The Complete Illustrated Guide to Shaping Wood / Lonnie Bird

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The COMPLETE ILLUSTRATED Guide to ShapingWood

LONNIE BIRD

➤ Squares, Circles, and Ellipses ➤ Edge Treatments and Moldings ➤ Coves, Reeds, and Flutes ➤ Bent and Laminated Curves ➤ Turned and Carved Shapes The COMPLETE ILLUSTRATED Guide to ShapingWood TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A(D) S The haping COMPLETE ILLUSTRATED L t ONNIE B IRD W Guide to Guide ood

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) 2001027430 : ATA D UBLICATION -P IN - ATALOGING Working with wood is inherently dangerous. Using hand or power tools with wood is inherently dangerous. Using hand Working C : Lonnie Bird : Mario Ferro ONGRESS

C : Suzi Yannes : Lori Wendin

p. cm. 1. Woodwork. I. Title. Includes index. ISBN-13: 978-1-56158-400-0 ISBN-10: 1-56158-400-2 The complete illustrated guide to shaping wood / Lonnie Bird. ESIGN AYOU T HOTOGRAPHER IBRARY OF LLUSTRATOR About Your Safety: About Your improperly or ignoring safety practices can lead to permanent injury or even death. Don’t try to even death. Don’t improperly or ignoring safety practices can lead to permanent injury or they are safe for perform operations you learn about here (or elsewhere) unless you’re certain We do it. Look for another way. don’t feel right, you. If something about an operation doesn’t whenever you’re in want you to enjoy the craft, so please keep safety foremost in your mind the shop. I TT180 .B57 2001 684’.08--dc21 Bird, Lonnie. Thailand in Printed 1098765 The Taunton Press,Taunton The Inc., 63 South Main Street, 5506, PO Box Newtown, CT 06470-5506 e-mail: [email protected] D Text © 2001 by Lonnie Bird Text Photographs © 2001 by Lonnie Bird Press,Taunton The Illustrations © 2001 by Inc. All rights reserved. L L

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TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) To Linda and our beautiful daughters, Rebecca andSarah. Rebecca To Lindaandourbeautifuldaughters, W Acknowledgments e oe aine n adwr,thisbookwouldnothavebeenpossible. andhardwork, patience, her love, formany ofthephotosinthisbook. andpatientstand-in, friend, worker, wood- JasonBennett, forproviding photos. Rogowski, Gary feedback. forhisideasandcritical AndyRae, their patienceandencouragement. for Renjilianof andJennifer HelenAlbert The Taunton Press, process. forallowing hissteam-bending metophotograph Boggs, Brian heads. this project: Iwanttosaythanksthemanypeople whohelpedmewith in mind, this With are forgedandoldfriendships deepened. arefriendships often oto l,Iwn otakm ieadbs red id.Without Linda. andbest friend, Iwantto thank mywife Most ofall, Mike Foster forproviding customshapercutter- ofFreeborn Tools, upr,adwr fmn epe hog hswr,new Through thiswork, andwork ofmanypeople. support, abookriting isateameffort that requires theideas,

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) Contents

Introduction • 2 How to Use This Book • 3

PART ONE Tools and Materials • 6

➤ SECTION 1 Tools • 8 J1120 MS7UA09SaigWo :.5x:085 175L EX 128White A M/A Magenta(D) TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875”

8 Layout Tools 11 Basic Shaping 18 Tools for Edge 24 Tools for 25 Tools for 26 Tools for Tools Treatments and Carving Turning Bending Moldings

➤ SECTION 2 Materials • 27

28 Dry Lumber 28 Stock for 29 Stock for 30 Stock for Sawn Curves Bending Panels PART TWO Cutting Shapes • 32

➤ SECTION 3 Straight-Edged Shapes • 34

45 Milling 46 Tapers 51 Octagons 54 Chamfers

➤ SECTION 4 Curved Shapes • 57

64 Arcs, Circles, 67 Exterior 76 Interior & Ellipses Curves Curves

➤ SECTION 5 Complex Shapes • 78

89 Raised Panels 93 Door Frames 102 Coopered 103 Compound Panels Curves TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) ➤ SECTION 6 Template Shaping • 117

123 Cutting with 125 Flush 127 Profile/Trim 129 Shaping Inside Templates Trimming Corners

PART THREE Edge Treatments and Moldings • 130

➤ SECTION 7 Edge Treatments • 132 J1120 MS7UA09SaigWo :.5x:085 175L EX 128White A M/A Magenta(D) TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875”

136 Simple 138 Shaping an 141 Lipped 142 Shaping a 143 Dished Shaped Edge Entire Edge Door Edge Board’s Face Tabletop

➤ SECTION 8 Beads • 145

148 Quirk Bead 150 Beaded 152 Cock Bead Backboard ➤ SECTION 9 Simple Moldings • 154

159 Machine-Cut 162 Hand-Cut Molding Molding

➤ SECTION 10 Complex and Built-Up Moldings • 164

172 Solid Complex 180 Built-Up 183 Dentil Molding Molding Molding

➤ SECTION 11 Curved Moldings • 186

192 Arched 195 Gooseneck Molding Molding TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) PART FOUR Other Decorative Shapes • 202

➤ SECTION 12 Coves • 204

209 Machine-Cut 211 Hand-Cut Coves Coves

➤ SECTION 13 Flutes and Reeds • 212 J1120 MS7UA09SaigWo :.5x:085 175L EX 128White A M/A Magenta(D) TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875”

214 Flutes 220 Reeds

PART FIVE Special Techniques • 222

➤ SECTION 14 Turning • 224

229 Turning 234 Furniture 239 Pedestal 241 Decorative 246 Complex Basic Shapes Legs and Feet Details Turnings ➤ SECTION 15 Carving • 252

256 Lamb’s 257 Shell 261 Volute 262 Rosette 263 Flame Finial 267 Carved Feet Tongue

➤ SECTION 16 Bending • 272

276 Steam 278 Bent 281 Kerf Bending Bending Lamination

Appendix: Shaping Small Parts • 282 List of Suppliers • 285 Further Reading • 286 Index • 287 TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) As you explore the pages of this book, explore As you it’s Learning tune and effectively to use power tools can be satisfying,power too. many And tool techniques,power such as template shaping, yield efficiency that is unmatched with hand tools. also a good Machines are choice for many labor-intensive tasks, such as planing and sawing stock to size, provid- details by hand time for creating ing more duplicate.that machines simply can’t For example, a bandsaw is an efficient choice for sawing a curve for refining in preparation and sculpting the same curve with a spokeshave and a rasp. As a long-time wood- the craft, from who seeks pleasure worker both hand and power I’ve learned to enjoy tools for what each has to offer. my hope that you’ll by the crea- be inspired tivity and challenge that comes with adding project. next woodworking shapes to your

hape is a fundamental element hape is a fundamental of design. All styles, furniture even seemingly simple designs such as Shaker, use shape to enhance, Before shapes canBefore be created, they must As I’ve illustrated in this book, the increase function,increase and define style. For example, the sensuous curve a chair of back adds comfort as well as visual appeal, and light- the slender taper of a table leg creates ness without sacrificing strength. Shape is critical of a to the ultimate success or failure piece of furniture. be ignored. simply It can’t first be visualized and then drawn. are There tools and templates available for drawing geometric shapes; organic, but freeform curves often are best sketched freehand. Fortunately, of the the natural movements wrist make it possible for anyone elbow and curvesto draw flowing with a bit of practice. numerous. choices available for shaping are not necessaryAnd it’s to have access to a tools,shop full of power either. Many wood- hand tools along rediscovering are workers and satisfaction that comes with the pleasure with their use. Planes, saws, chisels, and patience and a other edge tools all require of skill;degree but they yield a handmade as well as a deep sense of look and texture accomplishment. S Introduction 2

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) over another depends on several factors: over anotherdependsonseveral you onemethod choose Why the sameresult. toget working manyways there are often inwood- areas, as inmanyotherpractical Just processes ofthisarea ofwoodworking. ofmethodsthatcover theimportant variety do woodworking. this bookistomakesure it’s nearwhere you thefirstwaytouse So familiar technique. orun- whenyoubench needtodoanew expand your skills? yourself and lookingtochallenge you always you’remethods because outorare starting your best work? toshow off oranopportunity utilitarian with handtools? the leisure toenjoy thequietthatcomes Your tooling. Time. F Book UseThis to How The project. Your skilllevel. power tools? oftheusual handand a modestcollection woodworker or shop that’s theenvyofevery In the pages that follow you’ll findawide In thepagesthatfollow you’ll Are you in a hurry ordoyou have Are you inahurry pulled outandopenedonyour It’s meanttobe to gatherdust. notputonashelf to beused, irst of all, Is thepieceyou’re making Do you havethekindof Do you prefer simpler this bookismeant and finally to specialized tools. tospecialized and finally methods usingothercommonshoptools andthenmoves ontoalternative nology the methodrequiringmostbasictech- theprogression with starts In somecases, toolsoralargerdegree ofskill. specialized common waytodoitmethodsrequiring from themost organized usually together, that create asimilarresult are grouped andprocedures techniques sections, Within containrelated techniques. “Sections” oftechniques. major divisionsofthisclass are “Parts” the subjectdown levels. totwo to flexyour woodworking muscles. just reasonable methodandthenafew every We haveincluded process. doing aparticular exoticnot findyour favorite methodfor soyou may approach; takenapractical we’ve however, cases, Inall todoit. sensible ways there oneortwo are only Inothers, result. accomplishthesame many toolsthatwill tools doIwanttouseaccomplishit? toachieve? What result amItrying What first needtoaskyourself questions: two oftechniquestofittheseneeds. ety To organize the material, we’ve broken we’ve To thematerial, organize there and are manyways In somecases, you To findyour wayaround thebook, awidevari- included we’ve In thisbook, 3

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) 79 in. 8 / 5 in. 32 / 3 Complex Shapes groups SECTION 5 OVERVIEW Mullion 1 in. in. in. 4 16 Panel edge Panel / / 1 5 Decorative "sticking" in. Top rail Top 8 / radius 3 Bottom rail in. 32 / 3 2 in. in. The panel is free to float within the frame, which allows for changes in seasonal humidity. 4 “SECTION” / Panels 1 Space allows for panel expansion. related processes together. A Stile Frame in. TYPICAL FRAME-AND-PANEL DESIGN TYPICAL FRAME-AND-PANEL FRAME-AND-PANEL CONFIGURATION FRAME-AND-PANEL 8 / 7 to oving from two dimensions three looks pretty challenging. Just thinking about it is hard The broad appeal of the frame-and-panel The broad used mortise-and-tenon joinery. This pre- ame-and-panel design allows you to cover you ame-and-panel design allows enough, and getting the all those cuts in the on the right right stockface of the direction so.is even more But really, not as hard as it’s it looks.out carefully The key is marking methodically,and working step by step. After all,just simple shapes are compound shapes put together.for your The rewards effortnew are design possibilities and, in some cases—such as frame-and-panel work—better construction. M The Beauty and Function of the Frame and Panel The frame and panel is one of the most importantdesign. elements of furniture Its wood move- for seasonal constructionallows ment, yet it can usually be adapted to suit most any style or period of furniture. The con- use of frame-and-panel most common struction is in doors. But also it’s used for lids and even for the sides of casework. problems design is its ability to overcome normallychanges in associated with seasonal relative humidity. It works like this: A panel is trapped within a framework, yet the panel to expand and contract within that is free frame.because This works the thin edges of in the frame. the panel fit within a groove from the typical-The frame gets its strength ly vents the panel from warping or distorting without limiting its natural movement. Fr a large expanse, yet keep the space around the door small, because of the expansion door is limited to its framework. The step-by-step essays the heartThe step-by-step are of ad the text first or look at the photos and ad the text first or look at the photos therein. you’ll where find important Here’s general of tech- information on this group niques, including any safety issues. You’ll for the about specific tools needed also read to build jigs how and operations that follow needed for them. or fixtures this book. of photos represents a group Here the key in the process. steps The accompany- ing text describes process and guides you the it,through back referring you to the photos. learn best, you Depending on how either re drawings; but remember, meant to they are together.work is an In cases there where Raised Curved Panel (p. 103) Simple Compound Curves (p. 104) A Cabriole Leg (p. 105) Rounding a Simple Curved Leg (p. 107) Shaping Ogee Feet on the Bandsaw (p. 108) Ogee Bracket Feet Saw on the Table (p. 111) Bandsawing and Sculpting Compound Curves with Interconnected, Asymmetrical Components (p. 112) Compound Curves ➤ ➤ ➤ ➤ ➤ ➤ ➤ tells you where Coopered Panels (p. 102) Coopered Panels ➤ Door Frames Arched Panel Door with Cope-and-Stick Routers Bits (p. 93) Door with Mitered Sticking (p. 95) Small Tombstone Door (p. 98) Arched Light Sash Door (p. 100) ➤ ➤ ➤ ➤ “VISUAL MAP” Raised Panels Raised Panels on the Shaper (p. 89) Raised Panels on the Router Table (p. 90) Raised Panels by Hand (p. 91) Raised Panels on Saw the Table (p. 92) ➤ ➤ ➤ ➤ The to locate the essay that details the operation you wish to do. Complex Shapes ections begin with an “overview,”ections begin with an or brief The first thing you’llThe first see in a part a is “visual Each begins with a similar section S SECTION FIVE OVERVIEW 78 introduction, to the methods described group of photos keyed of photos to a page number. group illustratedThink of this as an con- table of tents. you’ll Here see a photo representing each in that part, section along with the page on which each section starts. map,” major with photos that represent techniques or individual tech- of groupings niques. is a list of the Under each grouping to do step-by-step essays explain how that the methods, including the pages on which they can be found. “OVERVIEW” gives you important general information about the group of techniques, tells you how to build jigs and fixtures, and provides advice on tooling and safety. The How to Use This Book 4

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) nique, don’t do it, try anotherway. try don’t doit, nique, withatech- Ifyou uncomfortable feel tion. protec- andhearing eye including devices, andusesafety work safely Always sized. beoverempha- cannot warnings these safety y andstep-by-stepessays. the overviews “cr You’ll seeyellow another related process. r and the visual material asa and thevisualmaterial “variation.” outinthetext it’s called step, alternative edundant processes or steps described in edundant processes orstepsdescribed ou read what follows. The importance of Theimportance ou read whatfollows. 66 ARCS, CIRCLES,&ELLIPSES W F oss-references” called out frequently in outfrequently called oss-references” Curved Shapes or efficiency, we’ve cross-referenced we’ve or efficiency, e o e hssmo,makesure hen you seethissymbol, SE-YSE ESSAYS” “STEP-BY-STEP on howtodothetechnique. photos, drawings,andinstructions A B holding power. Don’t befooledanduse woodturner’s tape,whichhastremendous curves isextremelytedious. work ofbevelingallthosetight,interconnected 86 isagoodexample.Thedifficultythatthe (the backcenterarea)ofthechairshownonp. lightness withoutsacrificingstrength.Thesplat than itactuallyis.Thisdetailcreatesanillusionof technique formakingthestockappearthinner Beveling theedgesofcurvesisacenturies-old carpet tape.Itdoesn’t worknearlyaswell. [ edge, dependingonthebitprofile(B). plate andtrimtheworkflushorcreateamolded ing-guided routerbitwillfollowtheplywoodtem- nails, screws,ordouble-sidedtape(A).bear- (MDF) andfastenedtotheworkpiecewithsmall made ofplywoodormedium-densityfiberboard leave afinishedsurface.Thetemplatecanbe the process.Unlikebandsaw, therouterwill cles orellipses,arouterandtemplatewillspeed Whenever you’remakingalargenumberofcir- with aTemplate Circles orEllipses ▲ TIP your finger. chuck orbitcanripthefleshrightoff press. Ringscaughtbyaspinningdrill and otherjewelrywhenoperatingadrill ! ] WARNING When usingdouble-sidedtape,use ▲ contain ! Always removerings re assomegeneral aswell keep themsharp, uponhowhelp you tousetoolsand brush There’s reading to alsolistoffurther pinch. help you findwhatyou’re lookingforina tool as your favorite bench chisels. bench tool asyour favorite this isifyou makeitasfamiliaraworkshop do wayitcan Theonly a betterwoodworker. be anessentialreference tohelpyou become It’s beendesignedto somethingnew. learn ev ferences ondesign. er you need to refresh your memory orto er you needtorefresh your memory ➤ “CROSS-REFERENCES” process inanotheressay. or thedetaileddescriptionofa where tofindarelatedprocess F ofthebookisanindexto At theback —The editors safely iswithastopblockclampedtothe called astopcut,andthewaytodoit the tablesawinsteadofbandsaw. It’s line betweenthebracketfeetifyouuse (Text continuesonp.68.) fence ortable. [ corners (D). cut fromtheoppositefacewillreachinto stop blockpreventskickback(C),andasecond Instead, makeastopcutonthetablesaw. The spans thefeetisdifficulttocutwithabandsaw. are stillintact(B).Thelong,straightsectionthat bandsawing, whilethestraightreferenceedges feet joinedbymolding.Shapethemoldingbefore The exampleforthistechniqueistwobracket them inareasofoffcuts. wood, youcanoftenorientthepatterntolocate stock (A).Ifthereareslightimperfectionsinthe Begin bycarefullytracingthepatternonto ate smooth,flowingcurves. This allowsyoutoworkoutproportionsandcre- Bandsawing shouldalwaysbeginwithapattern. Bandsawing Tight Curves VARIATION See nly remember tousethisbookwhen- inally, “Making Patterns” ] Y ou cangetastraighter np 60. on p. D A C VARIATION tell you B EXTERIOR CURVES Curved Shapes 67 to work. cuts andsmartways “WARNINGS” “VARIATIONS” “TIPS” The a step. alternatives fordoing how toaddressthem. for thisprocessand specific safetyconcerns drawings. keys tothephotosand How to UseThisBook “TEXT” show short- contains tell you show 5

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) Tools, page 8 Materials, page 27 J1120 MS7UA09SaigWo :.5x:085 175L EX 128White A M/A Magenta(D) TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” PART ONE To ol s a nd M at e r i a l s

his book was designed to give you many techniques and options for making shapes in wood. By showing several methods to achieve a result, you can choose the technique that works best for you and suits the tooling that youT have available. But choosing the right tools for the job is essential to creating shapes, from designing and laying out the shapes to cutting, turning, carving, or bending them. This part introduces the tools for shaping wood and provides advice how best to use them and, more important, how to use them safely. The shaping techniques discussed here all apply to wood, but all lumber is not the same. The characteristics of the stock can affect the success of shaping operations. Before you take on a project, take the time to understand the type of lumber you need for the kind of operation you have chosen, and select your stock carefully. TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) It pays to get a quality square; in fact, A combination square excels at transferring dimensions, especially in multiple parts. squareness of stock,squareness and laying out and transferring perpendicular lines. often are cheap squares not truly degrees. 90 Even if they have a true angle, 90-degree usually are enough not solid cheap squares to withstand the inevitable knocks they’ll suffer in an average workshop. can You check for accuracy a square by using it to

in. and a reliable combina- 64 / 1

critical first step before critical first step before cutting any shape is to plan the cuts and make a layout. Good lay- are certainlyare the most common layout forms a critical to the shaping map road sequence and direction. key It also provides information such of direction, as angle curve of line, and accurate spacing. accu- create To lines,rate layout you’ll need a few good- quality tools. Basic layout tools include a steel rule with gradations to Layout Tools Squares out tool and something that no woodworker can be without. of Squares have a multitude uses, including setting machinery, checking A tion square. Tools SECTION 1 8

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) upisaesl.Themost commonare the supplies are sold. the oldones. search fleamarkets ortoolauctionsfor local unlessyou today, ofbevels sizes one ortwo it’s difficulttofindmore than Unfortunately, thewayto14in. all ranging from 6in. werebevels availableinaboutfivesizes, Years ago, sometimes beanobstruction. can which othersuseawing nut, out oftheway; thatswings lever havealocking best bevels The within asteelorwoodhandle. locks consistofasteelbladethatpivotsand Bevels anglesotherthan90degrees. and checking 45-degree square. anda adepthgauge, lines, marking parallel agaugefor inside andanoutsidesquare, beusedasan Itcan thanothertypes. satility theslidingheadgivesitgreaterbecause ver- the square. the difference represents theerror twice of Ifthelinesare notparallel, edge ofaboard. tothe apairoflinesperpendicular draw such asdovetails. angles accuratelyandforjoinerylayout, Sliding bevelscanbeusedtotransfer Triangles The The combinationsquare ismostuseful ldn bevel sliding are drafting availablewherever is used for laying out is usedforlaying for drawing and laying out geometric shapes. outgeometric andlaying for drawing They’re useful to aslargeafootormore. inches asafew assmall are availablein sizes Both 45/90 degree andthe30/60/90degree. for anaccuratetest. Edge ofboardmustbestraight TESTING ASQUAREFOR 90-DEGREE ACCURACY parallel thesquareisn't90. If thetwolinesarenot and drawasecondline. Flip squaretothisposition molding profiles. shapes suchas designing complex invaluable when templates are Triangles and SECTION 1 Tools 9

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) is used for This tool consists of a Some designed with a remov- dividers are able leg that can with a pencil be replaced for use as a compass. The compass drawing circles and arcs. Large circles, the range of a compass,beyond best are drawn with a trammel. pair of steel points that clamp to a stick. One of the points can with a be replaced pencil for drawing. trial and error. The line is stepped off and adjusted until the final step the legs are lands at the end of the line. Although useful for stepping off divisions dividers are on a straight line, equally they are useful for dividing segments of a curve or a circle. Another use for dividers is checking and transferring on turnings and measurements carvings. tool Although most woodworking catalogs carry only one size of dividers, it’s or four sizes.useful to have three a For selection,greater check with a supplier of tools. machinist’s A French curve is an invaluable aid for A French curve is an invaluable aid designing flowing curves. are used are in. The etched is another com- 64 dividers / 1 rule As their name implies, Like the square, the for accurately dividing a line into equal segments. Setting dividers is often of a process lines provide a way to position accuratelylines provide a sharp pencil, scriber, or the legs of a divider. mon and invaluable tool. Most steel tapes and wooden folding rules in 16ths measure of an inch. While this is fine in most cases, to have a steel rule advantageous it’s with to etched divisions down A trammel is used to draw large circles, beyond the range of a compass. You can transfer You measurements with off a divider or step divisions of a line or segments of an arc. When one side is fit with a pencil, a the tool becomes compass for drawing circles. Tools SECTION 1 10

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) freeform curves. lines areyou’re helpfulanytime drawing Theirflowing come inthree orfoursizes. French are plastictemplatesthat curves to smoothoutthebumpsinlayout. asetof curves, make atemplateofyour own from plywood. designrepeatedly,you must acurved draw When much easierandmore efficienttouse. templateis acircle withacompass, drawn use. tendstostretchwhich during more thanusingapencilandstring, accurate This simpleshopmadelayout toolismuch pencil atoneendandanailtheother. a insert Next, distance equaltotheradius. endata aholeineach drill First, work. will alengthofstick orarc, alargecircle draw coves, and even shapemoldings. andeven coves, create also useyour tablesawtocuttapers, you can jigsandaccessories, theright With suchasrectangles andoctagons. shapes, ric saw isalsousefulforcuttingsimplegeomet- thetable towidthandlength, cutting stock Besides inanywoodworkingmachines shop. profiled below. the mostusefultoolsforcuttingshapesare of Some atthetopofyour mind. keep safety always Ifyou dousepower tools, and dust. quiet andcreate thanchips shavingsrather They’re the pleasure ofusinghandtools. don’t discount however, is tousepower tools; themostefficient waytocutashape Often Basic ShapingTools If you enjoy buildingfurniture with be can circles Although small-diameter needto anoccasional If you haveonly The table saw French curves is oneofthemostversatile will enableyouwill 2i.o 6i.jitr search the World jointer, or16-in. 12-in. For a bargainon tops anddoorpanels. figured boardsfortable- you toflattenwide, allow alargerjointerwill are mostcommon, jointers and8-in. Althoughthe6-in. to size. before it stock milling flatten andstraighten • • • • The ➤ narrow stock. Use pushstickswhenripping Use aguard. Use asplitterwheneverpossible. gauge slot. that ridesthefenceormiter the fence,mitergauge,orajig Never sawfreehand.Alwaysuse jointer TABLE SAW SAFETY works as an inverted planeto works asaninverted stock. when rippingnarrow Always useapushstick dangerous kickback. A splitterhelpsprevent cutting coves. raising panels,and bevels andtapers, used forcutting ing stock.Itcanbe excels atdimension- shop equipment, A tablesaw, basic SECTION 1 Tools 11

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) to planer A 15-in.-wide planer will handle most After stock has been flattened on the jointer it can be run a through achieve a smooth, parallel face. Be aware, though, straighten stock; don’t that planers they only smooth it and mill it to thickness. So necessary it’s to have a jointer as a com- panion for this machine. boards. Fortunately, has as woodworking in popularitygrown a number of high- quality planers have been intro- affordable duced into the market. The planer serves two purposes: milling stock flat to the jointed face and thickness- ing it to dimension. for used machines.WideWeb Investigate any used machines closely of what to be sure buying. you’re JOINTER SAFETY PLANER SAFETY Stock should be at least 12-in. long. If a board gets stuck, turn off the machine before lowering the bed and removing the stock. Always use the guard. Use push blocks and push sticks to keep your hands away from the cutterhead. Keep your hands away from the infeed rolls. Stock should be at least 12 in. long. ➤ ➤ • • • • • • A jointer mills stock true and flat to create reference points for other dimension- ing operations. Tools SECTION 1 12

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) European bandsawsalsocomeequipped and amotorwithgreater horsepower. thestock, alargertabletobettersupport ty, getmore sawing capaci- you’ll more money, For alittle the largerEuropean bandsaws. isoneof betterchoice Butaneven column. thatfitsintothe block withariser capacity doubleitsresaw Andyou can machine. rate joints. accu- andcutsurprisingly sliceveneer, ones, also resawboardsintothin saw can thick Aband- rough lumber. forripping of choice It’s thetool does more thanjustcutcurves. butit tools forcuttingandshapingcurves, joinery. curves butcanriplumberandcutaccurate A bandsawnotonlycancutbroadandtight h omn1-n bandsawisapopular The common14-in. The bandsaw is oneofthemostuseful for thin stock. A good rule ofthumbisto Agoodrule for thinstock. blade andafinepitch stock teeth forthick use abladewithfewer (teeth perinch), pitch selectingtheblade When sweeping curves. andawide bladeforbroad, tight curves Use anarrow bladeforcutting simple rule: justremember this Ifso, confused thanever. andjustendupmore correct bladetouse, the todetermine trying over abladecatalog, poring spendyour you evenings can hand, Ontheother using onebladeforeverything. farbetterresultschoose from yields than ofblades to assortment Asmall the blades. to adjust. with uniqueguidesthatareandeasy quick without theneedforadditionaltools. blade guidesthatalloweasyadjustments, European bandsawsoftenhaveadvanced neyuv on ada,don’t forget Once you’ve foundabandsaw, SECTION 1 Tools 13

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) Scrollsaws have come a long way in recent Scrollsaws Sometimes called a chop saw, the miter Sometimes called a chop saw, saw has replaced the radial-arm saw in many shops. A scrollsaw makes quick and accurate A scrollsaw makes quick and accurate work of cutting tight curves; and because be used the blade can be detached, it can for cutting interior curves. years. smooth running The best saws are and virtually of vibration. free When shopping, variablelook for a saw with electronic speed. to adjust the speed you allows This feature precisely for the thickness and density of the stock. is the tool of choice for pre- Scrollsaws use short,Scrollsaws narrow in. of the work. 4 / 1 scrollsaw The reciprocating blades,reciprocating which into areas reach that a bandsaw can’t. Because the blade is clamped at each end, it can and be released a hole in the stock through to cut a threaded trapped curve. cise cutting of delicate stock and for sawing interior curves. use a blade that places 6 to 12 teeth in contact with the stock. SCROLLSAW SAFETY SCROLLSAW BANDSAW SAFETY BANDSAW Use the hold-down with the guard that comes with the Use the hold-down with the guard machine. off immediately if the blade breaks. the machine Turn Decrease the feed pressure as you near the end of the cut. Decrease the feed pressure as you Keep the guard in place. Use push sticks when ripping or resawing. of the outline, be aware As you follow the twists and turns keep them from the path of the position of your fingers and of the blade. Lower the upper guide to within Lower the upper out of the path of the blade. Keep hands and fingers the or runs off the wheels, do not open If the blade breaks has come to a complete stop. covers until the machine before turning on the machine. Close the covers chips that have become Stop the saw before removing small stuck in the throat. ➤ ➤ • • • • • • • • • • • Tools SECTION 1 14

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) them away. andcut planetospantheridges a bench sole ofthespokeshaveworks likethe soleof The ideal forsmoothingandshapingcurves. solemakesit Itsshort with sidehandles. compact andaffordable. sanders arebandsaw andthebenchtop both forthe match sanderisaperfect spindle A tothecontour. size thedrum match easily soyou can ofdifferent diameters, five drums sanderscomewithatleast spindle All faces. sur- it smoothsthesawmarks from curved accurately. and for cuttingmultiples conveniently addastopsystem Further, longstock. port build astandforitwithextensionsthatsup- uptoafootwide. cutstock typically mitersawswill sliding-arm saws, radial-arm are Andalthoughthey than smaller pensive. andinex- accurate, Miter sawsare compact, sawforprecisionradial-arm crosscutting. • • Think ofthespokeshave A To getthemostfrom your mitersaw, butreplacedThe mitersawhasall the ➤ low themanufacturer’s guidelines. can grabunexpectedly;readandfol- miter saws.Thewrongtypeofblade Use bladesdesignedspecificallyfor 6 in.fromthepathofblade. Keep yourhandspositionedatleast spindle sander MITER SAW SAFETY spins andreciprocates as as a small plane as asmall oadyu ytligtehnl,you can Bytilting thehandle, toward you. or andisdesignedtobepulled dles “drawn” spokeshavesatalmost any fleamarket. sive, yetinexpen- finduseful, still you can today, isn’tAlthough thevariety aswide nearly forcuttingchamfers. designed fences There shaveswithspecially were even othersconvex. soles were concave; Some ofshapes. available inawidevariety became spokeshaves thistime, During shaves. metalspoke- alongcame nineteenth century, theintroduction ofmetalplanesinthe With low anglemuch likeaminiature drawknife. Theseshaves have aniron setata wooden. The spokeshaveswere early planes, Like early drawknife also hasapairofsidehan- shaping curves. at smoothingand Spokeshaves excel cut curvedshapes. the bandsawhave after machineslike away sawmarks used tosmooth A spindlesanderis SECTION 1 Tools 15

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) have flat soles and are useful have flat soles and are has a thin, flexible steel sole. Although there’s a learning curve asso- Although there’s Sometimes called plane, a circular the when using a compass best results For planes Bench most edge tools.most edge tools, Unlike many hand still in a wide varietyscrapers available are of styles. is the ordinary The most common card scraper, which is flexed and pushed the surface.across Chair scrapers resemble spokeshaves. fit with- Their small blades are handlesin a body with side to give greater control. Because of its short sole, the chair extremelyscraper well works for smoothing tight contours. ciated with sharpening scrapers, the time and effort well worth are it. When properly sharpened, a scraper faster cuts much than abrasives and leaves a scratch-free surface, too. compass plane sole An adjustment knob turns to flex the in either a concave a convex shape. or Al- though it can for smoothing any be useful curve,broad best plane works the compass on segments of true circles. plane, sharp keep the iron set it for light and cuts. Always begin cutting at the apex of the curve“downhill.” and cut for a variety of jobs, smoothing away from to planing drawersmillmarks for a precise fit. The best bench planes have perfectly flat adjustments. milled soles and precise Unfortunately, do many new planes won’t their job without undergoing lots of rework- ing and fitting of the parts. Some even have warped cheap, soles and stamped parts that well. fit together don’t avoid problems, To an expensive new either purchase plane, such Toolworks, as one made by Lie-Nielsen or on p. 53. is a smoothing tool that actually “Eight-Sided Taper” scraper A See cuts with a tiny burr that’s on its edge. cuts with a tiny burr that’s most useful for smoothing diffi- Scrapers are stockcult figured that would tear out with achieve an amazing amount of control. Drawknives most useful for shaping are long, slender stock, such an octagonal taper. ➤ The compass plane was designed to shape and refine rounded shapes. It can flex in either direction for shaping interior or exterior rounds. A card or hand scraper is a quick way to smooth away saw marks and is often the best way to smooth highly figured stock. A drawknife is ideal A drawknife for creating long, slender shapes— such as tapered octagons—and helps round stock. Tools SECTION 1 16

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) ➤ ➤ shaping theedgeofaraisedpanel. smoothing thefilletsthatflankabeadand suchas they’re alsousefulforminorshaping, useisfinefittingofjoints, their obvious Although allows themtocutintocorners. the iron). or anadjustablethroat (theopeningaround a low bladeangleandeitherasmallthroat planewith forablock Look raised panels. theedgesof useful forbeveling especially ofplane makethistype blade, the skewed alongwith Thesefeatures, plane. to arabbet it convert which fence andaremovable side, planescomeequippedwithashort block Some andintightareas. surfaces on small especially smoothing andshapingchamfers, They’re usefulfor extremely one-handed use. Bedrocks. for ausedplaneisoneoftheoldStanley Agoodchoice look foragoodusedplane. curves, such as a cabriole leg, the rasp is therasp leg, as acabriole such curves, three-dimensional shapesandcompound For sculptingandshaping aggressive teeth. areas can’t where othertoolssimply reach. orconfined awkward, intight, especially bandsawingandscrollsawing, tours after are usefulforsmoothing con- Files round. andhalf- round, flat, including shapes, They’re and availableinamultitude ofsizes See See See Rasps planes Rabbet Block planes Rasps are justfileswithlarge,Rasps really “Raised Panels“Raised byHand” Suppliers” of “List and files are planesdesignedfor small aea pntra,which have anopenthroat, cut withrows oftinyteeth. np 285. on p. np 91. on p. panel. tions, especiallywhencreating araised planes havetheiruseinshaping opera- Although primarilyajoinerytool,rabbet bevels. it cancreatequick Used one-handed, get intotightspots. The blockplanecan cheap one. than strugglewitha quality plane,rather millmarks; butbuya for cuttingaway shop workhorses Bench planesare SECTION 1 Tools 17

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) has revolu- are made up from basic basic made up from are moldings Without a doubt, the router For serious shaping it’s a good idea to serious shaping it’s For alwaysIt’s advisable to use a handle with tionized woodworking; tool no other power has quite the versatility of the router. If you a router, own already next step to the Tools for Edge Tools and Moldings Treatments All ogee,profiles—the bead, ovolo, thumbnail, cove, and chamfer. bits and cutters are There router available for both the shaper and the these profiles.to create So the differ- what’s ence? Shaper available in much cutters are larger profiles, to shape large you allowing casework.moldings for furniture Also, shaper cutters can be inverted, which gives versatility. greater them much So which is The answer the best machine to own? depends on the type intend to you of work do; and shop I have both a router in my own a shaper. Let’s look at the machines and and cons. examine their pros both an effective an efficient choice. and Of the various rasps available, no. the Nicholson best.49 rasp works teeth cut The staggered aggressively, yet they leave the surface relatively smooth. have a dozen or so files and rasps in various sizes 4 in. from to 10 in. Unlike other hand tools, I would avoid buying used files and rasps. always teeth are Their dull from inevitable banging around, rust, and wear. Instead, buy new them sepa- files and store rately the teeth. to protect a file or rasp. A handle makes the tool much with greater you safer to use and provides leverage and control. Shaper cutters can shape large profiles for moldings and can raise a panel in one pass. Although the possibilities for molding designs seem nearly infinite, all of the profiles are made up of basic shapes. Rasps and files Rasps and are essential for creating sculptural shapes such as cabriole legs. A good selection includes different sizes, shapes, and tooth styles. Tools SECTION 1 18

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) ➤ the risk. lowers further which opening, fence small diameter ofrouter bitsallow you tousea thereduced Also, pieces. small it launching there’s of much lessrisk of therouter table, of thereducedBecause power size andsmall another area where therouter tableexcels. Thisiscertainly stock. at shapingsmall excel they but usedinarouter table, reach, versatile. therouter tableismore And insomeways, are principles muchoperating thesame. the ofashaper, have thepower andcapacity Although atable-mountedrouter doesn’t creates amini-shaper. ineffect, This, a table. istomountitunder increasing itsversatility duty shaper. a fence,routercanfunctionlikelight- Mounted underaflatsurfaceandfittedwith See See The short shankofrouter bitslimittheir The short Apni:ShapingSmallParts” “Appendix: np 282. on p. • • • • • • • ➤ Always feedtheworkoppositeofbitrotation. Tighten routerbasesecurelybeforestartingthemotor. distance fromthebit. Use pushblocksandstickstokeepyourhandsasafe Remember, largerbitsrequireslowerrpms. Don’t exceedthemanufacturer’s recommendedrpmsforabit. Don’t forcethebitoroverloadrouter. Never starttherouterwithbitcontactingwood. 1 inserted intothecollarandthenbackedoffapproximately insert thebitintocollar. Theshankmustbecompletely Don’t bottomoutthebitintocollet.Also,neverpartially / 16 in. ROUTER TABLE SAFETY template shaping. raise panels,anddo produce moldings, that canefficiently heavy-duty machine The shaperisa ETO 1 SECTION Tools 19

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) Cutterhead rotation Feed direction Cutterhead pushes stock in these directions. Both the router and the shaper canBoth the router flush capable are of raising Although routers trim on curves. and shape profiles But here’s has an advantage: a router where Its small- diameter bits and bearing guides can shape a shaper spindleinto tight contours where fit. and cutter won’t panels, typically the procedure three requires to five passes, depending on the density of the stock. This is because even the biggest for such lack a large cut. routers the power However, because of the larger spindle and CUTTERHEAD FORCES CUTTERHEAD Cutterhead rotates into stock (against feed direction) and pushes Cutterhead rotates into Stop blocks and back toward operator. stock away from fence these forces. must be positioned to resist Fence on the other hand, is consid- shaper, A typical shaper cutter is, however, more The erably than even powerful more the largest of routers. The motor and bearings of a (the driving for any machine) router force no match for those of a shaper.are The shaper excels at shaping wide stock; its long spindle the center of can high toward reach a wide panel. in a router expensive than the same profile bit. So table for most smaller I use the router profiles, reserving the shaper for larger cuts. neath when possible. SHAPER SAFETY Cut from under Always use guards. Keep hands a minimum of 6 in. from the cutterhead. the Always take light cuts by adjusting fence and/or cutter height or by using larger rub bearings. shape small stock; instead shape Don’t oversize stock and cut it to final size after shaping. Always feed the workpiece against the Always feed the workpiece cutterhead rotation. manufacturer’s Do not exceed the for the cutterhead. recommended rpms washer to prevent Use the keyed lock backing off. the spindle nut from use large cutterheads on small Don’t spindles. ➤ • • • • • • • • • Tools SECTION 1 20

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) deeper into the corner thanashaper.deeper intothecorner allows ittoreachthe guidebearings far diameterof Thesmall ing ifyou usearouter. dolesscarv- Butyou’ll byhand. the corner needtocarve you’ll ing withthesemachines, shap- After insidecorner. createcan asharp edges ofapanelinonepass. the bevel shapercan asmall even motor, made byhand. marks behindthatidentifyyourworkas markets. Likeanyhandtooltheyleave variety ofprofiles,canstillbefoundatflea Molding planes,onceproducedinawide most detailedwork. its small-diameterbitscanshapeeventhe In tightspaces,atable-mountedrouterwith Neither therouter tablenortheshaper available through antiquetooldealersand woodenmoldingplanesare still quantity, of adrop-leaf table. jointplanesfor shapingthehingedjoint rule and tongueandgroove, hollows androunds, as such these planeswere produced insets, Manyof one pushingandtheotherpulling. plane thatrequires mentopower two it— quirk-bead planetoalargecrown-molding moldingprofile thefull isrevealed. ally ashavingisproduced andeventu- the stock Eachtimetheplaneispushedover shaped. a reverse profile ofthemoldingthatis the iron ofamoldingplaneare shapedwith Boththesoleand and shapersoftheirday. sider ashaper. production work,youmaywanttocon- profiles andgaingreaterefficiencyfor on, ifyouhaveaneedtoshapelarge likely tounderstandtheshaper. Later its operatingprinciples,you’remore learned touseitsafelyandunderstand good asafirstpurchase.Onceyou’ve In anycase,atable-mountedrouteris router tablehasalotofversatility, too. expensive thanmostshapers.Anda and assortmentofbitsisfarless table isthesmartchoice.Arouter For mostwoodworkers, Although nolongerproduced inlarge from asmall Molding planesrangeinsize Wooden molding planes ➤ OR SHAPER? ROUTER TABLE were therouters the router ETO 1 SECTION Tools 21

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) in the second half of Using wooden molding planes can wooden molding planes be a Using Company introduced Tool The Stanley The Stanley 55 came equipped with four Despite what some may say, the Stanley flea markets. Remarkably, many old planes still in excellentare despite their condition age and need only cleaning and sharpening to be put to use. wood. way to work quiet and romantic Although they may not be the tool of choice of moldings,for shaping vast quantities they a strip produce way to can or be an enjoyable two for a special project. And the unique surface is unlike textured that they create by machine. any produced the first universal plane the nineteenth century, when wooden planes rapidlywere by new being replaced planes made of metal. The Stanley 45 and, later, the a multi- Stanley to replace designed 55 were tude of wooden molding planes. As this type of plane evolved, its uses expanded, and it planing mill within “a was advertised to be itself.” of cutters,boxes a dif- to create each ground molding profile.ferent accommodate the To of the variousprofiles cutters, the plane had two skates, or runners, that adjusted both laterally and vertically. Other attachments included a third skate, two fences, and several stops to limit the cutting depth. plane,55 is a working albeit a heavy, awkward one. However, most Stanley 55s that seen have needed tuning.I’ve most The is that the two-piece common problem misaligned during sometimes skates were manufacturing. A few with a mill file strokes will bring the skates into one plane. Also, be sharp—verythe cutters must sharp—if The Stanley 55 was one of a generation of planes meant to replace wooden molding planes. It was sold with inter- changeable cutters that make many different profiles. While handplanes to may take longer achieve the same no result, there’s comparison to the a pleasure of using well-tuned plane. Tools SECTION 1 22

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) grind your own using ordinary bench chisels. bench your owngrind usingordinary lessexpensiveto it’s easyandconsiderably istoohigh; theprice chisels, bench skewed buy Althoughyou can shapers can’t reach. where routers and panels, ners ofraised insidecor- are forparing thetoolofchoice paring. when chisels andsoprovide leverage extra are chisels much longerthanbutt Firmer impossible toshapebymachinemethods. shaping intersectionsthatare difficultor them easytomaneuverintightspotswhen makes lengthofbuttchisels the short ery, Althoughintendedforchoppingjoin- sizes. with achisel. waytocreateeffective aprofile issimply shape theprofile files. withsmall You easily can old handsawworks well. oran steel, scraper pieces ofbandsawblade, the blade. inthebeamandinsert kerf Justbandsawa ready-made stock. scratch inexpensivemarking gaugeisa An old, minutes. making oneiseasyandtakesonly orforcreating tinydetails. compound curve profile forshapingasmall alonga of choice butitisthetool profiles, shaping large-scale for isnotpractical stock Thescratch ings. toshapesimplemold- the edgeofstock It’s along pushedorpulled molding profile. ters asyou wouldanyplaneiron orchisel. ofthecut- andback honethebevel stones, Using slip- the planeistowork effectively. With their long pointed edge, skew chisels skew theirlongpointededge, With There timeswhentheonly are certain Small too. Making thebladeiseasy, stock, buyascratch Although you can A scratch stock Chisels come in a variety of Chisels comeinavariety is simply a scraper witha ascraper is simply panels. corners ofraised get intotheinside pointed edge,easily have onelonger Skew chisels,which operations. place inshaping have animportant joinery tools,they think ofchiselsasa Although weusually make one. one orcaneasily files. You canbuy make delicatepro- A scratchstockcan ETO 1 SECTION Tools 23

