The Complete Illustrated Guide To Shaping Wood

Shaping Wood © © © Text 2001 by Lonnie Bird Photographs 2001 by Lonnie Bird Illustrations 2001 by The Taunton Press,...

Author: Lonnie Bird

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Shaping Wood

© © ©

Text 2001 by Lonnie Bird Photographs 2001 by Lonnie Bird Illustrations 2001 by The Taunton Press, Inc.

All

rights reserved.

The Taunton Press, Inc., 63 South Main Street, PO Box 5506, Newtown, CT 06470-5506 e-mail: [email protected] D E SIGN: LAYOUT:

Lori Wendin Suzi Yannes

ILLUSTRATOR:

Mario Ferro

PHOTOGRAPHER:

Lonnie Bird

LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA: Bird, Lonnie. The complete illustrated guide to shaping wood

/

Lonnie Bird.

p. em. Includes index. ISBN-13: 978-1-56158-400-0 ISBN-I0: 1-56158-400-2 1. Woodwork.

1.

Title.

TT180 .B57 2001 684'.08--de21

2001027430

Printed in Thailand 10 9 8 7 6 5

About Y o u r S a f e t y :

Wo rking with wood is i n herently dangerous. Using hand or power too ls improperly or ignoring safety practices ca n lead to permanent injury or even death . Don't try to perform operations you learn about here (or elsewhere) unless you're certa in they are safe for

you . If something about an operation doesn't feel right, don't do it. Look for another way. We want you to enjoy the craft, so please keep safety foremost i n your mind whenever you're in the shop.

To Linda and our beautiful daughters, Rebecca and Sarah. Acknowledgments

W

RITING A BOOK IS A TEAM EFFORT

that requires the ideas,

support, and work of many people. Through this work, new

friendships are often forged and old friendships are deepened. With this in mind,

I

want to say thanks to the many people who helped me with

this project: Mike Foster of Freeborn Tools, for providing custom shaper cutter heads. Brian Boggs, for allowing me to photograph his steam-bending process. Helen Albert and Jennifer Renjilian of The Taunton Press, for their patience and encouragement. Andy Rae, for his ideas and critical feedback. Gary Rogowski, for providing photos. Jason Bennett, wood worker, friend, and patient stand-in, for many of the photos in this book. Most of all, I want to thank my wife and best friend, Linda. Without her love, patience, and hard work, this book would not have been possible.

Contents Introduction

.

2

How to Use This Book

.

3

PART ONE Tools and Materials 6 ·

SECTION 1

8 Layout Tools

8

11 Basic Shaping Tools

SECTION 2

28 Dry Lumber

Tools ·

18 Tools for Edge 24 Tools for Carving Treatments and Moldi ngs

Materials · 27

28 Stock for Sawn Cu rves

29 Stock for Bending

30 Stock for Panels

25

Tools for Tu rning

26 Tools for Be nding

PART TWO Cutting Shapes . 32 SECTION 3

45

M i l l i ng

46 Ta pers

SECTION 4

&

SECTION 5

51

Octagons

Curved Shapes

67 Exte rior Curves

64 Arcs, Ci rcles, El lipses

89 Ra ised Panels

Straight-Edged Shapes

·

34

Chamfers

57

76 I nterior Curves

Complex Shapes

93 Door Frames

54

·

102

Coopered Panels

• 78 103

Compound Curves

SECTION 6

123

Cutting with Templates

Template Shaping ·

125

Flush Trimming

127

ProfilelTrim

117 129

Shaping Inside Corners

PART THREE Edge Treatments and Moldings . 130 SECTION

136

Sim ple Shaped Edge

SECTION

148

Quirk Bead

7

Edge Treatments

138

8

Shaping an Entire Edge

Beads ·

150

Beaded Backboard

141

Lipped Door Edge

145 152

Cock Bead

• 132

142

Sha ping a Boa rd's Face

143

Dished Ta bletop

SECTION 9

159

Mach i ne-Cut Molding

Simple Moldings

162

SECTION 10

172

So lid Comp lex Molding

180

SECTION 1 1

192

Arched Molding

195

• 154

Hand-Cut Molding

Complex and Built-Up Moldings

Bui lt-Up Molding

183

Dentil Molding

Curved Moldings

Gooseneck Molding

• 186

·

164

PART FOUR Other Decorative Shapes . 202 SECTION 12

209

Machi ne-Cut Coves

211

SECTION 13

214

Fl utes

220

Coves ·

204

Hand-Cut Coves

Flutes and Reeds ·

212

Reeds

PART FIVE Special Techniques . 222 SECTION 14

229

Tu rning Basic Shapes

234

Turning ·

Furniture Legs and Feet

224

239

Pedestal

241

Decorative Deta ils

246

Complex Tu rni ngs

SECTION 15

256

Lam b's To ngue

257

Carving ·

Shell

SECTION 1 6

276

Steam Bending

278

261

Bending ·

Bent Lamination

252 Vo l ute

272

281

Kerf Bending

Appendix: Shaping Small Parts List of Suppliers Further Reading Index

·

287

.

285 . 286

262

.

282

Rosette

263

Flame Finial

267

Carved Feet

Introduction

S

HAPE I S A FUNDAM ENTAL ELEMENT

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

2

Learning to tune and effectively use power tools can be satisfYing, too. And many power tool techniques, such as template shaping, yield efficiency that is unmatched with hand tools. Machines are also a good choice for many labor-intensive tasks, such as planing and sawing stock to size, provid ing more time for creating details by hand that machines simply can't duplicate. For example, a bandsaw is an efficient choice for sawing a curve in preparation for refining and sculpting the same curve with a spoke shave and a rasp. As a long-time wood worker who seeks pleasure from the craft, I've learned to enjoy both hand and power tools for what each has to offer. As you explore the pages of this book, it's my hope that you'll be inspired by the crea tivity and challenge that comes with adding shapes to your next woodworking project.

How to UseThisBook

F

IRST

OF ALL, this book is meant to be used, not put on a shelf to gather dust. It's meant to be pulled out and opened on your bench when you need to do a new or un familiar technique. So the first way to use this book is to make sure it's near where you do woodworking. In the pages that follow you'll find a wide variety of methods that cover the important processes of this area of woodworking. Just as in many other practical areas, in wood working there are often many ways to get to the same result. Why you choose one method over another depends on several factors:

TYiomuer.to ling. Y o u r s k i l level. The p r o j e c t .

Are you in a hurry or do you have the leisure to enjoy the quiet that comes with hand tools? Do you have the kind of shop that's the envy of every woodworker or a modest collection of the usual hand and power tools?

