Peter has made low tech but effective facility to grinding table that allows you to use done, all of which was new for me. provide the proper area and ventilation a grinder much closer to your vision. I understand that notice was short for spraying. We reviewed his Festool It is more comfortable, and therefore and attendance low at both the Small holdings including the TS circular saw (with good safety glasses) safer. Skills or Meetings but you missed a real good one with vacuum, plunge router, and drill. knowledge that we currently process can at Peter’s. meetings and events 30

Nov 11th, 2006 Period Furniture by John Whiteside

January meeting at Sal Morgani’s shop

wo Period Furniture Group Sal elaborated on his philosophy for is quite primitive. Surely any of us, with Tmeetings have taken place since the tackling difficult projects, a topic no carving experience at all, could have last issue of The Old Saw. that he has written articles about in produced it. The second one is better, The November meeting was at this magazine. What comes across and so forth. Notice, crucially, how Sal my shop where I presented my guitar in person though, is Sal’s enthusiasm. has saved all these efforts and in no case rosette work. Also at the meeting, Franz Unquestionably he could have a career does he belittle himself for falling short Summers shared his progress on his as a motivational speaker. We all want of his goal on any particular one. Its all guitar-making project and Bill Daunis to stretch ourselves and take on more part of taking joy in the process itself, brought a beautiful Queen Anne ambitious projects. If what we heard of noticing and delighting in the very side chair he has since completed and at the meeting doesn’t give us the process of getting better. upholstered. gumption, nothing will. Sal explained The second thing Sal emphasized is The January meeting was at Sal the crucial importance of convincing the importance of information gathering. Morgani’s shop and was just excellent. yourself you can do something before He extensively tours museums, camera you start and not to let doubts creep in. and notebook in hand. He has no qualms Then it is largely a matter of persistence. about asking masters how something is The photograph shows, for example, done, even through unsolicited phone five attempts at carving the cartouche calls, and is rarely turned away. Also, which sits atop the Townsend-style he has developed an extensive library grandfather clock Sal built. On the right of period furniture books which, while is the first effort, next the second, and no single one gives all the information so on to the final one on the left. Each needed to build a particular piece, attempt is approached with the idea nevertheless provides an important clue that it will be the final one. The first one or stepping stone along the way. Even figuring out how to build a significant period piece needs to be approached as a research project in and of itself. There is only rarely a manual that gives you all the steps and even when there is, the piece might not fit your exact requirements or taste.

November meeting at John Whiteside’s shop meeting at John Whiteside’s November photos by John Whiteside meetings and events photos by Jim Seroskie 31

Nov 18th, 2006 by Greg Benulis Keene Guild Meeting Jerry Williams

he November general possible by the hard work epiphany was the discovery the majority of shaping. Jerry Tmeeting was held in the of member volunteers. If of the angle grinder for wood had a band sawn leg assembly woodshop at the Keene, NH you wish to donate a piece shaping. He said it gave him with which he demonstrated high school. Dave Anderson for next years raffle, please more control and much this process for us. The joint spoke about the formation contact Jim Dimick. more speed in generating is further refined using a of a long range planning Grant Taylor announced the shapes he envisioned. patternmaker’s followed committee, the possible that he has formed the For joinery, Jerry showed by a cabinet file. formation of new sub-groups, Upper Valley Carving a preference for the floating Jerry finished up by the function and make up of Club to meet at his shop in tenon. Joinery and assembly describing his design the steering committee, and Acworth, NH. Grant’s web is done before he shapes the process. He starts with a several grants the Guild site is www.celticwood.com. wood. With this process you thumbnail size sketch and has made in the support The main presenter was have to be careful to provide keeps increasing the size of of continuing woodshop wood sculptor Jerry Williams. enough material around the the drawings until he has education in the schools. Jerry brought a table with a tenon to allow the shape to a full sized drawing with Dave stressed the sculpted leg structure as an be formed without exposing the shape fully developed. importance and purpose example of his work. In the the tenon. Certain elements of the of our participation in the beginning of his exploration He roughs out the shape design are then modeled out Sunapee Craft’s Fair each of this style of work, the legs on the band saw after the of plywood to work out their August. Our presence and were shaped with , joints are assembled. He then relationships in the total success at the fair is made spoke shaves and . His uses the angle grinder to do piece. meetings and events 32