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) 25mm 20mm 15 mm 15mm 13mm 10mm 10mm 10mm 8mm 7mm 7mm 6mm 5mm 5mm 4mm 4mm 3mm 3mm 3mm 2mm 2mm 2mm 1.5mm 1mm 1mm 0.5mm #9 sweep #11 sweep #12 sweep No. 12 Sweep No. 9 Sweep No. 11 Sweep When selecting carving tools, look for carving with a little more can be created than a dozen gouges of various sizes and sweeps. thin steel and polished full-length tools with edges. Crude, difficult thick-bodied tools are to use and usually as those of as much cost better quality. some manufacturers Although offer shorter,now carving lower-priced tools 25mm 25mm 25mm 20mm 20mm 18mm 20mm 18mm 16mm 16mm 16mm 13mm 14mm 14mm 10mm 12mm 10mm 7mm 8mm 8mm 4mm 6mm 6mm 3mm 5mm 2mm 4mm 3mm 2mm 2mm #8 sweep #5 sweep #7 sweep No. 7 Sweep No. 8 Sweep No. 5 Sweep are gouges and chisels are that are CARVING GOUGE SELECTION CARVING 25mm 25mm 25mm 20mm 20mm 20mm 16mm 16mm 16mm 14mm 14mm 12mm 12mm 12mm Carving tools varietyavailable in a wide of sizes and shapes. between the various differentiate To tools, use a numbering sys- manufacturers tem. the pages of a tool cata- browse If you log, you’ll that the size find shapes of and carving tools seem almost endless. However, specialtymany are tools; most furniture Tools for Carving Tools 8mm 8mm 8mm 6mm 6mm 5mm 5mm 5mm 3mm 3mm 3mm 2mm 2mm 2mm 1mm #3 sweep #2 sweep #1 sweep No. 2 Sweep No. 3 Sweep No. 1 Sweep Tools SECTION 1 24

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) qae It’s asquare usedforturning blank square. ing gouge Therough- ahandfuloftools. you need only vibration. minimize to andeasily you toadjustthespeedquickly Thisfeature allows motor. variable-speed you tolengthenitsuityour needs. awoodenbedlathe allows iron, made ofcast Althoughmostlathes todayare a minimum. is heavyandbalancedtoreduce to vibration And ithelpstohaveagoodlathe—onethat toturntakestimeandpatience. Learning thetool alongtherest. and levering pivoting, the shapesare created byrotating, spins, Asthestock apairofcenters. between asthemotorspinsstock the craftsman thecuttingtoolisheldby working machine; A Tools forTurning awkward touse. lengthmakesthem Theshort these tools. Iwouldavoid labeledforbeginners, often the shorteronesareawkwardtouse. and shapes.Choosefull-sizetools,because Carving toolscomeinawidevarietyofsizes lathe When spindle turning parts forfurniture, parts turning spindle When optionisa althoughexpensive, A worthy, is totally unlike anyotherwood- is totally is a hefty toolwiththeendground is ahefty the various diameters on a cylinder before diametersonacylinder the various 1 3 as such to haveaboutthree sizes, It’s helpful andvasesorogees. coves, beads, including They’re usedformostshaping, pointedend. ground withanelliptical into around cylinder. a it’sgreatest helpfultohaveatleast flexibility For the into tightareas where gougescan’t. tool thatshapes butit’s animportant curve hasasteeplearning The skew directions. beworked intwo sothat thetoolcan bevel theedgeisground withadouble chisel, Butunlikeanordinary edge. with askewed / 8 1 / 1 / 2 n,and in., The The 2 -in. skew I use when turning bedposts. Iusewhenturning skew -in. i.ada1i.se.Ialsohaveaheavy skew. anda1-in. -in. skew, parting tool parting 1 / 2 in. stenm mle,isachisel as thenameimplies, is used for quickly sizing is usedforquickly Spindle gouges 1 / 4 in., are skew chisels. gouge, andtwo tool, aroughing-out three), aparting spindle gouges(first include (lefttoright) Basic turningtools other shapes. wide varietyof tapers, urnsanda create beads,coves, ed intothestockto ter asatoolispivot- stock aroundacen- The lathespinsthe ETO 1 SECTION Tools 25

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) for bending wood is for bending wood A portable well camp for a works stove An enclosed kettle or can may be used As a final note, as the steam condenses For many years,For craftsmen have used steam box Building a steam wood for the steam box. But wood is heavy, absorbs of the steam during much startup, and will eventually rot. Nowadays, schedule 40 polyvinyl pipe is a better chloride (PVC) choice. lightweight, It’s yet strong, resistant to heat, and impervious to rot. heat source, especially own already if you one. But a better choice is the seafood cook- centers. most home ers available from They burn propane, which is safer to use, and they heat to boil the water faster. greater provide as a water container. Brian Boggs, a well- chairmaker in Berea,known Kentucky, uses a gas stove. cooker heated over a pressure wellA length of radiator to hose works pipe the steam to the box. flexible and It’s obviously designed to withstand high temperatures. inside the box, a pool of lukewarm will water form and cool the contents. this sce- Avoid nario by drilling a couple of drain holes and slightly set it up. sloping the box you when really quite easy. items: need three You’ll a heat source, for the water, a container a and to contain the parts steamed. box as they are apparatus can simply the entire make You and inexpensively can or you spend some extraand money time more to make it a bit sophisticated. tried one, no going you’ll find that there’s back to the old methods. has greatly simplified the A pressure cooker mounted over a gas stove provides steam for wood bending. vacuum press A vacuum press uses atmosphericpressure A vacuum press Tools for Bending Tools The veneering of processes laminations. and bent fuss with mating have to longer do you No forms, cauls, of clamps. and multitudes to apply to an assembly. force is The work of the placed within a bag and the opening bag is sealed. Then a vacuum pump removes the bag.the air from is quick, The process simple, and hassle-free. Plus, the pressure inside a vacuum bag is uniform; no so there’s worry that parts of the assembly lack sufficient pressure. say enough about the I can’t advantages of a vacuum press. Once you’ve shaping. tools have a double bevel, Parting have a diamond-shaped and the best ones friction.shank to reduce A vacuum press is normally used for veneering but is also an efficient way to make bent laminations. Tools SECTION 1 26

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) hpadwr t Here are someexamples: shop andwork it. toyour thelumberback spot untilyou bring arescars visiblebutothersare notsoeasyto ofthe Some ofstress. that bearthescars theresult isboards Often process. drying pushthelumberthrough the tors hurriedly kilnopera- kiln andintoconsumer’s hands, togetlumberoutofthe Intherush quickly. boards thatare stressed too from beingdried with are stocked manylumberyards ple, ■ ■ ■ E Materials board. until you theaffected begin milling notevident honeycomb istypically ing, check- Unlikesurface through akiln. run fractures structure fromthe cell aspeedy Honeycomb separated. hasvisibly structure ofaboardwherethe surface cell checking Surface tooquickly.when thelumberisdried thestresses becomesevere drying, during lumberundergoesstress Althoughall rior. ofstresslevels from thecore totheexte- different anddevelops itshrinks is dried, Aslumber uponpassingtheblade. diately imme- andwarps when thelumbertwists Case hardening e a fe edfiut For exam- bedifficult. often ber can lum- sourcesfinding local forquality ven though lumberisplentiful, occurs insidetheboardas is evident during ripping, during is evident appears as cracks along appears ascracks dealers—and whenyou findagoodsource, around to findthemostreputable lumber ask Ifit’s notan option foryou, everyone. defects. drying tiful wideandfigured lumberthatisfree of found thistobeasure wayofgettingbeau- have me, including Many woodworkers, ityourself. to buygreen lumberanddry fcus,thismethodisn’t for practical Of course, One waytoavoidproblems likethese is quickly inakiln. drying lumbertoo show oneeffectof end ofthisboard The checksonthe too fast. wood beingdried caused bythe warp andtwist, kerf iscausedby ripping. Theclosed is evidentwhen Case hardening ETO 2 SECTION 27

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) So, dry how should the lumber be when A common misconception is that only Stock for Sawn Curves Unlike steam-bent curves or bent laminations, fol- the grain in a sawn curve doesn’t the curve.low As a result, the short grain sawing a curvethat occurs from weakens the stock. So selecting stock when for a sawn chair leg or other structural element, it’s important to choose straight-grain stock for strength.the greatest Also, avoid stock with knots, because the grain is weakened around a knot. Save grain for the wild and figured straighten the stock and flatten with a jointer or handplane. it? A rule begin working you of thumb is content. moisture to 8 percent 6 percent in balance with most This places the lumber humidity that have a relative environments percent, 40 of around including most indoor settings. kiln-driedsuitable for fine wood- lumber is working. important But what’s is not how the lumber was dried but that it has the cor- of content and that it is free moisture rect dryingdefects and stress. can successful- You ly air-dry stage of lumber as long as the final drying with a rel- is done in an environment ative humidity 40 percent. of approximately This can shop, be your a garage, or even a bedroom.spare An inexpensive hygrometer relative to monitor the room’s you will allow humidity accurately. When suspect that you the lumber may be dry, can you check it meter.with a moisture the most accurate For reading, cut a short the end of segment from the core. a board and measure it after has shrunk and warped. can way you This A moisture meter allows you to measure the moisture content of lumber. Storing lumber in stable humidity is impor- Storing lumber in stable humidity you tant. An inexpensive hygrometer allows to keep tabs on ambient humidity. Dry Lumber As lumber dries, shrinks; it and because it shrinks unevenly, it often warps. Obviously important with lumber it’s to work patronize it. As everyone knows, the lowest always a bargain.price isn’t This principle as well. applies to lumber Materials SECTION 2 28

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) important to select grain that runs parallel to parallel thatruns toselectgrain important it’s So break thebending process. during splinterand will thestock along theedges, out runs Ifthegrain area. at theconcave andcompressed the convexarea ofthecurve undergoes extreme stress asitis stretched at Wood thatissteambent of theboard. totheedges parallel thanruns grain straight forsteambendingshouldhaveclear,Stock Stock forBending across theendofstock. diagonally run to thegrain it’s agoodideatoorient mony, To andcreate avoiddistraction visualhar- adjacentfacesofthestock. ed bysawingtwo grain. toavoidshort pattern curved tops anddoorpanels. areas astable- such display innonstructural hte uvdo aee,legsare creat- ortapered, curved Whether the orient selectingthestock, After direction Grain AVOID SHORT GRAIN plank foreachquarterofthecircle. avoid shortweakgrainbyusingaseparate When bandsawingsegmentsofatruecircle, in thisdirection. Don't runthegrain IN CURVES 180 arch. each halfofa Use aplankfor free bend. stress- relatively ness thatallows aneasy, isplanedtoathick- thestock laminating, for form Before inacurved placingstock selectionforsteam bending. asstock critical itisn’t as forbentlaminations, grain stock onyour bandsaw. tosize thestock rip and tothegrain parallel layout linesthatrun Mark that isoversize. stock straight-grain You beginwith can withthegrain. stock method isquitelaborintensive. this imagine, As you can along thegrain. occurs asplitnaturally log intosuitablesizes; Onewayistosplitthe grain. with parallel near aknot. occur abreak usually will ofthis, Because Knotsalsoweakenthegrain. parallel. isnot thegrain often sawn from thelog, lumberis When the edgesofboard. edges oftheboard. make surethatthegrainrunsparallelto When choosinglumberforsteambending, Although it’s important toselectstraight- Although it’s important methodistosawthe A more practical There are methodsforcreating two stock Materials ETO 2 SECTION 29

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) Use the constructionUse of the furniture piece to keep panels flat. Once assembled into the framework of furniture, wide stock is restrained. example, For raised trapped within a stile and rail panels are frame, fastened to a base, tabletops are ends.and desk lids have breadboard To Avoid boards that contain pith; boards that Avoid they always warp. onlyUse dry, lumber. stress-free If a panel after moisture mill it to size, you releases it will warp. Once the panel is warped, it shape. becomes difficult or impossible to Although it may not be practical for some woodworkers, to dry I prefer my wide lumber. own the stockAllow to acclimate. Bring the shop severallumber into your weeks it to plan to use it to allow you before adjust to the humidity. Avoid boards with pith when choosing Avoid lumber for wide panels, because they always warp. ■ the board may measure two feet may measure the board in width. keep the surface these flat I follow To guidelines: ■ ■ ■ on p. 102. “Coopered Panels” Wide, flat surfaces the perfect give you stock instead to use wide figured I prefer See To avoid problems matching the grain in To wide panels, try to find wide figured panels. opportunityprized off a to show figured board. challenge The it to keep it flat. Old boards gluing narrow textbooks recommend wide panels.together to create But this method yields an unattractive panel with plenty of gluelines and mismatched grain. for tabletops, door panels, and drawer fronts. In fact, I typically use only one board for tops of small tables, lids for slant front desks, and raised panels in doors. Often To cooper a panel,To strips of wood are beveled along the edges and glued together in a curved form. avoid the distraction To mismatched grain, from resulting a good it’s idea to use quartersawn stock. grain The in quartersawn stock is straight and easily matched. As an added benefit, a it creates dimensionallymore stable panel. Stock for Panels ➤ Materials SECTION 2 30

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) in plastic. moisture fromtheenvironment istowrapit One waytokeeplumber from absorbing I builtthekitchentable like anoldphonographrecord. find thatthebeautifultophadwarped ing stormfront.Iwalkedintotheshopto ty changedastheresultofanapproach- awaiting finalrubout,therelativehumidi- While itsatonsawhorsesinmyshop got tofinishtheundersideoftop. ends, apaintedbase,andturnedlegs. was acountrydesignwithbreadboard wide, beautifulcurlymapleboards.It our home.Thetopwasmadefromthree ➤ In myrushtocompletethejob,Ifor- REMEMBER TOFINISHTHEBOTTOM we usein ■ ■ home-school lessons—butit’s stillflat. daily use,includingmeals,birthdays,and couple ofcoatsfinish. took itintotheshopandsealedwitha returned toitsformerflatness.Iquickly warmth ofthesun,tabletopdriedand underside facingup.Afewhoursinthe outdoors withtheconvex,unfinished When thesuncameout,Iplacedtop problem beforesoIknewwhattodo. in a warped panel. in awarped resulting usually exchange willbeuneven, themoisture forexample, of atabletop, Ifyou failtofinishtheunderside vapor. slow down theexchangeofmoisture Allfinishes bothfacesofthe board. Finish plasticavailableathomecenters. trial Use rolls ofindus- exchange ofmoisture. itworks the bypreventing may soundodd, Althoughthis Wrap theboardinplastic. andassembleitonthesameday. shape it, it, mill onwidestock, avoid warpage Years later, thetopshowswearfrom Fortunately, Ihadfacedthesame Materials ETO 2 SECTION 31

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) Straight-Edged Shapes, page 34 Curved Shapes, page 57 J1120 MS7UA09SaigWo :.5x:085 175L EX 128White A M/A Magenta(D) TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875”

Complex Shapes, page 78 Template Shaping, page 117 PART TWO Cutting Shapes

utting shapes is essential to making furniture because shape is the basis from which all other furniture design elements are drawn. In this part, you’ll learned how to design and cut the basic geometric shapes of whichC furniture is composed: ■ Rectangles and squares are fundamental because all furniture elements, even curvilinear forms, will fit within a rectangle.

■ Tapers and octagons are often used in subtle ways, such as in table legs and bedposts.

■ Circles, arcs, and ellipses are used to relieve rectilinearity in bases, frames, and mirrors and to create the familiar round tabletop.

■ Geometrical curves are used to create flowing curves for moldings. Changing the radius alters the molding proportions.

■ Freeform curves are associated with cabriole legs, chair backs, and gooseneck pediment moldings on casework. TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) Chamfers Stopped Chamfer Saw on the Table (p. 54) Chamfering with a Molding Head (p. 55) Shaping Stopped Chamfers on a Curved Workpiece (p. 56) ➤ ➤ ➤ Octagons Octagonal Post on or the Router Table Shaper (p. 52) Eight-Sided Taper with Hand Tools (p. 53) Eight-Sided Taper on the Router Table or Shaper (p. 51) ➤ ➤ ➤ Tapers

Taper on the Jointer on the Taper (p. 47) on the Taper Bandsaw with a Jig (p. 48) Taper Two-Sided Saw on the Table (p. 49) Taper Four-Sided Saw on the Table (p. 50) Two-Sided Taper Two-Sided Freehand on the Bandsaw (p. 46) ➤ ➤ ➤ ➤ ➤

Milling Milling Stock to Size (p. 45) Milling Square Stock (p. 45) ➤ ➤ Straight-Edged Shapes Straight-Edged SECTION 3 OVERVIEW 34

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) and proportion rectilinearand proportion shapes. uated markings thatenablesustomeasure nothing more withgrad- thanastraightedge is Aruler andtrue. that alineisstraight isatemplateforensuring A straightedge andtemplates. instruments with measuring iseasier andaccuracy symmetry achieving freehand, bedrawn Although shapescan it. meansdrawing usually which it, you firstneedtodefine To cutashape, ture. ofpleasingfurni- design andconstruction piece offurniture. pointfrom todesigna which a goodstarting arectangle proportioning is within asquare), acircle, fitswithinarectangle; anellipse ber, fitwithin arectangle will (remem- designs, curvilinear even furniture, all Because 36). niture onp. design(seethedrawing ofrectangles)series isessentialtogoodfur- Knowing how rectangles toproportion (and Drawing RectilinearShapes L y5 y6 y9 andsoon. 7by9, 4by6, 3 by5, as such useratios all andstationary graphs, photo- index cards, For example, rectangles. methodofproportioning easy andeffective Rectangle withacompass. showsat right how aGolden todraw Thedrawing throughout world. thenatural Golden Rectangle—1:1.618—are found ofthe Theproportions Golden Rectangle. fitswithina creditthe modern-day card Infact, bydesignersandarchitects. centuries The Using Golden Rectangle as freeform curves isessentialtothe as freeform curves and draw shapesaswell geometric proportion, tobalance, earning aiso wholenumbers ratios of has beenusedfor is another of GoldenRectangle. of square(pointC),whichislength Step 3.SwingarcfromBtobaseline a compassfromAtooppositecorner(pointB). Step 2.Bisectbaseline(pointA)andextend of rectangle. Step1. Drawasquarethedesiredwidth CREATING AGOLDENRECTANGLE 1 to furniture. and functionality can addinterest and complexshapes shows howsimple century secretary This eighteenth- A 1.618 B Straight-Edged Shapes ETO 3OVERVIEW SECTION C 35

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) are a seriesare of whole Fibonacci numbers numbers in which each number is the sum it.of the two that preceded example, For a typical Fibonacci sequence is 1, 1, 2, 3, 5, 8, 13, and so on. The numbers in such a series ate the first rectangle. the process, repeat To keep one point of the compass in the lower and extend the other corner of the square point to the new corner. Rectangles used for drawers. Base height Hambidge rectangles The illustration at top right demonstrates are a useful method for graduating a useful method drawersare in a chest. that Begin by drawing a square equals the width of the chest. Next, position on a diago- a compass so that each leg rests nal corner. strike an arc; Now extend the to cre- to intersect the arc sides of the square the method for constructing a series of rectangles. Hambidge USING PROPORTIONING SYSTEMS ON A CHEST SYSTEMS ON USING PROPORTIONING • Entire case fits in Golden Rectangle. • Upper doors each fit within a Golden Rectangle. • Drawers are second, third, and fourth in series of Hambridge rectangles. • Base height is one-half of upper drawer (ratio of whole numbers). Straight-Edged Shapes SECTION 3 OVERVIEW 36

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) when designingfurniture. pleasingproportions method forachieving beemployed anduseful can asaquick tractor is useful for keeping track of the tractor isusefulforkeeping track Apro- ing 90degrees into smallersegments. justamatterofdivid- kind ofshapeisreally themostusefulis which of allows forshapesof more thanfoursides, the rest oftheelementsinpiece. inrelation to isitssize main designconcern the asquare iswhatitis, Since are equal. ofsquares thesides isthat all characteristics difference and thedefining Theonly gles. Squares Leaving therealm of90-degree angles Leaving DCA DC drawers ofachest. dimensions ofthegraduated rectangles istodeterminethe One waytousetheHambidge Step 1 are really special cases ofrectan-are specialcases really octagon. B EF Step 2 This HAMBIDGE RECTANGLES 8 5 3 2 1 1 FIBONACCI NUMBERS DC of theGoldenRectangle:1:1.618. consecutive numbersapproachesthat numbers gethigher, theratiobetween is thesumofprevioustwo.As Each numberintheFibonacciseries tp3Step4 Step 3 1 2 3 4 5 6 7 Straight-Edged Shapes ETO 3OVERVIEW SECTION 1 2 3 4 5 6 7 37

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) Cup (warped across face) Bow (warped on face for board's length) Crook (warped on edge) Twist The simplest straight-edged shaped is a The simplest straight-edged Designing Furniture Designing Furniture Shapes with Rectilinear best work,Your including curved work, begins with stock that is milled flat, true, and square. Flat milledsurfaces accu- create points for cutting joints,rate reference sawing curves, and shaping profiles. rectangle, which is essentially what we create by milling stock and then cutting it square to size. A square, as I’ve said, is just a special in which form all of rectangle the sides are the same length. other are But there useful in straight-edged shapes that are woodworking. the heavy help relieve Tapers FOUR TYPES OF WARPED BOARDS FOUR TYPES OF WARPED which is a rectangle with one side with whichrectangle is a taper, A angles. in table legs familiar Octagons are and bedposts. a shows The illustration below this design. method of drawing degrees,cut at less than 90 not have to does be any particular angle; but a very slight angle willappear to be just not square. Too angle will a top- or bottom-heavy much give look. or a sliding Although a protractor bevel track gauge helps keep angles— of the mostly to make them consistent—sometimes the eye is the best measuring instrument of all. Experimenting angles and with different willstanding back help at the result to look get a pleasing result. you DRAWING AN OCTAGON DRAWING To draw an octagon from a square, first draw diagonal To lines. Next, draw arcs with the compass. Connect the arcs to create the octagon. Straight-Edged Shapes SECTION 3 OVERVIEW 38

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) be reduced in size andshapedtoenhanceits be reduced insize theremainder ofthelegcan look, utilitarian toavoid creating aheavy, So, quate joinery. post must havesufficientdimensionforade- atablelegorbed- from adesignstandpoint, So elements suchasmoldingsandcarvings. aesthetic unlikepurely elements, structural legsandpostsare important Obviously, and ChamferedShapes Designing Tapered help relieveaheavylookaswell. can breaks which theedge, simple chamfer, buta chamfered sidesare equalinsize; all the inwhich ofchamfering sent aform than foursides)straight-edgedshapesrepre- octagonsandothermultisided (moreSimple elementsforbedposts. stylistic favorite are thetapered octagon, special form, Theoctagonandits look oflegsandposts. w-ie ae orsddtprOtgnlps Tapered octagon Octagonalpost Four-sided taper Two-sided taper LEG ANDPOSTDESIGNOPTIONS on faces. results ingrainmatch (annual rings)onend Diagonally runninggrain lamb's tongue Carved for joinery. square Posts are CHOOSING GRAINFOR LEGS ANDPOSTS Straight-Edged Shapes Grain doesnotmatch. ETO 3OVERVIEW SECTION 39

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) on p. 212. -in. plywood 4 / 3 “Flutes and Reeds” If you prefer a straight leg rather prefer than a If you The tapering for the table saw is jig I use Constructing the jig takes just a few min- See look at home in both traditionallook at home con- and temporary settings one,tapered can its mass by you reduce shaping the corners. A chamfer or other will add subtle embellishmentsimple profile the visual weight.while reducing Straight legs can also be fluted or otherwise molded up the flat,to break dull surface. Jigs for Cutting Tapers The table saw is undoubtedly one of the canmost efficient tools you use for cutting a taper. probably taper- seen adjustable You’ve tool cata- in woodworking ing jigs offered logs. I usually jigs; to make my own prefer doing so is inexpensive and I can make them dedicated application. to a specific This have to waste time mak- means that I don’t to use ing adjustments the next time I want the jig. the simple jig is quick And and easy to make. stone simple. a strip It’s of plywood with a notch for the workpiece.tapered When the leg is positioned in the jig, the portion the notch is rippedextending from away, a straight,creating uniform taper. utes.cutting Begin by approximately 7 in.approximately wide by 4 in. longer than the stock to be tapered. After laying out the taper on the stock, position it on the ply- to be cut off overhang- wood with the area ing the edge. Next, onto trace the workpiece ➤ Perhaps the simplest and most familiar the simplest Perhaps Octagonal tapers, as the name implies, appearance. Often, the shape is dictated by the style. method of shaping a leg or post is the taper. By gradually the mass, reducing a leg appears lighter without sacrificing strength. Traditionally, on the two tapered legs are inside adjacent surfaces. all four Tapering surfaces yields a contemporary look. The casework,inside legs on lengthy such as a huntboard, faces. have tapers on three taper on eight surfaces. The most common posts on the pencil-post the examples are bed. This style of bed is popular and can The popular pencil- The popular at post bed can look home in both traditional and contemporary settings. Straight-Edged Shapes SECTION 3 OVERVIEW 40

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) piece ofplywood. trace thetaperfrommarked stocktoa To makeasimpletablesawtapering jig, (approximately halfthatofa ates athinkerf itsbladecre-much because more efficiently posts your taperthick bandsawwill contrast, In hardwood. bog down thick whenripping bladeonatablesawtendsto thethick does, ifit Andeven have enoughcuttingcapacity. your tablesawmaynot asbedposts, such ifyou’re stock, thick tapering Also, the table. downwardthe bladepushesstock toward thebandsawcan’t because kickback is safety; Themainreason reasons. choice forseveral butthebandsawissometimesabetter saw, It’s thateasy! with thebandsaw. area andcutoutthenotched the plywood Usually when tapering, I turn tothetable Iturn whentapering, Usually DEDICATED TABLE SAW TAPERING JIG end oftaper. Size tofit by thefence. This edgeisguided leg orpost. Friction-fit with the bandsaw. cut outthenotchon To completethejig, Straight-Edged Shapes ETO 3OVERVIEW SECTION 41

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) Carved lamb's tongue Square section for bed rail joinery Octagonal Tapered octagon Tapered in. 2 / 1 2 1 in. DESIGN 80 in. TYPICAL PENCIL-POST in. by 80 in. square on p. 117. 2 / 1 “Template Shaping” “Template A typical bedpost has slender proportions; If you’ve got a number of legs or posts to got a number of legs or posts If you’ve See tall. A short portionof the post is left square Shaping Octagonal Tapers Undoubtedly, the most familiar use of the octagonal taper is the pencil-post bed. Still popular centuries after it first appeared, this simple,design’s pleasing lines have broad appeal. the post is commonly 2 circular blade) so there’s much less feed less much blade) so there’s circular resistance. taper, to build a jig to speed it makes sense along.the process This jig is simply a a guide stick template that follows tapered next to the blade. Support blocksthe jig on position the leg or post. A pair of toggle you clamps while allowing the work secure easily. to swap workpieces ➤ A simple jig for tapering on the bandsaw. Straight-Edged Shapes SECTION 3 OVERVIEW 42

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) one.I h nvsaesap thecutis Iftheknivesare sharp, jointer. beginwith alightpassover the maple, curly methods. tap intoanyoneofseveral I suitableforfinishing, ate asmoothsurface To cre- leavesadistinctivepattern. machine findthat each you’ll table sawfortapering, No matterwhetheryou usethebandsawor the SawMarks Smoothing Away ofthejig. frame under theplywood tapered it baseonthebandsawandattach Cutthe thesecondrepresents theend. taper; Thefirstrepresents ofthe thestart octagons. apairof draw degree oftaperonthebase, To the determine or shapercutterhead. routertaper asthework bit passesachamfer thefour-sided Thebasesupports top right. needtobuildthejigshown at you’ll shaper, theoutline. scratch the pinsasthey followwhich theedgesof posttoguide marking woodendowels, gaugeusestwo Thisspecial cise withaspar-maker’s jig. preparation andpre- forhandwork isquick outthetaperin Laying enjoyable method. andplaneisaquiet drawknife usinga Thefirstmethodinvolves shaper. orwitha witharouter, byhand, ways: across. 1in. cally Thetopofthepostistypi- reaches thetop. untilit reduces insize rails andgradually Thetaperbeginsabove the tenon joinery. mortise-and- to accommodatethebedrail For smoothingdifficultgrainsuch as If you prefer usingyour router tableor You makeanoctagonaltaperseveral can JIG FORSHAPINGOCTAGONAL TAPERS WITH ROUTERTABLE ORSHAPER Taper beginshere. DETERMINING THETAPER octagon ateachendofthetaper. Before buildingthejig,layout Feed thisdirection. Straight-Edged Shapes from underneath. supports workpiece Tapered base ETO 3OVERVIEW SECTION 43

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) If the grain is less troublesome (suchIf the grain as is less troublesome straight-grained cut away the you walnut) with a sharpsaw marks bench plane. This method is very efficient and leaves a silky- even need smooth surface that often doesn’t sanding. light, and the feed rate is slow, the jointer will shear the curly grain with little or no tearout. Afterward, further smooth the surface with a sharp scraper. Finally, finish the surface with sandpaper. A handplaned surface is so smooth it often A handplaned surface is so smooth sanding. need doesn’t A cabinet scraper is an efficient way to smooth tool marks. With sharp blades, a jointer can make quick work of With sharp blades, a jointer can make saw marks. Straight-Edged Shapes SECTION 3 OVERVIEW 44

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) them away. as knots,sapwood,andchecking,tocut time toexaminethelumberfordefects,such remove warpfromthestock.Thisisalso or slidingmitersaw. Thisfirststepgreatlyhelps ping; crosscutscanbemadeonaradial-armsaw size. Thebandsawisthetoolofchoiceforrip- help getthemallthesamelength( multiple pieces,astoponyourmitergaugewill measure andcuttheotherend.Ifyou’recutting to finallength.First,cutoneendsquare;then, After jointingthesawnedge,crosscutstock ensure uniformity. width, it’s agoodideatoripthemnow, to are severalpiecesonyourcutlistofthesame Now ripthestocktofinalwidth(D 90 degreestotheface( next step.Then,jointoneedgeofthestock squareness tothetablebeforebeginning It’s agood ideatocheckthejointerfencefor the stocktofinalthickness( work ifyourjointeristoosmall.Afterward,plane handplane—such asano.6,7,or8—willalso Next, flattenonefaceonthejointer( mately 1in.longerand Begin bycuttingthestocktoroughsize,approxi- Milling StocktoSize A 1 C). / 2 in. widerthanfinished B). ). Ifthere E). A). long B A C E first. Finally, planethe stocktothickness(B). Then jointanadjacentface90 degreestothe After cuttingtosize,trueaface onthejointer( thick stockwithlessfeedresistance. no chanceofkickback.Also,thebandsawcuts stock issaferonthebandsawbecausethere’s to roughsize,Iusethebandsaw. Cuttingthick take aslightlydifferentapproach.Whenripping When millingsquarestockforlegsandposts,I Milling SquareStock Straight-Edged Shapes D B A). MILLING 45

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) D). A). To G). in., on the 4 / 3 ). It’s best to lay out B). It’s G Two-Sided Taper Taper Two-Sided the Bandsaw Freehand on the taper on the stock ( Begin by laying out extend tapers usually don’t simplify construction, ( into the area of joinery while the stock is still and cut the leg mortise square (C). blade, such as Next, mount a wide bandsaw. Using a wide blade greatly reduces the bandsaw. cut ( tendency for the blade to wander in the Start at the foot and closely follow the layout line Start at the foot and closely follow the the leg 90 degrees and make the sec- (E). Turn ond cut (F). After all the cuts are made, remove ( the saw marks with a sharp bench plane Taper ends Taper at foot. Line of taper Taper begins Taper here. Apron stops here. F D Mortise A No taper on this face B E C Straight-Edged Shapes TAPERS 46

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) by Next, dividetheamountofstocktoberemoved Begin bylayingoutthetaperonstock( also helpsdefinethelengthoftaper. stop blocktotheinfeedsideofjointer, which the purposeofsafety, it’s importanttoclampa lower thestockontospinninghead,sofor cutterhead whenstartingthecut.You’ll haveto positioning theendofworkpiecebeyond You caneffectivelycutataperonthejointerby Taper ontheJointer desired amountoftaper. repeat theprocessseveraltimestocreate tapered (D).Usepushblocksforsafety. Finally, head whileapplyingpressuretothearea cutterhead ( block andcarefullyloweritontothespinning Rest theendofworkpieceagainststop ready tobegintheprocess. (B). Whenyou’vecompletedthesesteps,you’re position thestartoftaperovercutterhead depth. Clampastopblocktotheinfeedtable es required.Setyourjointerfora 1 / 8 in.; thiswilldeterminethenumberofpass- C). Feedthestockpastcutter- 1 / 8 -in. cutting A). A D C B Straight-Edged Shapes TAPERS 47

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) C). ). E ). You’ll need the off- ). You’ll B). Make certain that the guide is ). with a notch The guide is simply a stick Taper on the Taper a Jig Bandsaw with stock to taper it makes If you’ve got a lot of a jig to speed the process sense to construct table saw is a good choice along. Although the the bandsaw for tapering for tapering, I prefer bedposts. This technique thick stock such as follows a guide adjacent to uses a template that Best of all, you can create the bandsaw blade. tapers with this one-, two-, or even four-sided technique. of First, make the jig to the desired degree taper (A for the blade ( begin ( clamped firmly in position before you use the jig, keep the base in contact with the To guide throughout the cut (D Afterward, cuts for support during the second cut. ( rotate the stock to make the second taper B You can use a guide You and templates to rapidly bandsaw any number of identical parts. This curve should match the tightest curve in the pattern. E Guide C Straight-Edged Shapes TAPERS D A 48

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) ➤ taper (E). (D). Finally, rotatethelegandcutsecond safety duringanyrippingproceduresuchasthis fence (C).Asplitterwilldramaticallyincrease the blade,it’s crucialtomaintaincontactwiththe first cut.Asyoufeedthejigandworkpieceinto the widthofjig( a distancefromthebladethatcorrespondsto above theworkpiece(A).Next,setfenceat set thebladeheightsothatteetharejust Once you’vemadethejigandmilledstock, on theTable Saw Two-Sided Taper See See “Taper ontheBandsawwithaJig” B). Positionthestockfor at left. A D B C E Straight-Edged Shapes TAPERS 49

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) D, E). B, C). Then A). Four-Sided Taper Taper Four-Sided Saw on the Table is taper a four-sided The process for cutting for cutting a two-sided much like the procedure is the jig. There are two The difference taper. for the first two cuts and steps on the jig: one two cuts ( another for the final pivot the stop block out of the use the jig, first To way and cut two adjacent tapers ( second pivot the stop into position and use the step of the jig for the last two tapers ( and Remember to use a splitter on your saw keep the jig in contact with the fence. Use lowest steps for first cut. This step works in conjunction with pivot block. E C Hardwood block pivots on screw. A B D Straight-Edged Shapes TAPERS 50

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) point whencuttingthethreeremainingchamfers. table orfence(H).Thisgivesyouareference end ofthetaper, stopandmakeamarkonthe cut thetaperedchamfer( feed theworkpieceandjigpastcutterheadto of thestockrestingfirmlyagainststop.Now Position theworkinjigwithtrailingend at eachend(F). stock tocreatethenecessaryamountofchamfer The jigwillraiseandsupportthesmallendof according tothedrawingyoumadeearlier( (D). Adjustthebitheightforfulldepthofcut cutterhead orbitonyourshaperroutertable the stockduringcut.Next,mountachamfer To chamferthecorners,firstbuildajigtosupport jointer ( smooth awaythesawmarkswithahandplaneor corners tocreatetheeight-sidedtaper. Butfirst method (B).Nowyou’rereadytochamferthe and cutthefourtapersusingyourfavorite Next, layoutafour-sided taperonthestock( ing representstheend. resents thestartoftaper;seconddraw- by drawingtwofull-sizeoctagons.Thefirstrep- Before shapingataperedoctagon,alwaysbegin Router Table orShaper Eight-Sided Taper onthe C). G). Whenyoureachthe E). A) G A C E H D B F Straight-Edged Shapes OCTAGONS 51

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) C). B). If you’re creat- Octagonal Post on the Octagonal or Shaper Router Table post square and drawing an Begin by milling the Next, mount a router bit or octagon on one end. mount using a shaper, If you’re shaper cutter. from underneath the stock the cutterhead to cut for safety (A). setup is to adjust the fence The final step in the drawing on the end of the and cutter height. Your Just position the post adja- post makes it easy. cutter cent to the cutter and lock the fence and height. Now you’re ready for the cut ( clamp a stop block to the out- ing a stop chamfer, or table feed fence or make a mark on the fence to align with a mark on the stock ( C B A Straight-Edged Shapes OCTAGONS 52

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) to createastop( Finally, carveabevelattheterminationofcut stock tothelayoutline( lines, finishthesurfacewithaplane,taking to control.Onceyou’vegottenclosethelayout cuts (D).Asforanyhandtool,sharpnessisakey which willenableyoutotakelarge,controlled To removetheexcessstock,useadrawknife, mark aperfecttaper( gauge’s dowels againstthestock,pinswill build aspar-maker’s gauge(B).Ifyoukeepthe but it’s easy whenyoutakeafewminutesto fered corners.Thisstepmayseemcomplicated, the previousmethods.Next,layoutcham- Begin byshapingafour-sided taperusinganyof way togetstarted. ing octagonaltaperedbedpostsbyhandisagreat If you’reunfamiliarwithusinghandtools,creat- results withhandtools( process, there’s awaytoachievethesame gant octagonaltapers;aswithanywoodworking You don’t needarouterorshapertocreateele- with HandTools Eight-Sided Taper C F). C). E). A). D A B E Dowel guide from screws Pins made Dowel guide octagon attopofpost Width offinishedface Dowel guides F Straight-Edged Shapes dowel guides Distance between Start oftaper OCTAGONS 53

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) B). If E). ). Tilt the blade to 45 degrees A). Tilt ). Afterward, the end of the chamfers can D). Afterward, the end of the chamfers Stopped Chamfer Stopped Chamfer Saw on the Table are beyond the capacity of Large chamfers that shaper can be shaped on the your router table or marks, but The surface will have saw table saw. with a plane. I like this they’re easy to remove which combine turning technique for bedposts, If the post is to be with octagonal sections. and stop the chamfer turned, chamfer it first as areas before the square sections, which serve of joinery for the bed rails. of one Begin by drawing an octagon on the end post, which serves as a guide when positioning fence ( the saw’s ( and position the fence. Now rip the stock other end the chamfer stops before reaching the fence or of the post, clamp a stop block to the a mark on make a mark on the table to align with the post (C). backing Remember to turn off the saw before the off- out of the cut. Use a handsaw to remove cuts ( surface be turned or carved, and the chamfered can be smoothed with a plane ( E C A

Straight-Edged Shapes CHAMFERS D 54

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) of tape(F). fence orindicatethestoppingpointwithastrip chamfer istobestopped,clampablockthe Now you’rereadytomakethecut( head andadjustthemoldingheight( the fencetocenterworkovermolding Tighten the wingnutssecurely( Begin bypositioningtheworkinjig( cutter andaddsmasstothepiecebeingshaped. positions yourhandsatasafedistancefromthe stock withoutajig(A).well-constructed Don’t shapealargecutonslenderpieceof cal curveatthestop. straight cutter, becauseitwillcreateasymmetri- 45 degrees,youcanuseastraightcutter. Iusea use a45-degreecutteror, ifyourotatethestock When chamferingwithamoldingheadyoucan a MoldingHead Chamfering with B E C). Next,position E). Ifthe B). D). A C V-grooves F Wing nuts 3 / 4 -in. plywood D 5 / 16 -in. carriagebolts Straight-Edged Shapes 5 washers / 16 -in. CHAMFERS 55

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) A). on p. 125. C). If you come up short B). in. You’ll also need a fulcrum to in. You’ll 8 / 1 “Flush Trimming” See pivot the work into the spinning bit. Otherwise The fulcrum the stock could kick back violently. mechanical can be a pin or block; for the greatest as possi- advantage, it should be located as close ble to the bit. make the cut, position the workpiece against To the fulcrum and pivot it into the spinning bit ( Once contact is made with the bearing, begin feeding the workpiece ( When making a stopped cut on a curved surface, it will be necessary to begin two of the cuts in the middle. Position the workpiece against the fulcrum and aim the start of the cut for the outer cutting circle of the bit ( back up! Instead, pull the work of the line, don’t away and try again. Shaping Stopped a Curved Chamfers on Workpiece on a curved surface, When shaping a chamfer router bit registers against the the bearing on the depth. Any roughness stock to limit the cutting will be re-created in the or void in the surface rolls over the surface. chamfer as the bearing The Begin by smoothing the curved surface. a spoke- bandsaw marks can be cut away with is to shave or compass plane. Another option and flush- flush trim the surface with a template trimming bit. in the The next step is to mount a chamfer bit light cut, router table and adjust the height for a no more than ➤ C B A Straight-Edged Shapes CHAMFERS 56

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) Curved Shapes ➤ ➤ ➤ ➤ (p. 64) on theBandsaw Ellipses Freehand Arcs, Circles,and (p. 66) with aTemplate Circles orEllipses (p. 65) Bandsaw withaJig Arcs onthe (p. 64) Bandsaw withaJig Circles onthe Arcs, Circles, & Ellipses ➤ ➤ ➤ ➤ ➤ ➤ ➤ (p. 69) Sweeping Curves Bandsawing Broad, Curves (p.67) Bandsawing Tight (p. 75) with aCopingSaw Sawing Curves Curves (p.73) Brick-Stacking Tight (p. 71) Resawing aCurve Bandsaw (p.71) Scrollsawing onthe (p. 70) Sawing Multiples Exterior Curves ➤ ➤ Edges (p.77) Beveling Curved Scrollsaw (p.76) Interior Cutswitha Interior Curves ETO 4OVERVIEW SECTION 57

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) is an oblique cir- ellipse have a consistent radius and have a consistent Simplystated, an cle. rather An ellipse fits within a rectangle than a square. A beautiful form, ellipse the is easily avail- drawn with templates that are able at drafting supply stores. a create To larger ellipse, an old method that I employ trammel points clampeduses three to a stick. by the guided are of the points Two as the third point edges of a framing square draws the ellipse. The size of the ellipse is determined by the position of trammel points along the stick. Because the ellipse is so pleasing to the eye, designers and archi- tects have used it for centuries. The three-trammel-point method for drawing an ellipse. Drawing Curved Shapes Drawing Curved Circles and arcs easilyare drawn with a drafting template. larger diameters,For can you use a compass. a thumbwheel for fine The best tools have adjustments. draw a circle beyond that’s To the capacity compass, of your clamp trammel points to a stick. on p. 60. traight-edged shapestraight-edged always are to cut becauseseem easier there usually fences guide the work. to “Making Patterns” Curves on the scroll- can be cut freehand See Curved shapes may seem challenging, but the effort is worth that sinuous the options forms can bring designs. your to Curves furniture, look of rectilinear relieve the boxy a touchand theyimagination of can provide apart. work that sets your saw or the bandsaw. curves cut are Trapped with a jigsaw or scrollsaw. like work- If you ing with hand tools, a coping saw or fretsaw is handy. cuts to have many repetitive If you make, accuracy your can you improve by making templates. But all curved shapes need good design and a model. The shape exist first in the mind and then on must it canpaper before be accurately a cut from piece of wood. S ➤ Use a compass or circle template for drawing accurate circles. Curved Shapes SECTION 4 OVERVIEW 58

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) DRAWING ANELLIPSEWITHTRAMMELS A X axis (X) 1 X / 2 major DRAWING SERPENTINE CURVES E Y B andC swung frompoints Intersection ofarcs Trammels 1 A andB swung frompoints Intersection ofarcs / B 2 minoraxis(Y) Y P F C P trammels onstick. major andminoraxesguides Framing squarealignedwith ellipse. the shapeof Point Pdescribes G D DB AD swung frompointsAandB.Thisogeeissymmetrical. A simpleogeeiscomposedoftwoquarter-circle arcs CA C 90 ASYMMETRICAL SYMMETRICAL DRAWING AN OGEE CURVE OGEE CURVE DRAWING A 90 D 90 B ETO 4OVERVIEW SECTION Curved Shapes 90 E E 59