Do you prefer simpler methods because you're starting out or are you always looking to challenge yourself and expand your skills? Is the piece you're making utilitarian or an opportunity to show off your best work?

In this book, we've included a wide vari ety of techniques to fit these needs. To find your way around the book, you first need to ask yourself two questions: What result am I trying to achieve? What tools do I want to use to accomplish it? In some cases, there are many ways and many tools that will accomplish the same result. In others, there are only one or two sensible ways to do it. In all cases, however, we've taken a practical approach; so you may not find your favorite exotic method for doing a particular process. We have included every reasonable method and then a few just to flex your woodworking muscles. To organize the material, we've broken the subj ect down to two levels. "Parts" are major divisions of this class of techniques. "Sections" contain related techniques. Within sections, techniques and procedures that create a similar result are grouped together, usually organized from the most common way to do it to methods requiring specialized tools or a larger degree of skill. In some cases, the progression starts with the method requiring the most basic tech nology and then moves on to alternative methods using other common shop tools and finally to specialized tools.

3

The first thing you'll see in a part is a group of photos keyed to a page number. Think of this as an illustrated table of con tents. Here you'll see a photo representing each section in that part, along with the page on which each section starts. Each section begins with a similar "visual map," with photos that represent major groupings of techniques or individual tech niques. Under each grouping is a list of the step-by-step essays that explain how to do the methods, including the pages on which they can be found. Sections begin with an "overview," or brief introduction, to the methods described

therein. Here's where you'll find important general information on this group of tech niques, including any safety issues. You'll also read about specific tools needed for the operations that follow and how to build jigs or fixtures needed for them. The step-by-step essays are the heart of this book. Here a group of photos represents the key steps in the process. The accompany ing text describes the process and guides you through it, referring you back to the photos. Depending on how you learn best, either read the text first or look at the photos and drawings; but remember, they are meant to work together. In cases where there is an

A " S E CTION" g ro u ps related processes together.

The "VI SUAL MAP" tel l s you where to locate t h e essay that d eta i l s the o pe ration you wish to d o .

-IIiIl-!Im! il.IJIlI ---.lIi -r� l!l!lmIi ll _.l Complex Shapes Mo." ," "" ," " ", .. . . . .. .. . ::e ""��:,B�:'''� ;:==:_.._.=�:'_:.:.:_:..==�..., �::"�h ... . .

The " OVERVIEW" g ives you i m po rtant g e ne ra l i nfo rmation a bout the g ro u p of tec h n i q u es, te l l s you how to b u i l d jigs a n d fixtu res, a nd p rovides a dvice o n too l i ng a n d safety.

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lie., ,>"'1- SHAPER SAFETY • • • • • • • • •

Always feed the workpi ece aga i nst the cutte rhead rotation. Do not exceed the m a n ufacture r's reco mmended rpms fo r the cutte rhead. Use the keyed lock wa sher to p revent the s p i n d l e nut fro m backing off. Don't use l a rg e cutterheads on sma l l spind les.

C U T E R H E A D FORCES Cutterhead rotates into andstockback(agaitoward nst feedoperator di recti.oStop n) andblopushes stock away from fence cks must be positioned to resist these forces. Cutterhead rotation

Cut fro m u nde rneath when possi ble. Always use g u a rds. Keep hands a m i n i m u m of

6

i n . from

the cutterhead. Always ta ke l i g ht cuts by adjusting the fence a n d/o r cutter h e i g ht o r by using l a rger rub bea rings. Don't shape s m a l l stock; i n stead shape oversize stock a n d cut it to fi n a l size after s h a p i n g .

The shaper, on the other hand, is consid erably more powerful than even the largest of routers. The motor and bearings of a router (the driving force for any machine) are no match for those of a shapero The shaper excels at shaping wide stock; its long spindle can reach high toward the center of a wide panel. A typical shaper cutter is, however, more expensive than the same profile in a router bit. So I use the router table for most smaller profiles, reserving the shaper for larger cuts.

20

I

Tool s

o

/ Cutterhead in these di rectipushes ons. stock Feed direction

Both the router and the shaper can flush trim and shape profiles on curves. But here's where a router has an advantage: Its small diameter bits and bearing guides can shape into tight contours where a shaper spindle and cutter won't fit. Although routers are capable of raising panels, the procedure typically requires three to five passes, depending on the density of the stock. This is because even the biggest routers lack the power for such a large cut. However, because of the larger spindle and

TABLE � ORROUTER SHAPER? For most woodworkers, the router

ta ble is the smart cho ice. A router ta ble a n d assortment of bits is fa r l ess expensive than most shape rs. And a ro uter ta b l e has a l ot of versatil ity, too. In a ny case, a table-mou nted router is good as a fi rst p u rchase. Once you've I n tig ht spaces, a ta ble-mou nted router with its s m a l l - d i a m eter b its can shape even t h e most d etailed work.

learned to use it safe ly and understa nd its operating princi ples, you're more l i kely to understa nd the sha pero Later on, if you have a need to shape l a rg e p rofi les a n d g a i n g reater efficie ncy fo r p rod uction work, you may want to co n sider a shape ro

Wooden molding planes were the routers

M o l d i n g p l a n es, once p roduced in a wide va riety of p rofi l es, can sti l l be fou n d at flea m a rkets. Like any h a nd too l t hey l eave too l m a rks beh i nd that i d e ntify you r work as made by h a n d .

motor, even a small shaper can bevel the edges of a panel in one pass. Neither the router table nor the shaper can create a sharp inside corner. Mter shap ing with these machines, you'll need to carve the corner by hand. But you'll do less carv ing if you use a router. The small diameter of the guide bearings allows it to reach far deeper into the corner than a shapero

and shapers of their day. Both the sole and the iron of a molding plane are shaped with a reverse profile of the molding that is shaped. Each time the plane is pushed over the stock a shaving is produced and eventu ally the full molding profile is revealed. Molding planes range in size from a small quirk-bead plane to a large crown-molding plane that requires two men to power it one pushing and the other pulling. Many of these planes were produced in sets, such as hollows and rounds, tongue and groove, and rule joint planes for shaping the hinged joint of a drop-leaf table. Although no longer produced in large quantity, wooden molding planes are still available through antique tool dealers and

Tool s

21

Wh i l e h a n d pl a nes may ta ke longer to ach i eve the same resu lt, there's n o compa rison t o the p l easu re of using a we l l-tu ned p l a n e .