Nov 25th, 2006 by Ed Orecchios Granite State Woodturners with DJ Delorie photos by Syd Lorandeau

presented his personal the height and width of each segment approach to segmented to allow for appropriate vessel contour. DJturning in a three hour tutorial at his The rings are made in half rings so you shop in Deerfield, NH. At the onset, let can fine-tune the joint. us say that DJ did a tremendous job of The glue up can be by one of several conveying in three hours what normally techniques. DJ provided handouts at would require a text and several weeks to the beginning of the meeting detailing become familiar with. There are several the techniques. The handouts included approaches to cutting mitered segments basic steps in segmented turning as including table saw, chop saw and band well as an example of a bowl layout. The saw, but regardless of the approach, the half rings are assembled right before keyword is precision. DJ chooses to use they are added to the bowl. Each ring a table saw and an Incra miter gauge is sanded on a home made 12˝ disc – a used for different effects. A signature and sliding table. In general the whole disc of plywood or MDF faced with 80 ring can be made, but these are a labor procedure is labor intensive with roughly grit sand. The disk is held by a faceplate that can triple the effort of making the 70% precision cutting, fitting and gluing on the lathe. Titebond will bond well wood rings described above. and 30% actually turning. enough within an hour to allow another DJ sprays the assembled bowl with One needs to start with a design and ring to be added. water to raise the grain and then he plan. Multiple rings are built using a The ring must be faced to be dead on sands to finish. For finish, he uses ten set number of pieces. These pieces are square to allow for appropriate joining thin coats of polyurethane (Sherwin- trapezoidal and side grain with angles of the next ring. DJ uses a jig with the Williams). Malcolm Tibbets, Curt at each end cut as divisions of a full tailstock as a clamp to apply each ring Theobold, and William Kandler are circle. For instance, if each ring is made to build up the bowl. After an hour, excellent recourses in print or on the of twelve pieces, then each piece will another ring is added. The rings are all internet. Calculations for segmented have two angles – a left & right of 15° assembled in the same day to prevent miters are readily available as well as – 30° for the combined angles in one the rings from suffering the effects of miters. Kevin’s www..com piece. The plans lists each ring, noting wood movement. is an excellent source for miter and The bottom layer is made with a plug stave jigs as well as calculation for free. in the middle to allow for wood swelling. Kudos to DJ for this presentation. We The rings are made with alternating glue had several first time attendees for this seams. tour de force of segmented turning and Though DJ uses a similar wood for I certainly would expect they were duly all his segments, different woods can be impressed. meetings and events 33

Dec 2nd, 2006 by Greg Benulis Beginner & Intermediate Group photos by Jim Seroskie you can minimize the effects of wood movement by cutting everything as small as it initially needs to be. Bob likes to use the band saw for the initial cuts as it is much more forgiving of wood movement than the table saw. After all the boards are cut to their rough sizes, we moved to the jointer to start the finish milling of our he December BIG met Bob showed how to take boards. We started with the Tat Bob LaCivita’s shop a rough milled board, size preparation of our reference in Nottingham, NH for the and section it to obtain edges and faces stressing safe BIG will be on February 3, second part in the cabinet the boards we will need and proper technique on the at Bob’s shop in Nottingham. design and construction for our cabinet parts. Bob jointer. I was very impressed This is shaping up to be the series. Twenty-one members had already marked out for with how beautiful the color most popular series that attended this meeting – a the cuts to get the top and and grain of the apple wood BIG has done, so you might new record for BIG. bottom pieces. was after jointing the faces. just want to check it out. As We opened with a review He went into great detail Apple boards of this size always please email or phone of the last meeting which on how to find, visualize are not that common as Bob if you plan to attend. focused on the design process and work around the defects most apple trees are pruned for a wall hanging cabinet. found in the rough milled air- to keep them small enough This involved developing your dried boards. Bob stressed to allow easy picking of the idea with sketches, drawing that when he is working fruit. Bob got these boards the working plans, creating with rough boards he is not from Wolfgang’s Wood in a parts list and selecting the looking for high yield as Strafford, NH, a GNHW wood. much as just enough high supporter and Old Saw In this example the quality boards to bring out advertiser. Wolfgang is an cabinet will be made from the best in his design. Usually excellent source for not so apple wood. Following this this results in about a fifty common domestic woods. five percent yield, sometimes When the boards had been more, sometimes less. When faced and edged, it was back working with rough boards to the band saw to resaw the boards to a 1˝ thickness. Bob used a single point fence of his own design for the resaw process. He likes this type of fence because of the control it gives him in maintaining a straight and even cut. When all the boards had been cut, it was off to the planer to smooth the cut face and bring the boards to their working thickness. Bob gave plenty of advice on the

photo by Charlie Leto by photo safe and efficient use of the planer. The next meeting of the bulletin board 34