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) is an arc with an is an arc are drawn with the aid are fair curve Freeform curvesFreeform drawn by hand with- are Geometrical curves SKETCHING CURVES SKETCHING CURVES out the aid of a compass. of a device such as a template or compass. the arcs,By interconnecting can you easily draw uniform, curves flowing for moldings. By experimenting various with radii, can you alter the molding proportions to achieve the effect.desired A inconsistent radius (such as ellipse). This element is often advantage in used to great contemporary sinuous to create furniture of rectilinear forms and relieve the boxiness shapes. A simple method for drawing a fair curve is to flex a thin stick, called a batten, curveto the desired and then trace it. The batten can be held in place by nails. Or a string a hole on each end thread through and pull it taut, string, like a bow to hold the shape while the curve is drawn. batten’s Otherwise, a helper can keep the batten taut and in place. Good patterns are one of the keys one Good patterns are to good curves, because the lines and proportionsare committing solid stock. out before worked Making Patterns Varying the radii of arcs enables you to the Varying design a variety of molding shapes. Centerline of bowfront tabletop Back edge of tabletop Adjusting where you grasp the pencil enables you to control the size of freeform curves. Nails WITH A BATTEN Batten the drawing of DRAWING FREEHAND CURVES DRAWING DRAWING A FREEFORM CURVE A FREEFORM CURVE DRAWING ➤ Nails Outer edge of tabletop Although seemingly difficult, freeform curves becomes almost second nature with practice. Begin by establishing a rectangle in which the curve fits. This proportions the relationship of the length to the width of the curve and provides guidelines you can use to sketch. When sketching the curve, try pivoting from the wrist, knuckle of the little fin- or By extending or elbow. ger, shortening your grasp on the pencil, you can control the size of the curve. Curved Shapes SECTION 4 OVERVIEW 60

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) saw most curves witha saw mostcurves You’ll findthatyou can afterward. curves ofthe avoidmuch ofthetediousfairing can andI makes sawingtothelinemuch easier, it I usethewidestpossiblebladeforjob; To getthemostcontrol, bandsaw iscontrol. Your onthe curves tosawingaccurate key Selection forCurves Bandsaw Blade instead ofheavypaper; onthepattern. andsoonright dimensions, joint it’ssize, handytonotestock example, For future usealongwithotherinformation. bestored thedesigncan for Afterward, ing them out of solid stock lateron! ing themoutofsolidstock isfareasierthanwork- inthepattern larities Removing irregu- This isareal timesaver: sanderand/orafile. withaspindle curves smoothandfairthe sawing, After lines. sawtothe carefully design ontheplywood, out. laying provides and forsketching asmoothsurface diffuse porous grain Thetight, works well. teeth), the gullets fill with dust. When this When with dust. fill thegullets teeth), istoofine(toomany Ifthepitch (tpi). vides aguideforselectingbladewidth. 62pro- onp. Thedrawing greater control. sawfasterwith keep onpathandyou can thebladeismuch easierto because blade, toawider Itmakessensetoswitch slowly. havetocut you’ll gentlecurve, a broad, thustosaw blades tendtowanderinthecut; narrow However, and avoidbladechanges. I like a stiff, strong material forpatterns strong material I likeastiff, When you’ve ofthe completedthesketch When Blade pitch is thenumberofteethperinch 1 1 / / 4 4 i.birch plywood -in. -in.-wide blade sanding. wood patternby fections inaply- Remove anyimper- line. pattern justtoyour Cut theplywood same piecelater. now ormakingthe tion handyforusing keep theinforma- plate enablesyouto right onthetem- Noting dimensions ETO 4OVERVIEW SECTION Curved Shapes 61

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) This measurement determines how far to position the fence from the blade. Building this arc-cutting fence requires a full-size drawing. Workpiece in. 2 / 1 7 in. 16 / 7 5 1 in. in. 4 / 3 3 in. 4 / 3 Fence in. 2 / 1 in. 2 8 Radius from centerpoint to fence through blade / 5 in. AFFECTS CUTTING RADIUS AFFECTS CUTTING in. 16 2 / / 7 1 1 HOW BANDSAW BLADE WIDTH BLADE WIDTH HOW BANDSAW in. 8 90 / 3 in. 8 / 3 in. 16 / 5 in. in. in. in. in. 8 8 4 16 16 / / / / / 1 1 1 3 1 Minimum radius the blade Minimum radius the blade can cut without difficulty A CURVED FENCE FOR CUTTING SMALL ARCS A CURVED Curved Shapes SECTION 4 OVERVIEW 62

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) your bandsaw orrouter. with andellipses circles, jigs forcuttingarcs, There useful are several are cutfreehand. all require upifthey radius can tediousclean orarcsMaking manycircles ofthesame Jigs forCuttingCirclesandArcs choice forthejob. isagood Thusthepitch tact withthestock. places8teethincon- stock used with2-in. 4tpi For example, in contactwiththestock. select abladepitchthatplaces6to12teeth ofthumbtofollow isto Therule heats up. cuttingslows down andtheblade happens, Let’s faceit, When Iselectstockforchairlegs,look excessive stockistonestpartstogether. But onewaytoavoidneedlesslywasting ➤ NEST PARTS TOSAVE LUMBER pattern todrawtwonestedsetsofChippendalechairrearlegsononewideboard. You canreducewastesubstantiallybynestingpartstogether. Here,I'veusedaplywood sawing curvesiswasteful. at raChairleg Waste area ➤ fence can be usedtoguidethework. fence can acurved arcs, cuttingsmall When blade. pastthe the bandsawtabletopivotstock to Anarc jigclamps you torotate thestock. findithelpfultouseajigthatallows you’ll match fortheparts. of gettingaconsistentgrainandcolor three legs.Thishastheaddedadvantage for pieceswideenoughatleasttwoor np 65. on p. 64and “Arcs ontheBandsawwithaJig” p. See When cutting a number of true circles, cuttinganumberoftrue When “Circles ontheBandsawwithaJig” “Circles on ETO 4OVERVIEW SECTION Curved Shapes 63

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) A). The pin’s C B location is adjustable by sliding the board that location is adjustable by sliding the board holds the pin to the desired distance from the blade. The pin-to-blade distance represents the radius of the circle. Make a small hole in the stock at the center of the circle you wish to cut. This will ride on the pin as you pivot the stock through the blade of the bandsaw (B). Circles on the Bandsaw with a Jig you’ll find When cutting a number of true circles, rotate the it helpful to use a jig that allows you to stock. Build the jig shown here ( B A Pivot point on sliding dovetail allows adjustment of radius length. -in. plywood base 4 / 3 clamped to the table B). The pivot point on this adjustable circle-cutting jig is on the underside of the workpiece. Kerf Arcs, Circles, and Ellipses Arcs, Circles, the Bandsaw Freehand on number of pieces to cut, I Unless I’ve got a large freehand on the band- prefer to do the cutting fast and, Cutting freehand is surprisingly saw. accurate. The key is to use with a little practice, blade and follow the line the widest possible small, space table is closely (A). If your saw’s apart to support the stock ( your hands farther a spoke- After sawing, smooth the edges with shave (C). If you’re careful to watch the grain direction, you’ll avoid tearout. Curved Shapes ARCS, CIRCLES, & ELLIPSES ARCS, CIRCLES, A 64

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) ➤ fence inwhichtheworkpiecerides. (B). To makeasmallarc,youcancircular piece intothebandsawbladetomakecut Swing thepivotarmandthenwork- secure theworkpiecewithtoggleclamps. can beproppedundertheend.To usethejig, far pasttheedgeofbandsawtable;apost jig issturdilysupported,especiallyifitextends First buildthejigshownhere( Multiple arcscaneasilybecutonthebandsaw. with aJig Arcs ontheBandsaw n .63. on p. See See “Jigs forCuttingCirclesandArcs” A). Makesurethe table. bandsaw to the Clamp A B blade Kerf for Base the pivotarm. the workpieceon Toggle clampshold your bandsawtable,thisjigcandothejob. When thesizeofanarcexceedswidth ARCS, CIRCLES,&ELLIPSES Curved Shapes Pivot arm Pivot point under theend Post propped 65

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) ). A bearing- ). Circles or Ellipses Circles or Ellipses with a Template a large number of cir- Whenever you’re making and template will speed cles or ellipses, a router router will the the bandsaw, the process. Unlike The template can be leave a finished surface. medium-density fiberboard made of plywood or to the workpiece with small (MDF) and fastened tape (A nails, screws, or double-sided tem- guided router bit will follow the plywood a molded plate and trim the work flush or create edge, depending on the bit profile (B B A Curved Shapes ARCS, CIRCLES, & ELLIPSES ARCS, CIRCLES, 66

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) ➤ safely iswithastopblockclampedtothe called astopcut,andthewaytodoit the tablesawinsteadofbandsaw. It’s line betweenthebracketfeetifyouuse (Text continuesonp.68.) fence ortable. [ corners ( cut fromtheoppositefacewillreachinto stop blockpreventskickback(C),andasecond Instead, makeastopcutonthetablesaw. The spans thefeetisdifficulttocutwithabandsaw. are stillintact(B).Thelong,straightsectionthat bandsawing, whilethestraightreferenceedges feet joinedbymolding.Shapethemoldingbefore The exampleforthistechniqueistwobracket them inareasofoffcuts. wood, youcanoftenorientthepatterntolocate stock (A).Ifthereareslightimperfectionsinthe Begin bycarefullytracingthepatternonto ate smooth,flowingcurves. This allowsyoutoworkoutproportionsandcre- Bandsawing shouldalwaysbeginwithapattern. Bandsawing Tight Curves VARIATION See See “Making Patterns” D). ] You cangetastraighter np 60. on p. A D C VARIATION B EXTERIOR CURVES Curved Shapes 67

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) I). F). 8th cut Before bandsawing, mount a blade that will turn mount a Before bandsawing, without binding. Then plan the tightest contour to avoid trapping the blade the cutting sequence turn is a sure way to pull (E). Backing out of the ( the blade off the wheels by can avoid tedious cleanup of the surface You the layout line (G). When the carefully sawing to smooth the curves with bandsawing is complete, ) and clean up the intersec- a spindle sander (H a crisp, defined look ( tions with a chisel for 3rd cut (back out) 6th cut 7th cut I E H (back out) 4th cut 1st cut 5th cut 2nd cut (back out) F Curved Shapes EXTERIOR CURVES EXTERIOR G 68

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) spokeshave canbeusedtocleanupthesurface. square (F).Ifyoudon’t haveacompass plane,a matching pairsofstocktogethertocheckfor convex andconcavesurfaces(E).Clampthe sawing ( Use acompassplanetosmooththesurfaceafter out line(C). onto thestock(B).Thencarefullyfollowlay- ers. Aftermountingtheblade,tracepattern broad curvesofcomponentssuchaschairrock- wide blade(A),becauseitnaturallyfollowsthe dency towanderinthecut.Ipreferusea effort becauseanarrowbladehasnaturalten- narrow blade,itrequiresmoreconcentrationand Although youcanbandsawabroadcurvewith Sweeping Curves Bandsawing Broad, D). Theflexiblesolewilladapttoboth A C F D E B EXTERIOR CURVES Curved Shapes 69

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) C). A) but you’ll ). As you saw, it may be B). As you saw, Stacking work in F). WARNING ! layers for scrollsawing or bandsawing layers for scrollsawing or bandsawing But is a great method for saving time. stack parts higher than their I don’t width. Otherwise the cut may not be safe or precise. ▲ Sawing Multiples it intricate pieces to saw, If you’ve got several Not only them together. makes sense to stack match ( will the work be a perfect following detailed outlines avoid the tedium of Best of all, the time spent on on several pieces. reduced. the process is significantly pieces and wrapping them Begin by stacking the with masking tape or use a good double-stick of the tape. Then draw the outline onto the top is suited stack. Choose a blade with a pitch that for the total thickness ( a strip of necessary to stop occasionally and add ( tape to replace any pieces that are severed the When you’ve completed the pattern, smooth sander surfaces before untaping them. A spindle is useful for concave areas (D), but convex con- files tours are more easily smoothed with small the (E). A tiny needle file will reach into even in smallest spaces to smooth away any bumps the contour ( F B D Curved Shapes EXTERIOR CURVES EXTERIOR E C A 70

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) the blocks. ing theblade,completelyencloseitinVwith a smallVinoneblockfortheblade.Aftermount- Cool Blocks(B).Beforemountingtheblocks,cut blocks onyourbandsawwithwoodenor it needs,you’llhavetoreplacethesteelguide To givethetiny bandsaw bymountinga You cansawtiny, intricatecurveswithyour Bandsaw Scrollsawing onthe as youcanwithascrollsaw. occasional scrolling,youcan’t sawinteriorwork However, althoughthistechniqueisusefulfor A 1 / 16 -in. scrollingbladethesupport 1 / 16 -in. scrollingblade( B A). A B (Text continuesonp.72.) sion awideblade,select coarse, variablepitch(A).Ifyoursawwon’t ten- I preferawide(1in.ormore)bladewith bury thebladethroughoutentirecut. spots, it’s bestifthestockisthickenoughto curve. To createacurvethatisfreeofdead Begin byselectingstockthickenoughforthe as chairbacks. curve, youcancreatewide,curvedpanelssuch through itsthickness.Byresawingashallow Resawing istheprocessofrippingaboard Resawing aCurve the sawmarkswithaspokeshave. ing freehandtothelayoutline ( Bandsaw theconvexfacefirstbycarefullysaw- before youbegin. check thetableforsquarenesstoblade blade andtensionitasmuchpossible.Also 3 / 8 -in. variablepitch B). Thenremove EXTERIOR CURVES Curved Shapes 71

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) ). E C). Otherwise, switch G D). ). By skewing the spokeshave, you can avoid the spokeshave, By skewing ( tearout in most instances to a scraper ( face, use a point fence ( resaw the second To is a great aid for keeping the This simple device the work of uniform thick- two cuts parallel and so that the point is posi- ness. Clamp the fence teeth of the blade. Before tioned parallel to the a layout line parallel to the making the cut, scribe follow the line precisely, saw, first fence. As you the making sure the work is in contact with fence (F with When smoothing the concave face, work to reduce the grain, from the ends to the middle, tearout (G). F Brace D Base All parts are made of high-quality plywood or MDF. C Curved Shapes The fence face is high enough to support wide boards. Attach the point to resaw curves; remove it to resaw veneer. 90 EXTERIOR CURVES EXTERIOR E 72

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) (Text continuesonp.74.) avoid anawkwardclampingassembly(E). to endwithyellowglue;itgrabsfastandyou’ll ready tobeginconstruction.Gluetheblocksend When you’vecompletedthesesteps,you’re saw willkeeptheblocksconsistent(D). length whilemiteringtheends.Astoponyour mine themiterangle.Next,millblocksto needed, addtheblockstoyourdrawingdeter- Once you’vesettledonthenumberofblocks process. whereas alargenumbermaycomplicatethe ber ofsegmentsmayintroduceshortgrain, number ofindividualsegments( to drawthecurvefull-scaleanddivideitintoa To createabrick-stackedcurve,you’llfirstwant will belessofaproblem. However, ifyousawyourownthickveneerthis brick layerstelegraphthroughtheveneer. changes inseasonalhumidity. Eventually, the a drawback:Thebrickscreepsomewhatwith Although thisisatime-honoredtechnique,ithas hide thelayersandvariationsingrain( assembly iscoveredwithasheetofveneerto curve issawnintothestackandcurved ly increasestheoverallstrength( are stacked,thejointsstaggered,whichgreat- up tocreatecurvedsegments.Asthe“bricks” involves miteringshortblocksandstackingthem al techniquecalled“brick-stacking.”Thismethod One methodforavoidingshortgrainisatradition- problems becauseitisinherentlyweak. grain quarter circleormore,you’llendupwith If youbandsawtight,continuouscurvesofa Tight Curves Brick-Stacking at theends.Shortgraincreatesstructural C). Asmallnum- A ). Afterward,a B ). short A B C E Stagger thejointsbetweenlayers. D EXTERIOR CURVES Curved Shapes 73

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) I). on p. 272. G). “Bending” See Next, stack the layers and glue them together. the layers and glue Next, stack stagger the joints between Make sure that you and allow the glue layers (F). Clamp the assembly to set ( bandsaw the curve. Lay out The next step is to of the stack and follow the the curve on the top the saw line closely (H). Now smooth away ( marks with a scraper my but I prefer to saw can purchase veneer, You it own (J); I can select the grain I want and I saw its thicker than commercial veneer to increase coat the veneer Finally, strength and longevity. assem- with glue and wrap it around the curved Place it in a vacuum press until the glue has bly. set (K). Afterward, bandsaw the second face. ➤ I K G J H Curved Shapes EXTERIOR CURVES EXTERIOR F 74

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) called abird’s mouth support forthestock.Makeasimpledevice The keywhenusingacopingsawistoprovide an inexpensivewaytogo. saw scrollworkonlyoccasionally, acopingsawis blade forsawingtightcontours.Ifyouneedto A copingsawhasaframetotensionnarrow a CopingSaw Sawing Curveswith the cut. work asnecessarytoprovidesupportclose ing (B).Asyoufollowtheoutline,reposition Position theworkpieceoverVandbeginsaw- benchtop withtheVoverhangingedge. V cutintooneend.To useit,clampittothe (A). Itisaboardwithdeep A B EXTERIOR CURVES Curved Shapes 75

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) at right. A). B). When sawing, take your You can also use a coping You ] “Beveling Curved Edges” See VARIATION saw or fretsaw to cut interior curves by loosening the blade and freeing it so that you can enter the work through the [ drill hole. Interior Cuts with Interior Cuts a Scrollsaw tool of choice for interior The scrollsaw is the be also be used, but it won’t cuts. (A jigsaw can require more cleanup with a as accurate and will blade of a scrollsaw can The file and sandpaper.) end and threaded through be unclamped at one Because the blade is a hole in the workpiece. each end, the cut is precise clamped securely at with minimal flex. a As an example of this process, I’m using it’s curved chair back. When tracing the pattern, curve of necessary to flex it so it conforms to the can hold it in position with clamps the work. You while tracing the outline ( cutout for Next, drill a small hole at each interior threading the blade ( this time and follow the layout lines closely; cleanup greatly reduces the amount of tedious later (C). create the illusion of thinness and delicacy, To edges. scrollwork is sometimes beveled on the time-consuming work, but the refined appear- It’s ance is worth the effort. ➤ B Curved Shapes INTERIOR CURVES INTERIOR C A 76

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) tedious handworkhasbeeneliminated. ners (E)andcompletethebevel.Butmuchof After routing,youwillstillneedtocarvethecor- the edgesofsurface. the depthsothatpilotofbitjustgrazes the corners(D).Beforebeginningcut,adjust the small-diameterpilotonbitreachesinto easily followthecurvedsurfaceofsplat,and is reallyasmallrouter( Next, mountthebitinalaminatetrimmer, which with a15-degreeangle( away mostofthesteeltocreateachamferbit inexpensive high-speedsteelrouterbit( with amodifiedrouterbit.Beginningan To helpspeedtheprocess,firstbeveledges nected curvesisextremelytedious. the workofbevelingallthosetight,intercon- on p.86isagoodexample.Thedifficultythat splat (thebackcenterarea)ofthechairshown of lightnesswithoutsacrificingstrength.The than itactuallyis.Thisdetailcreatesanillusion technique formakingthestockappearthinner Beveling theedgesofcurvesisacenturies-old Beveling CurvedEdges C). Thesmallbasewill B). A), grind A B E D C INTERIOR CURVES Curved Shapes 77

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) Raised Curved Panel (p. 103) Simple Compound Curves (p. 104) A Cabriole Leg (p. 105) Rounding a Simple Curved Leg (p. 107) Shaping Ogee Feet on the Bandsaw (p. 108) Ogee Bracket Feet Saw on the Table (p. 111) Bandsawing and Sculpting Compound Curves with Interconnected, Asymmetrical Components (p. 112) Compound Curves ➤ ➤ ➤ ➤ ➤ ➤ ➤ Coopered Panels (p. 102) Coopered Panels ➤

Door Frames

Door with Mitered Sticking (p. 95) Small Tombstone Door (p. 98) Arched Light Sash Door (p. 100) Arched Panel Door with Cope-and-Stick Routers Bits (p. 93) ➤ ➤ ➤ ➤

Raised Panels Raised Panels on the Shaper (p. 89) Raised Panels on the Router Table (p. 90) Raised Panels by Hand (p. 91) Raised Panels on Saw the Table (p. 92) ➤ ➤ ➤ ➤ Complex Shapes Complex SECTION 5 OVERVIEW 78

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) door islimitedtoitsframework. expansionofthe because the doorsmall, keep thespacearound yet a largeexpanse, Frame-and-panel designallows you tocover movement.without limitingitsnatural ordistorting vents thepanelfrom warping Thispre- joinery. usedmortise-and-tenon ly getsitsstrengthThe frame from thetypical- the panelfitwithinagroove intheframe. thethinedgesof Thisworks because frame. is free withinthat toexpandandcontract yetthepanel withinaframework, is trapped Apanel Itworks likethis: relative humidity. in associatedwithseasonalchanges normally toovercomedesign isitsability problems forthesidesofcasework. lids andeven Butit’s alsousedfor isindoors. struction con- most commonuseofframe-and-panel The offurniture. orperiod most anystyle beadaptedtosuit usually yetitcan ment, allows forseasonalwoodmove-construction Its elementsoffurniture design. important andpanelisoneofthemost The frame of theFrameandPanel The BeautyandFunction M work—better construction. asframe-and-panel some cases—such in aredesignpossibilitiesand, new effort Therewardsforyour shapes puttogether. compoundshapesare justsimple all, After stepbystep. and working methodically, ismarking Thekey outcarefully it looks. it’s notashard Butreally, more so. is even faceofthestock direction ontheright right thosecutsinthe andgettingtheall enough, The broad appealoftheframe-and-panel Just thinkingaboutitishard three challenging. lookspretty dimensionsoving from two to 7 / 8 FRAME-AND-PANEL CONFIGURATION TYPICAL FRAME-AND-PANEL DESIGN in. Frame Stile panel expansion. Space allowsfor 1 Panels / 4 which allowsforchangesinseasonalhumidity. The panelisfreetofloatwithintheframe, in. 2 in. 3 / 32 in. Bottom rail radius 3 / 8 Top rail in. "sticking" Decorative 5 1 / / ae dePanel Panel edge 16 4 in. in. 1 in. Mullion ETO 5OVERVIEW SECTION Complex Shapes 3 / 32 in. 5 / 8 in. 79

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) PANEL-EDGE PANEL-EDGE DESIGN OPTIONS Beveled Ogee Ogee with bead Visually speaking, panels are rectangular Once I’ve settled on the overall dimen- Becausegrain the panel normally in the runs vertically, the top and bottom rails are the stile to preventmade wider than panel distortion. visual balance, For the bottom rail is typically made slightly wider than the top rail. to this rule exceptions are of There thumb, however. example, For with an doors top rail a wide to panel require arched arch.accommodate the In this case, the of the rail afterremainder is cutting the arch typically equal to the stile width. ones. attractive than square more this For reason, usually openings are divided square into two doors (or one door with two rectangular panels). Otherwise, like using a I numerical proportioning system for calculat- ing door size. sions and proportions, I turn to my attention visual details. The most common panel edge is a flat bevel. But the edge can also be a Mortise Tenon face Tenon RECTANGULAR PANELS RECTANGULAR THE MORTISE-AND-TENON JOINT THE MORTISE-AND-TENON Tenon shoulder Tenon The time-honored mortise-and-tenon joint gets its unsurpassed strength from the mechanical interlock and long-grain surface area for glue. To avoid a square, boxy look this door is divided into two rectangular panels. To Complex Shapes SECTION 5 OVERVIEW 80

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) back of the blade and causing kickback. ofthebladeandcausing back (or work) from coming incontactwiththe thejig prevent This will following thefence. it fitsinyour saw’s miterslotinsteadofjust it’s thanusingthefence. safer Inaddition, savetime. you’ll you usethejig, time Each theangle. the bladeandcheck there’s So noneedtotilt angle isbuiltin. andthebevel provides ofsupport, plenty area Thebroad surface ofthe jig as well. problem otheradvantages andoffers support Thisjigovercomes the forthepanel. port sufficientheighttoprovidelacks goodsup- onmostsaws Butthe fence with thefence. insteadtiltthebladeandguidestock can Ofcourseyou it makessensetobuildajig. one pass. makethecutin easily can and themachine Mostwoodworkers own tablesaws option. woodworkers thetablesawmaybebest formany oftheselimitations, Because thepowerlack tocuttheprofile inonepass. Butshapersare expensiveandrouters panels. usetoraise the mostefficienttoolyou can theshaperis a doubt, Without or byhand. on arouter table, withashaper, methods: Panels withanynumberof beraised can for theTable Saw Panel-Raising Jig be used. thepanelisto design ofthepieceonwhich thancompetewiththeoverall ment rather thatcomple- chose detailsandproportions soI’m carefulto of thedesignisstrong, effect theoverall Oncecompleted, cathedral. or tombstone, arched, besquare, shape can Thepanel orasimplebevel. ogee, curve, One final note: Construct thejigsothat Construct One finalnote: To setupyour tablesawforpanelraising, inside corners thatflankthearchinside corners must be I’m sure thatonereason isthatthe seen. tombstonedoorsare notoften the design, of despitethebeauty Today, done byhand. woodworking whenall was from aperiod thetombstonedooris design, centuries-old A gant examplesisthetombstonedoor. oneofthemostele- Butcertainly designs. Frame-and-panel takeonmyriad doorscan Tombstone Doors TABLE-SAW PANEL-RAISING JIG Wood stripguides jiginstraightpath. ETO 5OVERVIEW SECTION Complex Shapes 81

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) Equal Arched Top Rail Arched Top Same layout as standard door but with arched rail Straight Sided Centerline aligned with edge of rail minus sticking Equal TOMBSTONE PANEL TOMBSTONE VARIATIONS ON THE VARIATIONS Pinched Centerline above shoulders of field Centerline on shoulders Standard Corner must be carved Top rail Top Mitered sticking Sticking Panel Stile TOMBSTONE DOOR TOMBSTONE If you would like to incorporateIf you tomb- carved. because bits and shaper That’s router cutters cut in an arc, create and so they won’t inside corners. The solution is to carve the corners by hand. really isn’t This process difficult—just a bit time-consuming. next project,stone doors into your are there several which to choose. from designs Complex Shapes SECTION 5 OVERVIEW 82

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) strong mortise-and-tenon asatraditional isnotas But thismethodofconstruction forakitchen. say, number ofdoorstomake, cient andisbestusedwhenyou havealarge to setup. befussier can but they cheaper, somewhat reversiblebitsare Single router bitset. cope-and-stick ing below shows atypical Thedraw- the groove created forthepanel. thatfitsinto tenonisformed ashort process, Inthe member). (thehorizontal the rail reverse profile ormirror on imageismilled andits member), door stile(thevertical Aprofile ontheinsideof ismilled cept. quiteasimplecon- isactually joinery stick Cope-and- joinery. doorframe traditional makingiteasytoachieve profiles, in several Router bitsandshapercuttersare available Structural Strength Door Joineryand Cope-and-stick joinery isfastandeffi- joinery Cope-and-stick Cope cutter Bearing cutter Trimming COPE-AND-STICK ROUTERBITSET Cope Bit 1 / 2 -in. shank Offset shouldersonrail. Rail Stick Bit COPE-AND-STICK JOINERY shaping archedrail. depth andallows Bearing limitscutting cutter Sticking cutter Grooving Cope Sticking ETO 5OVERVIEW SECTION Stile Complex Shapes 83

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) Rail width Trim Trim excess "ears" after assembly. Top or Top bottom of finished door Mortise Sticking width Rail To lay out, mark top and bottom of finished door To on stile. Then mark rail width and sticking width. Tenon First, door. design your The drawing at Mitered Sticking Stile and rail join with mortise Stile and rail join with mortise and tenon. Sticking is mitered. right shows the structureright of a typical shows sash door. drawn a plan for your Once you’ve door, stock width mill your to the correct and length. on the stock layout your Mark using a sharppencil with a hard lead (no. 4) mark.to get an accurate reference mark Your needs to be exact, so use a very sharp pencil. After the initial sharpening, sharpen the pencil to a chisel edge with very fine sandpaper. the loca-and mark Carefully measure tion of each joint. profiles, cut your As you check and double-check your to make sure setup is accurate. to the previous one, success is virtually ensured. Stile Stick in. and 8 Cope / 3 Stub tenon lacks strength of long tenon. Stile Matched cutters produce Matched cutters produce profiles. the mating cope-and-stick Coped Sticking COPED STICKING VERSUS MITERED STICKING VERSUS MITERED COPED STICKING Rail just doesn’t have much long-grain have much gluing just doesn’t surface. for building furniture So if you’re the ages, you’lltried- want to consider the and-true sticking mitered method, in which the all the strength provides tenon a regular frame will need to stand up to time. Constructing a sash-type door with interlocking bars is always a challenge. are There two keys a successful project: to completing machine setup. and precise accurate layout I’ve found that by checking each fit setup for joinery. The short tongue or tenon created by the coping cut is typically only Sash Door Construction Complex Shapes SECTION 5 OVERVIEW 84

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) Sticking Stile Rail SASH DOORANATOMY Mullion Muntin muntin tenon Mullion and Rail tenon mullion muntin or Mortise for for rail Mortise ETO 5OVERVIEW SECTION Complex Shapes 85

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) Probably the most familiar example of a Probably This eighteenth-century-style chair looks complicated; but when broken down into steps, these shapes are fairly straight- forward to create. Compound Curves Are Much Compound Curves They Look Easier Than A compound curve in two directions flows simultaneously. Although the sculptural look execute,appears difficult to the technique is really quite easy. First face of bandsaw one the stock; then saw an adjacent face. When finished bandsawing,you’ve of the much effect achieved. has been The remaining involveshandwork smoothing and blending the curves. compound curvecabriole is the leg. But you can of compound curves see the influence in styles,many furniture including contemporary pieces. SASH DOOR LAYOUT SASH DOOR Vertical Vertical mullion fits between horizontal muntins. Distance between mortises Shoulder-to- shoulder distance; must be equal to distance between mortises plus the sticking width Complex Shapes SECTION 5 OVERVIEW 86

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) the keys to success. When you’re When finished tosuccess. the keys the outlineyou’ve already established. follow Asyou sculpt, blending witharasp. beginsculptingand isfied withthelines, you’re When sat- forirregularities. the curve examine Asyou work, tightness ofthecurve. dependingonthe with aspokeshaveorrasp, second face. inpositionandsawthe tape theoffcutsback Then saw theoutlineonfirstsurface. band- Next, adjacentsurfaces. ontotwo tern Trace thepat- wood andmodelaprototype. someinexpensive Thenchoose pattern. tocreate a bandsawthecurves on plywood, thedesign sketching After place tobegin). (thoughit’slooking atadrawing agreat bysimply andproportions judge thecurves difficulttocompletely It’s very prototype. tobuilda Ifinditnecessary pound curves, Careful study of the prototype isoneof Careful studyof theprototype smooth andfairthecurves sawing, After designingfurniture withcom- When to life. a design,prototypebringsthedesign Although drawingsareagreatplacetostart design. contemporary add interesttoa pound shapescan shows howcom- This coffeetable ETO 5OVERVIEW SECTION Complex Shapes 87

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) For example,For usually I to cut joints prefer also find on this type that of work You’ll Finally, I commit time and expen- before problem combined with a systematic combined with problem order of events avoid major setbacks. help you bandsawing curves.before If the stock is straight square, and it easily against registers the milledsurfaces of my machines. But this always practical—or even possible with isn’t curved elements. Although I cut the tenons the curves, sawing on the arm post before I on the armuse an opposite approach itself. Otherwise, stock the is too wide to fit within my benchtop mortiser. Also, sometimes easier to cut the joint by hand than to it’s consume time with an elaborate machine setup. Unlike most compound curves, asymmetrical curves two patterns. require In fact, patterns: the arm in this example uses three top, inside, and outside. After the patterns traced onto the stock,are extra care is needed when sawing the side. the pattern Following in a miscut precisely on one side will result on the opposite side. take time to But if you plan the cutting sequence, can you avoid spoiling the work. the bandsaw is really useful only for removing excess stock. Afterward, you’ll need to shape the surfaces by hand with gouges and stock that the saw in areas a rasp to remove reach.couldn’t part This is the enjoyable of the part the the work—and that creates match with machine work. can’t details you sive stock process, to such a lengthy I model a prototype. parts Sculpted furniture are difficult to conceive without a three- dimensional model. Complex Designs Require Careful Planning Asymmetrical compound curves (such as the on p.chair arm and post in shown a 87) are skill.true maker’s test of a furniture Balance, curve, critical and proportion are for the piece to be visually successful. to the Added complexity the arm and the joint where is post meet. a logical But to the approach modeling the prototype, stand it on you bench for critiquing. This stage of the is crucial;process the opportuni- gives you it ty to check commit- out the design before ting it to a piece of furniture. I like to view the prototype all angles, from as I examine the curves and proportions. Usually, you’ll that need improvement.find areas Perhaps the curve or maybe is too pronounced a dimension is disproportionate. this hap- If pens, you’ll took the time to be glad that you a prototype.create Machines can do most of the rough work, but gouges and rasps refine the final shapes. Complex Shapes SECTION 5 OVERVIEW 88

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) (D) andfinishwiththesides To avoidcross-graintearout,firstshapetheends when thedoorisopened. expansion butpreventsthepanelfromrattling A snug(butnottight)fitallowsforseasonal Make atrialcutandfititwithintheframegroove. fence forthepanelthickness(C). firmly inplace.Finally, adjustthefrontofbox fence tangenttothebearingandclamp fence (B).Useastraightedgetopositionthe height ofthecutterhead( place withthespindlenut.Next,adjust the cutterheadoverbearingandlockitin the stockandaidsinsettingfence.Mount cutterhead. Thisprovidesadditionalsupportfor Begin bymountingarubbearingunderthe potentially causeakickback. from tippingintothecutterhead,whichcan ing inthefenceissmall.Thispreventswork cutter. Asanaddedbenefit,thecutterheadopen- Use aboxfencetoshieldyourhandsfromthe enable youtoshapeapanelinonepass. have aheftyspindleandpowerfulmotor, which is definitelythetoolofchoice.Mostshapers If you’reshapinganumberofpanels,theshaper on theShaper Raised Panels A). Thensecurethe E). A D C E B Complex Shapes RAISED PANELS 89

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) ); D). ). ) and check ). Shape all the panels F ). Make certain that the shank of the ). Then set the fence for a shallow cut (C ). Then set the fence for a shallow cut B before increasing the cutting depth (G the final cut with the corresponding frame groove. then shape the edges. This way you’ll avoid then shape the edges. This way you’ll tearout on the ends ( Note that the unique design of a box fence com- Note that the unique design of a box fence hands pletely surrounds the cutterhead to keep the dust safe. It also directs the shavings toward collector. source, Before connecting the router to a power firmly and make certain that the fence is clamped adjust the that the bit clears the fence. Finally, panel ( front of the box to the thickness of the grain (E Make the first cut starting with the end Raised Panels Raised Panels Table on the Router and have a steep learning Shapers are expensive you already own a router So if curve to master. to use it to shape panels— table, it makes sense panels only occasionally. especially if you raise of the wood you’re Depending on the density you’ll need to of your router, shaping and the size prevents make the cut in two to five passes. This down. the router from overheating and shutting set up the router table, first mount the bit To securely (A Next, bit is clean and firmly locked into the collet. depth adjust the bit height for the panel cutting ( F B D G Complex Shapes RAISED PANELS RAISED E C A 90

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) ➤ shown atright(H with thesides(G tilt ifnecessary. Afterplaningtheends,finish final pass,makeanyadjustmentintheangleof create thebevel( down thesides.Asyoupushplane,tiltitto any tearoutcanbecleanedupwiththepasses cuts cleanly. Beginwiththepanelends,sothat rabbeting blockplanebecausetheskewedblade Now you’rereadytobevelthepanel.Usea reposition thepanelandrabbetedges( edge withaknife( the field,stopoccasionallyandscribefield made earlier. To preventtearout attheendsof and adepthstoplimitsthecuttoscribeyou plane’s fence establishesthewidthofcut, establish thefieldperimeter( Start theshapingprocessbyplaningarabbetto of thepanel( perimeter ofthefield( by scribinglinesonthepanelfacetoindicate square andtothickness.Next,markyourlayout Begin bymillingthestockforpanelflatand success raisingpanelsbyhand. your tools;theymustcutcleanlyforyoutohave To trythistechnique,you’llfirstneedtosharpen table andaccessories. be aviablealternativetopurchasingrouter shape panels,thenshapingthembyhandmay shaping thingsbyhand.Also,ifyouseldom and there’s arealpleasurethatcomesfrom Why raisepanelsbyhand?It’s quietandsafe— Raised PanelsbyHand See See “Milling StocktoSize” B). ). Thecompletedpanelis ). F D). Afterplaningtheends, ). Whenyouapproachthe A). Thenscribetheedge C). Therabbet np 45. on p. E). G A C E H D B F Complex Shapes RAISED PANELS 91

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) E). A) to score the B). Next, set the jig in posi- C). Finish the process by “Panel-Raising Jig for the Table Saw” Table Jig for the “Panel-Raising See on p. 81. tion and adjust the blade height. the Now you’re ready for the final cut. Clamp panel in the jig and bevel the edges beginning with the end grain ( use a scraper beveling the long grain (D). Finally, ( and sandpaper to remove the saw marks perimeter of the field ( Raised Panels Raised Panels Saw on the Table the table saw is another good Shaping panels on The table saw has a shaper. alternative to using most woodworkers own and plenty of power, you begin shaping on this machine. But before to build a take a few minutes the table saw, jig holds the panel securely panel-raising jig. The Plus the angle is built in, so for a smoother cut. time you avoid having to tilt the sawblade each you use this technique. cut Once you’ve milled the stock for the panels, shallow grooves in the panel face ( ➤ E B D Complex Shapes RAISED PANELS RAISED C A 92

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) ➤ (Text continuesonp.94.) the fence( straight ratherthancurved,itmakessensetouse and bottomrailaswell.Becausethestockis still attached(E).Remembertoshapethestiles mill thestickingandgroovewhiletemplateis the routertable( ten atemplatetotherailandtrimitflushwith your drawingtodeterminetheradius.Next,fas- Now bandsawthearchintoprail( (B). Useamitergaugeforsupport. you’re readytoshapethecopeonrailends The nextstepistosetthebitheight( frame parts. When you’resatisfiedwiththedrawing,mill arch torepresentthetopedgeofpanel. point, shortenthecompasssettinganddrawan sent thetoprail.Then,usingsamecenter Next, useacompasstodrawanarchrepre- outside dimensionsofthedoor. Begin bydrawingarectangletorepresentthe full-scale layout. but it’s reallynot.Thekeyismakinganaccurate, frame thatmatchesthepaneliscomplicated— It mayseemthatmakinganarcheddoorwitha Cope-and-Stick RouterBits Arched PanelDoorwith See See “Tombstone Doors” “Tombstone F). D); thenswitchrouterbitsand np 81. on p. A); then C); use A C E D B F Complex Shapes DOOR FRAMES 93

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) I). K). With the frame completed, turn your attention to completed, turn With the frame the panel to size. Then band- the panel. First, mill it flush with the template saw the arch and trim template, drive the nails (G). When fastening the panel where they will be in the edges of the shaped away. shape the panel. Remove Now you’re ready to with the arch. Use a box the template and begin the Position the arch against fence for safety. spinning bit ( fence (H) and pivot it into the the Next, shape the opposite end and then edges (J). assem- The last steps are to sand the panel and ble the door ( J K H Complex Shapes DOOR FRAMES I G 94

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) (Text continuesonp.96.) adjust thebladeheighttocutonlysticking. First, tiltthetable-sawbladeto45degrees;then you’re readytomiterthestickingincorners. Once thestickingandpanelgroovesareshaped, method asusedforthestickingprofile( Next, cutthepanelgrooveusingsame on thestilesandbottomrailwithafence( with astartingpintobeginthecut( shaping thestickingprofile;firstontoprail Now you’rereadytoshapetheframe.Beginby smooth thecurvewithaspindlesander( laying outthearch(B).AfterbandsawingC), The nextstepistoworkthetoprail.Beginby assembly. around themortise,whichisremovedbefore each end.Thiswillcompensateforthesticking tenons, addthestickingwidthtoshoulderat mortise-and-tenon joints( for testingsetups.Thenlayout,cut,andfitthe mill thestockalongwithanextrapieceortwo use throughouttheprocess.Next,accurately of thedoor. Thisprovidesalayoutreferenceto Begin bymakinganaccurate,full-scaledrawing deeper mortisesthancope-and-stickjoinery. door becauseitreliesonlongertenonsand Mitered stickingaddsstructuralstrengthtoa Door withMiteredSticking A). Whenlayingoutthe E) andthen G). D). F). A D C F G B E Complex Shapes DOOR FRAMES 95

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) M) and N). Now the panel I). If you’re mitering ). To miter the stiles, J). To ). Before assembling the K). Before assembling in. greater than that of the top rail to 4 / ). Accuracy of the line is critical to H). Accuracy of the line 1 K N allow for fitting into the panel groove. ( Next, carefully bandsaw the panel arch smooth the curve with a file ( Next, mark a vertical line from the deepest point a vertical line from Next, mark of the cut ( the fit of the miters. align the rail shoulders with the use the setup, To the miter ( layout line and cut a thin piece of plywood to several pieces, clamp a stop ( the miter gauge as line with the layout line align the mortise layout ( on the miter gauge remove the excess sticking frame, you’ll need to on the stiles with a chisel. make the panel, mill it to size and lay out the To arch with a compass (L). The radius of the panel is typically Miter gauge Wood Wood auxiliary fence Vertical Vertical reference line J M 45° kerf Set blade height to sticking width. H Complex Shapes DOOR FRAMES I L 96

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) Finally, sandthepanelandassembledoor( this laststageofthecarving. (V). You’ll needleft-andright-skewedchiselsfor then parethebeveledsurfacestoincision miter theintersection.First,incise( With theinitialcarvingdone(T),you’rereadyto deep (S). combination squaretoavoidcuttingtheareatoo the curveofarch.Checkdepthwitha the shoulder, butacarvinggougeworksbestfor cated bythelayoutline.Achiselworkswellat splitting thepanel(R).Next,inciseareaindi- the corner(Q).Chiselacrossgraintoavoid The nextstepistocutawaytheexcessstockin shoulder. arch intothecornerandsquaretolayout square ( First, layoutthecornerwithacompassand difficult. Although it’s abittime-consumingit’s notatall the insidecornersoneachsideofarch. To createanauthenticpanel,you’llneedtocarve the remainderofpanel( is readyforshaping.Shapethearchfirst,then P). Usethecompasstocomplete U O). U); W ). O Q V S W R P T Complex Shapes DOOR FRAMES 97

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) on p. 95. ). To hold the F). To G). This gives you D). This will avoid ). When bandsawing, follow the line A). When bandsawing, “Door with Mitered Sticking” “Door with Mitered See having a gap in the top of the door frame after having a gap in the top of the door frame Use a stop block to prevent kickback. assembly. use a When milling the short bottom rail, always push block (E). The next step is to miter the sticking. With the frame complete. you’re ready to shape the panel. The panel-raising bit has a bearing that follows the curve of the arch ( panel safely while shaping, attach it to a push block with double-sided tape ( Small Tombstone Door Small Tombstone a small tombstone door The process for making However, for a large door. is similar to the process very small, you’ll need to because the parts are to shape them safely. use clamps and jigs an accurate drawing, on which Always begin with details and proportions. After you’ve worked out lay out the arch in the door, milling the parts of the rail ( carefully to avoid errors (B). sticking After smoothing the curve, shape the the (C) and then the panel groove. When shaping curve of the top rail, use a large handscrew, adds mass which safely positions your hands and to the part being shaped. stile, When cutting the panel groove in the and remember to start the groove at one mortise stop it at the other mortise ( ➤ F B D Complex Shapes DOOR FRAMES E C A 98

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) ➤ holding power. Don’t befooledanduse woodturner’s tape,whichhastremendous Finally, carvethecornersandassembledoor. the fencetangenttobearing( the fenceforstraightcutsiseasy;simplyalign away fromthestartingpinorblock.Positioning tact withthebearingonbit,it’s safetopivot when startingthecut.Onceworkmakescon- arch, it’s crucialtouseapinorblockforfulcrum fence toguidethestock(J).Whenshaping grain; thenshapetherestofpanelusinga Shape thearchfirst( momentarily tostrengthenthebond( paper. Thenpositionitonthepanelandclamp Apply thetapetopushblockandpeel carpet tape.Itdoesn’t worknearlyaswell. [ from therouterbit. plenty ofleveragewhiledistancingyourhand TIP See See ] “Door withMitered“Door Sticking” When usingdouble-sidedtape,use I), whichisprimarilyend K). H). np 95. on p. G K I H J Complex Shapes DOOR FRAMES 99