The Sta n ley was one of a g e n e ration of p l a n es m e a nt to rep l ace wooden m o l d i n g p l a n es. It was sold with i nter changeable cutters t h at m a ke many d iffe rent p rofi l es.

55

22

Tool s

flea markets. Remarkably, many old planes are still in excellent condition despite their age and need only cleaning and sharpening to be put to use. Using wooden molding planes can be a quiet and romantic way to work wood. Although they may not be the tool of choice for shaping vast quantities of moldings, they can be an enjoyable way to produce a strip or two for a special project. And the unique textured surface that they create is unlike any produced by machine. The Stanley Tool Company introduced the first universalplane in the second half of the nineteenth century, when wooden planes were rapidly being replaced by new planes made of metal. The Stanley 45 and, later, the Stanley 55 were designed to replace a multi tude of wooden molding planes. As this type of plane evolved, its uses expanded, and it was advertised to be "a planing mill within itself." The Stanley 55 came equipped with four boxes of cutters, each ground to create a dif ferent molding profile. To accommodate the profiles of the various cutters, the plane had two skates, or runners, that adjusted both laterally and vertically. Other attachments included a third skate, two fences, and sever al stops to limit the cutting depth. Despite what some may say, the Stanley 55 is a working plane, albeit a heavy, awk ward one. However, most Stanley 55s that I've seen have needed tuning. The most common problem is that the two-piece skates were sometimes misaligned during manufacturing. A few strokes with a mill file will bring the skates into one plane. Also, the cutters must be sharp-very sharp-if

the plane is to work effectively. Using slip stones, hone the bevel and back of the cut ters as you would any plane iron or chisel. A scratch stock is simply a scraper with a molding profile. It's pushed or pulled along the edge of the stock to shape simple mold ings. The scratch stock is not practical for shaping large-scale profiles, but it is the tool of choice for shaping a small profile along a compound curve or for creating tiny details. Although you can buy a scratch stock, making one is easy and takes only minutes. An old, inexpensive marking gauge is a ready-made scratch stock. Just bandsaw a kerf in the beam and insert the blade. Making the blade is easy, too. Small pieces of bandsaw blade, scraper steel, or an old handsaw works well. You can easily shape the profile with small files. There are certain times when the only effective way to create a profile is simply with a chisel. Chisels come in a variety of sizes. Although intended for chopping join ery, the short length of butt chisels makes them easy to maneuver in tight spots when shaping intersections that are difficult or impossible to shape by machine methods. Firmer chisels are much longer than butt chisels and so provide extra leverage when panng. With their long pointed edge, skew chisels are the tool of choice for paring inside cor ners of raised panels, where routers and shapers can't reach. Although you can buy skewed bench chisels, the price is too high; it's easy and considerably less expensive to grind your own using ordinary bench chisels.

A scratch stock ca n m a ke d e l i cate p ro fi l es. You ca n buy one o r can easily m a ke one.

Alt h o u g h we u s u a l l y t h i n k of ch isels as a j o i n e ry tools, they h ave an i m porta nt p l a ce i n s h a p i ng operations.

Skew chisels, which have o n e l o n g e r poi nted edge, easily g et i nto the i nside corners of raised panels.

Tool s

23

Tools for Carving

Carving tools are gouges and chisels that are available in a wide variety of sizes and shapes. To differentiate between the various tools, manufacturers use a numbering sys tem. If you browse the pages of a tool cata log, you'll find that the size and shapes of carving tools seem almost endless. However, many are specialty tools; most furniture

carving can be created with a little more than a dozen gouges of various sizes and sweeps. When selecting carving tools, look for full-length tools with thin steel and polished edges. Crude, thick-bodied tools are difficult to use and usually cost as much as those of better quality. Although some manufacturers now offer shorter, lower-priced carving tools

C A RV I N G G O U G E S E L E CT I O N

N o . 1 Swe p N o . 2 Swe p N o . 3 Swe p

_ 2mm _ 3mm _ 5mm _ 6mm __ 8mm ___ 12mm ____ 14mm ____ 16mm ____ 20mm ___ ____ 25mm ___ _ 1 mm _ 2mm

_ 3mm _ 5mm __ 8mm ___ 12mm ____ 16mm ____ 20mm _ ____ 25mm __

_ 2mm _ 3mm _ 5mm _ 6mm __ 8mm _ 12mm ___ 14mm 16mm -- 20mm ___ 25mm __ ____

24

Tool s

N o . 5 Swe p N o . 9 Swe p � SNo.7 we p No. 1 SB we p � N o . 8 S w e p N o . 1 2 Swe p � V _ 2mm _ 3mm � 5mm � 6mm __ 8mm 12mm 14mm 16m m 20mm 25mm

_______ ___ ____ ____ ___ __ ____

v 2mm v 3mm 5mm 7mm 10mm 13mm

\'-..JJ \VJ e;

�m

______

_ 2mm � 4mm 6mm � 8mm 10mm 14mm 16mm 18mm � 20mm 25mm

_______ � �

"'--- /' � � 2mm '-./ 3mm

,--,, 4mm 7mm '- / lOmm 13mm / 16mm , 18mm 20mm 25mm

� � �

� �

. O.5mm

v 1 mm

1 .5mm v 2mm v 3mm 4mm V 5mm 7mm 10mm 15 mm

v

0 \\UJ '-J}

v 1 mm

v 2mm 3mm V 4mm 6mm 8

0

�� m

The lathe s p i n s t h e stock a ro u n d a cen ter as a tool i s p ivot ed i nto t h e stock to create beads, coves, ta pers, u rns and a wide vari ety of oth e r sha pes.

Carving too ls come i n a wide variety of sizes and s h a pes. C hoose fu l l -size too ls, beca use the shorter o n es a re awkwa rd to use.