Scholarships this only once a year – by the February Closing Shop … The November st1 Guild scholarship Guild Meeting – you may wish to renew Cabinet/furnituremaker &OR3ALE deadline came and went with two now even if your magazine expires mid (18 yrs) on Cape Cod scholarships applied for and awarded. year. Taunton will simply add to your getting out of the Matthew Dworman was awarded a current term. The following are the business & have a shop’s scholarship to attend Michael Dunbar’s group rates offered to the Guild: worth of tools I must sell. All are in good Windsor Institute where he took a 1 Year 2 Years 3 Years functioning condition & are in storage in workshop on building a windsor settee. Falmouth, MA. Jerry Burt was able to fulfill a long time Fine Woodworking $27.96 $47.96 $67.16 Powermatic 66 10” T-saw w/ Biesemeyer, desire to take a one-on-one, two day Fine Gardening $23.96 $39.96 $55.96 Fine Cooking $23.96 $39.96 $55.96 shop-built 3 drawer cabinet for blades, etc. bowl turning workshop with Al Stirt at & extension tables, 1ph–$1800 Al’s studio in Enosburgh Falls, Vt. Threads $26.36 $43.96 $63.16 The March 1st scholarship application Fine Homebuilding $30.36 $52.76 $75.16 Delta tenoning jig (heavy, old cast one)–$100 deadline is drawing near and the woodworking school course catalogues If you wish to take advantage of this 10” carbide saw blades–$25-$50 ea for the upcoming summer workshops opportunity, send your name and address, Dewalt 10” radial arm saw, 1ph–$500 are arriving in the mail. From what I the magazine(s) and term(s) you want Crescent 26” band saw w/shop-built cage, see, there are a lot of interesting courses specify and if this is a new or renewal pre-1900, 3ph–$800 being offered. Perhaps this is the year subscription. I do not need your current Walker-Turner 14” band saw, ‘40s, to sign up for a course and apply for a label for renewals. Taunton will search 3ph–$1000 Guild scholarship to help enhance your their database using your name. Send skills and further your knowledge of a check to me made out to the Guild Delta 14” band saw, ‘60s, 1ph–$800 woodworking. for the appropriate amount. Orders will American 24” jointer, ~1900, 3ph–$1500 Scholarship recipients are asked be accepted up to the February Guild Union 8” jointer, ‘50s, 3ph–$1000 to share their learning experiences meeting. Powermatic 18” planer w/ knife grinder, ‘70s, with Guild members in the following Tony Immorlica 1ph–$3500 ways, either by hosting a GNHW 6 Purgatory Road small meeting or demonstrating at Mont Vernon, NH 03057 South Bend lathe, ‘40s, 3ph–$2500 Wood Days or the Sunapee Fair. Some Bridgeport machine, ‘40s, used as , recipients may be asked by the editor of Highland Hardwoods 3ph–$2500 The Old Saw to write an article for the Highland hardwood is open Thursday Delta 3/4” shaper, ‘50s, 1ph–$1000 newsletter while others may be asked nights until 7 pm – a great way to save Bench-top drill press, big & solid, ~1900, by the Guild’s program chairman to your Saturday mornings for the good 3ph–$800 speak at a Guild meeting about their stuff! –Steve Costain workshop experience. Delta benchtop drill press, small & not so Scholarship recipients may also Acworth Carving Club solid, ~4 yrs old, 1ph–$100 want to donate work to the raffle at the The Acworth Carving Club meets on Dewalt 10” compound mitre saw, 1 yr old, Sunapee Craftsman’s Fair to show off Mondays from 7pm to 8:30pm in my hardly used–$400 their newly learned skills. The Guild’s shop on 191 Tucker Rd, South Acworth, 10hp phase converter–$500 raffle at the Sunapee Fair helps to fund NH. Every week we all look forward to Lexaire LX70 HVLP turbine w/ hose–$400 the scholarship program so that we can the time we meet to carve, learn and gab continue awarding scholarships and a little. The group is open to girls and I also have some mahogany, quartered grants to its members. boys, men and women ages thirteen and white oak & beautiful 1st growth cypress beer barrel staves (10’x21/2”x4-8”) & some Applications are available either from older. furniture grade plywood. This all has yet to the Guild web site at www.gnhw.org or Grant Taylor: be tallied & priced. Also a lot of clamps. by contacting me at: 603-835-2992 or [email protected] John McAlevey: [email protected] Bert Wickersham: 508-274-2840 or [email protected] Discounted Taunton Magazine Subscriptions Once again, we are making Beginner & Intermediate Group subscriptions to Taunton magazines This year, Bob LaCivita is taking available at special group rates. Discounts BIG participants through an entire are available on any magazine Taunton project. The project is a small cabinet with offers and are applicable to both new a drawer and two doors. The design will and renewal subscriptions. Since we do have an Asian influence – simple and bulletin board 35