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) F). E), and on p. 84. D). B). Then cut the mor- G). Then bandsaw the arches H) and smooth them with a spindle ). Remember to check the cope for fit “Sash Door Construction” ] See TIP The location of the mortise in relationship to the The location of the mortise in relationship the sticking is critical. For this reason, shape sticking on the stiles first ( the layout tises with a hollow chisel according to falls (C). When correctly positioned, the mortise just on the edge of the sticking ( [ or both. Arched Light Sash Door Arched Light door with interlocking Constructing a sash-type on the cope-and-stick bars is another variation on p. 83. The key is accurate construction shown setup. layout and machine necessary Check the fit frequently and make any adjustments. Make Begin by accurately milling the stock. two; this the stock for the bars wide enough for safer makes feeding the work through machines and more accurate. For greatest accuracy, clamp matching pieces together and transfer the lines (A Next cut the tenons. Since the tenon shoulders ( are offset, cut the face of each tenon ( then adjust the setup for the second shoulder Before bandsawing the curves, cut the cope on the tenon shoulder ( in the top rail ( sander. to the sticking; it may be necessary to adjust the cutter height, fence position, ➤ F B H D Complex Shapes DOOR FRAMES E C A G 100

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) it onaflatsurfacewhilethegluedries( with amallet( then thestiles.Gentlytapjointstogether work, fitthesashbarsintorailsfirst( ally andcheckthefit.To assembletheframe- Once allthecutsaremade,fiteachjointindividu- cut (L). ing pinorblockasafulcrumwhenenteringthe to rabbetthearches,it’s necessarytouseastart- tacked intothejig( second rabbet,fillthefirstrabbetwithastick the otherwisenarrowstock( Thisjigwilladdmuch-neededmassto here (I). take afewextraminutestoshapethejigshown sash barstofinalwidth.To shapethebarssafely, the rabbet.Butfirstyou’llneedtoripnarrow The lasttwostepsaretoshapethestickingand N). Finally, clampthedoorandset K). To shapethestickingand J). Whencuttingthe M O). M) and L J I Brads Make jig stock tobeshaped. N 1 / 64 in.thinnerthan O K Complex Shapes in notch. Stock isplaced DOOR FRAMES glue andbrads cap fastenedwith 1 / 4 -in. plywood 101

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) A). ). To find the correct angle, set a C). To F). Selecting quartersawn stock will ] TIP [ make it much easier to match the grain. When clamping the panel, be careful to apply pressure evenly (E). After the glue dries, plane and scrape the corners away to create a smooth, fair curve ( Coopered Panels of joining wood strips Coopering is a process a curve. The radius of the edge to edge to create by the degree of bevel on curve is determined ( the edges of the stock milled and beveled, they are Once the strips are form (B) for gluing. After- placed into a curved removed from the panel face ward, the facets are with hand tools. panel. Begin by making a drawing of the curved strips or Next, divide the curve into a number of result in staves. A smaller number of strips will time large, flat surfaces that will require more and patience to smooth with hand tools. Although using a greater number of strips it requires that you match the grain carefully, results in a smoother curve. on the Next, mill the strips and bevel the edges table saw ( earlier. bevel gauge from the drawing you created on the Then tilt the blade to match the angle gauge (D). Lay the strips in the form and arrange gluing and them for the best grain match before clamping. Divide into segments. F E C Use bevel to transfer angle to table saw. Determine outside radius. Complex Shapes Subtract panel thickness. COOPERED PANELS COOPERED B D A 102

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) rocking ortiltingasitpassestherouterbit. the fenceandstick.Thispreventsitfrom panel faceagainstthefencewedgesitbetween and astickclampedtothetable( while shaping,feelthepanelbetweenfence and astraightfence.To maintainthecorrectangle curved ends,shapetheedgeswithsamebit it firmlyagainstthefence(B To makethecut,feedpanelslowlyandkeep fence. panel bit,attachthefencetoroutertable as afence.Aftercuttingsmallopeningforthe First, bandsawacurveintowidestockforuse workpiece (A). bit andacurvedfencetoguidesupportthe Raising acurvedpanelrequiresverticalrouter Panel Raised Curved ). Aftershapingthe C ). Pushingthe A C B COMPOUND CURVES Complex Shapes 103

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) C). A). -in. wide, 4-tpi blade. Begin by sawing 2 / 1 Simple Compound Curves Simple Compound flow in two directions simulta- Compound curves the arms They’re most often used for neously. Although they can look com- and legs of chairs. are actually quite easy to plicated to build, they simply saw the You shape with a bandsaw. then rotate the stock to an curves into one side, the curves again. After- adjacent side and saw marks are removed. For this ward, the bandsaw example, I’m using a table leg. plywood Begin by sketching the curve onto thin smooth- to make a pattern. After bandsawing and suring the pattern, trace it onto two adjacent faces of the stock ( curve Next, select an appropriate blade for the typical and stock thickness. A good choice for work is a the curves on one face (B); then tape the offcuts face ( back in place and bandsaw the adjacent or com- Smooth the curves with a spokeshave grain and pass plane. As you plane, examine the to avoid work the tool “downhill” with the grain tearout (D). B D C A Complex Shapes COMPOUND CURVES COMPOUND 104

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) adjacent facesofthelegblank( stock, tracethecontoursofpatternontotwo smooth thecurveswithafile.Afterselecting make apattern.Whenthesawingiscompleted, (Text continues onp.106.) Begin bysketchingthelegonto shaped andrefinedwithhandtools. square stock.Aftersawing,thelegisfurther sawing thecontoursoftwoadjacentfaces most oftheworkisdoneonbandsawby plicated, it’s relativelyeasytocreate.Infact, pound curves.Althoughtheshapeappearscom- The cabriolelegisabeautifulexampleofcom- A CabrioleLeg F, G saw thesecondface(F, reattach theoffcutfrombackoflegand After sawingthefirstface,usemaskingtapeto curves atthefront( of thekneeandpostblock(C).Thensaw ing bymakingtheshort,straightcutsattop To avoidbackingoutofalongcurve,beginsaw- square (B Next, cutthemortiseswhilelegisstill oriented backtoratherthankneeknee. G to makethesecondcut. Rotate thestock90° ). D) andbackoftheleg(E). ). A completing thesecondcut,sawoff thebridges. support thelegduringsecond cut.After When youaresawingacabrioleleg, bridges 1 / 4 ). Thepatternis -in. plywoodto Bridges A B line first. Cut this D C E F COMPOUND CURVES Complex Shapes 105

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) K). M). Now N). ). Finally, rasp the cor- I). Finally, H). Then rasp the back on p. 252. To hold the leg secure while shap- hold the To “Carving” ] See TIP you’re ready to carve the foot ( To further shape and refine the curves of the leg, shape and refine further To rasp. It reaches into the use a no. 49 Nicholson a spokeshave can’t. sharp curves where [ of a bench vise. can lock in the jaws creating a front corner, Begin by shaping the ( chamfer with the rasp corner in the same way ( ners on each side (J). As you shape the leg with the rasp, examine the curves for irregularities. cuts away high spots Holding the rasp askew, Next, round each of the four corners ( quickly. ankle may Depending on the style of the leg, the the leg be round (or nearly so) while the rest of keep To remains square with rounded corners. legs, check uniformity between matching pairs of (L). the final ankle size with spring calipers the leg— Once the shaping is complete, smooth ( first with a file and then with a scraper ing, place it in a pipe clamp, which you ing, place it in a ➤ I K N M L Complex Shapes COMPOUND CURVES COMPOUND J H 106

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) scraper ( smooth thelegwithafile( When you’resatisfiedwiththeoverallshape, the centerlinetocreateanellipticalcontour(F). rasp andpullittowardyou( When thegraindirectionchanges,reverse leg witharaspinthedirectionofgrain( (C). Thenclamptheleginaviseandshape Next, markacenterlineasguidewhileshaping the excessstockwithachamferrouterbit( To maketheprocessmoreefficient,firstremove add refinementwithoutalossofstrength( shaping it,youeffectivelylightenthelookand rounded, arectangularlegbecomeselliptical.By rectangular insectionratherthansquare.When This methodofroundingisusefulwhentheleg Curved Leg Rounding aSimple H). D G), followedbyacard E). Work graduallyto A). D). B). A B E G corners witharas Chamfer theeight p . H with arouterbit. Chamfer thefourcorners C surfaces withafile. Round andblend F COMPOUND CURVES Complex Shapes 107

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) A). For the ). Begin by cutting the miter -in. plywood makes an 4 ). Then cut the groove for the / 1 Because it’s strong and doesn’t Because it’s ] TIP F First mill the stock to size and cut the joinery. The joinery. First mill the stock to size and cut the front feet are joined with a miter and spline. the back feet are designed to fit flush However, with with the back of the case so they are joined a half-blind dovetail (B on the table saw (C Shaping Ogee Feet Shaping Ogee on the Bandsaw bracket feet give a sculptural The curves of ogee and other forms of case- effect to chests, desks, on the bandsaw is a four- work. Making them the joints, sawing the step process of cutting the feet, and band- bracket outline, assembling in the face ( sawing the ogee contour stand last step you’ll need to construct a simple to support the foot during sawing. [ cut the spline groove to fit the plywood. excellent spline. Plywood is always less excellent spline. Plywood is always so than the specified thickness, though, require milling, Ogee contour: Bandsaw this area after the two halves of the foot are glued together. E C Spline joint The first step in building an ogee bracket foot is making a foot is making in building an ogee bracket The first step you make the cuts is important. pattern. The order in which Bracket outline: Bandsaw this area first, before assembling the foot. B D A Complex Shapes COMPOUND CURVES COMPOUND 108

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) save timebydrillingsegmentsthatare (Text continues onp.110.) ple: Usefourboardsjoinedwithdadoes,glue, the footinpositionduringsawing( First, you’llneedtobuildasupportstandhold alignment whenclamppressureisapplied(H). spline keepsthetwohalvesfromslidingoutof the miterjointtightwhilegluesets.The found thatfoursmallclampsworkwelltohold Now you’rereadytoassemblethefeet.I’ve bandsaw theremainderofbracketoutline(G areas thatformpartofacircle(F When sawingthetightcurvesofbracket,drill circular. [ the footpatternontofaceofeach(E spline (D G H TIP ] Before sawingintricatescrollwork, ). Oncethejoineryiscutandfit,trace ). Next,carefully I). Keepitsim- ). ). TIP I the foot'slength. slightly morethan Make theheight is securelysupportedslightlyabovethetablesothatitparalleltoblade. When bandsawinganogeecontourinabracketfoot,makesurethefoot remove thisarea. Use adrillto by usingadrilltoformthepartsofcurvethataretruecircles. When bandsawingcurves,youcansavetimeandensureaccuracy rest ofthecurve. Bandsaw the the dadojoint. glue toreinforce Use screwsand COMPOUND CURVES Complex Shapes 109

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) ). To shape the bead, L). To K). Afterward, work the N). Complete the smoothing and screws. For the best results, you’ll want to For the best results, and screws. as possible—just high build the stand as short bracket foot clears the band- enough so that the enable you to keep the upper saw table. This will low for the best blade saw guide positioned support. bandsaw the ogee contour in The next step is to foot to the support stand the face. Secure the while sawing (J). After sawing with a small clamp for the second face is the first face, the outline revealed in the miter ( saw surfaces with hand tools to remove the the marks. A rabbet plane works well for shaping fillets that flank the bead ( use a carving gouge (M); smooth the ogee contour with a file ( process by using a scraper and sandpaper. K N M Complex Shapes COMPOUND CURVES COMPOUND L J 110

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) ➤ and sanding(H). and refineeachfootwithfilesbeforescraping After gluingthetwohalvestogether( bracket outlineintothefaceofeachfoot( groove forthespline(E).Next,bandsaw miter thetwohalvesoffoot( When you’resatisfiedwiththeogeeprofile, complete thecontour( beveling thestrip(B).Thenuseablockplaneto saw (A).To shapetheconvexarea,beginby tion iscreatedbycuttingacovewiththetable enough forallfourfeet.Next,theconcavepor- The firststepistomillastripoflumberlong lengths ofthestriptocreatefeet. cutting acoveonlongstripandmiteringshort table sawtocreatetheogeecontour. Itinvolves Another methodforshapingogeefeetusesthe on theTable Saw Ogee BracketFeet See See “Coves” F np 204. on p. C). D) andcuta G), smooth F). G A C H D B E COMPOUND CURVES Complex Shapes 111

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) B) and band- D) and cut the C). It makes sense to F). Then cut the tenons on the Bandsawing and Sculpting Bandsawing Curves Compound with Interconnected, Components Asymmetrical are useful for creating The following techniques chairs) that is composed of furniture (especially curves. As an example, I’m flowing, sculptural and post from a chair. going to use an arm important As with any bandsawn component, it’s to begin by sketching the design and creating patterns (A). This provides an objective starting the point for logical progression. After milling stock to size, trace the arm pattern ( saw the outline of the arm ( for saw the contour before cutting the mortise works as a the post; the convex curve of the arm reference point for the joint. After bandsawing the arm, lay out ( mortise (E). Next, lay out the curves of the arms and the tenons ( F B D E C A Complex Shapes COMPOUND CURVES COMPOUND 112

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) (Text continues onp.114.) (L). Next,cutfromthepostjointtoyou arm sothatthelayoutlineisparalleltoblade cut, it’s necessary toraisethebackendof at thebaseofknuckle.Whenstarting After tracingthepatterns( simultaneously stretchedandcompressed. specifically, asthearmcurves,profileis to avoidamiscutandspoilingthearm.More important toplanthecuttingsequencecarefully of thearm.Becausearmisasymmetrical,it’s Next bandsawthecurvesontopandbottom surface ( with double-sidedtapeforsawingtheadjacent series ofcutsandtapethembackintoposition then theside.Saveoffcutsfromfirst Next bandsawthepost—firstfront( the tablesaw( square surfacesarebestwhencuttingjointson post whilethestockisstillsquare(G),because J). H). K), sawareliefcut I) and G K I H L J COMPOUND CURVES Complex Shapes 113

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) O) and con- R). Now the Q) and make a S). full turn to the bottom of the arm ( arm is ready for shaping ( ). After making the turn, knuckle (M). After making made at the the blade approaches the lift the arm again as junction (N). at the post joint ( The next cut begins of the arm. Afterward, tinues to the back end relief cut on the top of make the simple, shallow the arm (P). from the remove the square corners Finally, the top, lift the arm so that knuckle. Starting with the work is parallel to the blade ( S Q N Complex Shapes COMPOUND CURVES COMPOUND P R O M 114

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) (Text continues onp.116.) the arm. rasp, andthecontourisblendedwithrestof curve ontopofthearmisdishedout( use arasptofurthershapeandrefine.Theinside curves onthetop( wood behindtheknuckle(V).Forsubtle top. Agougeisalsousedtoremoveexcess knuckle sothatthecurveflowscontinuallyto (U). Beginningunderneaththearm,round gouge workswellforthecurveofknuckle of thearmwithaspokeshave( contour. Beginbysmoothingtheoutsideedges curves withtheappropriatetoolstomatch Shaping thearm is aprocessofrefiningthe W) andbottom(Xofthearm, T). Acarving Y) withthe X V T W U Y COMPOUND CURVES Complex Shapes 115

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) CC). At this stage, the on p. 252. ) the rasp to follow AA) and pulling (BB “Carving” See The front and back corners of the post are and back corners of The front side corners remain relatively rounded, while the in a clamp that is mounted sharp. Secure the work with a long, firm chisel, in the vise. Beginning stock (Z). Next, round the remove the excess two surfaces into one flowing corner to blend the alternate between As you’re shaping, contour. pushing ( the curves effectively. the grain and blend of the shaping is com- Once the major portion and blend pleted, dry-assemble the arm and post the area around the joint ( knuckle is ready for carving. ➤ Z BB CC AA Complex Shapes COMPOUND CURVES COMPOUND 116

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) Template Shaping ➤ ➤ Bandsaw (p.124) Templates onthe Cutting with Table Saw(p.123) Templates onthe Cutting with Cutting with Templates ➤ ➤ (p. 125) Router Table Broad Curveonthe Flush Trimming a Small Stock(p.126) Tight Curvesin Flush Trimming Flush Trimming ➤ ➤ (p. 127) the RouterTable Profile orTrim on (p. 128) a PreviousTemplate Profile orTrim from Profile/Trim ➤ Corners (p.129) Shaping Inside ETO 6OVERVIEW SECTION Inside Corners Shaping 117

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) Router table Bearing follows curve of template. ENTIRE EDGE SHAPING THE SHAPING THE These profiles require a template when shaping onto curved stock. shaping just one component.shaping just example, For intricate parts, furniture like the curved seat board of a desk interior, time-consuming are to shape entirely by hand. with a tem- But bit the job takes only router plate and profile minutes. Also, is the only a template machine WITH ROUNDOVER BIT THUMBNAIL PROFILE CREATED CREATED THUMBNAIL PROFILE Template for shaping wood is with a for shaping wood Stock ndoubtedly the most efficient most the ndoubtedly method template. The concept is simple: A shaped template is joined with the work;shaped template is a guide or bearing mounted to the machine cut or is the template as the work follows shaped. Each piece—one or a hundred—is identical to the template. Although template choice for shaping shaping is the obvious multiples, it can extremely also be useful for U Piloted profile bits and a template make it easy to create complex shapes. Template Shaping Template SECTION 6 OVERVIEW 118

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) ing isthatyou can’t shapeintoaninside the piece. handworked detailsthatadddistinctionto This allows you moreto timetodevote areinshapeandsize. identical chair legs, as such pairs, matching As anaddedbonus, ontoporunderneath. belocated can bearing The smooththeworkyou much can faster. tofollow atemplate,cutter withabearing using aflush-cuttingrouter bitorshaper by However, byhand. often be removed, sothesawmarks must ate finishedsurfaces, bandsawsdon’t cre- For example, technique. istobeshaped. surface edge ofacurved beusedwhentheentiremethod thatcan The only disadvantagetotemplateshap- The only isanotheruseforthis trimming Flush double-stick tape. with brads,screws,or Template canbeattached TEMPLATE OVERWORKPIECE Workpiece adised Thismethodcreates visual hand instead. by thecorners Iprefer tocarve corners, one solutionistoavoiddesignswithinside Although leaves insidecornersrounded. which shaper cuttersrotate astheyshape, router bitsand Thisisbecause corner. Flush-trimming bit Bearing followstemplate. Router table additional cleanup. that don’t need smooth surfaces pattern bitsleave Flush-trimming and ETO 6OVERVIEW SECTION Template Shaping 119

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) Router table are fastened to the template fastened to are Flush-trimming bit Bearing follows template. Toggle clamps Toggle irregularities, such as smallin the bumps curves, by the bearing will be followed and shaped into the work. After bandsawing the template, clean up the curves a file with spindle and/or sander and closely inspect the surface for flaws. com- Only when you’re accuracy pletely satisfied with the template’s and quality put it to use. you should Securing Templates common methods for secur- three are There ing the template to the workpiece: toggle clamps, fasteners, and double-sided tape. is and make a jig into which the work Workpiece Work is held to template Work with toggle clamps and/or fasteners. TEMPLATE UNDER WORKPIECE TEMPLATE Although the table saw and bandsaw canAlthough the table saw and bandsaw Obviously, important shaping it’s before Template Template Screws are added for heavier cuts in dense woods. details that will set your work apart work details that will set your from the rest. be used to cut shapes with a template, the both are shaper and table-mounted router ideal for template work. has an The router the shaper becauseadvantage over its small bearings into tight contours, reach a whereas shaper simply can’t. advantage The shaper’s is its sizepower, and to which enable you the capacity beyond shape large profiles of a router. a well-equipped has shop why That’s both tools. to spend time making the template. Any Template Shaping Template SECTION 6 OVERVIEW 120

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) to be shaped only along one or two edges. alongoneortwo to beshapedonly But they’re agreat whenthework choice is be shapedalongwiththeentire perimeter. theycan’t beusedwhenthework isto well, andwork are tooperate quick toggle clamps Although theforcescounteract ofthecutter. toregister locations thework and various are blocks fastenedtothejigin Stop placed. paper from the tape and stick itinposition. paper from thetapeandstick It’s time-consuming to peelthe template. a it’s forsecuring mylastchoice holds well, outofthepathcutter.well topositionanynailorscrew cial forsafety it’s cru- Also, either hiddenorlatercutaway. to positionthemwhere be theholewill soit’s important holeinthework, unsightly fastenersleavean Ofcourse, and remove. andaretoinstall holdwell They quick plate. are work toatem- alsousefulforsecuring • • • Fasteners, Although ➤ ers areawayfromthecutterorbit. Make certainthatclampsand/orfasten- sided tape. toggle clamps,fasteners,ordouble- Secure theworktotemplatewith your hands. enough toprovidesafeplacementof Make surethetemplateislarge TEMPLATE SHAPINGSAFETY such assmallnailsandscrews, double-sided woodturner’s tape to small cutsontherouterto small table. limititsuse for heavycutswiththeshaper; usetape never Also, woodturner’scloth tape. thestrength itlacks ofthe because ever, how- Avoidtape, carpet is agoodoption. thentape hide theholefrom anailorscrew, the entireandit’s perimeter impossibleto But whenthework istobeshapedaround divider—can be somewhat tedious. besomewhat divider—can and seatboard, the three elements—drawer, Matching are butthey steppedback. match, board are anddividersthatmust drawers andabove theseat iscurved seat board, or Thebase, onanadjacent element. curve) (orasimilar thecurve tomatch essary whenmakingfurniture it’sSometimes nec- from aTemplate Making aTemplate • • • • Avoid makingheavycuts. rotation. Feed thestockagainstspindle not extendbeyondthestock. Use astartingpinifthetemplatedoes workpiece whenpossible. Extend thetemplatebeyond ETO 6OVERVIEW SECTION Template Shaping 121

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) on p. 129. “Shaping Inside Corners” Here’s the method I use: the Here’s Stack several See Carving the Corners discussion of template shaping would be No complete without examining the technique’s major shortcoming: use it to shape can’t You inside corners. bits and shaper cut- As router ters spin, they cut in an arc, which is left indelibly on any inside corners. One solution that is void of shaped is to design furniture inside corners. But this often in fur- results that is void of detail and interest.niture I to shape or carve instead prefer the corners is com- by hand once the machine shaping pleted. It usually just a few takes minutes, well worth are it. and the results layers of thin plywood to equal the together thickness of the seat board. The top layer of plywood is actually for the seat the template board; layer will the bottom become a tem- and drawers.plate for the dividers Next, shape the stack bit that with the same router the seat board.was used for shaping After- ward, separate the plywood layers; bot- the a perfectlytom layer is now shaped new template. ➤ Shape the new template from the old one using the same cutter you would use to make the finished part. The bottom-most piece of plywood is your new template. To make a template from a template, first make a template from To of the stack plywood to equal the thickness piece to be shaped. Template Shaping Template SECTION 6 OVERVIEW 122

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) piece of Begin bypreparingthetemplateandguide.A good exampleistheshelffromacornercabinet. cut odd-shaped,straight-edgedcomponents.A The tablesawcanbeusedwithatemplateto on theTable Saw Cutting withTemplates from thestocktocreatedesiredshape(B pushed alongtheguideasexcesswoodiscut the workpiece.To makethecut,templateis Once thesetupisready, attachthetemplateto to theblade( straight edgethatissuspendedoverandparallel for thetemplate;guidemusthavealong, 1 / 2 -in. plywoodisofsufficientthickness A). ). A B CUTTING WITHTEMPLATES Template Shaping 123

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) A). See on p. the drawing 48. Cutting with Templates Templates Cutting with on the Bandsaw can cut the bandsaw Unlike the table saw, with a template you must cut curves curves. To with a guide. The guide first equip your bandsaw a notched end to fit around is simply a stick with the end of the stick must the blade. Of course, the curved template. The be curved to follow to the other end of the stick is clamped firmly table. saw’s to Once the setup is complete, you’re ready of cut, use begin sawing. Depending on the type to brads, double-stick tape, or toggle clamps make the cut, simply main- secure the work. To guide ( tain contact between the template and of the As you feed the work, follow the curves template (B). ➤ B A Template Shaping Template CUTTING WITH TEMPLATES CUTTING 124

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) make thesecondcut(F). too quickly(E).Afterward,repositionthelegand machine todetermineifyou’refeedingthestock the stockatasteadyrateandlistento will giveyouasmoothentryintothecut.Feed extended portionofthetemplatebase( Start thecutwithbearingincontact cient stockforremovalduringthesecondcut. you cutoutofsequencetherewillnotbesuffi- that thefirstcutwillbetooheavy. Inaddition,if each ofthetwocuts.Cuttingoutordermeans plate isdesignedtoremoveequalamountsfor complete thecutsisimportant,becausetem- template forthefirstcut( heavy ofthelayoutline,positionlegin low thetemplate( To theshankofbit,addabearingthatwillfol- the otherforleg’s back( equipped withtwoedges:oneforleg’s faceand secures thelegintemplate,whichis chair shownonp.86.Apairoftoggleclamps For thisexample,I’musingtherearlegof straight bitwilldothejobquicklyandefficiently. shapes intotightcorners.Atemplate-guided curves, flushcuts,createsmoldedprofiles,and most versatiletoolfortemplateshaping.Itcuts removed. Withoutadoubt,therouteris after sawingcurves,thesawmarksmustbe Bandsaws don’t createafinishedsurface;so ontheRouterTableCurve Flush Trimming aBroad B). Afterbandsawingtheleg C). Theorderthatyou A). D). This A D B F screwed tobaseoftemplate. Stop blocksaregluedand rotation Spindle 3 / 4 -in. plywood stock totemplate. Toggle clampshold Stock C E Feed direction Template Shaping FLUSH TRIMMING is notnecessary. so startingpin beyond workpiece, Template extends laterally. stock frommoving cutterhead, preventing Block resiststhrustof 125

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) C). D), and then raise the bit for E). During the second cut, the Use a spiral bit; it cuts much clean- ] TIP [ minimal tearout. the Begin by bandsawing the stock just outside layout line (B). Secure the work in the jig ( Flush Trimming Tight Flush Trimming Stock Curves in Small in this example, a drawer The small workpiece unique problems. front from a desk, presents and the cut is somewhat The stock is small, stock thickness. Also, the heavy because of the of the cut are on end entry and exit portions As cut easily. and doesn’t grain, which is tough tearout can occur on the the bit exits the cut, drawer face. overcome the problem of the small stock size, To use a jig (A) that positions the toggle clamps in the face the back, away from the cut. Blocks on help of the jig counteract the clamp force and prevent tearout as the bit exits the work. Make the first cut ( the second cut ( the first bearing follows the surface created by cut instead of the template. er than an ordinary straight bit and with er than an ordinary straight bit and E C A Template Shaping Template FLUSH TRIMMING FLUSH B D 126

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) ➤ takes justafewminutes. (E). Shapingtheseatboardwiththismethod reposition thetemplateandmakenextcut This makesentryintothewoodsmooth( with theextendedportionoftemplate( To makethecut,startbycontactingbearing so thatthebearingcontactstemplate. heavy ofthelayoutline(B),adjustbitheight sets ofcurvesinthedesk.Afterbandsawing the eventualcurvesmustalignwithtwomore (A). Becarefultomatchthecenterlines,because Begin bytracingthetemplateontoworkpiece shape byhand. reach withashaperandwouldbetediousto drawer. Thetightcurveswouldbeimpossibleto that mustfollowthecurvedcontourateach edge oftheseatboardhasathumbnailprofile This exampleusesaseatboardfromdesk.The on theRouterTable Profile orTrim See See “Thumbnail Profile” “Thumbnail drawing onp. D). Now C). 118. A C E D B Template Shaping PROFILE/TRIM 127

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) B). A). After bandsawing, If you choose a bit that’s slightly If you choose a bit that’s “Making a Template from a Template” a from Template “Making a ] See on p. 121. TIP Although the brads will leave small holes, they Although the brads will leave small holes, in the finished desk and the be seen won’t process is fast to set up. The bearing on the bit follows the template, the cutting away the saw marks and creating profile—all in one light pass (C). [ appears more refined. Profile or Trim Profile or Trim Template from a Previous for making the tem- a unique method Here’s from the previous plate: Make the template template. trace the contour onto the stock For accuracy, directly from the template ( brads ( fasten the template to the stock with large, you’ll avoid the ridges that occur large, you’ll avoid the ridges that radius with a smaller bit and the larger ➤ in. 4 / 1 Stock C B A in. 16 / 3 Select a bit with a diameter that is slightly larger than the stock thickness. TIP Template Shaping Template PROFILE/TRIM 128

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) desk interior. TheprofilethatIshapedwasa efficiently (E). with hand-toolskillstocreatedetailedwork is aresultofcombiningpower-tool techniques the areawithasmallfile(D).Thefinisheddivider into thecorner( the work(B).Next,carvefrombothdirections Before youbegincarving,sketchtheoutlineonto 1 shaping a Next, selectatoolforthejob;inthiscase,I’m Begin byshapingtheworkwithatemplate. Shaping InsideCorners approximates thebead’s curve(A). / 4 -in.-diameter bead,soIwantasmallgougethat 3 / 16 -in.-thick dividerfromthegalleryofa C). To removeanyfacets,smooth A C E D B SHAPING INSIDECORNERS Template Shaping 129

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) Edge Treatments, page 132 Beads, page 145 Simple Moldings, page 154 J1120 MS7UA09SaigWo :.5x:085 175L EX 128White A M/A Magenta(D) TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875”

Complex and Built-Up Moldings, page 164 Curved Moldings, page 186 PART THREE Edge Treatments and Moldings

DGE TREATMENTS AND MOLDINGS have been used for centuries to add embellishment, detail, and visual interest to furniture. It’s difficult to imagine furniture without moldings, because even the simplest styles, such as Shaker, use beadsE to soften edges and create interesting shadow lines. That’s why an understanding of edge treatments and moldings is so important to furniture design. An edge treatment or the addition of even a simple molding can turn a boring box or a utilitarian table into a piece of beautiful furniture. An edge treatment can be as simple as breaking the sharp 90-degree angle with a few passes of a block plane or cutting an ogee profile with a router or shaper. Simple moldings are easy to create with the wide variety of router bits now available. Even complex and built-up moldings are just a matter of combining basic shapes to create different effects. TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) Dished Tabletop Dished Tabletop Dished Tabletop (p. 143) ➤ Shaping a Board’s Face Board’s Face of a Board Shaped on the Shaper (p. 142) ➤ Shaping a Lipped Door Edge (p. 141) Lipped Door Edge ➤ Shaping an Entire Edge Entire Edge Shaped on the Shaper (p. 138) Entire Edge of a Curved Shape on the Router (p. 139) Entire Edge of a Curved Shape on the Shaper (p. 140) ➤ ➤ ➤

Edge

Simple Shaped Shaped Edge with a Handheld Router (p. 136) Shaped Edge on the Router Table (p. 136) Chamfer with a Block Plane (p. 137) Table A “Worn” Edge (p. 137) ➤ ➤

➤ ➤ Edge Treatments Edge SECTION 7 OVERVIEW 132

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) ➤ thin beadedstrip. andmitera bet around perimeter thedrawer justcutashallow rab- veneering; bead after You addthe can edgesfromfragile chipping. protect thebeadwill the used onthefaces, Ifaveneeris flush-fitting doorsanddrawers. of bead isagreat theperimeter waytoframe Adding a benefit from simpletreatments. of profiles. shaper cuttersare availableinawidevariety router bitsand because ments are broad, Thepossibilitiesforedgetreat- locations. thecenter-point bychanging alter theeffect you can designing anogeeedge, When cate. creates anedgethatappearsthinanddeli- profile Theconcave-convex reverse ogee. withafile. rounded surfaces work you the can lookartificially, worn To create the creating look. aworn unevenly, improves wear withageasthesurfaces Theeffect ofthecorner. hard lookandfeel you remove the ontheedges, radius small Byshapinga for tabletopsistheroundover. nal stock. oftheorigi- theedgeispart because istent, associated withappliedmoldingsare nonex- andtheproblems ofwoodmovement touch, theresultingto edgesare softer removed, thesquare are corners additional benefits; Butshapinganedgeyields molding. a strip W See See The edges of doors and drawers can also can The edgesofdoorsanddrawers tableedgeisthe Another attractive thesimplestedgetreatment Undoubtedly, “Basic MoldingProfiles” “Basic creates as thesamevisualeffects or drawer front ofhen theedge atabletop np 155. on p. ssae,it is shaped, miter the corners withachisel. miter thecorners needto you’ll bead ontheendsandedges, Ifyou toshapea choose stock. or scratch router, be shapedintothefront withaplane, Thebeadcan fronts madefrom solidstock. You alsobeadtheedgesofdrawer can Face frame Astragal Double Doors Chamfer THUMBNAIL PROFILE LIPPED DOORSWITH Hinge obedosExpansion gap Double doors TABLE EDGES Ogee Soft, wornedge Door Eased ETO 7OVERVIEW SECTION Thumbnail Edge Treatments 1 / 4 in. 7 / 8 in. 133

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) on p. 117. “Template Shaping” “Template Dished tops were popular on eighteenth- Dished tops were When or of round shaping the edges Almost any profile can profile Almost any used on door be See century tea tables and candle stands. The traditional method used is to turn the top on Dished Tops Still another form of molded edge treatments is the dished top. The surface of the top is recessed, and the raised rim is molded. If the top is rectilinear, simple to add a it’s strip of molding to the edge and miter the corners. But if the top is round, the molding to shape as one piece. easier and top are Shaping the Entire Edge edges The most efficient tools for shaping table and shaper. the router are Doors, drawers, easy to and smaller tabletops are handle the machines.when feeding through But large, is easier to shape work awkward with a handheld router. curved tabletops you’ll need to use a bit or cutter with a bearing to guide the cut. If the edge is partially shaped, the bearing can fol- portion the remaining of the edge. low However, edge is shaped, if the entire you’ll the cut. need to make a template to guide and drawer edges. and tradi- One popular is the thumbnail.tional profile most It’s commonlydoors and used with lipped drawers. the inside A rabbet is cut around perimeter, is fit and the door or drawer front within the opening. is The lip that remains profile.shaped with a thumbnail The result the opening, is a door or drawer that covers yet the edge is thin and refined. ➤ in. 8 / 7 in. 4 / 1 in. 4 / in. radius 1 16- AND DRAWERS / 3 EDGE FOR DOORS LIPPED THUMBNAIL LIPPED THUMBNAIL When shaping an edge, a bearing or rub collar rides on the remaining portion of the edge to guide the cutter. The thumbnail The thumbnail profile is an attractive finish for the edges of doors, drawer fronts, and tabletops. Edge Treatments SECTION 7 OVERVIEW 134

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) interior is scraped andsandedsmooth. isscraped interior the Afterward, used forthemoldededge. andprofile bitsare dish theflatinterior, bitis usedto Astraight rotated in thejig. whilethetopis the router isheldstationary and used tosuspendtherouter over thetop, Ajigis dishing circular topsiswitharouter. ing process. theturn- the toolsduring needed tosupport Afloor-standtoolrest is at aslow speed. areinterior bothcreated thetop byturning anddished Themoldedperimeter a lathe. hs as amore efficientmethodfor These days, Edge ispartiallyshaped. When theentireedgeofcurvedstockisshaped,atemplaterequiredtoguidebearing. SHAPING EDGES Entire edgeisremoved. tabletop. setup createsthedepression foradished work whilecuttingtoaspecific depth.This A jigallowstherouterto ride abovethe Bearing ETO 7OVERVIEW SECTION Edge Treatments 135

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) ). D B). A) and set the B A fence tangent to the guide bearing on the bit ( Then, starting with an end, feed the stock from right to left (C). When shaping the ends, slow down the feed as you approach the corner to avoid excessive tearout. When you shape the edges, any minor tearout will be shaped away ( Shaped Edge on the Router Table for The router table has replaced the shaper with the most small tasks. Shaping a chamfer router table is a prime example. Begin by adjusting the bit height ( B D One of the advantages of a router over a shaper One of the advantages and portable. Profiling the is that it is lightweight stock such as a tabletop edge of large, awkward a helper—but with the can be difficult without chamfer shown here is a snap. The router it’s the many edge treatments just an example of router. you can cut with a to your First mill the stock to size and clamp it workbench. If you’re creating a large chamfer, you may want to shape it in two passes. cutting Otherwise, set the bit for the required of the depth and guide it around the perimeter avoid top in a counterclockwise direction. To an end first unsightly tearout on the edges, shape the (A) and slow the feed rate as you approach As you finish with the sides (B), any slight corner. tearout will be shaped away. Shaped Edge with Shaped Edge Router a Handheld Edge Treatments SIMPLE SHAPED EDGE SIMPLE C A 136

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) First, usea for thistechnique. square, utilitarianedgesofatabletopworkwell worked tocreateanappearanceofage;butthe and hasafamiliarlook.Anysurfacecanbe A worn,roundedsurfaceisfriendlytothetouch A “Worn” Table Edge scraper completesthejob( it, oritcanlookartificial.Alightpasswitha soften thecorners( (A). Next,useacoarsefiletogentlyroundand excess stockonthetopandbottomofedge A C 1 ⁄ 4 -in. roundoverbittoremovethe B). Becarefulnottooverdo C). D B A C will disappearwhenyouchamfertheedges( continuous lightpass.Anytearoutthatoccurs the angleifneeded.Finishsurfacewithone As youapproachthelayoutlines,canadjust corresponds tothedesiredangleofchamfer. the board( Next, beginchamferingthestockonendof consistent (B). square willguidethepencilandkeeplayout as aguidewhilecutting( First, layoutthechamferwithapenciltouse need tobeshaped. ingly efficient,especiallywhenonlyafewpieces Hand toolsareapleasuretouseandsurpris- a BlockPlane Chamfer with C). Holdtheplaneatananglethat B A). combination SIMPLE SHAPEDEDGE Edge Treatments D). 137

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) C). As B). Now lock the fence Entire Edge Shaped Entire Edge on the Shaper profiles, such as an ogee, Many attractive edge entire edge. When shaping involve shaping the of the stock width is the entire edge, part for the loss of width, a compensate removed. To the outfeed half of the fence split fence is used; the same amount as the is adjusted forward In other words, the out- stock being removed. cut- feed fence must be tangent to the smallest ting diameter of the cutterhead. A). To Begin by adjusting the spindle height ( enough make the fence adjustment, first shape Now length of stock to reach the outfeed fence. turn the shaper off. Next, turn the micrometer fence screw on the fence back to advance the until it contacts the stock ( ( and make the cut beginning with the end you approach the corner, slow down the feed to you approach the corner, minor avoid excessive tearout at the edge. Any shaped. tearout will be cut away as the edge is not need Sometimes the back edge of a top does a dressing to be shaped. For example, the top of case, table that is placed against a wall. In this remove rip the top to final size after shaping to the back any tearout that may have occurred at edge (D). D B A C Edge Treatments SHAPING AN ENTIRE EDGE SHAPING 138

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) SHAPING AN ENTIRE EDGE

Entire Edge of a Curved Shape on the Router

Anytime you shape a curved surface with a router, the rub bearing on the bit must follow a curve to guide the bit and limit the cutting depth. When only part of the edge is shaped, the portion that remains can serve to guide the bearing. However, when the entire edge is shaped, a template is needed to guide the cut (A). Because the entire edge is removed, a template is needed A when shaping this profile on a curved surface. ➤ See “Template Shaping” on p. 117.

After making the template, trace it onto the workpiece. Now saw the outline slightly proud of the line, which will provide extra stock to be removed by the router bit. If the top is large and your bandsaw is limited in size, you may opt to use a portable jigsaw (B). If so, clamp the work to the bench to keep it stationary while sawing. B Next, attach the template to the underside of the top with screws (C). The screw holes will later be hidden, but make certain that the screw doesn’t penetrate the full thickness of the top.

Before shaping, set the bit height with an offcut from the top (D). Now you’re ready to make the cut. To have complete control of routers and shapers, it’s important always to feed in the opposite direction of the cutter rotation (E). When hand feeding a router, move it counterclockwise C around the top’s perimeter.

D E

Edge Treatments 139 TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) G). on p. 117. C). A), then the cutterhead Shapers can be D) and a single screw (E). The WARNING “Template Shaping” “Template ! See dangerous, especially when used to the necessary shape curved stock. Take precautions. ▲ Entire Edge of a CurvedEntire Edge Shaper Shape on the you’ll find it to be a great If you own a shaper shape curved edges, To tool for shaping edges. from the cutterhead you’ll need a rub bearing also need to construct a You’ll manufacturer. conjunction with the bearing. template to work in to the template. Use a Secure the work firmly from the guard; keep your hands safely distanced template cutterhead; and, if possible, extend the a beyond the workpiece. This will give you template smooth entry to the cut, because the will contact the bearing before the cutterhead contacts the workpiece. shaper. The first step is to carefully set up the First mount the bearing ( (B), and finally the guard. Secure the assembly with a lockwasher and nut ( Next, secure the work to the template with a pair Next, secure the work to the template of toggle clamps ( screw holds the work to the template in an area screw holds the work to the template reach. Because the screw that the clamps can’t located where leaves an ugly hole, make sure it’s appear in the completed work; in this it won’t example, a handhold will be cut out in the area of the screw hole. Note, too, that the screw is path. placed well out of the cutterhead’s Start the cut by first positioning the template against the bearing (F). Then feed the stock against the cutterhead rotation ( ➤ F B D G E C A Edge Treatments SHAPING AN ENTIRE EDGE SHAPING 140

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) LIPPED DOOR EDGE

Shaping a Lipped Door Edge

Unlike an overlay door that closes against the cabinet face, a lipped door looks refined. That’s because most of the door’s thickness fits inside the cabinet and the remaining lip is shaped with a delicate thumbnail profile. A B The example I’m using here is the pendulum door from the waist of a tall clock. The top of the door has a decorative cutout. After bandsawing the top of the door, use a flush-trimming router bit and a template to remove the bandsaw marks (A). Then carve the inside corners where the router bit didn’t reach (B). Next, use a roundover bit to shape the thumbnail profile around the perimeter of the door (C). Set the

1 C D height of the bit to create a ⁄16-in. fillet next to the thumbnail profile. This fillet is important; it creates another fine detail to capture light and create a shadow line.

After the thumbnail, shape the rabbet that allows most of the door to fit within the opening. The bearing on the rabbeting bit can ride along the thumbnail without damaging it; just don’t press too hard (D). E

[ TIP] A fence can be used to limit the rabbet’s depth along the straight portions of the door.

Afterward, carve the inside corners on the top of the door to complete the thumbnail profile (E).

Edge Treatments 141 TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) ). This B ). C provides pressure in the area that remains intact. provides pressure in the area that remains from After shaping, rip the molded skirt free the stock ( Face of a Board Face of a Board the Shaper Shaped on the face of a board on the Whenever you shape mill the stock oversize necessary to it’s shaper, passes the cutterhead a in width. As the stock face remains intact to proportion of the original on the outfeed fence. vide a reference surface here is a skirt from a tea The example shown table (A). The face of the skirt is a contoured the leg to molding strip that matches the knee of which it joins. use a featherboard to keep provide stability, To fence. the stock firmly in position against the on a Note that the featherboard is mounted ( wood block to raise it off of the table C B A Edge Treatments SHAPING A BOARD’S FACE A BOARD’S SHAPING 142

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) DISHED TABLETOP

Dished Tabletop Use roundover bit for both sides Use corebox of bead. A dished tabletop has a molded rim that sets bit for cove. Use spiral straight bit slightly above the rest of the table surface (A). for dishing. The molding is small and refined and the effect is dramatic as it reflects light and casts shadows. The design is a classic one but the router technique for producing it is relatively new. The 7/8 in. router is suspended over the top, which rotates 5/8 in. on a hub. To use the technique you’ll first have to build a jig. Round lower A edge with rasp. Top [ TIP] A one-board top looks best; but if you must use two boards, take care when matching the grain and color.