Basic tu r n i n g too l s i nc l u d e ( l eft t o r i g ht) s p i n d l e g o uges (fi rst t h ree), a p a rting too l , a ro u g h i n g-out gouge, and two skew ch isels.

often labeled for beginners, I would avoid these tools. The short length makes them awkward to use. Tools for Turning

A lathe is totally unlike any other wood working machine; the cutting tool is held by the craftsman as the motor spins the stock between a pair of centers. As the stock spins, the shapes are created by rotating, pivoting, and levering the tool along the rest. Learning to turn takes time and patience. And it helps to have a good lathe-one that is heavy and balanced to reduce vibration to a minimum. Although most lathes today are made of cast iron, a wooden bed lathe allows you to lengthen it to suit your needs. A worthy, although expensive, option is a variable-speed motor. This feature allows you to adjust the speed quickly and easily to minimize vibration. When spindle turning parts for furniture, you need only a handful of tools. The rough ing gouge is a hefty tool with the end ground square. It's used for turning a square blank

into a round cylinder. Spindle gouges are ground with an elliptical pointed end. They're used for most shaping, including beads, coves, and vases or ogees. It's helpful to have about three sizes, such as % in., in., and 1f2 in. The skew, as the name implies, is a chisel with a skewed edge. But unlike an ordinary chisel, the edge is ground with a double bevel so that the tool can be worked in two directions. The skew has a steep learning curve but it's an important tool that shapes into tight areas where gouges can't. For the greatest flexibility it's helpful to have at least a 1f2-in. and a i -in. skew. I also have a heavy i 1f2-in. skew I use when turning bedposts. The parting tool is used for quickly sizing the various diameters on a cylinder before

%

Tool s

I 25

shaping. Parting tools have a double bevel, and the best ones have a diamond -shaped shank to reduce friction. Tools for Bending

The vacuum press has greatly simplified the processes of veneering and bent laminations. No longer do you have to fuss with mating forms, cauls, and multitudes of clamps. A vacuum press uses atmospheric pressure to apply force to an assembly. The work is placed within a bag and the opening of the bag is sealed. Then a vacuum pump removes the air from the bag. The process is quick, simple, and hassle-free. Plus, the pressure inside a vacuum bag is uniform; so there's no worry that parts of the assembly lack suffi cient pressure. I can't say enough about the advantages of a vacuum press. Once you've

A vacu u m p ress i s normally

used fo r veneering but i s a l so a n efficient way to m a ke bent l a m i nations.

26

I

Tool s

A p ressure cooker m o u nted

over a gas stove p rovides steam fo r wood ben d i n g .

tried one, you'll find that there's no going back to the old methods. Building a steam box for bending wood is really quite easy. You'll need three items: a heat source, a container for the water, and a box to contain the parts as they are steamed. You can make the entire apparatus simply and inexpensively or you can spend some extra time and money to make it a bit more sophisticated. For many years, craftsmen have used wood for the steam box. But wood is heavy, absorbs much of the steam during startup, and will eventually rot. Nowadays, schedule 40 polyvinyl chloride PVC pipe is a better choice. It's lightweight, yet strong, resistant to heat, and impervious to rot. A portable camp stove works well for a heat source, especially if you already own one. But a better choice is the seafood cook ers available from most home centers. They burn propane, which is safer to use, and they provide greater heat to boil the water faster. An enclosed kettle or can may be used as a water container. Brian Boggs, a well known chairmaker in Berea, Kentucky, uses a pressure cooker heated over a gas stove. A length of radiator hose works well to pipe the steam to the box. It's flexible and obviously designed to withstand high temperatures . As a final note, as the steam condenses inside the box, a pool of lukewarm water will form and cool the contents. Avoid this sce nario by drilling a couple of drain holes and sloping the box slightly when you set it up.

( )

M ate ri als E

finding local sources for quality lum ber can often be difficult. For exam ple, many lumberyards are stocked with boards that are stressed from being dried too quickly. In the rush to get lumber out of the kiln and into consumer's hands, kiln opera tors hurriedly push the lumber through the drying process. Often the result is boards that bear the scars of stress. Some of the scars are visible but others are not so easy to spot until you bring the lumber back to your shop and work it. Here are some examples:

• ••

Case h a rd e n i n g is evi dent w h e n ri p p i n g . T h e closed kerf is caused by warp a n d twist, caused by the wood being d ri ed too fast.

VEN THOUGH L U M B ER I S PLENTI FUL,

is evident during ripping, when the lumber twists and warps imme diately upon passing the blade. As lumber is dried, it shrinks and develops different levels of stress from the core to the exte rior. Although all lumber undergoes stress during drying, the stresses become severe when the lumber is dried too quickly.

�_��. �).• :�- >t��· ._._...._�..:-:;,;:',_. ....;. ;;;,;;;c.;.. ..... ..... ., ' ...-,"...1.. ".

The ch ecks on the e n d of this board show one effect of d ry i n g l u m b e r too q u ickly in a ki l n .

Case hardening

appears as cracks along the surface of a board where the cell structure has visibly separated. S urface checking

occurs inside the board as the cell structure fractures from a speedy run through a kiln. Unlike surface check ing, honeycomb is typically not evident until you begin milling the affected board. Honeycomb

One way to avoid problems like these is to buy green lumber and dry it yourself Many woodworkers, including me, have found this to be a sure way of getting beau tiful wide and figured lumber that is free of drying defects. Of course, this method isn't practical for everyone. If it's not an option for you, ask around to find the most reputable lumber dealers-and when you find a good source,

27

patronize it. As everyone knows, the lowest price isn't always a bargain. This principle applies to lumber as well. Dry Lumber

As lumber dries, it shrinks; and because it shrinks unevenly, it often warps. Obviously it's important to work with lumber after it has shrunk and warped. This way you can

,

------I

"00 0"

'

� .

",!,i2'

•

Sto ri n g l u m be r i n sta b l e h u m i d ity is i m po r tant. An i n expensive hyg ro m eter a l l ows you to keep tabs o n a m bient h u m i d ity.

straighten and flatten the stock with a joint er or handplane. So, how dry should the lumber be when you begin working it? A rule of thumb is 6 percent to 8 percent moisture content. This places the lumber in balance with most environments that have a relative humidity of around 40 percent, including most indoor settings. A common misconception is that only kiln-dried lumber is suitable for fine wood working. But what's important is not how the lumber was dried but that it has the cor rect moisture content and that it is free of drying defects and stress. You can successful ly air-dry lumber as long as the final stage of drying is done in an environment with a rel ative humidity of approximately 40 percent. This can be your shop, a garage, or even a spare bedroom. An inexpensive hygrometer will allow you to monitor the room's relative humidity accurately. When you suspect that the lumber may be dry, you can check it with a moisture meter. For the most accurate reading, cut a short segment from the end of a board and measure the core. Stock for Sawn Curves

Unlike steam-bent curves or bent lamina tions, the grain in a sawn curve doesn't fol low the curve. As a result, the short grain that occurs from sawing a curve weakens the stock. So when selecting stock for a sawn chair leg or other structural element, it's important to choose straight-grain stock for the greatest strength. Also, avoid stock with knots, because the grain is weakened around a knot. Save the wild and figured grain for A m o ist u re m eter a l l ows you to measu re the m o istu re content of l u m ber.