clean. The participants of BIG will the tour, there will be ample space for done by contacting me below. If you do obtain a comprehensive understanding members to mingle, show off their latest not have e-mail, I will call you. When of the steps, techniques and processes to project or jig, and to ask questions and you receive notice of a meeting, please accomplish the intended result. seek advice. RSVP. It greatly helps in planning. The next BIG meeting is Feb. 3. Bob To receive meeting specifics, sent out John Whiteside: 603-679-5443 will show jointing, planing and joinery 10-14 days prior to each meeting, you or [email protected] for the cabinet. The meeting location need to get on the group list which is is at Bob LaCivita’s shop at 365 Stage Road (Rt 152) Nottingham, NH photos by Peter James from 9:30am to noon. Please email or Personal Notes telephone (before 9pm) if you plan to attend. Our guild mission statement reads in Bob LaCivita part – …the Guild strives to bring together 603-942-1240 or [email protected] the diverse interests of the New Hampshire woodworking community. Most of our Granite State Woodturners guild activities center around education The next meeting of the Granite such as giving lectures, hosting a small State Woodturners will be Mar. 24 from meeting or sharing our experience 9am to noon. The location and topic is through The Old Saw. There is also old TBA. Contact DJ Delorie to be added fashioned one-on-one contact. to the e-mail notification list. A few days before Christmas, Ed DJ Delorie: [email protected] Bartlett and Ned Gelinas gathered at my shop for a turning session. Ned was Period Furniture about to get his first lathe and I wanted Our members range from master some pointers on bowl turning. craftsmen to novices and everyone is Ed brought his turning tools, Ned welcome though occasionally attendance brought the coffee and donuts. I supplied needs to be on a first to RSVP basis the shop, lathe and some wood from the due to space limitations. Check out the woodshed. We had a good time and it meeting write-up elsewhere in this issue was a very productive morning. Ed did to get a sense of meeting contents. some basic letting Ned For the March 10, 2007 meeting, try his hand at the chisel. Then they Mike Cyros has arranged a tour of the made a small bowl as a team project. oldest wooden church in New England, Sharing your skills of a lifetime can in Newburyport, MA. In addition to take on many forms. – Peter James

Suppliers offering discounts to Guild members Tools & Supplies Wood Products Big Tree Tools www.bigtreetools.com 888-TURNING Classic Designs www.tablelegs.com 800-843-7405 Brentwood Machinery www.brentwoodmachine.com 800-582-7229 Goodfellow www.goodfellowinc.com 800-990-0722 Chester Tool Works www.chestertoolworks.com 603-887-6267 Goosebay www.goosebaylumber.com 603-798-5135 Gary R Wood & Co. www.garyrwood.com 603-523-4337 Highland Hardwoods www.highlandhardwoods.com 800-442-1812 Lie-Nielsen Toolworks www.lie-nielsen.com 800-327-2520 Maine Coast Lumber www.mainecoastlumber.com 800-899-1664 Rockler – Cambridge, MA www.rockler.com 617-497-1136 Northland Forest Products www.northlandforest.com 603-642-8275 Rockler – Danvers, MA www.rockler.com 978-774-0241 The Millwork Shop www.t-n.com 603-643-3658 Rockler – Salem, NH www.rockler.com 603-898-5941 Wolfgang’s Wood Strafford, NH 603-664-7691 Williams & Hussey www.williamsnhussey.com 800-258-1380 Woodcraft – Newington, NH www.woodcraft.com 800-234-3818 Schools Woodcraft – Woburn, MA www.woodcraft.com 781-935-6414 Homestead Woodworking www.woodschoolnh.com 888-659-2345 Western Tool Supply www.westerntool.com 603-627-4957 McLaughlin Woods www.experiencewoodworking.com 603-783-9700 The Breed School www.allanbreed.com 603-749-6231 Services The Windsor Institute www.thewindsorinstitute.com 603-929-9801 Navis Pack & Ship Center www.gonavis.com/nh1063 603-424-1035 The Wood Finishing School www.patinarestoration.net 978-363-2638 Each supplier offers a minimum 10% discount to current GNHW members – some restrictions may apply. Ads are displayed in “The Old Saw” on a rotating basis. MINUTEMAN PRESS ® “The Old Saw” is printed by MinuteMan Press • 88 Main St, Nashua, NH • 603-883-4890 • www.nashuaminuteman.com