Begin by milling the stock for the top. Now draw the radius of the top (B). Next bandsaw the top perimeter and glue the hub to the center (C). If you sandwich a layer of heavy paper between the top and the hub, it is much easier to remove the hub after the process is complete. B

After the glue has dried, mount the top into the jig (D). Before shaping the molding, it’s necessary to true the edge of the top. A spiral straight bit cuts cleaner and with less chatter than an ordi- C nary straight bit (E).

Once the bit is mounted, you’re ready to begin. Never attempt to start the router when the bit is in contact with the stock. Instead, start the D router, slide it along the rails until it touches the top, clamp the router in position, and rotate the top. Always rotate the top clockwise against the bit rotation (F). F Next, switch to the roundover bit to create the bead. If you’re not able to find a bit without a bearing it’s easy to remove the bearing and grind away the bearing stud. To adjust the bit depth, use a block of plywood from the jig (G). E (Text continues on p. 144.)

Edge Treatments 143 TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) J). This process K). Use care to avoid ). To ensure that the H). To I). The molding is shaped A dust collector is a WARNING ! must. Otherwise this process produces a choking cloud of fine dust and chips. ▲ Shaping the molding is much the same as truing molding is much Shaping the clamp it in posi- the router, the perimeter: Start top ( tion, and rotate the from the outside squeezed, begin molding isn’t ( edge and work inward edge of bead; inside edge in three steps: outside which is shaped with a bull- of bead; and cove, nose bit. complete, switch back to Once the molding is the top ( the straight bit to dish because there is no careful position- goes quickly, molding. ing of the router as there was with the one of you can hold the If you have a helper, which router while the other rotates the top, router for sidesteps the process of clamping the each cut. ready for With the router work completed, you’re and the handwork. Clamp the top to the bench scrape the surface smooth ( scarring the molding. After smoothing the top, scarring the molding. After smoothing the edge will need shaping along the underside This step also gives to remove the square corner. works the top a thin, refined appearance. A rasp with a well for this process, but first draw a line the top compass for use as a guide. Now secure the sur- in the vise and rasp the edge (L). Work line. face from the fillet at the bead to the layout with a When you’re satisfied, smooth the edge and then sandpaper. file, scraper, J L H I K G Edge Treatments DISHED TABLETOP DISHED 144

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) Beads ➤ ➤ (p. 148) a Wooden Plane Quirk Beadwith (p. 149) Router Table Quirk Beadonthe Quirk Bead ➤ ➤ Beaded Backboard (p. 150) with aNo.45Plane Beaded Backboard (p. 151) on theRouterTable Beaded Backboard ➤ ➤ (p. 152) for aDrawerFront Applied CockBead (p. 153) with aScratchStock for aDrawerFront Integral CockBead Cock Bead ETO 8OVERVIEW SECTION 145

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) make full contact with bit. sanded after shaping. shaping. Bead Flat on Top Bead Flat on Side Correct Profile • Warped stock didn't • Warped • Surface was planed or • Incorrect setting of tool. • Edge was trimmed after Bead is flat on top Bead is flat on side Correct profile • Bead is full and round. SHAPING BEADS PROBLEMS WITH When shaping beads, that you remember Undoubtedly, this versatility it’s and ease of the bead so popular for use that has made centuries. to soften need time you Next a a bit of decoration,hard edge or add this simple,remember versatile profile. fullneed to get to the depth of the cutter’s to achieveprofile the right shape. Beads that full cut to depth can appear flattened aren’t sides. on one or more Making a Scratch Stock A scratch stock is simply a scraper with a profile. wood the By pushing the tool across surface, a molding profile. produce you Why use a scratch stock instead of a router? several are reasons.There A scratch stock can’t. can that a router shape tiny profiles Also, a scratch stock can easily shape a pro- curve.file along a freeform Plus can you customize design the shape to suite your requirements. Stile molding profile than the molding profile Cock bead on drawer Backboard bead. or A bead is a semicircular here’s probably not a more not a more probably here’s versatile semi-elliptical profile. It can be shaped flush or proud a table apron along the edge of the perimeteraround of a drawer front. Used backboardsalong the edge of in casework, the bead will embellish the back while hid- joint betweening the expansion the boards. easilyBeads are shaped with a router, plane, hand beader, or even scratch stock. T Beaded sticking Rail USES FOR THE VERSATILE BEAD USES FOR THE VERSATILE Table edge Table Scribed bead on drawer Beads SECTION 8 OVERVIEW 146

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) blade, I use small files of various shapes. filesofvarious Iusesmall blade, To shapetheprofile intothe for theblade. ofanoldhandsawwork well Pieces gauge. useanoldwoodenmarkingor you can from awoodblock stock shapeascratch can You but it’s justaseasytomakeyour own. from anoldmarkinggauge. and otherprofiles.You easilycanmakeone A scratchstockcancutelegantsmallbeads cutter andafencetorunagainstthework. A scratchstockissimplyadevicetohold These days you can buy a scratch stock buyascratch you can These days cutter. Bolt secures MAKING ASCRATCH STOCK Kerf forcutter cutter handsaw for Piece ofold follow tightcontours. Face isroundedto shape theprofiles. files areusedto stock blades.Small make goodscratch Old bandsawblades stock. the edgeof good contactwith a roundtoensure Shape thefenceto a blockofwood. by cuttingakerfin can beconstructed A simplescratch ETO 8OVERVIEW SECTION Beads 147

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) B). A on p.on 146. A). “Problems Beads” with Shaping See Quirk Bead with Quirk Bead Plane a Wooden are still widely avail- quirk-bead planes Wooden pleasure to use. Best of all, able, and they’re a a wide variety of applications. the quirk bead has straight-grain stock for clear, Begin by selecting the sole of the plane to set planing. Sight down light cut ( the plane iron for a To make the cut, use one hand to keep the fence To added of the plane against the stock (notice I’ve while a strip a wood to my plane as a fence), ( pushing the plane with the other hand If the quirk bead should have a full, round profile. bead will plane comes away from the stock, the plane to the full be flat on the side. If you don’t plane’s depth, the bead will be flat on top. The to prevent built-in stop will ride against the stock further cutting once the full profile is reached. ➤ B A Beads QUIRK BEAD 148

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) minute (rpms). the feedrateorreducingrevolutionsper cut (C).Ifyouexperienceburning,tryincreasing ing (B).Settherouterspeedhighandmake (A). Next,positionthefencetangenttobear- Begin bymountingthebitandsettingheight with pleasingproportions. bead. Itpaystoshoparoundandfindabrand large ofaquirk;itlooksdisproportionatetothe However, manybeadingrouterbitshavetoo bead quicklyandeasilyoncurvedstock. With yourroutertable,youcanshapeaquirk the RouterTable Quirk Beadon A B C QUIRK BEAD Beads 149

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) F). D). As C). While cutting the rabbet, ). Stanley Tools manufactured A). Stanley Tools Beaded Backboard Beaded Backboard 45 Plane with a No. local probably seen no. 45 planes at your You’ve flea market ( and so they’re quite com- them for many years, for shaping beaded back- mon. They work well a beaded backboard is boards. The idea behind joints in a solid-wood case to hide the expansion back (B). I Begin by milling the stock for the backboards. minor prefer to use random-width boards with have on defects. This allows me to use stock I visible hand that may not be suitable for more areas. both After milling the stock, cut a rabbet along the rab- edges of each board. Keep in mind that mount a bets must be on opposite faces. First, plane and square cutter in the main body of the outside position the second skate flush with the Lock the skate in position with edge of the cutter. for a the thumbscrews. Now adjust the cutter slide the light cut and lock it in place. Finally, it in place fence in position on the arms and lock next to the cutter ( ( keep the fence firmly against the stock on the you reach the full depth of the rabbet against first piece, adjust the depth stop to bear the work. After cutting the rabbets on all the stock, shape the bead (E). Follow the same set-up procedure as you did earlier: set the iron, then the second skate, and finally the fence. The no. 45 plane is equipped with a special fence for beading that make use of it, rides the edge of the rabbet. To you’ll first need to remove the wood fence ( Backboard -in.-dia. bead with quirk 4 / 1 F D A Joint allows for seasonal expansion. in. 2 / 1 B E C Beads BEADED BACKBOARD BEADED 150

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) face; feedingtooslowmaycausescorching. too fastwillresultinacoarse,washboardsur- a steady, uniformfeedrate.Feedingthestock table (F).Aswithanycutontherouter, maintain throughout thecut,clampafeatherboardto the edgeofrabbet( ing bit.Settheloweredgeofbeadflushwith Once you’vecuttherabbet,changetobead- table (C).Nowyou’rereadytocuttherabbet device inpositiontokeepthestockagainst Finally, setafeatherboardorotherhold-down thensetthefenceflushwithbearing( (A); Set theheightofbitwithagraduatedsquare Begin bymountingarabbetingbitintherouter. on theRouterTable Beaded Backboard E). To maintainpressure D). B). A C E D B F BEADED BACKBOARD Beads 151

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) B) ). ) and then F H). Then attach ). Don’t fit the fit C). Don’t in. thick and are 8 ⁄ 1 ). The bead sits proud of A). The bead sits proud -in.-diameter beading bit on the 8 ⁄ D). 1 in. proud of the drawer front. Make ). 16 ⁄ 1 attached Mount a rabbeting bit in the router table and set Mount a rabbeting bit in the router table If it for the depth and height of the rabbet. you may opt to cut you’ve dovetailed the drawer, so that the rabbet only to the base of the joint Cut the rab- the joinery will be exposed for view. bet on the ends of the drawer first ( router table ( (E The next step is to rabbet the drawer Applied Cock Bead Applied Cock Front for a Drawer beaded strip applied to the Cock bead is a small ( perimeter of a drawer protects the veneered the drawer front and effect is the Obviously, edges from chipping. as well. This is another attractive on solid fronts use the versatile bead. example of how to ( Begin the process by building the drawers the drawers after beading them, or you’ll flatten side of the bead. In this Next, mill the strips for the cock bead. example, they measure and fitting them to the case ( sure to mill the strips wide enough to safely sure to mill the strips wide enough to the shape them. After milling the stock, shape bead with a on the edges. To provide support on the edges, on the edges. To tack a strip of thin plywood to the inside of the drawer (G Now rip the cock bead to final width and miter the ends. Next, drill small holes for the brads to avoid splitting the thin cock bead ( the strip to the drawer with glue and small brads. in. 8 C / 1 E H G Cock bead on drawer Veneer F B A Beads COCK BEAD D 152

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) in whichyouarepushingit(C). you workthetool,tiltitslightlyindirection the drawerwithlong,smoothstrokes( bench. Thenscrapetheprofileintoedgeof To shapethebead,firstsecureworkon blade withafewstrokesofroundfile. [ first used. provincial furnitureonwhichthistechniquewas tic irregularitiesthatareassociatedwiththe a routerbit,scratchstockwillyieldtheauthen- Although youcancertainlyshapethebeadwith you’ll needtomiterthecornerswithachisel. tive, butifyouchoosetobeadallfouredges upper andloweredges.Bothmethodsareattrac- You canbeadallfouredgesorsimplythe There areacoupleofoptionsforthistechnique. out allthefuss( drawer front,it’s awaytoaddneatdetailwith- Although thebeaddoesn’t standproudofthe shape theprofiledirectlyintodrawerfront. Another methodforcockbeadingissimplyto with aScratchStock for aDrawerFront Integral CockBead TIP ] Sharpen ascratchstockbeading A). .As B). A B C COCK BEAD Beads 153

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D)

Molding Hand-Cut Simple Molding with a Universal Plane (p. 163) Simple Molding with a Molding Plane (p. 162) ➤ ➤

Molding Machine-Cut Simple Molding on the Shaper (p. 160) Simple Molding Saw on the Table with a Molding Head (p. 161) Simple Molding on the Router Table (p. 159) ➤ ➤ ➤ Simple Moldings Simple SECTION 9 OVERVIEW 154

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) one of two ways: a strip ofmoldingis astrip one oftwoways: endless. theoptionsbecomenearly files, ofthebasicpro- andvariations mixing sizes By complex moldingsuseanumberofthem. whereas usejustoneoftheseprofiles, cally moldingstypi- Simple andcove. chamfer, ogee, ovolo, thumbnail, bead, basic profiles: A Moldings are intofurniture integrated in Ovolo Thumbnail Cove Quirk bead derived from aboutahalfdozen derived are madeupofshapes plex ones, ll moldings, BASIC MOLDINGPROFILES even seemingly com- seemingly even Fillet Quirk Fillet Chamfer Reverse ogee Ogee Astragal ➤ reflecting lightandcreating shadow lines. moldingsaddvisualinterest strip by all, Mostof andprovide visualunity. parameters, establishvisual thework, frame rate cases, unifysepa- They functions: several perform moldings Strip isshaped. edge ofasurface mitered tothework andattached orthe See “Edge Treatments” Fillet Fillet original board. hand placementwhenripping itfromthe applied moldingstoallow asafemarginfor Use awidepieceofstockwhenmaking stock orrippedfromtheboardandapplied. A moldingcanbeeithercutdirectlyintothe np 132. on p. ETO 9OVERVIEW SECTION Simple Moldings 155

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) It’s best to select straight-grain stockIt’s Moldings add refinement to this eighteenth- century corner cabinet. Stock Selection for Moldings Stock Selection Strip of shaped on lengths moldings are straight-grain stock then attached and to the fasteners. and/or with glue work Strip moldings can profiles consist of one or more wood stripshaped onto a single or several stripsand/or joined together to make a wide deep complex molding. when making strip moldings. When using hand tools, such as planes and scratch stock, straight-grain stock less tearout. will produce Base cap provides transition between cabinet and foot. Waist Waist molding visually separates upper and lower cases. Crown molding Neck molding adds detail. Fluted pilaster emphasizes vertical lines. Thumbnail edge frames panels. MOLDINGS ON A CORNER CABINET MOLDINGS Simple Moldings Ovolo edge frames glass light. SECTION 9 OVERVIEW 156

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When using machines, it’s often necessary to For an applied shape a wide board and rip the molding free molding, rip the molded profile from afterward. This method will keep your hands the main board on a safe distance from the cutter or bit. If you the table saw. For select straight-grain stock, the strips will be safety, always use a less likely to distort when you rip them free. push stick to feed Also, when milling stock for strip mold- the stock. ing, it’s a good idea to make extra for a miscut or other any other problem that may occur. Otherwise, if you need another piece it can often be difficult to mill it for an exact match to the original—especially if the molding is a complicated design made from several profiles.

Attaching Moldings When attaching moldings, it’s helpful to follow a few guidelines to ease the process. Parallel strips—such as those that wrap around a table edge—must be of the exact same length for the miter to fit. This is easily accomplished by using a stop on the ➤ MAKE A LITTLE EXTRA MOLDING miter saw. When fitting molding to casework, it works well to miter the front strip first and Don’t shortchange yourself when making moldings; a then the returns or side strips. If adjustments little extra is always useful. If you run short of your original need to be made for a precise fit, they can be estimate, the extra will match the grain and profile of the other made to the returns. Afterward, the ends of molding exactly. If you need to cut more later, you’ll have to the returns are cut 90 degrees to be flush set up your machinery again, and it has to be spot-on to match. with the case back. Furthermore, always save a short section of molding when One of the most important points to the job is complete. It provides a reference sample for design- remember when attaching strip molding is ing or shaping molding at a later date. to allow for cross-grain seasonal wood movement. Small moldings can be effectively fastened with brads, which are set below the Remember to slot the holes in the case so wood surface. As the wood moves, the soft the screws will be able to slide as the case brads will flex. Large moldings, such as a expands and contracts. Always use glue in crown molding on casework, can be fasten the miter joints of moldings; it keeps the with screws from the inside of the case. joint closed tight through the years.

Simple Moldings 157 TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) SECTION 9 OVERVIEW

Using Hand Tools they can still be found at flea markets and in to Create Moldings antiques shops. There’s something addictive about making ➤ moldings with hand tools, watching the See “Making a Scratch Stock” on p. 146. shavings pile up like confetti. It’s quiet work; and for period projects, you get the tool The so-called universal plane—the marks and slight imperfections that lend an Stanley 55—was developed around the turn authentic look. For small moldings, you can of the twentieth century to replace a multi- use a scratch stock. Molding planes were tude of wooden planes. Although it’s some- once made in an amazing variety of profiles; times a useful tool, it’s too impractical to be the “planing mill within itself,” as it was When using hand- originally claimed to be. However, it is an planes or a scratch enjoyable tool to use and can create many stock to cut mold- profiles. ings, always select Whenever you use hand tools to cut straight-grain stock to avoid tearout. molding, be sure to choose straight, even- grain stock to reduce the possibility of tearout. Keep the blades sharp by using rounded files and polishing with slipstones. J1120 MS7UA09SaigWo :.5x:085 175L EX 128White A M/A Magenta(D) TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” THE STANLEY 55 PLANE

Sliding section

Arm Cutter depth adjustment

Skate

Depth stop Main body of plane Depth stop

158 Simple Moldings MACHINE-CUT MOLDING

Simple Molding on the Router Table

Anytime you’re shaping strip molding on the router table you’ll want to select wide stock to distance your hands safely from the spinning bit. After securing the bit in the collet, set the height to create the cutting depth you desire. A small, A B graduated square works well for gauging the bit height (A).

Next, set the fence in position by aligning it tangent with the bearing on the bit (B). Now set the stock in place and lock the guard in position (C).

When you’ve finished these steps, make the cut by feeding the stock from right to left (D). Listen to the router for an indication of the proper feed rate and rotations per minute (rpms). After shap- C D ing, rip the molding free on the table saw (E). The finished molding is now ready to apply (F).

E F

Simple Moldings 159 TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) B); F). D). Now add a featherboard for C). Next, check the spindle rotation. To then adjust the fence for the smallest possible then adjust the fence for the smallest opening ( stock for position the cutterhead underneath the a clock- safety requires reversing the spindle to wise rotation ( additional safety and make the cut (E). Afterward, ( rip the molding free on the table saw Simple Molding Simple Molding on the Shaper safety is always the When using the shaper, even when shaping a most important issue, any temptation to shape nar- basic profile. Resist a power feed or appropriate row stock without wide stock, which positions jig. Instead, select from the cutterhead. your hands a safe distance the height After mounting the cutterhead, check with a combination square (A). Next, adjust the ( fence tangent to the smallest cutting circle D B F E C Simple Moldings MACHINE-CUT MOLDING MACHINE-CUT A 160

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) stock, suchaspineorpoplar. Thissaves the moldingfree( use pushsticksorblocks(E).Aftershaping,rip Keep yourhandsclearofthemoldingheadand your beststockfortheproject. [ to begin. quick checkoftheprofiledepthandyou’reready the table( featherboard inplacetoholdthestockfirmly next stepistopositionthefenceandclampa head (C).Lowertheforalightcut.The may benecessarytoaddaspacercenterthe freely andfitswithinthethroatplateopening.It table saw( tions carefully. Next,mounttheheadonyour so readandfollowthemanufacturer’s instruc- cutters securelyinposition( The firststepwhenusingtheheadistolock of arouterbit. and otherwidestockthatisbeyondthereach distinct advantagewhenshapingwindowtrim use amoldingheadinthetablesaw. Thisisa are notlimitedbytheboard’s widthwhenyou away? Whenshapingthefaceofaboard,you head whentheroutertableisjustafewfeet mounts onthesawarbor. Whyuseamolding securely inthehead.Theentireassembly A moldingheadhasinsertcuttersthatlock a MoldingHead the Table Sawwith Simple Moldingon TIP ] Make testcutsoninexpensive D). Nowyou’rereadyforatrialcut; B). Makecertainthattheheadspins F). A). Headstylesvary A C E D B F MACHINE-CUT MOLDING Simple Moldings 161

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) C). D). B). As you begin each cut, keep Simple Molding with Simple Molding Plane a Molding have been around for molding planes Wooden the array of power tools avail- centuries. Despite is still an effective and able, the wooden plane moldings. Molding enjoyable tool for shaping from tool dealers and planes are readily available never experienced the flea markets; if you’ve I encourage you to find one pleasure using them, and give it a try. molding Stock selection is important; wooden straight- planes are lightweight and work best on grain stock. for a light Check the iron for sharpness and set it ogee cut (A). Most asymmetrical profiles (like the the plane at in this example) require that you hold an aid in an angle in relationship to the work. As planes gauging and maintaining the correct angle, front usually have spring lines scribed into the end of the plane ( the the spring lines parallel to the stock and stock ( fence in contact with the edge of the the When you reach the full depth of the profile, and pre- stop will contact the surface of the work vent the plane from cutting farther ( C D A B Simple Moldings HAND-CUT MOLDING HAND-CUT 162

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) like anychiselorplaceiron,theedge are identicalinprofiledepth. The stopwillensurethatallsubsequentmoldings set theplane’s stoptobearagainstthestock( ings peelawayandtheprofileisrevealed(E), the planefirmlywithother( fence againstthestockwithonehandandpush Now you’rereadytomakethecut.Keep sliding offoftheprofile. by thestockasyouplane,whichpreventsitfrom of thestock.Thisway, thecutterwillbetrapped to positionthecutinwardslightlyfromedge metrical profilessuchasthisogee,itworksbest with thethumbscrews( slide thefenceontoarmsandlockitinplace flush withthecutterorslightlyinset( shaving. Next,setthesecondskateinposition Adjust theironwiththumbwheelforalight should besmoothandpolished. [ depth (A). is tosettheironinplaceandadjustcutting wood, suchaswalnutorcherry. Thenextstep achieve goodresultswithamoderatelyhard Although softwoodsplaneeasily, youcanalso the straightestgrainmakesplaningdifficult. Begin byselectingthestock.Anythingbut a UniversalPlane Simple Moldingwith TIP ] Check theironforsharpnessfirst; .Whenshapingasym- C). D). Astheshav- B). Then F). A D B F C E HAND-CUT MOLDING Simple Moldings 163

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) Dentil Molding Basic Dentil Moldings on the (p. 183) Saw Table Dentil with a Stepped Block Detail (p. 184) Dentil with a Carved Detail (p. 185) ➤ ➤ ➤

Complex Flat Molding (p. 180) Stacked-Strip Complex Molding (p. 181) Cornice with a Flat Crown and Stacked Strips (p. 182) Built-Up Molding ➤ ➤ ➤

Molding Solid Complex Large, Solid Crown Molding on the and Saw Table Router Table (p. 172) Another Large, Solid Crown Molding on the and Saw Table Router Table (p. 174) Flat Crown Molding on the Shaper (p. 175) Complex Molding on the Router Table (p. 176) Another Complex Molding on the Router Table (p. 177) Flat Molding on the Router Table (p. 178) Flat Crown Molding Hand- with Wooden planes (p. 179) ➤ ➤ ➤ ➤ ➤ ➤ ➤ Built-Up Moldings Built-Up Complex and Complex SECTION OVERVIEW 10 164

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omplex moldings are combinations of two or more simple pro- MOLDINGS ON A CHEST Cfiles. They are used when a more dramatic or formal look is desired. A typical example of a complex molding is the crown Crown molding looks molding on most casework. Generally, a down toward viewer, crown consists of a large cove flanked by providing a terminus to the chest. smaller profiles, such as a thumbnail, bead, or ogee. As the molding steps upward, it also steps outward to “look down” toward the observer. Waist moldings on casework are another example of complex moldings. Chests, Thumbnail edge clocks, desks, and other tall pieces are usu- frames drawer. ally constructed of several cases or “boxes.” To unify the cases, a waist molding is used at their junction. There are three options for making Waist molding unifies complex molding: shaping thin, flat stock the upper and lower cases. and attaching it to the case at an angle,

A SAMPLE OF COMPLEX MOLDINGS

Complex and Built-Up Moldings 165 TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) Joint MOLDING SHAPING CROWN THREE METHODS FOR THREE METHODS Shape flat stock and bevel edges. Shape and stack strips. Shape solid stock. shaping thick stock, and shaping and stacking strips of simple profiles. can also You to cre- use a combination of these methods ate a cornice. discuss each But first let’s method individually. Flat Stock Moldings commonly are moldings crown Architectural shaped out of flat stock and mounted. This well for furniture.also works A flat crown molding is beveled on the bottom edges and applied at an angle. This method uses thin- ner stock, yet gives the appearance of depth. diffi- is that flat moldings are The downside COMBINING A FLAT CROWN A FLAT COMBINING MOLDING WITH STACKED STRIPS WITH STACKED MOLDING Complex and Built-Up Moldings SECTION 10 OVERVIEW 166

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) Flat crownmolding • Cutting complexmoldings with whichyoufeelmoreconfident. comfortable, trytofindanothermethod woodworking technique,ifyoufeelun- safe aspossible.Remember, aswithany lines tohelpyoumaketheprocessas safety challenges.Herearesomeguide- a singlepieceofstockpresentssome ➤ tance tochatterandkickback. stock hasthegreatestmassandresis- Make thelargestcutfirst,while USING AFLAT CROWN SAFETY FORCUTTINGCOMPLEXMOLDINGS MOLDING TOCREATE A CORNICE from • • your hands. neath thestocksothatshields When possible,positionthecutunder- ing lesscuttingsurfacetoyourhands. least amountofcutter, therebyexpos- Position theworkpiecetoexpose spoiling thework. the stocktippingintocutterand and fencetopreventthepossibilityof surface areaincontactwiththetable Make certainthatthereissufficient CROWN MOLDINGS A SAMPLEOFFLAT Complex andBuilt-Up Moldings ETO 10OVERVIEW SECTION 167

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) Bead Cove Ovolo Cove and bead Joint Bead Fillet Thumbnail STRIP MOLDINGS This corner cupboard cornice was shaped This corner cupboard cornice to avoid waste; as two separate strips the case. then it was fastened to Thick Stock Moldings The second method of shaping a complex molding uses thick stock. This method well when a large,works elliptical is the cove centerpiece the molding. of First, is the cove cut on the table saw; then smaller profiles each shaped on side of the cove.are Because thick shaped from stock,it’s the molding is self-supporting and easier than flat stock to apply to a case. finished, It appears more too. This can be especially important when the case is short enough to view the from The main advantage to this method is cult to apply; awkward to align the it’s molding and attach it. In addition, if the capped off,molding isn’t it will need to be supported by triangular glue blocks. that it avoids using thick stock. shape To wide, flat stock you’ll need a shaper with a long spindle, some molding planes, or a table saw molding head. Unfortunately, a to shape wide stock. reach can’t router Making moldings from wide, flat stock requires a shaper with a long spindle. a Another option is table saw fitted with a molding head. Complex and Built-Up Moldings SECTION 10 OVERVIEW 168

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) valuable stock, the strips can begluedto can thestrips valuable stock, To avoidusing a lotof effect. dramatic of simplemoldingprofiles tocreate awide, strips stacking The thirdmethodinvolves Stacked Moldings pediment molding.gooseneck such asasemicir the moldingcurves, thismethodisagreat when choice Also, top. SHAPING ACOMPLEXMOLDINGONTHICKSTOCK 4 in. Sequence isshownhere. profile isshapedseparately. On complexmoldings,each Fillets Fillets and bead Cove Bead Cove Ovolo Knife Knife Stock cular or and bead. Step 1.Shapecove and fillets. Step 3.Shapecove and materials athand. and materials basedonthetools method touseisoften Thedecisionofwhich above. ods described anotheroptionistocombinethemeth- Still be hidden. woodwill thesecondary arestrips stacked, Oncethe aspoplar. such wood, a secondary Fence Fence Knife Step 4.Shapeovoloprofile. square profile. Fillets areshapedwith and shapecenterbead. Step 2.Invertstock Fence Knife Fence Complex andBuilt-Up Moldings ETO 10OVERVIEW SECTION 169

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) A full-scale on p. 285. The most common Do you need a specific “List of Suppliers” There are several are options to chooseThere from The whole process of layingThe whole process out, cutting, See drawing is best. Make certain that it is drawing is best. Make accurate. diameter? It’s important that the diame- important that diameter? It’s spindle and exceed the ter doesn’t throat capacity of your shaper. Sketch of the cutter pattern. Sketch of the cutter Cutter diameter. Cutterhead rotation. is a counterclockwise rotation with a is a counterclockwise rotation with right-to-left feed. • • • Talk with the manufacturer to see if you Talk And must provide additional information. creat- be prepared for sticker shock. Like ing custom furniture, making custom and shaper cutterheads is labor intensive, But the price will most likely reflect that. be for a special job, the extra cost may well worth it. and applying dentil molding is a bit time consuming. is certainly But the result worth the extra effort. dentil molding is an Using easy way to add formality to and distinction almost any cornice. when designing a cornice with dentil molding. example, For can you leave the bottom canof each cut flat or you carve a convex portion of the dentil molding is hidden by another applied molding. ➤ Two wing cutterheads Two in. so specify your 2 ⁄ 1 it’s tough to beat the power it’s Shaper spindles are sized in. to 1 2 ⁄ 1 ORDERING A CUSTOM CUTTERHEAD ORDERING machine’s spindle size. machine’s Number of wings. Bore size. are less expensive and are better suited to the slower pace associated with a hand feeding the work. If you’re using opt for three wings; you’ll power feeder, be able to choose a faster feed rate. from ➤ and speed of a shaper. Unfortunately, and speed of a shaper. be able to find the you may not always you require. The solu- exact profile that a custom cutter- tion may be to order do this, you’ll need to supply head. To the manufacturer with the following information. • • If you need to create moldings If you need to create efficiently, Using Dentil Molding for a Formal Look One of the most versatile complex moldings is dentil molding, essentially a strip of wood with a series of cuts that leave blocks. These blocks teeth, resemble giving the molding its name. shallow, Because the cuts are the teeth intact;remain with easier to work much it’s a strip of evenly spaced block than with dozens blocks. of individual But the blocks, or teeth, individual because appear the upper Complex and Built-Up Moldings SECTION 10 OVERVIEW 170

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ARCHITECTURAL CORNICE

This cornice can be made on the shaper from six separate molding strips using simple knife profiles. Dentils can be made on the table saw with a dado head.

Crown Reverse Tongue-and-groove ogee knives (or square) cut this profile.

Cove Soffit

Fascia

Reverse ogee Ovolo Dentil arch into each one. Another option is to drill a series of shallow holes above the spaces. This adds additional detail, which gives the molding more distinction. Spacing and proportion are also important. The blocks look best if each is a vertical rectangle rather than a square. The proportion of the blocks should fit with the rest of the cornice, whether it’s an arrangement of small profiles for, say, a clock case or a large group of moldings in an architectural cornice. Finally, dentil molding looks best if the The design options for dentil moldings are nearly limit- miters meet at blocks rather than at a space less and can make a piece of furniture quite distinctive. between the blocks. To space the blocks accurately you’ll need to lay out the dentil strip with dividers before you begin cutting.

Complex and Built-Up Moldings 171 TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) A, B). on p. 209. “Machine-Cut Coves” “Machine-Cut See Large, Solid Crown Large, Solid Saw the Table Molding on Table and Router here is used as a crown for The molding shown a Connecticut-style tall a large case, such as like most in this book, chest. But the technique, has broad applications. moldings use a deep, ellip- Many furniture crown smaller, tical cove as the large focal point, with basic profiles flanking it. Making the molding continuity from one piece of solid stock ensures applica- of grain and color and greatly simplifies tion to the casework This Begin by drawing the profile full-scale. to plan ensures good proportions and allows you Next, shape the cove on the each cut more easily. ( table saw while the stock is still square ➤ Table Table Step 1. Cut cove on the table saw. Shape bead. Step 2. C B Step 1. Shape thumbnail on the router table with an inverted crown molding bit. D A Step 2. Rip away excess stock. Complex and Built-Up Moldings SOLID COMPLEX MOLDING SOLID COMPLEX 172

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) ➤ router table. use theshaper( cove atthebase.To cutthecove,youcan There isonlyoneprofileremaining:thesmall the bead( bit. Nowstandthemoldingonedgeandshape it tothetopaftercuttingasmallopeningfor the samelengthasyourroutertableandclamp Instead, useaflat,widepieceofstock.Cutit with yourroutertablewillobstructthecut. Shape thebeadnext.Thetallfencethatcame from CMTUSA,Inc.( you canuseaspecialinvertedrouterbit,available shaper, youcaninvertaroundovercutter( profile atthetopofmolding.Ifyouhavea ing. Nowturnyourattentiontothethumbnail away theexcessstockatbaseofmold- Before youbeginshapingwiththerouter, rip See See Ls fSuppliers” of “List E). F, G F, ) oracoreboxbitonthe D). np 285. on p. ;or C); G E F with aninvertedcutterhead. Cut thecoveonshaper Table Complex andBuilt-Up Moldings SOLID COMPLEXMOLDING 173

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) C). A). on p. 209. on p. 285. “List of Suppliers” “Machine-Cut Coves” “Machine-Cut See See Another Large, Another Large, Molding Solid Crown and Saw on the Table Router Table of a solid crown mold- another example Here’s can be accomplished ing. Many design variations profiles. This example with the use of different by an ogee at the top uses a large cove flanked and a thumbnail profile at the base ( table saw Begin by shaping the large cove on the (B) and then rip off the excess stock ( ogee at the Next, invert the molding to shape the top (D). lay the molding on its back to Finally, shape the thumbnail (E). from the This and the profile shown on p. 172 are CMT USA, Inc., crown-molding set. ➤ ➤ Ogee with crown-molding bits Cove with table saw E C Thumbnail with crown-molding bits A B D Complex and Built-Up Moldings SOLID COMPLEX MOLDING SOLID COMPLEX 174

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) for uniformity(F).Thenripthesecondedge position thestockbetweenbladeandfence ing. Tilt the table-sawbladeto45degreesand The laststepistobeveltheedgesofmold- reposition thefenceandmakesecondpass. After shapingthefirstpassonallofstock( together toreducesniping( As youfeedthestock,keependsbutted smoother surfacethatisfreeofmillingdefects. to shapeaprofilethissizeintwopassesfor stock. Thensetthefenceforalightcut.Iprefer the cutterheadheightsothatitiscenteredin file tocontacttheoutfeedfence( provides aflatsurfaceoneithersideofthepro- Begin bymillingthestockoversizeinwidth;this andpushsticks. can alsousefeatherboards(B) feed worksbestforfeedingthestockbutyou head designedforcrownmolding( For shapingthismolding.you’llneedatallcutter- on theShaper Flat CrownMolding ▲ must withacutterheadofthissize. ! WARNING Dust collectionisa D). C). Next,adjust A). power G). E), G A C E Complex andBuilt-Up Moldings D B 30° F SOLID COMPLEXMOLDING 16 in.to18 Feathers measure a widebladeinthebandsaw. by 5in.longandarecutwith 1 1 / 8 1 / in. wide 4 in. 6 in. 175

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) A). Set the fence tan- C). Now rip the molding Complex Molding Complex Molding Table on the Router is commonly used as a tran- This two-step profile stacking casework. As sition molding between important to moldings, it’s with all narrow strip safe handling and then rip the mill wide strips for molding free. cove ( Begin by shaping the on edge. gent to the bearing and shape the stock a sec- Afterward, raise the bit and cut the stock ond time (B). Now switch to the roundover bit for the stock 90 degrees shaping the thumbnail. Turn and shape it on the face ( free (D). Use a push stick and splitter for safety. C B D A Complex and Built-Up Moldings SOLID COMPLEX MOLDING SOLID COMPLEX 176

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) SOLID COMPLEX MOLDING

Another Complex Molding on the Router Table

Here’s another example that shows the wide variety of applications associated with making moldings on the router table. This small molding forms the base and capital on the fluted pilasters for a desk interior. After the strips are shaped, they are cut into small blocks and shaped on the ends to complete the detail. ➤ See“Template Shaping Small Parts” on p. 282. A

[ TIP] Whenever I design a new molding, I first make a drawing. It’s a great aid for the setup; I can take measurements directly from the drawing to set the bit height. At each setup, I compare the test cut to the drawing to check accuracy.

The first step is to shape the bead. To set the bit B C height, I used a molding sample that I saved from a previous run (A). Shape the bead with the molding inverted (B). The next step is to lay the molding face down and shape the large cove at the top edge (C). Now turn the molding end for end, which will position the remaining flat surface against the fence, and shape the small cove (D). Finally, use a straight bit to cut the fillets next to the small cove (E). D E

TIP

Complex and Built-Up Moldings 177 TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) E). C). A). B). Next, shape the D). Flat Molding on Flat Molding Table the Router cornice, this molding is Like an architectural at a 45-degree angle ( attached to a case start by shap- for safety, After milling wide stock the bearing on the ing the cove. I’ve removed Shape this pro- to cut deeper. cove bit to allow it down ( file with the stock face ( thumbnail profile at the base of the molding the sec- Now turn the stock on edge and shape ond thumbnail ( be seen Because the back of this molding can necessary to bevel the back cor- inside the lid, it’s table-saw ner for refinement. Begin by tilting the blade so blade to 45 degrees and lowering the penetrate the stock thickness. that it doesn’t ( Now rip a kerf along the back of the molding the Return the blade to 90 degrees and set Position height just above the stock thickness. and rip the fence for the width of the molding it free (F). F B D Complex and Built-Up Moldings SOLID COMPLEX MOLDING SOLID COMPLEX E C A 178

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Flat Crown Molding with Wooden Handplanes

Wooden handplanes still have a place in the small shop. Here’s a good example: To shape a wide, flat crown by a machine method, you would need a large shaper or a molder. Yet you can easily shape crown moldings with a few hollow and round planes. A Begin by drawing the crown molding full-size. Next select clear straight-grain stock for the molding (A).

The first step in shaping is to saw the fillet that separates the two profiles. Tilt the sawblade to 45 degrees and position the fence to align with the drawing you made earlier. Next, saw V-grooves to guide the planes (B). Now, shape the cove that is part of the ogee. Then shape the cove that is adjacent to the fillet (C). B

The final step of the process is to bevel the edges of the molding to 45 degrees. Simply tilt the blade and position the fence for this ripping cut. This completes the crown molding (D).

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Complex Flat Molding

Many crown moldings, including the one in this example, incorporate a large cove flanked by a small bead at the base (A). With this style of molding, it becomes necessary to shape the cove and bead separately and join them after Shape cove separately; then shaping. Otherwise, the bead will be cut away A glue on bead strip. B during the cove-shaping process.

Begin by shaping the cove (B). Next, bevel the edges of the cove strip. First bevel the front edges (C); then the back edges (D).

➤ See “Machine-Cut Coves” on p. 209.

Now shape the small secondary molding strip. Start by shaping the bead (E) and then complete the strip with the cove (F). Finally, glue the strip onto the base of the cove (G).

180 Complex and Built-Up Moldings BUILT-UP MOLDING

Secondary Stacked-Strip wood Complex Molding

The ability to make broad, dramatic moldings is typically limited to large shops with heavy, expensive industrial molders. But you can make broad moldings by shaping and stacking small strips (A). The shelf in shown here is a good Astragal example. Originally, the design was used as a on shelf shelf that was attached to a large architectural mantelpiece over a fireplace, which is typically the focal point in a room. You can create the Quirk bead on backboard same effect in your own shop. Let’s get started. A Ovolo First mill the stock for the shelf. The shelf and backboard are attached at a 90-degree angle and all the other moldings are stacked between them. To create the large astragal on the shelf edge, use an insert cutterhead (B) on the shaper; note that you can create this same profile with a router bit. When creating the top, shape the ends first using a miter gauge for support; then shape the profile onto the front edge (C). Afterward, rip the shelf to final width to eliminate any tearout at B C the back edge.

The next step is to shape the quirk bead on the backboard. Shape the returns on the ends first; then shape the face (D).

[ TIP] To save valuable lumber, glue strips of primary and secondary woods together. For this example, I used walnut and poplar. D

Now glue the shelf and backboard together and E allow the glue to dry while you shape the other strips of molding. Notice in the drawing (A) how the moldings stack to create the wide cornice. After shaping, miter and stack the strips to complete the cornice (E).

Complex and Built-Up Moldings 181 TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) ). To ease the process of fitting the ). To ). After the dentil has been cut, the stock is very fragile until it’s glued into the groove. The is very fragile until it’s to the top last step is to apply the crown molding of the stack (C cornice, the crown is added after the strips are applied to the casework or wall. Cornice with a Flat Crown Cornice with Strips and Stacked a wide cornice com- This method for making methods. By attaching a bines the two previous to a stack of strip mold- wide, flat crown molding effect can be created. This ing, a very dramatic applications—from crowning technique has many as an architectural cornice fine casework to use within a room. I produced Begin by shaping the crown molding. the molding on my shaper with a tall cutterhead too. For (A). But you can create it in other ways, the table example, you can use a large cove on can shape saw flanked by smaller moldings, you can even the crown with wooden planes, or you purchase the crown from your local millwork shop or home center. the edges After shaping the crown molding, bevel Next, shape a simple profile on the table saw. Then onto a wide strip to serve as a backboard. groove cut a dentil mold that fits within a wide dentil is cut into the face of the backboard. The a dado quite simple to cut on the table saw with head (B A C B Complex and Built-Up Moldings BUILT-UP MOLDING BUILT-UP 182

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Basic Dentil Moldings on the Table Saw

As with all moldings, it’s important to draw the dentil design before cutting it, allowing you to work out the proportions (A). This is especially true for dentil molding because, unlike many other moldings, it is never used alone.

Next, fasten a backboard to the miter gauge. A Stack the dado to equal the kerf in the dentil and make a cut into the backboard (B). Using dividers, transfer the dentil spacing from your drawing to the backboard. Now tack a small brad into the board at the point indicated by the dividers and allow the head to protrude slightly. With the setup complete, you’re ready to begin.

Place the end of the stock against the bead and make the first cut (C). To space each subsequent cut, slip the previous cut over the brad (D). It’s B that simple.

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Dentil with a Carved Detail

Furniture dentil is often more elaborate than architectural dentil. The dentil shown here is a good example (A). The bottom of the space between each dentil block is carved with an arch. Above each arch is a small hole, which accentuates the arch, adding even greater detail. Drill holes. The time involved in producing many linear feet of this dentil for a room is more than most peo- ple are willing to spend. But 7 ft. or so for a chest isn’t enormously time consuming. Carve arch. Before beginning, it’s essential to understand the A B importance of accurate spacing on furniture dentil molding. The miters at each end should fall precisely on the edge of a dentil block instead of at a space or in the middle of a block. Therefore, the brad-spacing technique used in the previous examples isn’t effective here. Even the smallest spacing error is multiplied many times over, which may affect the location of the blocks at each end. C

➤ See “Basic Dentil Moldings on the Table Saw” on p. 183.

Thus it’s best to lay out the entire length of dentil strip with dividers (B) and a square (C). After E making the layout, saw each space to the line (D). It’s not nearly as tedious as it sounds, because you need only a few feet of molding. D The next step is to carve the arch at the top of each kerf. Finally, drill a small hole above each kerf to complete the job (E).

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Gooseneck Molding on the Router Table with Pin Jig (p. 198) Quirk Bead on a Compound Curve (p. 201) Gooseneck Molding on the Shaper (p. 195) Gooseneck Molding ➤ ➤ ➤

Arched Molding Arched Molding Edge on the Router (p. 193) Table Arched Molding Face on the Shaper (p. 194) Arched Molding Face on the Router (p. 192) Table ➤ ➤ ➤ Curved Moldings Curved SECTION OVERVIEW 11 186

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uilding curvilinear furniture presents many challenges, one of PROFILES THAT MUST BE Bwhich is shaping curved moldings to SHAPED FROM THE FACE match the contours. To shape curved moldings successfully it’s important to understand Some profiles are impossible to shape from the the type of curve so that you can approach edge without using dangerously long knives. So shape these profiles from the face. the problem logically. For all practical purposes, curved moldings fall into four broad categories: arcs, S curves, elliptical curves, and compound curves. Arcs are segments of true circles. Arched moldings are used over semicircular doors and openings on casework, such as clocks, desks, and chests. There are two methods for shaping arcs: First you can shape from the edge with a bearing to guide the work and limit the cutting depth. The second option is to shape the molding from the face with a curved cradle to support the stock. The decision of which method to use is determined by the width of the molding and the shape of the profile. It’s much easier and less time con- Window Quirk with Quirk with suming to shape the work from the edge; casing ogee bead however, if the molding is wide, it’s safer to shape from the face and limit the amount of exposed cutter. Also, some profiles, such as a quirk bead, can’t be shaped from the edge. Moldings that follow an S curve are usually referred to as “goosenecks” and are used as pediment moldings on casework. Goose- neck moldings can be shaped from the edge with a shaper or the face with a router. Again the determination is made by the molding profile and its size. If shaped from the edge, a template jig is necessary to guide the cut and position your hands a safe distance from the cutterhead. If you use the router, you’ll also need to When using the router table to cut curved first construct a jig to guide the work. The molding on the face of the stock, use a cradle to support and guide the work.