28

M ateri a l s

AV O I D S H O RT G R A I N I N C U RV E S

When bandsawi nggraisegments ofg aa true circle, avoi d shor t weak n by usi n separate pl a nk for each quarter ofthe circle. Use ahalpl afnkof fora h.. each // " ' arch. 0 18 Grai n / / direction // /

�vi'

/ //

," /� . . I

I.

Doc' "+ in thi,s,"oth, directiog,n.��

display in nonstructural areas such as table tops and door panels. After selecting the stock, orient the curved pattern to avoid short grain. Whether curved or tapered, legs are creat ed by sawing two adj acent faces of the stock. To avoid distraction and create visual har mony, it's a good idea to orient the grain to run diagonally across the end of the stock. Stock for Bending

Stock for steam bending should have clear, straight grain than runs parallel to the edges of the board. Wood that is steam bent undergoes extreme stress as it is stretched at the convex area of the curve and compressed at the concave area. If the grain runs out along the edges, the stock will splinter and break during the bending process. So it's important to select grain that runs parallel to

When choosi ng l u m be r fo r stea m bending, m a ke s u re that the g ra i n ru ns para l l e l to the edges of the board.

the edges of the board. When lumber is sawn from the log, often the grain is not parallel. Knots also weaken the grain. Because of this, a break will usually occur near a knot. There are two methods for creating stock with parallel grain. One way is to split the log into suitable sizes; a split naturally occurs along the grain. As you can imagine, this method is quite labor intensive. A more practical method is to saw the stock with the grain. You can begin with straight-grain stock that is oversize. Mark layout lines that run parallel to the grain and rip the stock to size on your bandsaw. Although it's important to select straight grain stock for bent laminations, it isn't as critical as stock selection for steam bending. Before placing stock in a curved form for laminating, the stock is planed to a thick ness that allows an easy, relatively stress free bend.

Materials 29

Stock for Panels

To cooper a panel, strips of wood are beveled along the edges and glued together in a curved form. To avoid the distraction resulting from mismatched grain, it's a good idea to use quartersawn stock. The grain in quartersawn stock is straight and easily matched. As an added benefit, it creates a more dimensionally stable panel.

�

See "Coopered Panels "

on

• p . 102. • •

Wide, flat surfaces give you the perfect opportunity to show off a prized figured board. The challenge it to keep it flat. Old textbooks recommend gluing narrow boards together to create wide panels. But this method yields an unattractive panel with plenty of gluelines and mismatched grain. I prefer instead to use wide figured stock 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 avoid problems m atc h i n g t h e g ra i n i n wide panels, try to fi n d wide fig u red panels.

30

I

M ateri a l s

the board may measure two feet in width. To keep the surface flat I follow these guidelines:

•

Avoid boards that contain pith; they always warp. Use only dry, stress-free lumber. If a panel releases moisture after you mill it to size, it will warp. Once the panel is warped, it becomes difficult or impossible to shape. Although it may not be practical for some woodworkers, I prefer to dry my own wide lumber. Allow the stock to acclimate. Bring the lumber into your shop several weeks before you plan to use it to allow it to adjust to the humidity. Use the construction of the furniture piece to keep panels flat. Once assembled into the framework of furniture, wide stock is restrained. For example, raised panels are trapped within a stile and rail frame, tabletops are fastened to a base, and desk lids have breadboard ends. To

Avo i d boards with p ith when choos i n g l u m be r fo r w i d e p a n e l s , beca use they a lways wa rp.

� REMEMBER TO FINISH THE BOTTOM I

Fortu nately, I had faced the same

b u i lt the kitchen ta b l e we use i n

o u r home. The top was made from t h ree

problem before so I knew what to do.

wide, beautifu l cu rly maple boards. It

When the sun ca me out, I pl aced the top

was a country desig n with b read board

outdoors with the convex, u nfi nished

ends, a pai nted base, a n d tu rned legs.

u n derside facing u p . A few hours in the

I n my rush to co m p l ete the job, I for

warmth of the sun, the ta b l etop d ried a n d

g ot to fi n ish the u nderside of the top.

retu rned t o i t s fo rmer flatness. I qu ickly

Wh i l e it sat on sawho rses in my shop

took it i nto the shop and sea led it with a

awa iting final ru bout, the relative h u m i d i

couple of coats of fi n i s h .

ty changed as the result of an approach

Yea rs l ater, the t o p shows wea r fro m

ing sto rm fro nt. I wal ked i nto the shop to

d a i l y use, i nc l u d i n g meals, b i rthdays, a n d

fi nd that the beautifu l top had warped

home-school l esso ns-but it's sti l l flat.

l i ke a n old ph onograph reco rd.

avoid warpage on wide stock, mill it, shape it, and assemble it on the same day.

• •

Wrap the board in plastic. Although this may sound odd, it works by preventing the exchange of moisture. Use rolls of indus trial plastic available at home centers.

All

finishes Finish both faces of the board. slow down the exchange of moisture vapor. If you fail to finish the underside of a tabletop, for example, the moisture exchange will be uneven, usually resulting in a warped panel.

One way to keep l u m be r from a bsorbi n g m o istu re from t h e environm ent i s to wra p i t i n p lastic.

M a te r i a l s

31

I" Curved Shapes, page

57

• 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 which furniture is composed:

• Rectangles and squares

are fundamental because all furniture ele

ments, 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.

Stra i g ht-Edged S h a pes

� �

34

M i l l i ng Stock to Size ( p . 45) M i l l i n g Square Stock ( p . 45)

� � � � �

Two-Sided Ta per Freehand on the Ba ndsaw (p. 46) Ta per on the Jointer ( p . 47 ) Ta per on the Ba ndsaw with a Jig ( p. 48) Two-Sided Ta per on the Ta ble Saw ( p. 49) Fou r-Sided Ta per on the Ta ble Saw ( p. 50)

� � �

Eig ht-Sided Taper on the Router Ta b l e o r Shaper ( p . 5 1 ) Octagon a l Post on the Router Ta ble or Shaper ( p . 52) Eight-Sided Ta per with H a n d Tools ( p . 53)

� � �

Stopped Chamfer on the Ta ble Saw ( p. 54) Cha mferi ng with a Mol d i n g Head ( p. 55) Sh apin g Stopped Cha mfers on a C u rved Workpiece ( p . 56)

L

This e i g htee nth centu ry secreta ry s hows how s i m p l e a n d co m pl ex sha pes can add i nterest a n d fu ncti o n a l ity to fu rniture.