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MILL OUTLET STORE • 10% DISCOUNT FOR GUILD MEMBERS MAINE COAST LUMBER, INC 10% discount to members! 17 WHITE BIRCH LANE Northern and Appalachian Hardwoods YORK, ME 03909 Ash • Basswood • Birch • Cherry • Maple • Mahogany • Oak • Poplar • Walnut 603-798-5135 www.goosebaylumber.com (207) 363-7426 • (800) 899-1664 4/4 - 16/4 Rough or Surfaced Kiln Dried Lumber & Lumber Fixed and Special widths • FSC-certified wood from well-managed forests 83 Dover Rd (US Route 4) HARDWOOD - HARDWOOD LUMBER LUMBER - MELAMINE Chichester, New Hampshire MARINE PLYWOODS (10 Minutes from I-93 Concord • Take exit 15 east) - VENEER - MDO - MDF - CUSTOM MOULDINGS Specializing in Bird’s Eye & Curly Maple DOVETAILED DRAWERS - TARGET COATINGS visit www.northlandforest.com for stocking info Green & Kiln Dried Bowl Blanks & Turning Squares www.mainecoastlumber.com

36 Depot Road, Kingston, NH • 603.642.8275 Rare & Hard to Find Domestic & Imported Hardwoods All guild members receive a 10% discount

603-929-9801 52 BALD HILL ROAD www.thewindsorinstitute.com NEWMARKET, NH 03857 e HOMESTEAD Windsor 10% discount for Guild members WOODWORKING SCHOOL Institute 45 Goslin Rd 313 Montvale Ave Alan S. Mitchell in Hampton, NH Newington, NH 03801 Woburn, MA 01801 Director Build a Family nää‡ÓÎ{‡În£n Çn£‡™Îx‡È{£{ 10% Discount to GNHW Members Heirloom with Mike Dunbar Except machinery, power tools & already discounted items PHONE: 603-659-2345 Email: [email protected] 10% Discount for Sack Back Class & TOLL FREE: 1-888-659-2345 Web: www.woodschoolnh.com Catalog Supplies purchased in Sack Back Class

Furniture Making Classes e Contractor’s Tim Corcoran š Enjoy a mini ™ apprenticeship Choice! Store Manager 2 / # + ,% 2 with some of 800%803,*/("/%)"3%8"3& America’s best 10% Discount woodworkers! to Guild Members 4#SPBEXBZ 3U on Non-Powered Tools 4BMFN /) %JTDPVOU UP(VJME.FNCFST Come into the woods... Low Prices – Guaranteed  www.experiencewoodworking.com .BTTBDIVTFUUT"WF "OEPWFS4U $BNCSJEHF ." %BOWFST ." 336 Baptist Road 100 Cahill Ave • Manchester, NH Canterbury, NH Off South Willow St. in front of Home Depot   603-783-9700 www.westerntool.com • 603-627-4957 10% annual discount for GNHW $MBTTTDIFEVMFTPOSPDLMFSDPNt*OTUSVDUPSJORVJSFTXFMDPNF

Serving NH for Over 30 years The Wood Finishing School Highest Level of Customer Service The Breed School Quality Stationary & Powered Hand Tools 978-363-2638 American 18th Century Furniture www.patinarestoration.net

Learn wood finishing By Hand individually or as part of a group 13 Liberty Street, South Berwick, ME 03908 Twenty-seven years experience 15% Discount to GNHW Members! 10% Discount to Guild Members Except machinery, power tools & already discounted items 10% Discount for Guild Members Teaching & Class Instruction Only www.allanbreed.com • 603-749-6231 313 Route 125 • Brentwood, NH TEL 800-582-7229 • www.brentwoodmachine.com Bruce Hamilton Antique Restoration email: [email protected] Each supplier offers a minimum 10% discount to current GNHW members – some restrictions may apply. Ads are displayed in displayed Ads are “The Old Saw”restrictions may apply. listing. GNHW members – some complete rotating basis. to current See page 31 for a on a 10% discount supplier offers a minimum Each