Curved Moldings 187 TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) With or a shaper setup, either a router Gooseneck moldings can be cut on the face on the router table. The jig creates a setup that works like a pin router. Cutting a gooseneck molding on the shaper Cutting a gooseneck molding on the the work. requires a dedicated jig to secure jig shown at top right at top clampsjig shown to the edge of to convert table the router router. it to a pin template, to a secured is The work which is guided by the pin. passes.plan on making multiple pre- This the machineand vents bogging down the chance of kickback.reduces Also be skill requires setup that the router aware tan- moving and patience to keep the work at which gent to the guide pin at the point the cut occurs. a good idea to develop It’s Table Rub bearing CREATING A GOOSENECK A GOOSENECK CREATING Plywood template MOLDING ON THE SHAPER MOLDING Shape in several passes using a smaller bearing for each pass. Shape in several passes using a smaller bearing Stock is also fastened to jig with screws from underneath. TEMPLATE JIG FOR THE SHAPER JIG TEMPLATE Curved Moldings SECTION 11 OVERVIEW 188

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ROUTER JIG FOR GOOSENECK MOLDING

CREATING A GOOSENECK MOLDING ON THE ROUTER TABLE

Pin rubs here

Step 1. Cut cove Step 2. Cut ogee Step 3. Invert molding with pin router with pin router. and cut thumbnail on in multiple passes. router table with CMT bit.

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The overhead arm Compound curves flow in two directions holds a pin that simultaneously. Moldings that follow com- guides the template. pound curves are usually limited to simple This technique re- profiles, such as a quirk bead along the edge quires skill. Take practice cuts in inex- of a chair back. By far the most practical pensive stock first. method for shaping a molding profile on a compound curve is with a scratch stock. Depending on the sweep of the curve, it may be necessary to curve the face of the scratch stock.

➤ See “Making a Scratch Stock” on p. 146.

Mitering Gooseneck Moldings It can seem puzzling—how do you miter the end of a molding with an S curve? It’s actually quite easy. Here’s how to do it. When building the template, extend it in a straight line beyond the point at which the molding will later be mitered. This creates a flat surface to register on the table of the miter saw. skill with the technique on some inexpensive But you have only one chance to cut it, so it J1120 MS7UA09SaigWo :.5x:085 175L EX 128White A M/A Magenta(D) TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” stock first. must be accurate. First position the molding Moldings that follow an elliptical curve on the pediment and mark the miter loca- can be shaped easily with the router table tion. Next, make certain that the saw is cut- and jig shown on p. 189. An elliptical tem- ting a precise 90-degree angle. Now position plate follows the bearing on the jig to shape the molding on the saw and make the cut. the profile accurately.

190 Curved Moldings SECTION 11 OVERVIEW

➤ MAKING A PATTERN FOR A GOOSENECK MOLDING

How do you draw two freeform curves that are absolutely parallel to each After bandsawing other? The answer is to use a the negative pat- disk to guide the pencil. The tern of the curve, transfer it to a edge of the disk rolls along second sheet of the edge of the first curve and plywood. guides the pencil for a parallel curve. You’ll need to make the radius of the disk equal to the width of the molding. To ensure that the disk is a per- Use a disk equal fect circle, turn it on the lathe. in radius to the Begin by carefully sketch- width of the ing the freeform curve on thin molding to guide your pencil. plywood. Next, bandsaw the negative contour. Now tack the plywood over a second layer of plywood. Trace the negative pattern, then use the disk to draw a second line An accurate parallel to the first. The result pattern results is a perfect pattern. from cutting to the parallel line.

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Arched Molding Face on the Router Table

This technique is useful anytime the profile has a quirk that can’t be shaped from the edge. It involves making a curved jig, or cradle, in which the stock travels in an arc during shaping (A).

After milling the stock, strike the radius of the outside edge of the molding onto the face. Using the same compass setting, strike the radius onto a rectangle of plywood to serve as a cradle.

Now bandsaw the outside (convex) curve of the molding stock (B) and the inside (concave) curve of the cradle. Smooth the edge of the stock with A a spokeshave (C) and fasten the cradle to the router table fence with screws (D). Now mount the bit and adjust the height to align with the edge of the stock—and you’re ready to begin (E).

To shape the curve without spoiling the profile, it’s necessary to keep the face of the stock against the fence and the edge of the stock against the cradle (F). B C J1120 MS7UA09SaigWo :.5x:085 175L EX 128White A M/A Magenta(D) TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875”

[ TIP] To get a feel for the technique, make a practice run without power.

You may find it helpful to use a featherboard to maintain pressure against the fence. After cutting the bead, shape the cove using the same process (G). When you’re finished, bandsaw the D E inside radius to complete the molding.

192 Curved Moldings ARCHED MOLDING

Arched Molding Edge on the Router Table

The process of shaping a curved strip molding is much like shaping a straight strip of molding. The difference is that you’ll first have to bandsaw the curve into the stock (A). Then, when shaping, you’ll guide the workpiece against a bearing instead of a fence (B). A After shaping, bandsaw the outside radius of the curved molding and smooth the edges (C).

▲! WARNING Remember to use a starting pin as a fulcrum to enter the cut safely.

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Arched Molding Face on the Shaper

The spindle of the shaper is much longer than the shank of a router bit. This allows you to shape arched moldings that are too wide for the router table. Examples of this type of molding are arched trim on a built-in bookcase and casing over an arched window. A Begin by striking the outside radius of the molding onto the stock. Using the same radius, strike an arc onto a plywood rectangle to serve as a cradle. Next, bandsaw the outside radius (convex) of the stock and the inside radius (concave) of the plywood. Now, fasten the cradle to the shaper fence with a couple of screws (A). Make certain that the lowest point of the cradle is located in front of the shaper spindle.

Begin by shaping the wide, flat section of the profile. Mount a tall, square cutter on the spindle (B) and position the fence for the required cutting B C depth. Next, clamp a featherboard to the shaper table to apply pressure as the stock is shaped J1120 MS7UA09SaigWo :.5x:085 175L EX 128White A M/A Magenta(D) TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” (C). After checking the fence and spindle lock, you’re ready to begin shaping (D). To avoid spoiling the stock, it’s important that you keep it in contact with the cradle throughout the cut (E).

Now repeat the process with the remaining profiles to complete the molding design. After shaping, bandsaw the inside radius of the molding.

194 Curved Moldings GOOSENECK MOLDING

Gooseneck Molding on the Shaper

The shaper is the most efficient tool for shaping a gooseneck molding. By using a complex cutter and a template/jig to hold the stock, the profile can be shaped cleanly in just a few minutes.

Before shaping, you’ll need to build a template/jig to hold the stock and guide the cutterhead in a A

3 curved path. Select a piece of ⁄4-in. plywood for the jig that’s wide enough to position your hands a minimum of 8 in. from the cutterhead and long enough to extend several inches beyond the stock. After bandsawing the curve, attach a pair of toggle clamps to the jig to help hold the stock.

➤ See “Making a Pattern for a Gooseneck Molding” on p. 191.

Now select a wide piece of straight-grain stock for the molding and trace the inside curve directly from the pattern (A). Bandsaw the inside curve only (B) and fasten the stock to the jig with several screws. The screws, combined with the toggle clamps, keep the stock securely in the jig during shaping. Obviously, you’ll need to locate the B C screws well out of the path of the cutterhead (C).

(Text continues on p. 196.)

▲! WARNING Safety is always an issue with any machine. But it’s a special concern with the shaper, especially when shaping curved stock. I strongly urge you to gain plenty of experience with the shaper before using this technique.

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The cutterhead shown here is one I designed; it was custom manufactured by Freeborn Tool Company. It’s important to shape the profile in multiple passes to reduce the feed resistance and increase safety. This is accomplished by switching to a smaller rub bearing after each successive pass. I used three bearing sizes with this cutterhead; the smallest bearing allows the cutterhead to shape the full profile. Also, notice D that I’m using a disk guard that mounts above the cutterhead. This guard is available from Delta. Although I removed the guard so the photos would be clear, I don’t recommend using this technique without it.

➤ See “List of Suppliers” on p. 285.

Once the construction of the jig is complete, set up the cutterhead assembly on the shaper spindle. Slip the largest bearing on the spindle first, then the cutterhead, and finally the guard. Then lock the assembly in place with the lockwasher and spindle nut. Now position the jig and workpiece next to the spindle to make the height J1120 MS7UA09SaigWo :.5x:085 175L EX 128White A M/A Magenta(D) TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” adjustment; then lock the spindle height (D). E F Now you’re ready for the cut. Remember always to feed the stock against the spindle rotation. In this case, I’m feeding from right to left.

Turn on the shaper and position the extended portion of the jig against the rub bearing (E). Now begin feeding at a steady pace (F). As you feed the work, keep the jig resting on the table and the edge against the bearing. As the chips fly, you’ll soon be at the end of the cut (G).

G H

196 Curved Moldings GOOSENECK MOLDING

Pull the work away from the spindle and turn off the shaper. Now switch to a smaller bearing and repeat the procedure (H). Remember to shape the matching gooseneck each time. Finally, install the smallest bearing (I) and shape the complete profile (J). Now remove the molding from the jig and bandsaw the outside curve. Invert the molding and bandsaw from the back for an accurate cut (K). Next, place the molding into a second jig for flush trimming (L). This jig has a negative pat- I J tern that acts as an alignment strip (M).

When you’re finished (N), place the fence around the cutterhead and shape the returns that miter to the ends of the gooseneck.

K L

M N

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Gooseneck Molding on the Router Table with Pin Jig

Another method for shaping gooseneck and arched moldings is to use a pin router. A pin or bearing is suspended over the router, which is mounted in a table. A template, which is positioned over the stock, follows the guide pin. Because the pin can be positioned offset to the A router bit, interior cuts can be made.

Although pin routers are expensive, the jig shown here clamps to the edge of your router table to convert it to a pin router. A bearing is fastened to the end of the arm to guide the template (A). The arm is held in position on the base with a bolt. A tongue under the arm slides within a groove in the base to prevent the arm from moving sideways (B).

B After constructing the jig, make a full-size pattern

Pilot bearing of the gooseneck curve. Next, use the pattern to lay out the curve on both the template and the stock. Extend the line on the template beyond the curve of the molding. This way the template J1120 MS7UA09SaigWo :.5x:085 175L EX 128White A M/A Magenta(D) TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Flush-trimming bit will contact the bearing before the router bit contacts the stock, eliminating potential grabbing at the entry of the cut.

Template over ➤ Router table See “Making a Pattern for a Gooseneck workpiece Molding” on p. 191.

C Now fasten the workpiece to the template with several screws. Take care to keep them out of the path of the spinning bits. Allow the work to

1 extend ⁄16-in. beyond the template edge for flush

198 Curved Moldings GOOSENECK MOLDING

trimming. Next, fasten a large block of the same thickness toward the back of the template to sta- bilize it as you’re shaping. Now you’re ready to begin shaping.

Begin by flush trimming the work (C) with a flush-trimming router bit (D); you will not need the pin jig for this step. Next, begin shaping the cove. Because of the large size of the cove, it’s necessary to make this cut in several passes. Mount the corebox bit in the router and clamp the jig to the table edge. Now slide the arm of the jig out and lock it in position for a light cut.

Before starting the cut, you must realize that E F it’s necessary to keep the template edge in the same spot on the bearing throughout the cut; the location is a point tangent to the bearing at 90 degrees to the arm. This is necessary because the guide bearing and bit are not spinning on the same axis—they are offset. Performing this task is not difficult, but requires concentration. Also, realize that you’ll gain experience as you go and keeping the template located properly is not extremely critical until the final pass.

Let’s give it a try. Turn on the router, position the end of the template against the bearing, and begin feeding the stock (E, F). As the template curves, rotate it to maintain contact at the front G H of the bearing (G, H, I). Now turn off the router, retract the arm slightly, and repeat the process several times until the full profile of the cove has been shaped (J).

(Text continues on p. 200.)

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The next step is to shape the ogee at the top of the molding. If the router bit you’re using has a bearing, you’ll first need to remove it and grind off the stud (K). Now, mount the bit in the router and adjust the arm to position the bit correctly in relationship to the molding. Now make the cut (L).

The last step is to shape the thumbnail at the K base of the molding (M). For this profile, you’ll need a bit from CMT USA’s crown-molding set. The inverted profile allows you to shape the thumbnail on the router table (N).

➤ See “List of Suppliers” on p. 285.

L J1120 MS7UA09SaigWo :.5x:085 175L EX 128White A M/A Magenta(D) TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875”

200 Curved Moldings ➤ slightly inthedirectionofcut(C). the scratchstockagainstworkandtiltit the surface( stock, gentlyscrapethequirk-beadprofileonto secure theworkpieceinavise.Usingscratch After bandsawingandsmoothingthecurves, pound curveistouseascratchstock( The easiestmethodforshapingaprofileoncom- the flowinglinesofcurve. to provideadditionaldetailanddrawtheeye curves usesimpleprofilessuchasaquirkbead furniture componentsthathavecompound flows intwodirectionssimultaneously. Some Remember thatacompoundcurveisone Compound Curve Quirk Beadona See See “Making aScratch Stock” .Asyouwork,keepthebodyof B). np 146. on p. A). A C B GOOSENECK MOLDING Curved Moldings 201

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TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) PART FOUR Other Decorative Shapes

s versatile as routers and shapers can be, there are times when some ingenuity is necessary to achieve a certain profile or shape. Cove cutting is a prime example. Large coves are often beyond the reach of all but the Abiggest shaper, and the profiles are limited to the cutters available. Fortunately, this shape can easily be cut on the table saw, producing coves of different sizes and arcs that are particularly useful in making crown molding. Fluting and reeding have a special place in period furniture and architectural woodworking. Well-designed and proportioned flutes and reeds in a pilaster or column lend a formal, elegant look to a piece of furniture or a period room. Although cove cutting, fluting, and reeding are decorative techniques, their utility cannot be underestimated. They can turn an ordinary piece of furniture into something distinctive. TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D)

Hand-Cut Coves Cove Cut with a Molding Plane (p. 211) ➤

Cove Cut on the (p. 209) Saw Table Cove Cut on the Router Table (p. 210) Machine-Cut Coves ➤ ➤ Coves SECTION OVERVIEW 12 204

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) example usestwocoves. design ofcrownmoldings. Thiscomplex Coves areanimportantelementinthe C fence anglesandbladeheights. withdifferent tremendously bevaried can ofthecove theshapeandsize Best ofall, cove throughout thelengthofstock. resulting inadeep blade israisedslightly, the For successivepass, each of theblade. passedover the top isrepeatedly the stock Then angle tothebladeactasafence. tothetableatan ofwoodisclamped strip A iscove tablesawtechniques cutting. sual, solution. Thetablesawprovides aviable shops. small molders are ofmost range beyond theprice cove—and small largeshapersand tively Eventhelargestrouter bitscutarela- cove. deep how tocutalarge, molding isalways of The problem whenmakingthistype asanogeeorthumbnail. such basic profiles, flankedbysmaller Thecove isusually file. useacove cornices tectural asthemainpro- andarchi- casework, moldings forfurniture, rbbyoeo h otueu,yet unu- Probably oneofthemostuseful, n odns aylre complex Manylarge, ing moldings. theirgreatestperhaps useisinmak- haveoves manyapplications, but 65° EFFECT OFFENCEANGLE WHEN SAWING COVES 45° 25° ETO 12OVERVIEW SECTION Coves 205

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) For the first method,For you’ll need to build To visualize this works, how To hold a the parallelogram at left. jig shown The jig pivots at the corners and locks in place to hold a setting. Set the space between the and raise the bars for the width of the cove Finding the Angle Finding angle may seem like the correct somewhat of a mystery, actually but it’s quite simple. In fact, a couple of meth- are there can which you ods from choose. Making a Fence is to The first step in using this technique mill a length of stock for use as a fence. The exact,dimension of the stock isn’t but it be of sufficient sizemust to avoid flexing. A the edge has well once length of 2x4 works been trued on the jointer. Also, the stock be longer than a standard fence to span must table at various angles.the saw’s An alternative to the single fence is a double fence passes. which the workpiece through Once establish the angle,you be the fence must securely clamped using to the saw table standard clamps or wooden handscrews. circular sawblade at arm’s length and pivot sawblade at arm’s circular it slowly. the viewing As changes, angle as a long,the blade appears ellipse. narrow to pivot the blade the continue As you until it appears as ellipse becomes broader a full circle. Of course, pivot the can’t you blade on the saw, attach an so instead you angled fence. Fence angle Hardwood strips COVE SET-UP JIG COVE SET-UP Wing nut Width of cove The fence for cut- The fence as ting coves can be simple as a sturdy piece of flat stock firmly clamped to the table of the table saw. Coves SECTION 12 OVERVIEW 206

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) 1 lower thebladetoaheightof first cut, For the lightcuts. cove bytakingmultiple, thatyou makethe It’s essentialforsafety Making theCut on thetable. securely thefence clamp Finally, site edge. the cove ononeedgeandexitstheoppo- sothebladeenters and positionthefence the sawbladetoequaldepthofcove Now raise the depthandwidthofcove. mark layout orsimply linestoindicate stock thecove draw endofthe oneach Next, forthecove. the stock firstmill method, table saw. ofthe rails it inplaceonthefront andback atthesameangleandclamp tion thefence Now posi- oftheblade. the front andback blade andpositionitsothatcontactsboth placethejigover thesaw- Next, the cove. sawblade toaheightthatequalsthedepthof ⁄ 16 To findtheangleusingsecond in. Then raise thebladeapproximately Thenraise in. COVES ONTHE TABLE SAW of cove Width sawblade Height of lightly. sand thesurface scraping, After much faster. scrapermakes thistediousprocess go curved A face andremove ofsawmarks. traces all width ofthecove. the layout linesthatmark theheightand thebladeshouldcontact On thefinalpass, your handsasafedistancefrom theblade. tokeep andusepushblocks with thefence maintaincontact over theblade, the stock 1 ⁄ 16 Afterward, you’ll needtosmooththesur- you’ll Afterward, n o ahscesv as Asyou feed successivepass. foreach in. a curvedprofile. a handscraperwith sawn coveistouse marks fromatable- remove thesaw The bestwayto ETO 2OVERVIEW 12 SECTION Coves 207

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) Make certain Keep your hands As with any woodwork- If the guard that came Use a guard. with your table saw doesn’t work, with your table saw doesn’t devise one of your own. An overarm works guard, such as the Biesemeyer, well with this technique. can push the stock firmly against the can push the stock it. Still another solu- fence as you feed parallel fences and tion is to use two them. run the stock between Clamp the fence securely. light cuts. Take Use push blocks. that the fence will not move during the that the fence will coving operation. ing machine, heavy cuts produce greater feed resistance and an invita- tion to kickback. a safe distance from the sawblade at a safe distance from the sawblade all times. • • • • When you’re SAFETY GUIDELINES FOR COVE CUTTING FOR COVE SAFETY GUIDELINES cutting coves, you might wonder if the cutting coves, you might wonder if fence is positioned in front of the blade of or behind it. There are two schools thought on this question. Some woodworkers contend that the fence should to be positioned in front of the blade counteract blade force and limit the possibility of kickback. But using this position is awkward, because you’re pushing the stock away from the fence as you feed it. Another option is to position the fence behind the blade. This setup feels positive because you Position the fence properly. Position the fence ➤ Cove cutting is a great technique Cove cutting is but as with with broad applications; there are spe- most advanced methods, list of a Here’s cial safety concerns. guidelines. • Coves SECTION 12 OVERVIEW 208

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) MACHINE-CUT COVES

Cove Cut on the Table Saw

The first woodworker to use this technique has been long forgotten. In fact, I suspect that cove cutting on the table saw is as old as the saw itself. It’s a great technique that has a multitude of uses.

Begin by milling the stock and drawing the cove A B on each end. Next, adjust the blade height on the table saw to equal the depth of the cove (A). Now you’re ready to set the fence angle.

Position the fence so that the blade enters the stock on one edge of the cove (B) and exits on the opposite edge (C), or use the jig on p. 206 to find the fence angle. Then clamp the fence securely to the table saw. Now check the fence C D once more. If necessary, make minor adjustments to the angle. Then lower the blade to

1 ⁄16 in., and you’re ready to make the cut.

Use push blocks to safely distance your hands (D). As you push the stock over the top of the blade, maintain contact with the fence (E). Before each successive pass, raise the blade approxi-

1 mately ⁄16 in. (F). For the final pass, take a very light cut and feed the workpiece slowly to achieve the smoothest surface possible (G). E F G Afterward, remove the saw marks with a curved scraper and sand the cove smooth (H). By tilting the blade, you can create asymmetrical coves (I).

Coves 209 TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) A). This D). C). Adjust the fence ). It’s important to keep each cut light; B). It’s Cove Cut on Cove Cut on Table the Router bits will not cut a very Even the largest router a practical way to in- deep cove. But there’s cove. Use two bits of dif- crease the size of the an elliptical cove ( ferent radii and create the depth and width of the will greatly increase to create a large molding cove and enable you benefit, an elliptical cove is profile. As an added radius. more appealing than one with a constant with the Begin by making multiple light passes first bit ( to heavy cuts are prone to kickback and tend Use feather- cause overheating of the router. boards to keep the workpiece in position. switch After making the first portion of the cove, bits and complete the cut ( curves position and the bit height to blend the final cove from each of the two router bits. The ( should be a smooth, continuous curve C B D 1 in. radius in. radius 8 / 5 1 Instead use two large router bits with different radii to create a large elliptical cove. Even a large router bit can't shape a very large cove. Coves

MACHINE-CUT COVES MACHINE-CUT A

Second Cut First Cut 210

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) ➤ the coveuntilfullprofileisreached( V toestablishacove( To cuttheprofile.makeseveralpassesdown a straightpath. fence, sotheVisrequiredtokeepitrunningin of thestock.Thistypeplanedoesnotusea stock (A).Next,cutaVgroovedownthelength laying outtheparametersofcoveon To makeacovewithwoodenplane,beginby they’re stillusefultoday. in matchingpairsformakingmoldings—and lows androundswereonceproducedtogether as thenameimplies,haveaconcavesole.Hol- semicircular, convexshapeofitssole.Hollows, called around.It’s aptlynamedbecauseofthe One ofthemostcommonmoldingplanesis a MoldingPlane Cove Cutwith Moldings” See “Tools forEdge“Tools Treatments and np 18. on p. B). Thenwidenanddeepen C). A B C HAND-CUT COVES Coves 211

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Reeds Reeded Surface (p. 220) ➤

Flutes Small Stock Fluted on the Router Table (p. 215) Carved Reverse- Stop Flutes (p. 216) Fluted Quarter Columns (p. 217) Large Pilaster Fluted with a Handheld Router (p. 214) ➤ ➤ ➤ ➤ Flutes and Reeds Flutes SECTION OVERVIEW 13 212

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) ■ ■ ■ ■ W when addingflutestoaproject: comparison. forside-by-side ofthevariations drawings helpfultomakefull-scale it’s always sions, makingdesigndeci- When be appealing. tions tokeepinmindifthefinallookis there considera- because are several example, Proportioning flutesisagood the details. of asproportions height towidth)aswell as (such proportions fortheoverall true Here’s alistofguidelinestoconsider substantial difference inthefinaleffect. reserve thisfinedetail foryour bestwork. reserve wantto probably soyou’ll labor intensive, thearch is Carving flute. the baseofeach more detail? Try areverse arch at carving details. end carved Consider if you’re usingarouter table. minutesmore afew tosetupstops only itrequires And besides, additional detail. andprovide are more catching tainly eye Butstoppedflutescer- point uniform. you don’t havetokeepingthestopping because andareattractive easiertocut, length ofthecolumnorpilasterare or flutes stop flutes. use through to want you if Decide skimp onthenumberofflutes. don’t To this, achieve provide detail. flutes istobreakand uptheflatsurface ofthe Thepurpose flutes themselves. thanthe tween flutesshouldbesmaller closely. flutes the Space changes assmall shaped. being surface proportional the flute to the of width the Keep n untr ein Thisholds any furniture design. elementof are themostcritical ithout adoubt, Flutes that run theentire thatrun Flutes 1 ⁄ 16 in. can makea can in. The spacebe- proportions Often Want still REVERSE-STOP FLUTES end Bottom end Top Reverse arciscarved. best work. gant detailforyour of afluteisanele- arch atthebase Carving areversed ETO 13OVERVIEW SECTION Flutes and Reeds 213

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) D). F). B). Next, mill the stock for the A). Large Pilaster Fluted Large Pilaster Router with a Handheld such as this pilaster for a Fluting lengthy stock, be awkward when passed corner cabinet, can of a router table. In situa- across the short top much easier to pass the it’s tions such as this, Before you begin, you’ll router over the stock. to the which attaches need a guide accessory, you can make a guide Or base of your router. as I did here ( After attaching the guide, adjust the cutting depth of the bit ( you’ll pilasters. If you mill it oversize in length, check each have an area to lay out the flutes and router setting (C). end After layout, clamp a stop block at each by to keep the flutes uniform in length. Begin ( routing the center flutes and work outward setting Afterward, cut two flutes with each new the (E). Each time you start a new flute, position router base against the stop block ( F B D E C A Flutes and Reeds FLUTES 214

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) turn thestockendforend. each fencesettingwillmaketwoflutes;simply to thebit(D).Foreachsideofcenterflute, For eachsuccessivecut,movethefencecloser even athigherrotationsperminute(rpms). diameter bitshavearelativelyslowrimspeed slowly toavoidafuzzy, tornsurface;small- the stocktonextstop( and loweritontothespinningbit(B).Thenpush Position theworkpieceagainstinfeedstop Now you’rereadyforshaping. length oftheflutesandkeepthemconsistent. Finally, setstopsateachfencetocontrolthe and positionthefencetocutcenterflute. flute (A).Next,setthecuttingdepthofbit router. Also,markthepositionofend the spacing,becauseit’s usedtosetupthe Begin withlayout.You’ll wanttobeaccuratewith difficult tokeeptheroutersteadyifit’s handheld. This smallflutedplinthisnarrow, whichmakesit satility ofyourrouter. Here’s agoodexample. A routertablewilldramaticallyincreasethever- on theRouterTable Small StockFluted C). Feedthestock A D C B Flutes and Reeds FLUTES 215

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) C). A, B). D). Carved Reverse-Stop Flutes Carved Reverse-Stop flutes, you’ll need to modify Before carving stop Carving gouges are the edge of the gouge. you buy them. Although somewhat square when for most types of carving, this profile is effective of the gouge will dig in when the outside corners Instead, the end of the incising a stop flute. to follow the con- gouge must be semicircular tour of the flute. tool shape The most efficient way to change the Roll the tool from side to side is to use a grinder. corners. on the grinding wheel to grind away the avoid dead As you grind, keep the tool moving to the spots in the curve. After grinding, sharpen tool to a mirror surface with benchstones. the lower A reverse-stop flute is a neat detail at Rather end of a flute (see the drawing on p. 213). the than leave the flute end concave, as from the end is carved to a convex profile. Like router, a piece of many details that add visual interest to be created by furniture, reverse-stop flutes can’t the machine. But for a special piece of furniture, extra handwork is worth it. on p. 215. Begin by routing stop flutes as shown Next, Be certain to provide space for the carving. square lay out the stop flute. Use a combination circle tem- to extend the sides of the flute and a plate to draw the arc ( Now select a carving gouge with a sweep that comes closest to the curve of the arc. Incise the curve by cutting vertically with the gouge ( Then carve parallel to the flute to complete the profile ( C B D A Flutes and Reeds FLUTES 216

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) FLUTES

Fluted Quarter Columns 1 in.

Quarter columns, as the name implies, are one- quarter of a full circle. Typically fluted, the columns are inset within the front corners of casework such as desks, chest, and clocks. Like full-round columns and pilasters, quarter columns require a base and capital to complete them visually. Once complete, quarter columns provide a Column formal architectural look and additional detail.

To create quarter columns, you must glue four strips of wood together with heavy paper in the Case B glue joints. After turning and fluting, the column is easily split into four segments, because the heavy paper in the joints allows the pieces to separate.

Begin by drawing a cross-section of the column

3 full-scale (A). Columns typically have a 1 ⁄4 in. diameter, which yields a quarter column that’s

7 ⁄8 in. across when viewed from the front of the case. Next, draw the flutes in place. The size and Base spacing of the flutes must look proportional to A C the column; spacing is determined by the index head on your lathe. More specifically, the number of flutes must divide equally into the number of divisions on the index head of your lathe.

The next step is to mill the stock for the columns. If you mill it slightly oversize, you’ll easily be able to turn the column to the required diameter. After milling, you must glue the four sections together to create a full column. However, before you begin, remember that joint alignment is critical; the four seams must align perfectly. Other- wise the separate columns will not be exactly a quarter circle. Starting with the ends, align the joints with pressure from opposing clamps (B). You can check the alignment by examining the joint at the end of the assembly (C). After aligning

(Text continues on p. 218.)

Flutes and Reeds 217 TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) D). H). E). Then carefully on p. 224. “Turning” See the ends, clamp the remainder of the work. For clamp the remainder the ends, the glue to dry overnight safety reasons, allow before turning. turn the square to a uniform The next step is to the ends of the turn- Begin by squaring cylinder. the centers for mounting in ing blank. Then mark alignment is critical. Mark the lathe. Once again, the point of an awl ( the exact location with blank securely in the lathe Afterward, mount the for turning. if difficult a straight, uniform cylinder isn’t Turning the blank you follow a few easy steps. First, turn round with a roughing gouge ( can accom- You turn it to the required diameter. several plish this by cutting to the diameter at the tool locations with a parting tool. As you lever gauge the into the spinning stock with one hand, hand diameter with spring calipers in the other cylin- (F). Then turn the remaining portion of the der to diameter with the roughing gouge. block Afterward, smooth the cylinder with a and plane. Support the plane on the tool rest slowly push it slowly down the length of the spinning stock (G). This is a great technique! The to cre- plane cleanly shears away the high spots ( ate a perfectly smooth, uniform surface ➤ H G E Flutes and Reeds FLUTES F D 218

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) FLUTES

The next step is to rout the flutes. But first you’ll need to build a jig (I). The jig is actually a box that mounts to the bed of the lathe to support the router during the fluting process. Next, mount the box under the workpiece and, if necessary, attach a square base to your router to fit within the sides of the box (J). Finally, set the cutting depth of the bit and lock it in position.

Before you begin routing, remember that the flutes must be spaced equally around each quarter column; the first and last flute on each quarter column should be adjacent to a glue joint. For I this spacing to occur, it may be necessary to reposition the cylinder between the centers. Lock the cylinder in place with the pin on the index head (K); then make a very short test cut on one end of the cylinder. If the flute falls next to the glue joint, fine. If not, release the pressure slightly at the tailstock and rotate the column to bring the router bit into alignment. Now tighten the handwheel at the tailstock and make a second test cut. J K

Once the column is aligned for the first flute, successive flutes will be correctly positioned in relation to the glue joints. Once the setup is complete, route the flutes (L). If you choose to stop the flutes, tack a wood block to the jig to act as a stop.

When fluting is complete, remove the column from the lathe and carefully split it into corners by placing a wide chisel at one end and tapping it gently (M).

L M

Flutes and Reeds 219 TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) B). Furthermore, as C). Next, lay out the on p. 224. “Turning” See Reeded Surface of convex semicircular Reeding is a series decoration (A). Although shapes, used as surface effective used for reeding, it’s a router bit can be to be reeded is straight. only when the surface such as the exam- and taper, Surfaces that swell be carved. Think about it ple shown here, must flow down a tapered sur- this way: As the reeds too ( face they must taper the radius of each reed continually they taper, a tapered changes. Although a router guided by created template will shape the reeds, it will not This is a truly reeded surface—only a facsimile. is because the radius of the router bit profile constant. Begin by turning the leg ( of the reeds equally around the circumference turning (D). This is easy to accomplish with the simple jig shown here (E). Use the index head on your lathe to keep the spacing accurate. ➤ C B D Section Section Section Flutes and Reeds REEDS A 220

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) the gouges. lightly tosmoothawayanyremainingfacetsfrom Complete thecarvingbysandingeachreed adjustments ( faces foruniformityandmakeanynecessary Once you’vecarvedeachreed,inspectthesur- carefully tokeepeachreeduniformasittapers. areas requireagougewithtightersweep.Work require gougeswithabroadersweep;narrow gouges ( over thereedswithvarioussweepsofcarving keep thelinesrunningstraight( each layoutlinewiththegouge( the pinonindexhead.Thencarefullyfollow V gouge.Firstlocktheturninginpositionwith The nextstepistooutlineeachmarkwitha H). Thewiderportionsofeachreedwill I). G). Nowround F). Besureto H E F Dowel Kerf Pencil Screw pinchesdowelinkerf. I G Flutes and Reeds REEDS 221

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) Turning, page 224 Carving, page 252 J1120 MS7UA09SaigWo :.5x:085 175L EX 128White A M/A Magenta(D) TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875”

Bending, page 272 PART FIVE Special Techniques

eyond the many ways to cut shapes with familiar tools, there are specialized methods for shaping wood. Turned shapes are familiar in chair and table legs, bedposts, and other rounded symmetrical forms. In fact, turnings are Bessential to some period furniture styles. Carvings have enhanced furniture since time immemorial. One of the most artistic aspects of woodworking, carvings not only provide interesting detail but allow the maker a highly personal form of creative expression. Both turning and carving require a little more effort to learn, but the possibilities they offer the woodworker are well worth it. Finally, there’s bending—the most distinctive technique in the repertoire of shaping methods, because it is the one way to shape wood that doesn’t involve cutting. Instead it takes advantage of wood’s natural flexibility and ability to be plasticized. TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) Turnings Complex A Complex Turning (p. 246) ➤ Details Decorative Turning a Rosette Turning (p. 241) a Flame Turning Finial (p. 242) ➤ ➤ Pedestal Turning a Vase Turning Pedestal (p. 239) ➤ and Feet Furniture Legs Turning a Tapered Turning Leg (p. 234) a Pad Foot Turning (p. 236) an Offset Turning Leg (p. 237) ➤ ➤ ➤

Shapes

Turning Basic Turning Turning a Cove Turning (p. 233) Turning a Cylinder Turning (p. 229) a Pommel Turning (p. 230) with Bead Turned a Spindle Gouge (p. 231) with Bead Turned a Skew (p. 232) ➤ ➤

➤ ➤ ➤ Turning SECTION OVERVIEW 14 224

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) R a okcalnig once you toturn learn may lookchallenging, thoughturning even So cove ontheother. bead ononesideandiscutlikeatapered outasa shapestarts Avaseorurn shapes. ofsimple combinations ormodifications leg.lines ofaturned piececomesalivewiththesofter Shaker would lookincomplete!Evenasimple consider ahighpointoffurniture design, many which furniture, Eighteenth-century furniture designmight bewithoutturnings. of but thinkhow different thehistory table legmaynotbetoeveryone’s taste, oftheJacobean andurns coves, The beads, look likeifthelathehadn’t beeninvented. shapes. ofcurved ing variety whileproducing anamaz- enables symmetry This equidistantfrom thecenter. always Complex turnings areComplex turnings nothingmore than Try toimaginewhatfurniture might

edCove Bead pn nalte Thefinalshapeis spins onalathe. ing iscuttingthewoodwhileit tobareeduced essentials,

iltReverse ogee Fillet PARTS OFATYPICALTURNING turn-

Vase ing gouge or skew musting gougeorskew beflathollow ofaturn- Thebevel the edgeisalsocritical. theshapeof butinturning, woodworking; kindof toolsare essentialtoevery Sharp the Tools Properly Learn toGrind ings toyour designs. addturn- turning techniquessothatyou can Thissectionexplainsbasic mon themes. create infinitepermutations onthesecom- combinethemto you can the basicshapes,

Bead

Cove

Fillet

Bead and flamefinials. carved rosettes with turned-and- ment isembellished gooseneck pedi- century-style This eighteenth- ETO 14OVERVIEW SECTION Turning 225

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ground. A tool with multiple facets will have GRINDING GOUGES AND CHISELS a convex bevel. What’s the difference? The FOR SPINDLE TURNING bevel must continually rub the stock to support the edge while turning. A faceted, convex bevel won’t accomplish this. Keep your A single-bevel, flat or hollow ground is required tools sharp. You’ll gain more control and for successful turning. experience fewer “catches” with a very sharp tool than with one that’s only somewhat sharp. This is a universal principle that applies to all edge tools, from a bench chisel to a kitchen paring knife. Turning tools dull rather quickly because of the friction gener- ated heat. Although high-speed steel (HSS) A multifaceted convex tools are more heat resistant than those of bevel is difficult to use and will likely catch. ordinary carbon steel, they still require fre- quent touching up with a slipstone.

Learning to Use the Basic Tools Some turning tools are friendlier than others, and the spindle gouge is easily the beginning turner’s best friend. You’ll achieve

J1120 MS7UA09SaigWo :.5x:085 175L EX 128White A M/A Magenta(D) TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” success faster and most likely enjoy turning more if you begin by mastering the spindle ALWAYS TURN DOWNHILL gouge. Learn to sharpen it correctly and practice making the basic spindle shapes using this tool. Once you master the use of the spindle gouge, you’ll have a foundation for the movements needed to use the other tools, including the notorious skew chisel. This tool is by far one of the most useful tools, but it’s easier to catch the work. Once again, patience and practice will reward you. Remember always to cut “downhill.” To avoid a catch, it’s crucial to cut from large diameters toward smaller ones. Woodturners call this cutting downhill.

226 Turning SECTION 14 OVERVIEW

Avoiding Chatter ➤ LET THE BEVEL RUB Chatter is a woodworking term for “vibration.” When turning, chatter creates a distinctive spiral pattern on the work, which A catch usually occurs when the bevel can be difficult to remove. Chatter most is lifted from the stock, leaving the unsup- often occurs when turning long, slender ported edge to dig in. How can you be work. But even a heavy bedpost can some- certain that the bevel is rubbing? Simply times be a problem because of its extended position the tool on the spinning stock so length. Fortunately, there are several solu- that the bevel rubs but the edge is not in tions to the problem: contact. Then slowly lift the handle of the ■ Try sharpening the tool. A dull tool flex- tool until shavings begin to fly. At this point, es the workpiece rather than cutting it both the edge and the bevel are in contact. cleanly. To limit dramatically the occurrence of ■ Use a steady rest. Position the rest firmly catches, keep the bevel rubbing the stock behind the stock close to the area that as you turn. you’re turning. ■ Steady the work with your hand. This POSITIONING THE GOUGE technique works extremely well, but use caution. Don’t wear clothing or jewelry that can get caught by the spinning stock. Gouge Also, to avoid a nasty pinch, position your hand behind the work away from the rest. ■ Change the speed. Adjusting the speed up or down slightly will often help put a Tool rest stop to excessive vibration. ■ Turn the center of a long turning first. Save the end portions for last to help Workpiece reduce the occurrence of chatter. ■ Turn the smallest diameter last. This will avoid weakening the turning, which causes it to flex and vibrate. turnings with small diameters. The finial shown on p. 242 is a good example. The Special Cases narrow cove at the base of the flame makes How do you turn something longer than this difficult to create as a one-piece turning. the bed of your lathe? Divide it into two or But by dividing it into two sections, the job’s more sections. This is an effective method a snap. It also makes it easier to maneuver for long, slender bedposts as well as shorter the gouges when carving the flame. As an

Turning 227 TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) SECTION 14 OVERVIEW

DIVIDING A TURNING INTO SECTIONS

Round tenon Mortise

added benefit, this method allows you to A story stick makes laying out a turning fast turn long posts on a short lathe. and easy. If you’re turning multiples, it When dividing a turning into sections, helps ensure consistent results. use a round mortise-and-tenon to join the sections afterward. Remember to plan ahead ➤ DON’T EXPECT and position the joint adjacent to a bead EXACT COPIES where it will pass undetected. It’s both impossible and undesir- Turning Multiples able to create four perfectly identical Turning several pieces alike isn’t nearly as turnings by hand. Even the best hand- difficult as it may seem if you do some plan- crafted turnings have minor variations. ning ahead. The first thing you should do is This is not only acceptable but the mark design your turning and make a master. J1120 MS7UA09SaigWo :.5x:085 175L EX 128White A M/A Magenta(D) TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” When you’re turning its mates, you can of handcrafted work. Mass-produced position the master behind your lathe where turnings are identical but they lack the you can view it while turning. It’s much eas- crisp details and sensuous curves of ier to duplicate something within view. good, handcrafted turnings. Use the master to create a story stick, which will allow you to lay out linear dimensions of a turning quickly and accurately. To accurate and efficient than measuring and make a story stick, glue a photocopy of your marking each individual turning. 1 drawing onto ⁄4-in. plywood. Next, extend One way to dramatically increase your perpendicular lines from the plywood edge accuracy and efficiency when turning multi- to the inside corner of each fillet. Finally, cut ples is to use individual calipers for each small V’s along the edge of the stick as a rest diameter. This way you’ll save time and for a pencil. avoid the inevitable errors associated with To use the story stick, place it on the tool continually resetting a single caliper. You can rest against the spinning cylinder. Then find serviceable calipers of many sizes at flea mark the cylinder by placing a pencil in each markets and used-tool dealers. notch or V. This method is much more

228 Turning TURNING BASIC SHAPES

Turning a Cylinder

Turning a cylinder involves removing the four corners of the stock to produce a smooth, uniform surface. It’s typically the first step in producing a spindle turning, such as a leg or post. Because the stock contacts the tool only four times per revolution, the initial stage of this process is naturally rough. The best tool for the job is a massive, square-end gouge aptly called a roughing gouge.

Begin by securely mounting the work in the lathe. To begin the cut, start with the gouge handle low and gradually lift the handle until the A B cutting begins (A). Once the chips begin to fly, slide the gouge along the tool rest to shape the entire length of the stock (B). To keep the stock uniform in diameter, limit the cutting depth by bracing your fist against the tool rest.

[ TIP] When rounding square stock to form a cylinder, you can quickly and easily check for roundness by holding the middle of the gouge on the spinning stock. If it bounces lightly there’s still a flat spot remaining.

To shape the stock next to a pommel, rotate the C D gouge (C) and cut with the corner (D). As you approach a true cylinder, you can check the stock for roundness by placing the middle portion of the tool on top of the spinning work (E). This speeds the process by avoiding switching the lathe off and on again. The finished cylinder should be uniform and smooth, and its diameter should match the major diameter of the object you plan to turn.