EARN I N G TO BALANCE, PROPORT I O N ,

geometric shapes as well as freeform curves is essential to the design and construction of pleasing furni ture. To cut a shape, you first need to define it, which usually means drawing it. Although shapes can be drawn freehand, achieving symmetry and accuracy is easier with measuring instruments and templates. A straightedge is a template for ensuring that a line is straight and true. A ruler is nothing more than a straightedge with grad uated markings that enables us to measure and proportion rectilinear shapes. AND DRAW

Drawing Rectilinear Shapes

Knowing how to proportion rectangles (and series of rectangles) is essential to good fur niture design (see the drawing on p. 36). Because all furniture, even curvilinear designs, will fit within a rectangle (remem ber, an ellipse fits within a rectangle; a circle, within a square), proportioning a rectangle is a good starting point from which to design a piece of furniture. The Golden Rectangle has been used for centuries by designers and architects. In fact, the modern-day credit card fits within a Golden Rectangle. The proportions of the Golden Rectangle-l: l .6 1 8-are found throughout the natural world. The drawing at right shows how to draw a Golden Rectangle with a compass. Using ratios of whole numbers is another easy and effective method of proportioning rectangles. For example, index cards, photo graphs, and stationary all use ratios such as 3 by 5, 4 by 6, 7 by 9, and so on.

C R E AT I N G A G O L D E N R E C T A N G L E

Drawe . a square the desired width ofStepl.rectangl 2. Bi s ect basel i n e ( poi nt A) and extend aStepcompass from A to opposite corner (point B). 3. Swi n g arc from B to basel i n e ofStep square point C). ewhi. ch is l e ngth \ I of Golden (Rectangl

t

T1

�I

I11I1 \ I\:Ii,/\\ \ \

//1r1

-

/

I

\\ \\ 1 '---------; :�B -----j I�E--l.6 8 -- -------�,I 1

Stra i g ht-E d g e d S h a pes

35

U S I N G P R O P O RT I O N I N G S Y S T E M S O N A C H E S T

- - - - �--

'\

r 0 0

�

Lr

0 0

0 0

0

0

forRectangl drawers.e s used

~

'LJ r Base height

• Entire case fits in Gol d en Rectangl e . • Upper doors each fit within a Gol d en Rectangl e . • Drawers are second, third, and fourth i n (seri e s of Hambri d ge rectangles. • Base hei ght i s one-half of upper drawer ratio of whole numbers) . The illustration at top right demonstrates the method for constructing a series of Hambidge rectangles. Hambidge rectangles are a useful method for graduating drawers in a chest. Begin by drawing a square that equals the width of the chest. Next, position a compass so that each leg rests on a diago nal corner. Now strike an arc; extend the sides of the square to intersect the arc to cre-

36

Stra ig ht-Edged S h a pes

ate the first rectangle. To repeat the process, keep one point of the compass in the lower corner of the square and extend the other point to the new corner. Fibonacci numbers are a series of whole numbers in which each number is the sum of the two that preceded it. For example, a typical Fibonacci sequence is 1 , 1 , 2, 3, 5 , 8, 13, and so on. The numbers in such a series

H A M B I D G E R E CTA N G L E S

7 6 5 4

Step 2

1-=--= =--= -= " F -Step�1 ::::- - ---- l E ----_ // . . ..; B A

1 , I I I -'," I

I� 1 /> /

�
- NEST PARTS TO SAVE LUMBER Let's face it, sawi ng c u rves is wastefu l .

fo r p i eces wide enough fo r at l ea st two o r

B u t o n e way t o avoid need l essly wasting

three l e g s . This has the a d d e d advantage

excessive stock is to nest parts together.

of g etting a co nsiste nt g ra i n and color

When I select stock fo r ch a i r legs, I look

m atch fo r the parts.

You wastenested substanti a plywood patterncantoreduce draw two sets aofl yChibypnesti pendalngeparts chai rtogether rear legs. Here, on oneI 'vewiused de board.

Waste area happens, cutting slows down and the blade heats up. The rule of thumb to follow is to select a blade pitch that places 6 to 12 teeth in contact with the stock. For example, 4 tpi used with 2-in. stock places 8 teeth in con tact with the stock. Thus the pitch is a good choice for the job. Jigs for Cutting Circles and Arcs

Making many circles or arcs of the same radius can require tedious clean up if they are all cut freehand. There are several useful jigs for cutting arcs, circles, and ellipses with your bandsaw or router.

When cutting a number of true circles, you'll find it helpful to use a jig that allows you to rotate the stock. An arc jig clamps to the bandsaw table to pivot the stock past the blade. When cutting small arcs, a curved fence can be used to guide the work.

�

See "Circles on the Bandsaw with a Jig"

p.6p4. 65.

on

and "Arcs on the Bandsaw with a Jig"

on

Cu rved S h a pes

63

Arcs, Ci rcles, a n d E l l i pses Free h a n d on the Ba n d saw U n less I 've got a la rge n u mber of pieces to cut, I prefer to do the cutting freehand on the band saw. Cutting freehand is surprisi ngly fast and, with a little practice, accurate. The key is to use the widest possible blade and fol low the line closely

(A) .

If you r saw's ta ble is small, space

your hands farther apart to support the stock

(B).

After sawi ng, smooth the edges with a spoke shave (C). If you ' re careful to watch the gra i n d i rection, you ' l l avoid tearout.

Thecirclpie-cut vot tpoii n gntjigonisthionstheadj uundersi stabl e de of the workpi e ce. Pivot poil alntloonwssladjidinugstment dovetai of radius l ength.

C i rcles o n the B a ndsaw with a J i g When cutting a nu mber of true circles, you ' l l find it helpful to use a jig that al lows you to rotate the stock. Build the jig s hown here

(A).

The p i n 's

location is adjustable by sliding the board that holds the pin to the desired distance from the blade. The pin-to-blade dista nce represents the radius of the circle. Make a s m a l l hole i n the stock at the center of the c i rcle you wish to cut. This will ride on the pin as you pivot the stock through the blade of the bandsaw

64

C u rved S h a p e s

(B).

Arcs on the Ba ndsaw with a J i g M u ltiple a rcs can easily be cut o n the bandsaw. Fi rst build the jig shown here

(A) .

M a ke sure the

jig is sturd i ly supported, especia lly if it exte nds far past the edge of the bandsaw table; a post can be propped under the end. To use the jig, secure the workpiece with the toggle clamps. Swi ng the pivot a rm and then pivot the work piece i nto the bandsaw blade to make the cut ( 8 ) . To make a small a rc, you can make a circular

Cl athemp tobandsaw table.

of ane,arcthisexceeds Whenbandsaw the size tabl your jig can dothethewijob.dth of

Pivot arm

Pivot point

fence i n which the workpiece rides.