Turning 229 TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) B). Use C). Turning a Pommel corner on a post or leg A pommel is the square intersects a square sec- where a turned section a V into the square created by shearing tion. It’s stock with a skew. stock and milling it to size. Begin by squaring the at each end of the stock Next, locate the center lines. Mark the center with by drawing diagonal the work Then mount an awl to ensure accuracy. securely in the lathe. the Before turning, mark a layout line to indicate spinning location of the pommel. With the stock stock with relatively fast, nick the corners of the Next, make the cut deeper the point of a skew. left and and wider by working the skew from the from the right (A). Each time you make a cut, ( lever the edge of the skew into the work the only the point of the skew to avoid catching work and spoiling it. The pommel is complete surround when the cuts at each corner meet to the circumference of the work ( C B A Turning TURNING BASIC SHAPES TURNING 230

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) with thestock. and consequentlytheedgeisnotmakingcontact because youdidn’t pivotthehandlefarenough stops beforeyou’veshapedthebeadentirely, it’s as acatch ported edgedigsin,anoccurrencereferredto bevel fromthework.Theresultisthatunsup- most likelypivotedthehandletoofar, liftingthe If thegougecatchesduringprocess,you’ve center onceagainandshapethesecondhalf( After you’veshapedhalfofthebead,startat is shaped. of theworksothatyoucanviewbeadasit a feelforit.Asyourollthebead,watchtop a bitofpractice,butyou’llsoonbegintodevelop and pivot—mustbedonesimultaneously. Ittakes are cutting(C).Thethreemovements—roll,lift, handle andpivottheindirectionyou half ofthebead( cutting begins.Now, rollthegougetoformone- the spinningstockandthenlifthandleuntil First, positionthegougesothatbevelrubs from thecentertowardedges,ordownhill. The nextstepistoshapethebead.Alwayswork the beadtorequireddiameter. cut thefilletsthatflankbead( Begin byestablishingthesizeofbead.First or one-halfofacircleellipse. A beadisaconvexcurvemadeupofone-quarter Gouge Spindle a with Turned Bead by woodturners.Ifthecuttingaction B). Asyourollthegouge,lift A). Thencut D). A C on theoppositeside. Step 3.Repeattheprocess handle simultaneously. Step 2.Roll,pivot,andliftthe the bead. the centerof Step 1.Beginin D B TURNING BASICSHAPES Turning 231

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) E). A). Next, D). The motions are very sim- Keep a block of paraffin at hand ] TIP Bead Turned with a Skew heard, the skew is a difficult As you’ve probably catch easily and often. So It can tool to master. with a spindle gouge? why not shape a bead is positioned adjacent to an Sometimes a bead bead. A gouge won’t ogee, pommel, or another situations; but the sharp, nar- work in these tight will. row point of a skew [ the rest. the risk of There are some remedies for reducing tools a catch. First, keep the skew sharp. Sharp as will always give you better control. Second, use a grinding method that you grind the skew, A faceted, keeps the bevel flat or hollow ground. convex bevel will leave the edge unsupported, which will likely result in a catch. first incise begin shaping a bead with a skew, To the width of the bead with the point ( at the incisions to remove the excess cut V’s you’re ready to shape the bead. stock (B). Now, start off-center of the Using the heel of the skew, bead to take a light cut (C). Let the bevel rub, and lift the handle until the cutting begins. Then roll lift the handle, and pivot it. After the the skew, first light cut, start at the apex of the bead and repeat the process ( ilar to those used with the spindle gouge ( After shaping the first half, begin at the apex of the bead and shape the second half. The finished shape should be full and round (F). and periodically rub a coat on the tool and periodically rub a coat on the will get more control, because rest. You the tools will slide much easier across F B D E C A Turning TURNING BASIC SHAPES TURNING 232

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Turning a Cove

The cove is a concave or hollow profile. The process of turning a cove is similar to turning a bead with a spindle gouge. The difference is that the profile and movements are reversed (A).

Begin by making two slight incisions with the Scribe line with point of a skew (B). These light cuts define the skew to provide width of the cove and provide a notch to rest the a positive start for gouge. gouge when starting the cut. Step 1. Roll and Next, remove some of the excess wood from the pivot the gouge center of the cove with the spindle gouge. Let A simultaneously. B the bevel of the gouge rub (C) and lift the handle until the cutting begins; then cut a small hollow Keep the bevel rubbing the stock. area (D).

Now you’re ready to shape the cove. Position the gouge horizontally on the rest, with the gouge rolled to the side. Point the tip of the gouge toward the center of the work. Now, enter the stock (E). As you make the cut, simultaneously roll the gouge, pivot the handle, and lower the handle (F). To avoid a catch don’t attempt to cut uphill; instead, end the cut at the bottom of the cove. Now repeat the process for the second Step 2. Continue side. As you shape the cove, view the top of the to rotate gouge. C D turning to watch the shape as you create it.

To enlarge the cove, repeat the process until the final width and depth are reached (G). Check the diameter at the bottom of the cove with a spring caliper.

E F G

Turning 233 TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) A). Otherwise, E). C). Turning a Tapered Leg in this example has a Because the leg used to center important it’s joinery, square section for in the lathe ( the stock accurately will be offset from the square the turned portion portion. pommel with the point of Begin by turning the then cut from a skew (B). First nick the corner; The pommel is complete the right and the left. entire when the cut from the skew runs the circumference ( gouge Next, turn the leg round with a roughing the (D). Use the corner of the gouge to cut in area adjacent to the pommel ( in. 16 / 13 in. 4 / 1 1 1 in. in. 16 / 15 C in. 16 / 9 in. 1 16 / 7 1 in. 8 / 1 1 E D in. Square 2 / in. 1 2 / 1 1 1 A B Turning FURNITURE LEGS AND FEET LEGS AND FURNITURE 234

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Once the leg is round, lay out the turning with a story stick (F). Next, shape the bead adjacent to the pommel. You’ll need to use a skew to shape the bead in this tight spot.

The next step is to turn the cove and bead. Begin by cutting a fillet adjacent to the bead location (G). Then use a skew to remove the extra stock at the taper (H). Now, use a spindle gouge to shape the cove (I). Use a spring caliper to mea- F G sure the final diameter of the cove. Most of the taper can be shaped with a gouge, but you’ll need to use a skew to complete the taper as it approaches the bead. Finally, turn the bead and cove at the foot (J). Then sand the turning lightly to smooth it (K).

H I

J K

Turning 235 TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) ). Once the foot is C ). Next, turn the pad to ). Remember, as you turn F). Remember, ). To avoid chatter, it’s a good idea it’s avoid chatter, G). To ). “Bandsawing Broad, Sweeping Curves” on p. 69. See Turning a Pad Foot most common form of The pad foot was the cabriole legs foot used on eighteenth-century and the entire process quite easy to turn, (A). It’s a need to use You’ll takes just a few minutes. the asymmetrical slow lathe speed, because leg spins off balance. the leg. Next, locate the Begin by bandsawing with the centers and mount the leg in the lathe of foot at the tailstock. This avoids the possibility drive cen- the gouge coming in contact with the foot round with a spindle turn the Now, ter. gouge (B); the roughing gouge is too large and foot, use awkward for this cut. As you round the would spoil care to avoid cutting the ankle, which the curve of the leg. for As the work progresses, you can check gouge on roundness by laying the shank of the top of the spinning foot ( foot to round, cut a small V at the top of the indicate the height (D it with diameter with a parting tool and gauge a caliper (E The last step is to shape the foot. This step is identical to rolling a bead with a spindle gouge. For the first pass, start at the corner and round the foot to the pad ( the foot, roll the gouge, lift the handle, and pivot the handle ( to turn the foot in two or three passes. The final pass should be from the V to the pad to create a continuous curve (H). ➤ F C B H in. 16 / 3 Pad Ankle in. in. 4 8 / / 1 5 2 1 E G in. 16 / Foot 11 Adjust dimensions to fit leg proportions. in. 16 / 15 diameter A Turning FURNITURE LEGS AND FEET LEGS AND FURNITURE D 236

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) (Text continuesonp.238.) diameter oftheankle. location atthefoot—otherwiseyou’llchange the legattopslightly. Don’t adjustthecenter verge. Ifnecessary, stopthelatheandreposition “ghost” ofthelegtoseewhereaxescon- mel. Turn onthelatheandwatchspinning the twoseparateaxeswillconvergeatpom- accuracy beforeturning.Whenoffsetcorrectly, set theoppositeendaswell.Checkoffsetfor the stock.However, it’s importanttoslightlyoff- (I). Mostoftheoffsetoccursatfootend The nextstepistooffsetthestockinlathe for turningtheankle. otherwise youwillcutawaythecenterneeded the topoffoot( roughing gouge( turn thelegroundbelowpommelwitha skew scorestheentireperimeter( the left(D)andright a skew. Firstnickthecorner( the foot.Now, turnthepommelwithpointof the riskofstrikingdrivecenterasyouturn lathe withthefootattailstock.Thiswillavoid ter fortheankle( each endoftheworkpiece;thenlocatecen- Begin bylocatingthetruecenterofstockon should convergeatthepommel(A). leg tohavethecorrectappearanceaxes are used,theturningwillhavetwoaxes.For and turnthefoot.Becausetwosetsofpoints taper oftheleg.Finally, returnthelegtocenter the turninginlathetoturnankleand pommel withthestockcentered.Thenoffset quick toproduce.To maketheleg,firstturn leg, thislegisturnedinentirety, whichmakesit often usedonsmalltables.Unlikeatruecabriole The simple,yetattractive,offsetlegismost Turning anOffsetLeg G). Thenmarkalinetoindicate B). Next,mountthelegin H). Don’t turnthefootyet; E) untilthepointof C); thencutfrom F). Afterward, A H D B F Bottom View Axes intersecthere. Adjust tosuit. G C E I FURNITURE LEGSANDFEET fit rail. Adjust to Turning View Top 237

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) N). L). If the R). Supporting slender J). Start with the gouge on Q). The technique is the P). Next, round the foot profile O). WARNING ! stock with your hand works extremely well, especially on a taper where it may be difficult to mount a steady rest. But avoid wearing jewelry or long sleeves, and keep your fingers away from the tool rest where they may be pinched. ▲ The next step is to turn the ankle. Before you step is to turn the ankle. The next of the tool rest. Position begin, check the location possible for the best support the rest as close as the work by hand to ensure of the tool, but spin that it clears the rest. of the ankle, the gouge During the initial turning the stock only once each rev- makes contact with this, take light cuts to avoid olution. Because of the tool. Starting near the having the stock grab downward toward the ankle top of the foot, cut with a spindle gouge ( of edge, and roll it as you approach the bottom several light cuts and then the foot (K). Take check the ankle size. When the cut encompasses the ankle is complete. the full perimeter, ( Next, turn the tapered portion of the leg it for leg vibrates, try wrapping one hand around support (M). The amount of stock to be removed ( diminishes as the taper ends at the pommel sand and smooth the taper before turning Now, the foot ( turn the foot, first reposition the turning on the To with true centers. Then turn the pad to diameter a parting tool ( with a spindle gouge ( Sand same as that used when turning a bead. ( the foot lightly to complete the turning R K O Q M Turning FURNITURE LEGS AND FEET LEGS AND FURNITURE L J P N 238

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) (Text continues onp.240.) stance ofthelegs. to theaxisisimportantsubsequentfitand Having thesurfaceofhubstraightandparallel the turningandcheckitwithastraightedge( parting tool( stick (C);thencuteachlinetodiameterwitha Now, layoutthemeasurementswithastory der tothelargestdiameterondrawing( Begin bymountingthestockandturningacylin- embellishment. small numberofbeadsandcovesforsimple pedestals consistofalong,slendervasewith used onShakercandlestands(A).Mostsuch The pedestalshownhereistypicaloftheform Pedestal Vase a Turning D). Next,turnthehubatbaseof B). E). A 1 1 1 1 2 2 2 1 in. 2 2 2 2 1 3 3 13 1 1 5 1 1 3 5 / / / / / / / / / / 2 4 4 / 8 8 8 2 8 8 8 in. in. in. 16 in. in. in. in. in. in. in. in. D C B E Turning PEDESTAL 239

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) N). L). Then use a J). Then shape ). While you’re using the G). While you’re using ). Now roll the bead at the top I). Now roll the bead K). ). Watch the top of the turning to view the top of the turning to M). Watch Then sand the turning lightly and avoid softening Then sand the turning lightly and avoid burnish the turning the crisp details (O). Finally, with a handful of shavings (P). With the preliminary work completed, you’re work completed, With the preliminary shapes that define the turn- ready to create the the cove at the base with a ing. Begin by turning to turn the spindle gouge (F). Next, use a skew ( that flank the cove V’s at the top of turn the small rounded corner skew, portion of the the hub (H). Then turn the bottom vase with a skew ( the fillet first with a parting of the pedestal. Cut stock ( tool to clear the excess the bead ( by incis- The last step is to shape the vase. Begin ing the stock next to the fillet ( shav- large, sharp skew and remove light, slender ings ( created and gradually remove the shape as it’s ( stock until you’re satisfied with the profile K H N P J G M Turning PEDESTAL I L F O 240

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) of thesurfaceiscarvedaway. the surfacerelativelysmooth;andbesides,much dull yourcarvingtools.Asharpscraperwillleave sive gritwilllodgeintheporesofwoodand Don’t sandtheturning;otherwise thefineabra- to createthedesiredshape( of thedisk.Nowsimplypivottoolsideto the scrapertocutcleanshavingsfromface edge slightlylowered.Thiswillcausetheburron Position thescraperontoolrestwith the beveledshapeonfaceofrosette. with apartingtool( rosette (B).Next,turnthetodiameter Before turning,markthedimensionsof the lathe. oversize circleoutofthestockandmountiton faceplate. Afterthegluehasdried,bandsawan 3 Begin bygluingthestocktoascrapofplywood; ing arecompleted,thegluejointisseparated. faceplate withscrews.Aftertheturningandcarv- the joint.Thenplywoodisfastenedto glued toascrapofplywoodwithheavypaperin avoid scarringtheworkwithascrewit’s first This rosetteisasimplefaceplateturning(A Rosette a Turning ⁄ 4 -in.-thick plywoodissufficienttoscrewthe C). Nowyou’rereadytoturn ,E).It’s that easy! D, ). To A D B 3 / 8 in. dia. 2 1 / 2 in.dia. 3 / 16 in. 7 / 16 in. C E DECORATIVE DETAILS Turning 241

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) B). For C). With a parting tool, cut on p. 252. “Carving” See Turning a Flame Finial used as embellishment on Finials are typically desks, and chests. casework such as clocks, portion of the finial, the After turning the upper flame is carved. This large finial (A) is easiest to turn as two at the base pieces. Otherwise the narrow section consider- of the flame is quite fragile and causes After able vibration and difficulty during turning. the two turning and carving the urn and flame, are joined together with a round mortise-and- tenon joint. with a Begin the urn by turning the blank round ( roughing gouge to the largest diameter gauge the diameter with a spring accuracy, Next, lay out the linear measurements caliper. with a story stick ( the story each of the diameters as indicated on stick (D). With the sizing complete, you’re ready to turn the various shapes. ➤ E B C D G in. in. in. in. 8 16 2 in. 16 in. in. / / / / 8 8 8 3 7 1 / / / 3 1 in. 3 13 3 5 2 2 Turning DECORATIVE DETAILS DECORATIVE F A 242

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) (Text continues onp.244.) flank thecovewithasmallskew. bottom (O).Ifnecessary, sharpenthefilletsthat as youshapeeachsideofthecovetoward cove. Useasmallspindlegougeandlighttouch small setofdividers.Thelastprofileisthe You cangaugethewidthofthisbeadwitha a delicatetouchwiththeheelofsmallskew. the baseofogee.Shapingbeadrequires (N). Thendirectyourattentiontothetinybeadat Now shapethebeadatbaseofturning M). crisp (L, fillet tomakethesurfacesmoothandcorner top oftheturning( room tomaneuver( (I). Afterward,removetheextrastocktoprovide the beadattop,whichisadjacenttofillet two tocreateafluidcymacurve( turn thetopportionasacove( ing thebottomofogeeasabead( when shapingtheprofile.Beginturningbyshap- (E). Thisincisionwillgiveyouapositivestart with thepointofaskewatstartogee First turnthereverseogee.Scribeashallowline K). Ifnecessary, cleanupthe J). Thencuttheogeeat G) andblendthe H). Next,turn F). Then N H K O L I DECORATIVE DETAILS M J Turning 243

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Now lightly sand the turning (P) and burnish it with a handful of shavings (Q); then cut the top off with a parting tool. As you cut the top off you’ll need to support the turning with one hand while controlling the tool with the other (R).

The next step is to bore the mortise that accepts the tenon on the flame. First mount a chuck

3 equipped with a ⁄8-in. bit into the tailstock. Next, center the bit on the turning and advance it into the spinning work with the handwheel on the P Q R tailstock (S).

To turn the flame, first remove the corners of the stock with a roughing gouge to the major diameter. Next, lay out the linear measurements with a story stick (T) and cut into the final diameters with a parting tool (U).

The next step is to turn the top of the flame. Simply approach this convex curve as a bead and S T roll it over with a spindle gouge (V). Next, shape J1120 MS7UA09SaigWo :.5x:085 175L EX 128White A M/A Magenta(D) TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875”

U V

244 Turning DECORATIVE DETAILS

the tapered lower portion of the flame with a skew or large spindle gouge (W). Then incise the width of the bead with the point of a skew (X); then use the skew to turn the base of the flame further (Y). Next, roll the bead to the left and right until it is full and round (Z). The last shape is the small cove under the bead (AA). W X After the turning is complete (BB), cut the round tenon for a snug fit within the mortise. To check the tenon for accuracy, make a gauge by boring a hole in a scrap of thin plywood (CC).

Don’t sand the flame turning. If you do, abrasive grit will lodge in the pores and quickly dull your carving tools later on. Use a parting tool to cut the remaining stock from the end of the tenon Y Z and fit it into the mortise in the base (DD).

AA BB

CC DD

Turning 245 TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) COMPLEX TURNINGS

115/16 in. 25/16 in. 211/16 in. 7 15 A Complex Turning 13/8 in. 1 /8 in. 27/8 in. 21/2 in. 1 /16 in. 23/8 in. 2 9/16 in. The bedpost design in this example is from the 21/16 in. 21/4 in. nineteenth century. It’s a challenging post to turn Octagonal Square because it has several shapes that require use of a skew (A). To gain the most control of the skew Top Center Foot and avoid catching the stock, keep it sharp. In A fact, it’s a good idea to stop periodically and hone the edges of the skew with a very fine slipstone. Also, for each cut that requires a skew, use the largest skew in your arsenal. The wide edge and extra mass of a large skew will add to your control of the tool on a large turning such as this bedpost.

In addition to the square section of the post, which accommodates the rail joinery, this post also has a decorative octagonal section between B C the turnings. The octagon is cut on the table saw before turning.

After cutting the octagon, carefully locate the centers of the stock and mount the stock securely in the lathe. Next, mark the separate sections of turnings, square, and octagon. J1120 MS7UA09SaigWo :.5x:085 175L EX 128White A M/A Magenta(D) TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Turn the center of the post first. Beginning with the center turning, score the corners at each end of the turned section to create the pommels. Then turn the square (B) and octagon pommels D E (C) with the point of a large skew. Use care at the octagon; it’s easy to cut too deep. Next, turn the stock round with a roughing gouge (D). Use the corner of the gouge to turn carefully next to the pommels (E). Then use a story stick to lay out the linear dimensions (F). Before turning the shapes, cut the diameters with a parting

F G

246 Turning COMPLEX TURNINGS

tool; lever the tool into the spinning work using the tool rest as a fulcrum (G).

Now you’re ready to cut the shapes. The V cuts cleanly with a skew. Hold the skew at an angle corresponding to the angle of the V, and lever the tool’s edge into the work (H). Next, use the skew to cut the half of the bead adjacent to the V (I). Before shaping the second half of the bead, remove the excess stock adjacent to the bead to provide room to maneuver the tool (J). You can H I also complete the other half of the bead with a skew or, if you prefer, use a spindle gouge, which is less likely to catch (K). Finally, turn the large bead (L) and complete this section by turning the cove (M). Because of its long length, even a massive turning such as this bedpost may vibrate. This is especially true when turning in the center, far from the support of the headstock and tailstock. If this occurs, it’s helpful to add a steady rest (N).

To make the top of the post, begin by incising the J K octagon with a skew and turning the top of the post cylindrical. Lay out the dimensions and cut the diameters with a parting tool.

[ TIP] When turning the shapes, start at the base and work upward toward the top of the bedpost.

(Text continues on p. 248.)

L M

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Next, incise the bead; then roll the edges (O). After turning the bead, concentrate on the short vase. This elegant shape, or a variation of it, is quite common on the turned elements from the eighteenth and nineteenth centuries. It’s really nothing more than a combined bead and cove. Begin by hollowing out the cove to remove some of the excess stock (P). Then, starting at the apex of the bead, roll the bead and continue the curve downward to the bottom of the cove. Watch the O P top of the turning and concentrate on shaping a fluid cyma curve. Afterward, gauge the cove with calipers to keep all four bedposts identical (Q). Next, incise the edge of the bead (R) and shape it to the fillet (S).

The next section of the post is unusual and requires careful sequencing of the cuts. The required shapes consist of a large cove and a reverse ogee separated by a small, round bead. Begin by shaping the cove using a spindle Q R J1120 MS7UA09SaigWo :.5x:085 175L EX 128White A M/A Magenta(D) TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875”

S T

248 Turning COMPLEX TURNINGS

gouge (T); then incise next to the bead (U) and deepen the cove further (V). After removing the extra stock, start at the large diameter (W) and shape a fluid ogee, which ends adjacent to the bead (X). Take several passes with the gouge until you reach the diameter of the small bead. Next, turn the reverse ogee.

Now turn the small bead. Because it’s flanked by a large cove on one side and a reverse ogee on the other, you’ll need to shape the bead with a U V 1 skew. Use a small ( ⁄2-in.) skew, because it’s easy to maneuver in this tight, narrow location. Begin with the skew nearly parallel to the axis (Y). Next, use the heel of the skew to roll the bead to the left and the right until you’ve achieved a full, round profile (Z). Then use the spindle gouge to shape the final contour on the cove where it joins the bead (AA). Finally, turn the bead at the top of the post (BB).

(Text continues on p. 250.) W X

Y Z

AA BB

Turning 249 TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) ) and CC), DD) and then ). You can quickly check for round- can quickly EE). You it’s time to turn the details at the foot. time to turn the details it’s beginning with the pommel, The foot is turned by a large skew ( which is turned with of the stock with a rough- removing the corners ing gouge ( gouge on top of the work as ness by placing the it spins (FF). measurements with a Next, lay out the linear a parting story stick and turn the diameters with elements tool. The order in which you shape the turn- of the foot is not as critical as it is for other can begin by turning the ogee (GG ings. You When the top of the bedpost is complete ( top of the bedpost When the then turning the large bead (HH). Next, shape the cove at the base of the post (II). Use a spindle diameter. gouge and turn the cove to the required II EE GG CC DD FF HH Turning COMPLEX TURNINGS COMPLEX 250

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) fuls ofshavings(PP grain (OO design ( which preventsremovingthecrispdetailsof sandpaper tofitthecontoursofturning, (MM remove thesawmarksleftfromtable onal andsquaresectionswithabenchplaneto To completethebedpost,firstsmoothoctag- cate shavingsandworkthetaperintocorner. with alargeskew( bead withaskew( Now incisethewidthofbead( ). Next,sandtheturninglightly. Firstcurlthe NN ). Finally, burnishtheworkwithhand- ). Afterward,sandthetaperwith LL). Usetheskewtotakedeli- KK). Finally, turnthetaper ). JJ) androllthe NN LL JJ PP OO KK MM COMPLEX TURNINGS Turning 251

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) Volute Carved Feet Carving a Trifid Foot Carving a Trifid (p. 267) Carving a Ball-and- Claw Foot (p. 269) Carving a Volute Carving a Volute (p. 261) ➤ ➤ ➤ ) 263

Shell (p. Flame Finial Carving a Flame Finial Carving a Shell (p. 257) ➤ ➤

Rosette Lamb’s Tongue Lamb’s Carving a Rosette (p. 262) Carving a Lamb’s 256) (p. Tongue ➤ ➤ Carving SECTION OVERVIEW 15 252

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fastened to a backup board. Feet, such as the tapered slipstones can service many shapes. trifid and ball and claw, can be secured in a Keep a leather strop nearby for quick touch pipe clamp. Sometimes, as in the case of the up, and hone the tools often, especially when flame finial, it’s necessary to devise a special carving fine details. jig to clamp the work without damaging it. Applied carvings, such as the shell, can be Go with the Grain glued to a backup board for carving. Make Always cut with the grain or across it, sure to clamp the backup board to a sturdy never against it. When you cut against the surface such as a workbench. grain, you risk splintering and tearing out the wood instead of cutting it. Sometimes Keep the Tools Sharp it’s hard to determine the grain direction, Your best work begins with sharp tools. especially in multilayered, complex carvings. There’s nothing more frustrating than hav- Try taking a light cut. If the tool is digging ing a gouge slip because it’s not sharp in instead of cutting cleanly, turn around. enough to bite into the wood. Invest in a Cutting across the grain is a good method set of good slipstones for honing the many for initial shaping and quickly removing shapes of carving tools. A small number of excess stock. When possible, the final surface should be created by cutting with Use clamps the grain. mounted in a vise to hold complex- Use the Tools to shaped carvings. Your Advantage J1120 MS7UA09SaigWo :.5x:085 175L EX 128White A M/A Magenta(D) TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Gouges come in various widths and sweeps (curvature) to create the curves. Although many carvings can be accomplished with a dozen or so tools, it’s necessary to have a good assortment. Don’t cramp your style by attempting to carve complex designs with two or three gouges. On the other hand An assortment of don’t go out a buy a set of tools just to have slipstones in various shapes is useful a selection. Start with a few basic shapes and for keeping your learn to use each well. You can always add carving tools sharp. individual carving tools for a given project. Before you begin to cut, study the project to determine which tools you’ll need to accomplish the carving.

254 Carving SECTION 15 OVERVIEW

CUT WITH OR ACROSS THE GRAIN

Grain direction

Furniture carvings can be created with just a small assortment of tools.

➤ THE HAZARDS Cutting with the grain leaves the surface smooth. OF SANDPAPER

When carving, use sandpaper as little as possible. If you sand between stages, the abrasive grit will lodge in the pores of the wood, quickly dulling Grain your tools later in the carving process. direction Think twice about sanding the finished product. It’s easy to quickly and inadver- tently sand away the crisp details that you created with the carving tools. If you must sand, be careful and use a Cutting against the grain leaves the surface torn and rough. fine abrasive (240 grit) a minimal amount.

Keep the Details Crisp to smooth the carving, not shape it. Coarse The best carvings show the clean definition abrasive and excessive sanding only spoil the achieved by cutting the wood rather than crisp edges and details that you worked so abrading it. A rasp may help remove large hard to create. And don’t try to remove all of amounts of material, but when you come to the tool marks; they’re the true sign of hand- the final surface, pick up your carving tools. carved work. Avoid excessive sanding. Use light sanding

Carving 255 TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) LAMB’S TONGUE

Carving a Lamb’s Tongue

When creating an octagonal taper with a router or shaper, the cutter will leave the end asymmetrical (A). Because the tool cuts in a spinning motion, one face will be an arc, the other a bevel.

To create visual unity, you’ll probably prefer to A chamfer bit or cutter will not finish the detail by hand. One option is simply to create a symmetrical stop. One make both surfaces either curved or beveled. face will be beveled. The adjacent face will be curved. Either choice is attractive, and each creates a A more contemporary look.

B Another more traditional approach is to carve an ogee at the end of the taper (B). This detail is, obviously, a bit more time consuming. But the unique effect is worth the effort because of the distinction it adds to the piece.

To carve a lamb’s tongue on a post, begin by drawing the design along the edge of thin plywood to make a pattern (C). After bandsawing and smoothing the curves with a file, trace the pattern onto the post (D).

J1120 MS7UA09SaigWo :.5x:085 175L EX 128White A M/A Magenta(D) TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Start shaping the lamb’s tongue by removing the excess stock with a chisel, bevel down, and then Before carving, make a pattern for tracing the bevel up (E). The convex segment of the lamb’s lamb's tongue onto the post. C D tongue intersects the post at a crisp inside corner (F). If the grain is running in a reverse direction, cut across the grain to prevent tearout (G). To finish the detail, smooth it with a file (H).

E F

G H

256 Carving SHELL

Contour the face of the lobes with a no. 5 gouge; then switch to a no. 7 gouge as the lobe tapers. Carving a Shell Outline the lobes with a no. 7 gouge. The first step is to draw and proportion the shell that you would like to carve. All carvings, including shells, can be varied in size and proportion to fit with the design of the furniture to which they’re applied. The shell shown here (A) is a five-lobe example that I designed for a Pennsylvania armchair (B).

When you’re satisfied with the drawing, make several photocopies of it. Next, glue a copy of the drawing to the stock for the shell (C). After Outline the hinge with a no. 5 gouge. carving, this shell will be glued to the front seat Carve the veins with rail of the chair; it’s important that the grain in the A a 1.5mm no. 12 gouge. B shell runs from side to side to coincide with the grain in the seat rail.

The next step is to select the gouges for carving. The sweep, or curvature, of the gouge should closely follow the outline that you sketched earlier. For the lobes on this shell, use a 14mm no. 7 gouge (D). For the area around the hinge, use a 25mm no. 5 gouge. Although the narrow C gouge could be used for both, the wide gouge is more efficient and easily yields smooth, uninterrupted curves around the hinge. D The next step is to bandsaw the outline of the shell to remove the excess stock. It’s important

1 to saw approximately ⁄16 in. from the line (E) because the final outline of the shell is created with carving tools. E

Next, begin incising the perimeter of the shell with gouges (F). Be aware that the grain at the top center lobe has a tendency to split off. To avoid this problem, position the corner of the gouge beyond the stock when incising the concave areas that flank the center lobe (G). This will prevent the center lobe from G F (Text continues on p. 258.)

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splitting (H). The entire outline will later be inverted to become the base of the shell, so it’s

3 not necessary to incise beyond ⁄16 in. deep (I).

When incising the outline of the shell, it’s important to keep the cuts vertical. To achieve this, you’ll need to angle the gouge away from the work for the concave cuts. This will compensate H I for the bevel on the edge of the tool. Also, concentrate on keeping the cuts interconnected and flowing uninterrupted around the shell.

When you’re satisfied with the outline of the shell (J), you’re ready to move on. The next step is to glue it face down to a short length of inexpensive stock. Afterward, the clamps are positioned on the scrap stock to give you full access J K to the shell for carving. Don’t use a lot of glue; the shell must be pried up after carving. Besides, a small amount of glue is all that’s necessary to hold it firmly (K). Clamp the shell to the board and allow the glue to thoroughly dry (L).

The next stage of the process is to contour the face of the shell. But first mark the high point of

J1120 MS7UA09SaigWo :.5x:085 175L EX 128White A M/A Magenta(D) TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” the contour. The point is centered left to right and slightly below center from top to bottom (M). L M Now select a 25mm no. 2 gouge for shaping the contour. The goal of this process is to produce sweeping curves from left to right and top to bottom (N). After paring the face of the shell, the only original surface remaining will be the high point that you marked earlier. Watch the grain direction and cut with the grain or across; you’ll want to produce clean shavings, not splinters. 3 N O Carve the surface down to the ⁄16-in. perimeter that you incised in the first step.

After carving the contour, you can remove any remaining facets with a smooth file (O). Avoid using sandpaper though—the abrasive grit will

258 Carving SHELL

settle in the pores of the wood and quickly dull your tools later in the process.

The next step is to draw the lobes as a guide for carving. Using your original drawing as a guide, locate the points of the lobes with dividers (P). Then divide the base of the shell into equal spaces (Q). Next, connect the points by sketch- P Q ing smooth, flowing curves (R). To achieve visual balance in the carving, spacing is important. Examine the curves closely and, if necessary, redraw any that need improvement.

Now you’re ready for the next stage of carving. The first step in this stage is to incise the hinge area. Hold a 25mm no. 5 gouge nearly vertical to create a steep wall (S) and carve this area gradually until you reach the layout line (T). Finish the inside corner with a 6mm no. 7 gouge. Take long, sweeping cuts to blend the wall with the hinge area (U). R S The next step is to outline the curves on the face of the shell with a V gouge. For greatest control, take several light cuts and progressively deepen the V. Also, as you carve the V’s, watch the spacing and flow of the curves; if necessary, make corrections as you deepen the cuts (V).

Next, carve the convex lobes. Start by contouring the ends of the lobes with a 12mm no. 5 gouge T U (W). As the lobe tapers back, the curvature becomes tighter, so you’ll need to switch to a 10mm no. 7 gouge; then a 6mm no. 7 gouge. Gradually, as the lobe reaches the apex of the shell, switch to a 4mm no. 7 gouge. Finally, the curve on the face of the lobe diminishes.

(Text continues on p. 260.)

V W

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Next, carve the concave rays between the lobes (X). Beginning with a 10mm no. 7 gouge, work back gradually; then switch to a 6mm no. 7 and, finally, a 4mm no. 7 gouge. As you carve the rays and lobes, use the gouges to blend the curves (Y). During the entire process, stop periodically and hone the gouges; sharpness is the key to X Y accuracy and control.

The final step is to carve the veins into the surface of the hinge. These tiny U-shaped grooves break up the flat surface to add more interesting detail.

Starting at the outer edge, sketch each vein with a pencil (Z). Keep the spacing uniform and follow the curve at the edge of the hinge. Next, use a AA 1.5mm no. 11 gouge to carve the veins (AA).

The completed carving should be crisp, flowing, and full of visual details (BB). You can smooth Z the carving lightly with 240-grit sandpaper to blend the facets. But be careful not to spoil the sharp details. J1120 MS7UA09SaigWo :.5x:085 175L EX 128White A M/A Magenta(D) TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” BB

260 Carving VOLUTE

Carving a Volute

A volute is a spiral (A). It’s used as embellishment on the ends of arms and the back of chairs—among other areas—to create the appearance of a scroll. As the volute unwinds, the curve naturally broadens. This beautiful effect is easily created by using a series of gouges. A B Begin by drawing the volute. Although it would be easy if the volute fit within a mathematical framework, it seldom does. Instead, the volute must fit within the area of the workpiece on which it will be carved. For this example, I’ve connected volutes of two sizes to create a sample carving block.

Whether found on furniture or architecture, volutes are typically carved in pairs. As you might C D imagine, drawing accurate pairs of volutes can be time consuming. So for ease of duplication, I prefer to make a plastic template. First draw the design on paper; then position a transparent plastic sheet over the drawing and incise the outline to form a template (B). Next, trace the template onto the stock (C) and begin carving (D).

Beginning with the center hub, incise the outline of the volute with the same series of gouges that you used to incise the template (E). As the curves become broader, use wider gouges with less sweep (F). A typical series of cuts would E F G begin with a no. 7, progress to a no. 5, and end with a no. 3 gouge. Incise the volute to a

1 depth of ⁄8 in.

Next, make a second series of cuts that intersect the first cut at a shallow angle (G). Each time you make a cut, a small chip of wood should be released. This will have the effect of creating a raised spiral ridge (H). After this procedure is followed around the entire spiral, a series of facets will remain. Use a no. 3 gouge and take sweeping cuts around the volute to remove the facets (I). H I

Carving 261 TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) ROSETTE

Carving a Rosette

A rosette is an ornamental terminus for a gooseneck molding on a pediment. The variations of this design are numerous. The example shown here is a small, simple design that is used on a clock.

Begin by turning the rosette on a lathe to the A B required shape. Next, step off an even number of spaces around the perimeter (A) with dividers and make a mark at each division (B). With the aid of a center head, draw a line from each division mark to the hub (C).

➤ See “Turning” on p. 224.

C D With the layout complete, you can turn your attention to carving. Begin by outlining each layout line with a V gouge (D). The depth of each V should be greatest at the perimeter and gradually diminish in size as it reaches the hub (E).

1 Next, use a ⁄4-in. no. 5 gouge to carve the rays

J1120 MS7UA09SaigWo :.5x:085 175L EX 128White A M/A Magenta(D) TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” and lobes (F). Begin carving at the perimeter and work back toward the hub. As you approach the hub, it will be necessary to carve from the oppo- F site direction (G).

You can sand the carving lightly with 240-grit sandpaper to blend the facets from the gouge. E Use care to avoid sanding away the crisp ridges on the V’s.

262 Carving FLAME FINIAL

Each ridge is Six equal Carving a Flame Finial a cyma curve. spaces at top

Finials are a turned and carved decoration most 1 commonly used on the pediments of casework. The stylized flame finial shown here was a popular ornament on Pennsylvania furniture during the eighteenth century. Although smaller finials are crafted from one piece of stock, large finials, such as this example, are easier to turn in two pieces. Line 1 = 1 Nine rotates equal one-quarter spaces ➤ See “Turning a Flame Finial” on p. 242. of a circle.

After turning, the next step is to sketch the design. Good layout allows you to work through the design details and proportions before you begin to carve (A). It also provides an essential road map to give you direction as you’re working. Although seemingly complex, the layout for this Six equal finial is relatively easy. It involves repeatedly spaces at 1 A base sketching cyma curves around the perimeter of the turning. Spacing the curves is important, too, but it’s easily accomplished with dividers.

Begin layout by sketching the first curve. It becomes a ridge that rises from the base and spirals one-quarter of the circle as it reaches the top. Use the lathe dividing wheel to mark the beginning (B) and end (C) of the curve. It’s most important that the curve is pleasing to the eye, especially because all the other ridges will be B modeled according to the first one. You’ll find it easier to sketch the curve if you pivot the pencil from your wrist or the knuckle of your little finger (D). Just below the midpoint of the turning is the transition point at which the curve changes direction. You’ll probably find it easier to invert the turning to draw the upper portion of the curve.

(Text continues on p. 264.)

C D

Carving 263 TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) FLAME FINIAL

When you’re satisfied with the first curve, the next step is to repeat the sketch around the perimeter of the turning. To make the spacing somewhat even, it’s necessary to divide the turning into equal segments. But first, notice the pattern in the carving. The first ridge starts at the base and rises to the top. The second ridge begins at the base but it ends before reaching the top. The third ridge starts at the top and E ends before reaching the base. Then the pattern repeats itself two more times for a total of nine ridges.

Before sketching the rest of the ridges, put the turning back in the lathe and divide the height of the flame into thirds. Next, draw a line around the circumference at the point of each division (E). Now you’re ready to divide the turning into separate ridges—nine around the middle and six at the top and the base. F Beginning with the base, position one leg of the dividers on the first ridge and step off six spaces (F). Next, step off six spaces at the top starting with the ridge you’ve already drawn. Finally, J1120 MS7UA09SaigWo :.5x:085 175L EX 128White A M/A Magenta(D) TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” divide the turning into nine equal spaces at each of the circumference lines, starting each time at the ridge (G). Now you’re ready to sketch in the rest of the ridges.

Starting to the right of the first ridge, sketch in G the adjacent ridge. It begins at the base and flows upward, ending before it reaches the top. Use the division points as guidelines, but remember that they are there as only a guide; it’s not necessary to follow them precisely. It’s most important to draw a smooth, flowing curve (H). The third ridge starts at the top and ends before reaching the base. Then the pattern is repeated twice more. When the layout is complete, you should have a total of nine ridges, yet only six points at the top and six at the base. Before carving, study your layout and check for spacing and

264 Carving FLAME FINIAL

irregularities in the curves. The layout doesn’t require mechanical precision, but instead the lines should flow gracefully as they spiral toward the top. Spacing should look somewhat uniform; but it doesn’t need to be, or should be, perfect. The idea is to create a carving that is well proportioned with pleasing curves.

Before you begin carving, take a few minutes to build the jig shown in photo I (at right) and H photo M (on p. 266). It’s essentially a V block with a build-in clamp for securing the work.

A sectional view of the carving reveals a series of ridges and V’s. Each of the cyma curves that you sketched earlier becomes a ridge; the area between a pair of ridges forms a V. Carving is now simply a matter of removing the area between the ridges. And if you keep a couple of key points in mind as you carve, success is virtually ensured. First, keep the tools sharp; sharp- I ness is critical to control of the tool. I keep a leather strop on my bench and hone the edges periodically. Second, always carve with or across the grain, not against it. If you attempt to work against the grain the wood will splinter and tear.

Begin by carving across the grain toward the bottom of each V (I). Alternate the cuts from either side of the V so that the wood between the cuts is removed cleanly (J). Work from the center of the V outward toward the ridges and from the J base of the flame to the tip. Cutting across the grain will leave the surface slightly coarse; but the technique removes wood quickly, and you’ll smooth and refine the surface later by carving with the grain.

As you carve, remember that each layout line becomes a ridge. Also, it’s important that the line formed by the bottom of the V is smooth and flows in harmony with the ridges. As you deepen each V adjust the line, if necessary, to cause it to flow smoothly.

(Text continues on p. 266.)

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Avoid carving too deep at first. Once you’ve carved the entire circumference of the turning you’ll have a better feel for the look you’re trying to achieve, and you can deepen the cuts, if necessary. Unlike many other areas of woodworking, carving isn’t a process of cutting to a set of precise dimensions. Instead, it’s a matter of creating balanced, flowing lines. Often the lines can’t be gauged or measured but are judged by a critical eye. In this case, each line should spiral along its length in a flowing, uninterrupted cyma curve.

K L As the carving progresses, the only remaining portion of the original turned surface will be each ridge. Be careful to leave the ridges intact— otherwise the flow of the curve that you created on the lathe will be spoiled. The only exception is the ridges that stop before reaching the base or the tip. Carve these ridges downward at the ends so that their lines flow smoothly toward the center of the work (K).

When you’re satisfied with the initial carving, the M next step is to refine the work. With a 12mm no. 2 gouge, smooth the surface of each curve J1120 MS7UA09SaigWo :.5x:085 175L EX 128White A M/A Magenta(D) TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” by cutting with the grain (L). Sever the end grain at the base between the flames with the point of a skew.

The final touch is to carve the tiny veins on the surfaces of the flame. These shallow grooves break up the otherwise flat surface to give the carving greater detail and visual interest. But first, N sketch them in with a pencil. Depending on the width of the surface, each has three to five veins. Using your middle finger as a gauge, draw each vein beginning with the ones at the outer edges (M). The veins toward the inside may not flow entirely from top to bottom but may fade out as the surface narrows. Then with a steady hand, carve each vein with a 1.5mm no. 11 gouge (N).

266 Carving CARVED FEET

Carving a Trifid Foot

The trifid, or three-toe, foot is a simple, yet elegant carved foot commonly found on period furniture from Pennsylvania and the Delaware Valley. Begin by bandsawing and shaping the leg.

➤ See “Complex Shapes” on p. 78.

Next, make a pattern for the bottom of the foot to serve as a guide while carving. Heavy card- board works well for the pattern; simply incise the outline with gouges that match the curves. Then position the pattern on the base of the foot A B and trace the outline (A).

To begin carving, secure the leg in a pipe clamp that is mounted in a vise. For consistency, use the same gouges for carving that you used for incising the pattern. Carve the profile of the toes starting at the top of the foot and working toward the base (B). As you carve, maintain the angles on the edge of the foot that were established earlier when bandsawing. Invert the gouge to carve the convex area (C, D). Afterward, smooth and blend the areas with a small file (E).

The next step is to carve the stocking. Begin with layout. First locate the height of the stocking with C D a compass (F). Used as a divider, the compass ensures that this measurement is consistent from one foot to the next.

(Text continues on p. 268.)

E F

Carving 267 TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) J). H). As you ). This unique tool will K ). Now you’re ready for the G). Now you’re ready near the sharp curve at the ankle the gouge will near the sharp curve to dig in (I). At this point, have a natural tendency spoon gouge and carve a switch to a narrow gouge begins to lift the little farther until the has grain. This is a sign that the grain direction the changed; switch directions and carve from and top of the stocking to this transition point ( blend the two areas where they meet some- After carving the stockings, they will be this what faceted from the gouges. But sanding the area will spoil the sharp ridges that outline other- stocking. Instead, use a small bent file, wise known as a riffler ( smooth allow you to preserve the details as you the surface. To outline the concave areas that form the stock- the concave areas outline To into the curve and trace it ing, flex a straightedge from toe to ankle ( next stage of carving. scoop out the wood be- Beginning at the toe, a no. 5 gouge ( tween the toes with H I J K G Carving CARVED FEET CARVED 268

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Carving a Ball-and-Claw Foot 21/4 in. diameter

The ball-and-claw foot is a classic design that has become an icon of Colonial American furniture. It first emerged during the mid-eighteenth century 5/8 in. and quickly became popular as a sign of wealth Foot layout and status. The foot shown here (A) is modeled

after Pennsylvania examples. It features tense, 27/8 in. powerful claws gripping a slightly flattened ball.

Begin by bandsawing the leg and shaping the 4 in. contours with a rasp and file. Shaping the leg first ensures that the contours of the leg and foot A 17 in. blend together.

➤ See “Complex Shapes” on p. 78.

The next step is layout. Start by marking diagonal lines from the corners to locate the center of the foot. Next, draw a circle with a compass to serve as a guide when carving the ball (B). To outline

5 the claws, draw a pair of parallel lines ⁄16 in. from each centerline (C). Then extend each line upward to the ankle where the lines converge (D). Finally, mark the apex of the ball on each of the B C D four faces.

With the layout complete (E), you’re ready to begin carving. The first stage involves roughing in the contours of the ball. As the ball is shaped, the corners of the block are further exposed to be later formed into the claws. My favorite tool for

3 carving the ball is an old ⁄8-in. socket firmer chisel about 12 in. long. The extended length of this tool provides leverage beyond that of a standard carving gouge for quick removal of stock. Later on, after the contours of the ball are roughed in, further refine the ball and remove the facets with a no. 2 gouge. E F G

(Text continues on p. 270.)

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Start by carving from the apex of the ball downward toward the circle on the underside of the foot (F). Next, change directions and carve from the apex toward the top (G). Compare the curvature of the top to that at the bottom and keep the two alike. Add additional curvature to the ball by carving across the grain from the apex toward the claw (H).