�on

See 'Jigsfor Cutting Circles and Arcs "

p. 6 3 .

Post prtheoppedend under

C u rv e d S h a pe s

65

C i rcles or E l l i pses with a Tem plate Whenever you ' re making a la rge n u mber of cir cles or ell ipses, a router and tem plate will speed the process. U n l ike the bandsaw, the router will leave a finished s u rface. The template ca n be made of plywood or mediu m-density fiberboard ( M D F) and fastened to the workpiece with small nails, screws, or double-sided tape

(A)

A beari ng

guided router bit will fol low the p lywood tem plate and trim the work flush or create a molded edge, depending on the bit profile (8) .

66

C u rv e d S h a p e s

�

---------------------------------------

"E�

.wM.

8andsawi n g li g ht Cu rves Ba ndsawing should a lways beg i n with a pattern. This allows you to work out proportions and cre ate smoot h , flowing curves.

�

o n p . 6 0 . (A).

See ''Making Patterns"

Begin by caref u l ly tracing the pattern onto the stock

If there are slight imperfections in the

wood, you can often orient the pattern to locate them in areas of offcuts . The exa mple for this technique is two bracket feet joined by molding. Shape the molding before bandsawing, while the stra ight reference edges a re sti l l i ntact ( 8 ) . The long, straight section that spans the feet is difficult to cut with a bandsaw. I n stead, make a stop cut on the ta ble saw. The stop block prevents kickback (C), and a second cut from the opposite face wi l l reach i nto the corners ( D ) . VA R I AT I O N

You c a n get a straig hter

line between the bracket feet if you use the table saw instead of the bandsaw. It's called a stop cut, and the way to do it safely is with a stop block clamped to the fence or table. (Text continues on

p.

68.)

Cu rved S h a pes

67

�

��dWiM@¥

-/

�----------------------------------------Before bandsawing, mount a blade that will turn the tig htest contour without binding. Then plan the cutting sequence to avoid trapping the blade

(E) .

Backing out of the turn is a sure way to pull

the blade off the wheels (F) . You can avoid tedious cleanup of the s u rface by carefully sawi ng to the layout line (G). When the bandsawi ng is complete, smooth the c u rves with a spindle sander (H) and clean up the i ntersec tions with a chisel for a crisp, defi ned look (I)

2nd(backcutout)

8th cut

------f--+ +-+----L- ��----+-- , )

�' 4th cut I

II

68

1

st cut �' 5th(backcutout) 6th cut


I I

7th(back out)

....

.... -_ __

3rd cut

__

--------------------------------------

/:i

1113;1111;.'.,;'i¥

Ba ndsawi n g Broad, Sweepi n g Cu rves Although you can bandsaw a broad curve with a na rrow blade, it req u i res more concentration and effort beca use a na rrow blade has a natural ten dency to wa nder i n the cut. I prefer to use a wide blade

(A),

because it natura l ly follows the

broad curves of components such as chair rock ers. After mounting the blade, trace the pattern onto the stock ( 8) . Then carefully fol low the lay out l i ne (C) . Use a compass plane to smooth the surface after sawi ng (D) The flexible sole will adapt to both convex and concave s u rfaces

(E).

Clamp the

matching pa irs of stock together to check for square (F). If you don't have a compass plane, a spokeshave can be used to clean up the surface.


69

Sawi n g M u ltiples If you 've got several intricate pieces to saw, it makes sense to stack them together. Not only will the work be a perfect match

(A)

but you ' l l

avoid t h e ted i u m o f fol lowing detailed outlines on severa l pieces. Best of all, the time spent on the process is significa ntly reduced . Begin by stacking the pieces and wrapping them with masking tape or use a good double-stick tape. Then draw the outl ine onto the top of the stack. Choose a blade with a pitch that is su ited for the total thickness (8). As you saw, it may be necessary to stop occasionally and add a strip of tape to replace any pieces that a re severed (C). When you've completed the pattern, smooth the s u rfaces before unta ping them. A spindle sander

( 0 ) , ( E ) . (F) ! is useful for concave a reas

but convex con

tours a re more easily smoothed with sma l l files A tiny needle file will reach into even the

smal lest spaces to smooth away any bumps in the contour

WA R N I N G

Stacking work in

layers for scrollsawing or bandsawing is a g reat method for saving time. B ut I don't stack parts higher than their

width . Otherwise the cut may not be safe or precise.

70


Scro l l sawi n g o n the Bandsaw You can saw ti ny, i ntricate c u rves with your bandsaw by mounting a 1,A 6-i n . scrolling blade

(A) .

H owever, a lthoug h this technique is useful for occasional scrol l i ng , you can't saw i nterior work as you can with a scrollsaw. To give the tiny 1,A 6-i n . scrolling blade the su pport it needs, you ' l l have to rep lace the steel gu ide b locks on your band saw with wooden blocks or Cool B locks (8). Before mounti ng the blocks, cut a small V in one block for the blade. After mou nt i n g the blade, completely enclose it in the V with the b locks.

Resawi n g a C u rve Resawing is the process of ripping a board through its thickness. By resawing a shal low curve, you can create wide, curved panels such as chair backs. Begin by selecting stock thick enough for the curve. To create a curve that is free of dead spots, it's best if the stock is thick enough to bury the blade throughout the entire cut. I prefer a wide (1 i n . or more) blade with a coarse, va riable pitch

(A)

If your saw won't ten

sion a wide blade, select a %-i n . variable pitch blade and tension it as much as possi ble. Also check the ta ble for squareness to the blade before you begin. Ba ndsaw the convex face first by carefully saw ing freehand to the layout line (8). Then remove the saw ma rks with a spokeshave. (Text continues on

p.

72.)

Cu rved S h a pes

71

�

;- ,../;--

_,ft;iI.);ia');'i,

I------------------------------------------By skewi ng the spokeshave, you can avoid tearout in most insta nces (C) Otherwise, switch to a scraper (D). To resaw the second face, use a point fence

(E).

This sim ple device is a g reat aid for keeping the two cuts parallel and the work of u n iform thick ness. Clamp the fence so that the point is posi tioned parallel to the teeth of the blade . Before making the cut, scribe a layout line parallel to the fi rst fence. As you saw, fol low the line precisely, making s u re the work is i n contact with the fence (F) . When smoothing the concave face, work with the grain, from the ends to the middle, to reduce tea rout (G).

thecurves; point toAttach resaw remove. it to resaw veneer Brace

Base Thehighfence faceto is All parts are made of hi g h-qual ity enough support wide boards. plywood or MDF.