At the back of the foot, begin carving by outlining the curve at the top of the ball with a no. 5 H I J gouge. Aim the gouge toward the ball’s center and tap it lightly with a mallet (I). Repeat the process several times to form an arc. Afterward, carve the face of the ball downward toward the arc (J). Just as on the front, carve from the apex of the ball in every direction, and the ball will begin to emerge from the block (K).

Next, turn your attention to the front. Outline the web with a no. 5 gouge (L). Then use the corner of the chisel to remove stock at this area (M). With each cut, the ball will further emerge and K L M the web will begin to form. Also, the height of the ball will shorten as it becomes round and fully J1120 MS7UA09SaigWo :.5x:085 175L EX 128White A M/A Magenta(D) TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” formed (N).

Once all four surfaces of the ball begin to take shape, it becomes easier to visualize the overall form. Work your way around the ball once more and refine it so that the four surfaces become one sphere (O). Then you’re ready to begin roughing in the claws.

Before carving the claws, use compass as a divider to lay out the location of each knuckle (P). N O P Next, begin roughing in the claws by first removing the corners (Q). Then carve the excess block away so that the claws bend at the knuckles to follow the contours of the ball (R). Afterward,

Q R

270 Carving CARVED FEET

check the knuckle spacing with dividers and make any necessary adjustments (S).

With the claws contoured to follow the ball, the next step is to refine them (T). Using a no. 5 gouge, cut across the grain to hollow the space between each knuckle. This gives the knuckles a more lifelike appearance.

Next, use a no. 7 gouge to remove the excess stock at the web (U). This area is tough end grain, so keep the gouge sharp for greatest con- S T trol. As you pare the excess stock away at the web, the claws at the top of the ball will begin to form (V). Continue to contour the web until you reach the ankle. At this point, the web diminishes as it blends into the curves of the ankle.

At the sides the claws flex inward at the second knuckle to follow the contour of the ball. Remove stock at the back of the claw to yield this effect (W). U V W Now carve the talons. Curve the surfaces of the talon with a no. 5 gouge and taper them to a blunt point (X). Next, add further refinement to the web by hollowing the corners adjacent to each claw with a no. 7 gouge (Y). Finally, smooth all of the surfaces. A no. 2 gouge will remove facets on the surface of the ball left by the chisel (Z). Afterward, smooth the ball with a file (AA). X Y Z A short bent file known as a riffler is useful for smoothing the concave surface of the web (BB). Final smoothing is done with 240-grit sandpaper.

Carving 271 TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) Kerf Bending Kerf Bending (p. 281) ➤

Bent Lamination with a Vacuum Press (p. 279) Bent Lamination with Flexible Plywood (p. 280) Bent Lamination with a Two-Part Form (p. 278) Bent Lamination ➤ ➤ ➤

Steam Bending Bending Heavy Stock (p. 277) Steam Bending (p. 276) Bending Lightweight Stock (p. 277) ➤ ➤ ➤ Bending SECTION 16 OVERVIEW 272

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) steam-bent parts. This rockingchaircontains several B ogbnsaerqie.Aspecialized long bendsare required. ofwoodworking where ing andothertypes usedinboatbuild- iswidely which bending, heatmethodissteam The mostpractical nating andplasticizingthewoodusingheat. lami- for bendingwood: strategies practical to makingfurniture. beapplied thatcan ers bendingtechniques Thissectioncov- part. weakening thecurved grain, leavetoomuchthe woodwill short isrequired andcutting when alargecurve especially options tothefurniture maker, The furniture maker has basically two The furniture makerhasbasically ipe Bendingopensmanydesign simple. niques ending isone of those tech- that seemsexotic butisreally clamps oravacuum press untilthegluesets. clamps Thelayersare heldinpositionwith form. around acurved layers ofglue-coatedstock bendsareLaminated madebybendingthin Bent Lamination shortcomings. thismethod hasobvious the finishedwork, are visiblein thekerfs Because bend trim. where itissometimesusedto woodwork, asinhigh-endarchitectural aswell frames inmakingmirror andpicturesome utility has bending, kerf called method, specialized Another formusicalinstruments. thin parts employs heatbutislimitedtobendingvery hotpipebendingalso method called element but also comfort. provide notonlyaninteresting design The steam-bentrungsof this chairback ETO 16OVERVIEW SECTION Bending 273

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In bent lamination, curved form. Depending on the size of the the layers, or stock, pressure for the bend can be supplied laminae, are visible by physical force or supplemented with once the edges are clamps. After the bend, the part is held in jointed flush. position until it has cooled and sufficiently dried to maintain its new shape. Wood that is steam bent undergoes extreme stress. The cell structure on the convex side of the bend is stretched while that on the concave side is simultaneously compressed. The fact that wood can be bent Afterward, the excess glue is scraped and this way is remarkable in itself. removed and the edges are trimmed flush. Although steam-bent parts lack the Bent laminations are very strong, and the strength of bent laminations, they are still method is extremely versatile. Narrow lami- remarkably strong. And they are obviously nations are used for legs of tables and chairs; much stronger than bandsawn stock, which wide laminations are used as the sides for has been weakened by short grain. casework. Laminations are also widely used Also, steam-bent stock lacks the dis- in architectural woodwork from beams in tracting layer lines present in laminations. churches to stringers in circular and geo- Instead, the grain runs naturally and con- metric stairs. tinually throughout the curves of the stock. The only downside to bent laminations Steam-bent stock can be carved, too; whereas J1120 MS7UA09SaigWo :.5x:085 175L EX 128White A M/A Magenta(D) TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” are the layers themselves, which can some- the glue and constant grain changes of bent times be distracting. To overcome this prob- laminations make carving impractical. lem, it’s helpful to mill the lamina from one piece of stock, keeping track of the layers Bending Forms and gluing them together in the original Bending forms should be stiff and strong to order. Still, some of the stock is lost in the resist the forces of bending. Most important, kerf during milling, so the grain in the lami- the curve of the form should be smooth and nation won’t be a perfect match. Tapers consistent. The best material for forms is should be cut before laminating. Otherwise plywood. Solid wood tends to have weak the taper will cut through the individual areas resulting from short grain; particle layers, adding to the visual distraction. board is harsh and quickly dulls tools. However, plywood doesn’t have these short- Steam Bending comings. It’s easily worked and doesn’t move Steam bending is a process of softening the drastically with humidity changes. wood fibers with a combination of heat and To create a thick form, stack the plywood moisture until they are sufficiently pliable to in layers and use glue and screws to fasten bend. The hot, wet sticks are pulled from a the layers together. Make certain that the steam box and quickly wrapped around a

274 Bending SECTION 16 OVERVIEW

screws are located away from the path of the eventual curve. A SIMPLE STEAM BOX Steam-bending forms require a system for holding the parts in position until they have cooled and dried sufficiently to retain their new shape. This can be a simple arrangement of pins and wedges or a more complex system of steel rods and bolts driven with a pneumatic (impact) wrench. The decision PVC pipe for steam box often rests on the thickness of the stock and the severity of the bend. Bent lamination forms to be used in a vacuum bag require softening along edges and corners. Otherwise, a sharp corner may Radiator hose puncture the bag. to carry steam Steel can to boil water Kerf Bending Kerf bending involves sawing a series of deep kerfs across the grain to weaken the stock. After kerfing, the thin upper layer that remains is flexible, which allows a bend to be made. After bending, the stock is quite Heat source fragile and must be supported. As you have probably concluded, kerf bending is impractical. The kerfs are quite distracting; and, even if hidden, they tele- graph through the face of the bend. Also, the stock is severely weakened and has absolutely no structural integrity unless the kerfs are later filled with wood or epoxy. Even so, this simply adds to the visual distraction. If you need to create a wide curved panel without the time and fuss of laminations and the inherent weaknesses of kerf bending, a better solution is bendable plywood. A form for bent lamination needs to be strong. Plywood provides more strength than solid wood ➤ See “Tools for Bending” on p. 26. when making forms.

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Steam Bending

To find the examples given in this section on steam bending, I visited Brian Boggs at his shop in Berea, Kentucky. A long-time chairmaker, Brian has taken steam bending to a science. He uses a pressure cooker to supply the steam, and his steam box is stainless steel. The steel steam box is fitted within a well-insulated wooden box. A His forms are sophisticated, too. Built up of layers of plywood, the forms have stainless-steel straps that fit over the outer portion of the bend to prevent failure from the extreme stresses that occur when bending.

Begin by selecting the stock and working it to rough size. It’s important that the grain is straight and runs in the same direction as the stock. The stock can be rived (split) or sawn, as long as the grain direction is parallel with the edge and face (A). After rough sizing, mill the stock to final size. B The next step is to steam the parts. A rule of thumb is to steam the parts 1 hour for each inch of thickness. Make certain that the steam box is J1120 MS7UA09SaigWo :.5x:085 175L EX 128White A M/A Magenta(D) TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” hot before loading the parts (B).

Take advantage of the time while the parts are steaming to make preparations for bending. Make certain your form is in place and that you have the necessary clamps at hand. Once the parts are sufficiently pliable to bend around the form, remove them from the steam box.

▲! WARNING Wooden parts coming out of a steam box are very hot! Protect your hands with a pair of leather work gloves.

276 Bending STEAM BENDING

Bending Lightweight Stock

Brian prebends the thin slats for his ladder-back chairs over a plywood form. The tight, smooth curve of the prebending form ensures a smooth, fair curve on the stock. A stainless-steel strap A B supports the bend on the convex face to prevent failure from tension stress. Brian centers the stock over the form (A) and applies force from his upper body (B). After holding the stock over the form for approximately 1 minute, he places it into a drying rack (C). Brian’s rack is designed to hold a complete set of slats for one chair (D).

C D

Bending Heavy Stock

Bending thick, heavy stock requires greater force in addition to the longer steaming time (A). To bend the rear legs for his chairs, Brian slides the end of the leg into a jig (B). He makes the first A bend by tightening a U-bolt with an impact wrench (C). Then he bends the top of the leg using the leverage from a length of steel bar (D). B The top of the leg is held in position for drying with a steel pin and a wedge. While holding the leg against the form, Brian slips the pin through a pair of holes and slides the wedge under the pin. A couple of taps with a mallet tightens the wedge firmly against the leg (E).

C D

Bending 277 TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) BENT LAMINATION

Bent Lamination with a Two-Part Form

Begin by resawing stock for the laminae (A). Experiment to find a thickness that easily conforms to the curve of the plywood form. After sawing, scrape or sand the surfaces to smooth away the saw marks. If you choose to sand, it’s a good idea to remove the fine dust from the pores of the wood with compressed air.

The next step is to prepare for glue-up. If you use plastic resin glue, you’ll need measuring cups and a stirring stick. A small foam paint roller works well for glue application. I like to have the clamps I’ll be using ready and waiting (B). These simple A steps make the gluing process proceed smoothly and without fuss.

After spreading the glue, stack the layers and position them within the form. Then apply clamp pressure from the center and work toward each end (C). J1120 MS7UA09SaigWo :.5x:085 175L EX 128White A M/A Magenta(D) TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” ▲! WARNING Plastic resin and other two-part adhesives cure by chemical reaction as the two parts are mixed. B During this process, toxic chemical fumes are often released. Protect yourself by having good cross-ventilation.

278 Bending BENT LAMINATION

Bent Lamination with a Vacuum Press

A vacuum press makes the lamination process easy and convenient. There’s no need for clamps or a mating half to the form. Just make certain that you’ve softened all the sharp edges on both the work and the form; otherwise you risk punc- A B turing the vacuum bag.

Begin by resawing stock for the laminae. Experi- ment to find a thickness that flexes easily to the curves of the form. After resawing, smooth away the bandsaw marks by scraping or sanding. If you sand the laminae use a burst of compressed air to blow the dust from the pores.

The next step is to prepare for glue-up (A). If you’re using plastic resin glue you’ll need mea- C D suring cups and a stirring stick. A small foam paint roller makes it easy to spread an even application of glue.

After mixing thoroughly (B), spread an even coat of glue on each layer (C). Then stack the layers and bind them with masking tape to keep them aligned (D). Position the stack over the form, seal the bag, and turn on the pump (E).

Afterward, scrape away the excess glue and use a jointer or handplane to true the edges.

Bending 279 TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) BENT LAMINATION

Bent Lamination with Flexible Plywood

Flexible plywood provides a fast, convenient method for creating curved panels, especially wide panels for casework (A). By gluing two layers of plywood and covering them with veneer, a strong, attractive panel is easily B produced.

Begin by cutting two sections of flexible plywood to the required dimension. Next, cut two sheets of veneer to cover the outer layers of the plywood. To keep the moisture in equilibrium in the finished panel, it’s always best to veneer both faces.

The next step is to prepare for glue-up (B). A C Gather the tools for measuring and mixing the adhesive. After mixing the two parts of the adhesive (C), spread an even coat on each member of the lamination (D). Stack the layers and bind them with tape to keep them in alignment (E). Now position the stack over the form; seal the bag and turn on the pump (F). J1120 MS7UA09SaigWo :.5x:085 175L EX 128White A M/A Magenta(D) TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875”

Afterward, scrape away the dried adhesive from the edges of the panel. D

E F

280 Bending KERF BENDING

Kerf Bending

Kerf bending is an old method that has been mostly replaced by newer materials and methods that yield better results, such as flexible plywood. However, kerf bending may still be occasionally useful when strength and appearance are not extremely important.

To kerf bend a plywood panel, rip a series of A tightly spaced kerfs on the table saw (A). The depth of the kerf should be nearly the entire stock thickness; spacing the kerfs closely will help avoid a faceted appearance on the face of the curved panel. Now simply flex the stock to the desired curve.

There are several methods for reinforcing the weakened panel. One way is to attach it to curved ribs (B). Other methods include filling the kerfs with wood strips or epoxy. B

Bending 281 TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) C). Then B). The plywood -in.-thick plywood 4 ⁄ 1 in. by 3 in. and require a thumbnail 8 ⁄ 7 in. by 2 ⁄ Begin by milling the stock to the final thickness, Begin by milling the stock to the final Next, but leave it oversize in width and length. glue the stock to a piece of Template Shaping Shaping Template Small Parts A) measure approximately These tiny blocks ( 1 profile along one edge and both ends. Because profile along one edge and both ends. the entire edge is shaped, the setup requires cutting either a fence or a template to limit the mitered depth. After shaping, the blocks will be in the on the ends and carefully fit into a notch seat board. with heavy paper in the joint ( will provide a template for the router bearing dur- will provide a template for the router bearing the paper ing the shaping process. After shaping, easily will allow you to separate the plywood from the workpiece. of the After the glue has dried, joint the edge ( assembly with a bench plane or jointer rip the stock to final width and crosscut it to final length (D). The next step is to shape the profile. There are a couple of keys to shaping such a small piece: add mass to reduce chatter and provide a method to grasp the part safely for shaping. One solution is to grip the part within the jaws of a wooden The heavy wooden clamp effectively handscrew. adds mass and positions hands a safe distance from the spinning router bit. Also, if the bit inad- vertently contacts the jaws of the clamp, there’s no dangerous metal-to-metal contact. E C B D A Appendix: Shaping Small Parts 282

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) from thejigaftershaping. of thejigprovidesawaytopushworkfree the groovemustbesnug;afingerholeintop end isshaped.Thefitoftheworkpiecewithin second workpieceisheldwithinagrooveasthe workpiece asitisshapedalongtheedge; holding thework(A).rabbetholdsfirst and fence( maintain firmpressureagainst theroutertable the jigforendshaping( pieces, youcanalsopositionasecondpieceinto for shapinganedge.Ifyouaremultiple ends ofthestock.Thenplaceitintorabbet within thegrooveofjig( After makingthejig,millstockforasnugfit preventing chatter. pressure isappliedtothestockasitshaped, dimension thanthestockbeingshaped.Thisway for shapingtheedgemustbeslightlylessin Furthermore, therabbetthatsecureswork piece of the candle-slidefrontforadesk.Thejigis is designedforshapingmultipleparts,suchas edge ofasmallpart.Itinvolvessimplejigthat Here’s a secondmethodforshapingtheentire Parts withaJig Shaping Small the seamalongbackedge(G). wood fromtheworkpiecebyplacingachiselinto After theshapingiscomplete,gentlypryply- same procedure( shaping theends,shapeedgeusing plate makescontactwiththebearing( work intothespinningbituntilplywoodtem- the clampfirmlyaroundstock.Next,feed Begin byshapingtheends.Tighten thejawsof 3 ⁄ 4 -in.-thick plywoodwithpocketsfor D). F). C). Asyouusethejig, B). Next,shapethe E). After Note: Jigispicturedupsidedown. A C F Feed shaping edges. here for Place stock ends. shaping here for stock Place fit snug. must Stock G D Appendix: Shaping SmallParts B APPENDIX 283

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) B) on p. 217. “Fluted Quarter Columns” See Shaping Small PartsShaping Small Gauge with a Miter uses a miter gauge in con- This small-part setup board, which is fastened junction with a backup gauge with a pair of screws. to the head of the is first secured parallel to The router table fence the small workpiece is then the miter gauge slot; board for safe shaping. clamped to the backup are the The parts being shaped in this example or flat column. base and capital for a pilaster, added to After shaping, the complete pilaster is the interior of a desk. shaping a The first stage in this process involves strip of molding. are cut After shaping, short blocks of the molding capital (A). from the strip for use as the base and be shaped, But first, the ends of the blocks must used on or “returned,” with the same profiles safe and the face of the block. This setup allows such accurate shaping of very small workpieces as these. edge ( For each profile, orient the stock on the or end (C) and firmly clamp it to the backup board on the miter gauge. ➤ C B A Appendix: Shaping Small Parts APPENDIX 284

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) List ofSuppliers Shaper Cutters PowerToolsPortable Stationary PowerTools this book. companies forproviding toolsforphotosin I wishtogratefullyacknowledge thefollowing Table SawMoldingHead freeborntool.com 800-523-8988 Inc. Freeborn ToolCompany, dewalt.com 800-4DEWALT DeWalt boschtools.com 877-267-2499 Bosch makitatools.com 800-4MAKITA Makita porter-cable.com 800-487-8665 Porter-Cable jettools.com 800-274-6848 Jet Equipment& Tools lagunatools.com 800-234-1976 ToolsLaguna lrhent.com 800-423-2544 Inc. LRH Enterprises, Bandsaw Blades Hand Tools Antique Tools Vacuum Presses Router Bits Router Tables Clamps diefenbacher.com 800-326-5316 Stubai woodcraft.com 800-542-9115 Woodcraft lie-nielson.com 800-327-2520 Inc. Lie-Nielson ToolWorks, 740-373-9973 The ToolMerchant vacupress.com 207-725-0935 Vacuum Pressing Systems cmtusa.com 888-268-2487 Inc. CMT USA, benchdog.com 800-786-8902 Bench-Dog americanclamping.com 800-828-1004 ClampingCorporation American lenoxsaw.com 800-628-3030 Co. &Manufacturing Saw American LIST OFSUPPLIERS 285

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) The The The Taunton The Taunton The Taunton The Taunton Press. The Taunton The Taunton Press. The Taunton The Taunton Press. The Taunton The Taunton Press. The Taunton The Taunton Press. The Taunton The Taunton Press. The Taunton Setting Up Shop. The Art ofTools. Fine The New Wood Finishing Book. Wood The New Water-Based Finishes. Water-Based The Complete Guide to Sharpening. The Complete The Table Saw Book. Table The The Workbench Book. The Workbench The Toolbox Book. The Toolbox Great Wood Finishes. Great Wood Woodshop Jigs and Fixtures. and Jigs ———Woodshop Mehler, Kelly. Nagyszalanczy, Sandor. Jewitt, Jeff. ———Hand-Applied Finishes. Dresdner, Michael. Charron, Andy. Lee, Leonard. Landis, Scott. Tolpin, Jim. The Workshop Book. ———The Workshop Nagyszalanczy, Sandor. Dust Control. ———Woodshop Taunton Press. Taunton The Taunton Press. The Taunton Press. WOOD FINISHING WOODSHOPS The Taunton Press. The Taunton Press. Press. Press. Taunton The Cambium The Taunton The Taunton Press. The Taunton The Taunton Press. The Taunton The Taunton Press. The Taunton The Taunton Press. The Taunton Wood Handbook:Wood as Wood The Taunton Press. The Taunton Forest Products Laboratory. Products Forest Identifying Wood. Mastering Woodworking Machines. Woodworking Mastering The Encyclopedia of Furniture. The Woodworker’s Guide to Furniture Woodworker’s The The Fine Art of Cabinetmaking. Classic Hand Tools. Classic Hand The History of Furniture: Twenty-Five Encyclopedia of Making. Furniture The Bandsaw Book. Building Traditional Kitchen Cabinets. Kitchen Traditional Building The Nature and Aesthetics. The Nature Popular Woodworking Books. Woodworking Popular Understanding Wood. ———Understanding The Handplane Book. ———The Handplane Hack, Garrett. Pye, David. Morley, John. ———The Shaper Book. Duginske, Mark. Editors of Fine Woodworking. Practical Design. Hoadley, R. Bruce. Graves, Garth. Tolpin, Jim. Bird, Lonnie. Forest Products Laboratory. Products Forest Aronson, Joseph. Joyce, Ernest. Krenov, James. Press. The Taunton Press. The Taunton Centuries ofTradition. Western Style and Design in the Bulfinch Press. Design. The Taunton Press. The Taunton Crown Publishing. Crown an Engineering Material. Press. Press. Taunton Sterling Publishing. TOOLS AND MACHINERY DESIGN WOOD TECHNOLOGY Further Reading Further CABINET MAKING Sterling Publishing. FURTHER READING FURTHER 286

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) ees(ol,9 38 9, (tool), Bevels 81 77, edges, Beveled 272–81 223, Bending wood, 44 16–17, Bench planes, 42–43 40, pencil-post, Beds, Bed posts 145–53 133, Beads, 60 Battens, 156 Base caps, 13–14 Bandsaws, 269–71 254, feet, Ball-and-claw 150–51 146, Backboards, B 112–16 88, compoundcurves, Asymmetrical 181 155, Astragal profile, Arcs 93–94 Arched paneldoors, 100–101 Arched lightsashdoors, A Index ol o,2,2,25 276 275, 29, 26, tools for, 276–77 275, 274, 273, steam method, 29 for, selecting stock 278–80 275, 273–74, lamination method, 281 275, 273, method, kerf 273 hot pipemethod, 278 276, 274–75, forms for, 246–51 227, turning, 42–43 tapered, 251 248–49, 235, 231–32, 225, turning, 201 181, 155, 148, Quirk, 168 on molding, 152–53 146, cock, 124 120, templates for, 48 46, 41–42, for tapers, 70 pieceson, stacking 71 scrollsawing with, 14 for, safety 45 41, for ripping, 108–11 feet, for ogeebracket 63 62, 48, 41–42, jigs for, 74 67–70, 64–65, 63, 58, for curves, 61–63 13–14, blades for, 33 uses of, 192–94 187, in molding, 65 63, 62, jigs for, 64 freehand, 58–60 10–11, drawing, o opudcre,14 0–0 112–16 108–10, 104, for compoundcurves, Chamfers 16 Chair scrapers, Chairs 27 Case hardening, 252–71 223, Carving, 16 Card scrapers, 134 stands, Candle 236 105–6, 87, 18, legs, Cabriole C 23 Butt chisels, 180–82 Built-up molding, 125 69, Broad sweeping, 73–74 Brick-stacking, 108–11 67–68, feet, Bracket 38 Bowed stock, 137 17, planes, Block Blades 75 Bird’s mouth, einn,39–40 designing, 52–53 51, 15, cutting, 277 ladder-backed, 76 for, backs curved 112–16 86, in, compound curves 63 Chippendale, 253 on, backs carved 77 splatsfor, beveled 277 273, bent woodfor, 112–16 arms for, 261 253, volutes, 254 24–25, tools for, 261 templates for, 257–60 254, 253, shells, 255 sanding and, 253–54 for, safety 262 rosettes, 256 ogee profiles, 256 lamb’s tongues, 254 jigs for, 129 82, inside corners, 256 255, 254, grain and, 213 flute ends, 263–66 finials, 267–71 feet, 253 designs for, 185 dentil molding, 254 applied elements, 63 61, 13, of, pitch 61–63 13–14, for bandsaws, INDEX 287

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) Curved molding See also Shaper cutters See asymmetrical compound, 88, 112–16 beveling, 77 brick-stacking, 73–74 sweeping,broad 69, 125 compound, 86–88, 104–16, 187, 190, 201 cutting, 13–14, 57–58, 61–77, 104, 112–16 drawing, 2, 58–60 for,edge treatments 77, 139–40 exterior, 67–75 fair, 60 freeform, 2, 33, 60 cutting of,freehand 58, 64 geometrical, 33, 60 interior, 76–77 jigs for, 62–63, 64–65 laminated, 29 ogee, 59, 108–11 resawing, 71–72 selecting stock for, 28–29 serpentine, 59 simple compound, 104 stopped chamfers for, 56 templates for, 60–61, 66 tight, 67–68, 73–73, 126, 127 uses of, 33 hand tools for, 211 jigs for, 206–207 for molding, 155, 168, 173, 174, 176 for,routers 210 table saw for, 203, 204–209 turning, 225, 233, 235, 240, 248–49 flat, 175, 182 solid, 172–74 arched, 187, 192–94 compound curve, 187, 190, 201 elliptical, 187, 190 gooseneck, 187–91, 195–200, 262 S curved, 187–91 Cutters. Cylinders, turning, 229 D Decorative techniques, 203–21 Dentil molding, 170–71, 183–85 Depth gauges, 9 Desks, 127, 129 Dished tops, 134–35, 143–44 Dividers, 10 Coves, 203, 204–11 Crosscuts, 45 molding,Crown 156, 165, 166–67 Cupped stock, 38 Curved molding, 169, 186–201 Curves, 57–77. Gouges See also Miter saws See bandsaws for, 104, 108–10, 112–16 beaded, 201 on cabriole legs, 87, 105–106 hand tools for, 88, 115 in molding, 187, 190, 201 simple, 104, 107 table saw for, 111 dentil, 170–71, 183–85 flat, 180 solid, 172–79 stacked strip, 166, 168, 169, 181–82 thick stock, 168–69 drawing, 10–11, 58–60 drilling, 109 cutting of,freehand 64 jigs for, 63, 64 templates for, 11, 58, 66 uses of, 33 butt, 23 firmer, 23 sharpening, 225–26, 254 skew, 23, 25, 96, 226, 232 for turning, 25–26, 225–26 as edge treatments, 137 hand tools for, 137 jigs for, 51 molding heads for, 55 of,profile 155 stopped, 52, 54, 56 on straight legs, 40 Concave contours, 70 Convex contours, 70 panels,Coopered 102 Cope-and-stick joinery, 83–85, 93–94, 101 Coping saws, 58, 75, 76 Corner cabinets, 156 Corners, inside, 21, 82, 119, 122,Cornice, 129 170–71, 182 Complex shapes, 78–129 Compound curves, 86–88, 104–16 CMT USA, 174 Cock bead drawers, 146, 152–53 Colonial American furniture, 269 Columns, 203, 217–19 Combination squares, 8–9 Compass, 10–11, 35, 58 Compass planes, 16, 69 Complex molding, 164–85 Chop saws. Circles Checking, 27 Chests, 36, 37, 165, 172 Chippendale chairs, 63 Chisels, 23, 24–25. Index INDEX 288

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) utcletr,144 collectors, Dust 15–16 Drawknife, Drawers 108 half-blind, Dovetails, 121 99, Double-sided tape, Doors Feet 60 Fair curves, F 131–53. Edge treatments, E Ellipses rprinn,3,37 36, proportioning, 146 133–34, edge treatments for, 152–53 146, bead, cock 81–82 tombstone, 134 133, thumbnail profile for, 98–99 small tombstone, 100–101 84–86, sash, 80–81 proportioning, 98 95–97, 84, mitered for, sticking 141 lipped edges, 83–84 for, joinery 93–101 79, for, frame andpanelconstruction 141 133, edge treatments for, 101 93–94, 83–84, panel, cope-and-stick 93–94 arched panel, 100–101 arched lightsash, rce,6–8 108–11 67–68, bracket, 269–71 254, ball-and-claw, sso,33 uses of, 66 templates for, 190 187, in molding, 58–59 drawing, 137 worn edgestyle, 18–23 tools for, 141 134, 133, 127, thumbnail profile, 146 143–44, for tabletops, 140 138, 134, 151 shapers for, 149, 143–44, 139, 136, 134, routers for, 135 router bits for, 137 133, roundover, 133 reverse ogee, 81 of panels, 146 133–34, for drawers, 141 133, for doors, 143–44 dished tops, 139–40 77, for curves, 137 chamfers, 77 bevels, 145–53 137, beads, See also Molding adtos 2 Hand tools, 37 36, Hambidge rectangles, 108 Half-blind dovetails, H Gouges. 262 195–200, 187–91, molding, Gooseneck 35 80, 36, Golden Rectangle, 279 278, plasticresin, Glue, 53 43, marking, Gauges, G rtas 8 76 58, Fretsaws, 11 10, French curves, 60 38, 2, Freeform curves, 93–101. 79–81, Frame andpanelconstruction, 212–19 203, Flutes, 125–26 119, trimming, Flush 182 178, 166–68, moldings, stock Flat 263–66 242–45, finials, Flame 31 Finishing, Finials 225 turning, Fillets, 70 17–18, Files, 36–37 numbers, Fibonacci Grain o odn,18 162–63 158, for molding, 75 58, for curves, 137 for chamfers, hog,213 through, 216 213, stop, 214–15 routers for, 212–19 proportioning, 214 203, 156, on pilasters, 216 213, end detailsof, 217–19 203, on columns, 242–45 227, turning, 263–66 carving, 267–68 254, three-toed, 236 pad, tagt 28 straight, 29 28, short, 80 panels and, 39 in legsandposts, 29 28, and, curves 256 255, 254, and, carving 225–26 24–25, for turning, 231 226, 25, spindle, 225–26 sharpening, 25 roughing, 255 88, 24–25, for carving, o opudcre,8,115 88, for compoundcurves, See also Raised panels Raised Chisels See also Index INDEX 289

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) Complex molding; See also Stock Stock See Curved molding 192–93, 198–200 See attaching, 157 base, 156 built-up, 180–82 crown, 156, 165, 166–67, 172–74, 175,dentil, 182 170–71, 183–85 drawing, 177 face shaped, 187, 192, 194 flat stock, 166–68, 178, 182 hand tools for, 158, 162–63 jigs for, 187–89, 192–93, 196 of,profiles 155, 165, 187 for,routers 159, 168, 172–74, 176–78, 187–90, shapers for, 160, 175, 187–88, 194–97 simple, 154–63 stacked strip, 166, 168, 169, 181–82 stock for, 156–57 strip, 155–57, 168 table saws for, 161, 168, 172–74, 183–85 templates for, 191, 198 thick stock, 168–69 tools for, 18–23 transitional, 176 waist, 165 for coves, 211 molding,for flat crown 179 for Quirk beads, 148 in chairs, 112–13 in complex designs, 88 cutting multiple, 63 designing, 39–40 grain for, 39 offset, 237–38 rounding, 107 selecting stock for, 28–29, 39 straight, 40 tapered, 40, 234 turning, 234, 236–38 Molding heads, 55, 161, 168 Molding planes, 21–23, 158, 162 Mortise-and-tenon joinery Lumber. M gauges,Marking 43, 54 Materials. Milling, 45 sticking,Mitered 84, 95–97, 98 Miter gauge, for small pieces, 284 Mitering, molding, 190 Miter saws, 14, 15, 45 content,Moisture 28, 30, 79 Molding, 131, 154–201. Mortise-and-tenon joinery Turning Feet Templates 198–200 See also See also See also See also in complex designs, 88 cope-and-stick, 83–84, 93–94, 101 for shapers, 43, 51, 187, 196 for small pieces, 283 spar-marker, 43, 53 for table saws, 40–41, 49, 50, 81, 92,for tapers, 206–207 40–43, 48 cabriole, 18, 87, 105–106, 236 Chippendale, 63 curved, 104, 107 for arcs, 62 for bandsaws, 41–42, 48, 62, 63 for carving, 254 for chamfers, 51 for circles, 63, 64 for cope-and-stick joinery, 101 for coves, 206–207 for curves, 62–63, 64–65 for dished tops, 135 for molding, 187–89, 192–93, 196 pin, 198–200 for raised panels, 81, 92 for routers, 43, 51, 63, 135, 187–90, 192–93, for raised panels, 91 for tapers, 53 safety for, 226, 227, 232, 238 Jointers, 11–12, 45, 47 Jigsaws, 76 Joinery. Honeycombed lumber,Honeycombed 27 Hot pipe bending, 273 Humidity, 28, 79 Hydrometers, 28 K Kerf bending, 273, 275, 281 Kiln drying, 27, 28 L Ladder-backed chairs, 277 tongue carvings,Lamb’s 256 Laminated bends, 273–74, 275, 278–80 Laminated curves, 29 Laminate trimmers, 77 Lathes. Layout, tools for, 8–11 Legs. I Inside corners, 21, 82, 119, 122, 129 J Jigs. Index INDEX 290

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) Panels. 236 Pad feet, P 168 156, 155, profile, Ovolo 155 Ogee profile, Octagons O 36–37 Fibonacci, Numbers, 106 Nicholson rasps, 70 files, Needle 156 Neck molding, N utntnn,85 Muntin tenons, 118 70, 63, Multiple pieces, 85 Mullions, Planes 12 Planers, 214 203, 156, fluted, Pilasters, 141 Pendulum clocks, 42–43 40, Pencil-post beds, 262 Pediments, 239–40 vase, Pedestals, Patterns. 25–26 Parting tools, 232 Paraffin, unn,25 248–49 225, turning, 248–49 225, 133, reversed, 174 in molding, 133 59, design andlayout of, 256 carving, 108–11 feet, in bracket 33 uses of, 256 51–53, 42–43, 40, tapered, 42–43 39, 37–38, design andlayout of, 51–53 42–43, cutting, o ahdos 58,100–101 85–86, for sashdoors, 95–97 for mitereddoors, sticking 80 79, in frames, 84 cope-and-stick, vs. nvra,2,18 163 158, 22, universal, 158 150, 22–23, Stanley, 91 17, 211 rabbet, 179, 162, 158, 148, 21–23, molding, 69 16, compass, 137 17, block, 44 16–17, bench, 30–31 wide, 30–31 for, selecting stock 80 of, grain 102 coopered, See also See panels Templates Frame and panel construction; Raised Raised Frame andpanelconstruction; onoe de,13 137 133, Roundover edges, 25 Roughing gouge, 262 241, Rosettes, 45 41, Ripping, 248–49 225, 133, ogee, Reverse 71–72 Resawing, 220–21 203, Reeding, Rectangles 35 ofwholenumbers, Ratios 255 107, 88, 17–18, Rasps, 89–94 panels, Raised 85 80, 79, Rails, 45 15, 14, saws, Radial-arm 91 17, planes, Rabbet R 201 181, 155, 148, bead, Quirk 102 stock, Quartersawn Q Posts. 234 230, turning, Pommels, 72 Point fence, Plywood rtatr,38 Protractors, 87–88 Prototypes, 276 26, Pressure cookers, sso,33 uses of, 36 Hambidge, 80 36, 35, Golden, 35–40 designing, 106 Nicholson, 81–82 tombstone, 92 table sawfor, 89 81, shapers for, 30–31 for, selecting stock 90 20, routers for, 92 81, jigs for, 91 hand toolsfor, 80 of, grain 81 80, edge treatments for, 103 30, curved, 96 carving, 93–94 80, arched, 108 splines, 276 274–75, forms, 280 bending, aee,4,42–43 40, tapered, 52 octagonal, 39 for, grain 39–40 designing, 112–16 compound curve, See also Bed posts Index INDEX 291

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) Bandsaws; Miter saws; Radial-arm See also saws; Scrollsaws; saws Table for curves, 58, 76 stacking pieces on, 70 bearing-guided, 119 cope-and-stick, 83 custom, 170, 196 flush-cutting, 119 insert, 181 for curved edges, 140 for edge treatments, 134, 138, 140 for face shaping, 142 jigs for, 43, 51, 187, 196 for molding, 160, 168, 175, 187–88, 194–97 for octagonal posts, 52 for raised panels, 81, 89 vs. routers, 18–21 safety for, 20, 195 for tapers, 43, 51 templates for, 120 carving tools, 254 scrapers, 16 turning tools, 225–26 Saws, 13–15. Scrapers, 16 Scratch stock, 23, 146–47, 153, 158 Scribed bead drawers, 146 Scrollsawing, bandsaws, on 71 Scrollsaws, 14 S curved molding, 187–91 Seat boards, 127 Serpentine curves, 59 Shaker furniture, 2, 131 Shaper cutters, 18, 19 Shapers, 20–21 Shapes, cutting, 33–129 Sharpening Shell carvings, 253, 254, 257–60 Simple moldings, 154–63 Skew chisels, 23, 25, 96, 226, 232 Sliding bevels, 9 Small pieces, 282–84 Small tombstone doors, 98–99 Spar-markers gauge, 43, 53 Spindle gouge, 25, 226, 231 Spindles, turning, 25 Spindle sanders, 15 Spirals, carving, 261 Splines, 108 Spokeshaves, 15, 71–72 Squares (shape), 33, 37, 38, 45 Squares (tool), 8–9 Stacked strip molding, 166, 168, 169, 181–82 Stacking pieces, 63, 70 Stanley planes, 22–23, 150, 158 192–93, 198–200 for bandsaws, 14 for carving, 253–54 for complex molding, 167 for jointers, 12 for lathes, 226, 227, 232, 238 for miter saws, 15 for routers, 19 for scrollsaws, 14 for shapers, 20, 195 for table saws, 11, 208 for octagonal posts, 52 for raised panels, 20, 90 for reeding, 220 safety for, 19 vs. shapers, 18–21 tables for, 19, 21 for tapers, 43, 51 templates for, 66, 120 for thumbnail profiles, 127 for beaded edges, 149, 151 for chamfers, 56 for coves, 210 for curves, 63, 127–28, 139 for dished tops, 135, 143–44 for edge treatments, 134, 136, 139, 143–44, 149,flush trimming with, 151 125 for flutes, 214–15 fulcrum for, 56 handheld, 136, 214 jigs for, 43, 51, 63, 135, 187–90,for molding, 192–93, 159, 198–200 168, 172–74, 176–78, 187–90, bearing-guided, 66, 118, 119, 125, 134 for beveling, 77 for cope-and-stick joinery, 83, 93–94 corebox, 173 for edge treatments, 135 flush-cutting, 119 roundover, 118 selecting, 128 vertical, 103 Sanders, spindle, 15 Sandpaper, 255 Sash doors, 84–86, 100–101 Saw marks, 43–44 S Safety measures, 5 Rub collars, 134 Rules, 10, 35 Routers, 18–21 Router bits Index INDEX 292

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) Tables. T ufc hcig 27 checking, Surface 168 155–57, molding, Strip 35–55 cutting, edges, Straight 35 (tool), Straightedge 246–47 228, sticks, Story 56 54, 52, cuts, Stopped 27–31 Stock, 79 Stiles, Sticking 184 dentilmolding, block Stepped 276 275, 29, 26, boxes, Steam 276–77 275, 274, 273, bending, Steam Tabletops 11 Table saws, tce,16 6,19 181–82 169, 168, 166, stacked, 30–31 wide, 38 30–31, 28, 27, warped, 38 twisted, 28 storing, 156–57 39, 30–31, 27–29, 7, selecting, 229 rounding, 102 quartersawn, 30–31 for panels, 63 nesting, 156–57 for molding, 79 30, 28, moisture content of, 28–29 for legs, 27–28 drying, 28–29 for curves, 38 cupped, 38 crooked, 38 bowed, 29 for bending, 98 95–97, 84, mitered, 101 93–94, 83–85, coped, detetet o,133,134,146 143–44, 133–35, edge treatments for, 143–44 134–35, dished, 146 beaded, 123 120, templates for, 49 40–41, for tapers, 208 11, for, safety 92 panels, for raised 111 feet, for ogeebracket 183–85 172–74, 168, 161, 206–207 for molding, 92, 81, 50, 49, 40–41, jigs for, 204–209 203, for coves, 111 for compoundcurves, 54 for chamfers, 142 134, tea, 142 for, skirt See also Tabletops epae,117–24. Templates, 142 134, Tea tables, Tapers 10 Tape measures, 121 99, double-sided, Tape, Tenons. rm 127–28 Trim, 267–68 254, Trifid feet, 9 Triangles, 58–59 10, Trammels, 7–26. Tools, 81–82 Tombstone doors, 120–21 Toggle clamps, Thumbnail profile 267–68 254, Three-toed feet, 168–69 molding, stock Thick sso,3,38–39 33, uses of, 49 46, two-sided, 234 turning, 49 40–41, table sawsfor, 51 43, shapers for, 51 43, routers for, 256 51–53, 42–43, 40, octagonal, 48 40–43, jigs for, 50 four-sided, 51 eight-sided, 39–40 38, designing, 46–53 40–43, cutting, 42–43 for bedposts, 137 worn edge, 31 finishing, o al as 2,123 120, for tablesaws, 282–83 for smallpieces, 120 for shapers, 120 66, for routers, 198 191, for molding, 121–24 making, 9 for layout, 66 for ellipses, 66 60–61, for curves, 66 58, 11, for circles, 261 for carving, 124 120, for bandsaws, 120–21 119, attaching, o unn,2–6 225–26 25–26, for turning, 11–23 for shaping, 18–23 for molding, 8–11 for layout, 18–23 for edgetreatments, 254 24–25, for carving, 276 275, 29, 26, for bendingwood, 174 168, 165, 156, 155, on molding, 141 134, 133, on doors, 127 carved, See Mortise-and-tenon joinery Mortise-and-tenon See also See also Hand tools Jigs Index INDEX 293

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) Lathes Molding planes See See also beads, 225, 231–32, 235, 248–49, 251 bed posts, 227, 246–51 chatter and, 227 complex designs, 246–51 coves, 225, 233, 235, 240, 248–49 cylinders, 229 dished tops, 135 fillets, 225 finials, 227, 242–45 legs, 234, 236–38 copies,multiple 228 ogee profiles, 225, 248–49 pad feet, 236 pommels, 230, 234 reeds, 220–21 rosettes, 241 safety for, 226, 227, 232, 238 in sections, 227–28 spindles, 25 legs,tapered 234 tools for, 25–26, 225–26 vase shapes, 225, 239–40 for bent plywood, 280 for curved pieces, 73, 74 and,edge treatments 133 Twisted stock,Twisted 38 Volute carvings,Volute 253, 261 Vacuum press,Vacuum 26, 279 shapes,Vase 225, 239–40 Veneer W molding,Waist 156, 165 Warpage, 27, 28, 30–31, 38 molding planes. Wooden tape,Woodturners 99, 121 treatment, table edge Worn 137 U Universal planes, 22, 158, 163 V Turning, 223, 224–51. Index INDEX 294

TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” 175L EX 128White A M/A Magenta(D) CRAFTS & HOBBIES

The COMPLETE ILLUSTRATED THIS COMPREHENSIVE, STEP-BY-STEP PICTORIAL Guide to reference covers every practical method for milling, cutting, carving, turning, and bending shapes. Organized for ShapingWood quick access, this book illustrates the techniques in over 1,000 clear photos and drawings. All the essential information is here, from milling stock to turning or carving LONNIE B IRD complex period details. Many alternative ways to achieve the same results are included, allowing woodworkers to choose the one that works best for them. An indispensable reference for every woodworker, whether beginner or pro.

ABOUT THE AUTHOR Lonnie Bird is a professional woodworker, teacher, writer, and tool designer whose work has been featured in many woodworking magazines, including Fine Wood- working. He is the author of The Shaper Book and The Bandsaw Book, both pub- lished by The Taunton Press. Additionally, he conducts ALSO AVAILABLE: two other books in this series— seminars on a variety of woodworking topics. A long-time The Complete Illustrated Guide to Joinery by Gary Rogowski and The Complete Illustrated Guide to Furniture & Cabinet veteran of woodworking, he has been recognized by Early Construction by Andy Rae. Together these three volumes are American Life magazine as one of America’s best craftsmen. a comprehensive library of woodworking techniques. US $39.95 / $54.95 CAN ISBN 978-1-56158-400-0 53995

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