72 Curved

I

S h a pes

--I__

----------------------------------------

/.j

Uij;it.,i" iii@¥

B rick-Stacki n g Tig ht Cu rves If you bandsaw tig ht, conti n uous curves of a quarter circle or more, you ' l l end up with

grain

short

at the ends, Short g ra i n creates structural

problems beca use it is i n here ntly wea k, One method for avoiding short gra i n is a tradition

Stagger the joints between layers.

al technique called " brick-stacking , " This method i nvolves miteri ng short blocks and stacking them up to create curved segments, As the " bricks " a re stacked, the joi nts a re staggered, which great ly i ncreases the overa l l strength

(A) ,

Afterward, a

cu rve is sawn i nto the stack and the curved assembly is covered with a sheet of veneer to h ide the layers and va riations in g rain (8), Although this is a time-honored tech nique, it has a drawback: The bricks creep somewhat with cha nges in seasonal humid ity, Eventual ly, the brick layers telegraph through the veneer. However, if you saw your own thick veneer this will be less of a problem, To create a brick-stacked curve, you ' l l fi rst wa nt to draw the curve ful l-scale and divide it into a nu mber of i ndividual segments

(e)

A small nu m

ber of seg ments may introd uce short g ra i n , whereas a large number m a y com plicate the process, Once you 've settled on the nu mber of blocks needed, add the blocks to your drawing to deter mine the miter angle, Next, m i l l the blocks to le ngth while mitering the ends, A stop on your saw will keep the blocks consistent

(0), (El

When you 've completed these steps, you ' re ready to beg in construction, G l ue the blocks end to end with yel low glue; it g rabs fast and you ' l l avoid a n awkward clamping assembly (Text continues on

p.

74.)


73

N ext, stack the layers and g l ue t h e m together, M a ke sure that you stagger the joi nts between layers (F) , Clamp the assem bly and a l low the g l ue to set ( G ) , The next step is to bandsaw the curve, Lay out the c u rve on the top of the stack and fol l ow the l i ne closely (H), Now smooth away the saw marks with a scraper (I) You can purchase veneer, but I prefer to saw my own (J); I can select the grain I wa nt and I saw it thicker than commercial veneer to increase its strength a nd longevity, Final ly, coat the veneer with glue and wrap it around the c u rved assem bly, Place it i n a vacuum press until the g l ue has set

�

74


(K) , on p . 2 7 .

Afterwa rd, bandsaw the second face,

See ''Bending''

___

--------------------------------------

/.--. -

U'i;it.,j.illj0

Sawi n g Cu rves with a Copi n g Saw A coping saw has a fra m e to tension a na rrow blade for sawi ng tight contours. If you need to saw scrol lwork only occasional ly, a coping saw is an i nexpensive way to go. The key when using a coping saw is to provide support for the stock. Make a simple device cal led a

bird'smouth(A).

It is a board with a deep

V cut i nto one end. To use it, clamp it to the benchtop with the V overha nging the edge. Position the workpiece over the V and beg i n saw ing ( 8 ) . As you follow the outl i n e, reposition the work as necessary to provide support close to the cut.


75

iIi I nterior Cuts with a Scrol l saw The scrol lsaw is the tool of choice for interior cuts. (A jigsaw can also be used, but it won't be as accurate and will req u i re more clea n u p with a file and sandpaper.) The blade of a scrollsaw can be u n clamped at one end and threaded through a hole i n the workpiece. B ecause the blade is clam ped securely at each end, the cut is precise with m i n i m a l flex. As a n exa mple of this process, I ' m using a curved chair back. When traci ng the pattern, it's necessary to flex it so it conforms to the curve of the work. You can hold it in position with clamps while tracing the outline

(A).

Next, drill a sma l l hole at each i nterior cutout for threading the b lade (8). When sawing, take your time and fol low the layout l i nes closely; this greatly red uces the amount of ted ious cleanup later (C) . To create the i l lusion of thin ness and del icacy, scrol lwork is sometimes beveled on the edges. It's time-consuming work, but the refined appear a nce is worth the effort.

�

See "Beveling Curved Edges " at right.

VA R I ATI O N

You can also use a coping

saw or fretsaw to cut interior curves by loosening the blade and freeing it so that you can enter the work throug h the drill hole.

76

Cu rved S h a pes

- - - - - - - - - - - - - - - - - - - - -__

i�'ij;it.];iiiJ:\j.

Bevei i n g C u rved Edges Beveling the edges of curves is a centuries-old technique for making the stock appear thinner than it actually is. This deta i l creates a n i l lusion of l ig htness without sacrificing strength . The splat (the back center a rea) of the chair shown on p . 86 is a good example. The difficu lty is that the work of beveling a l l those tight, i ntercon nected curves is extremely tedious. To help speed the process, fi rst bevel the edges with a modified router bit. Beg i n n ing with an inexpensive hig h-speed steel route r bit

(AL

grind

away most of the steel to create a cha mfer bit with a 1 5-degree angle ( 8 ) . Next, mount the bit in a lami nate tri mmer, which is rea lly a small router

(e) .

The small base will

easily follow the curved surface of the splat, and the smal l-dia meter pilot on the bit reaches i nto the corners (D) . Before beginning the cut, adjust the depth so that the pilot of the bit just grazes the edges of the surface. After routi ng, you will sti l l need to carve the cor ners

(E)

and complete the bevel. But much of the

tedious handwork has been e l i m i nated.


77

Com plex S h a pes

> Raised Panels on the S h a pe r ( p . 89)

> Arched Panel Door with Cope-a n d-Stick Routers B its ( p. 93)

> Ra ised Panels on the Router Table ( p. 90)

> Door with M itered Sticki ng (p. 95)

> Ra ised Panels by Hand (p. 91 )

> S m a l l Tom bstone Door ( p . 98)

> Ra ised Panels on the Ta ble Saw ( p. 92)

> Arched Light Sash Door ( p . 1 00 )

> Coopered Pa nels ( p. 1 02 )

> Ra ised Curved Panel ( p . 1 03 ) > S i m p l e Com pou n d Cu rves ( p. 1 04) > A Ca b riole Leg ( p . 1 05) > Rou nding a S i m p l e Curved Leg ( p . 1 07 ) > S h a p i n g Ogee Feet on the Bandsaw (p. 1 08) > Ogee B racket Feet on the Ta ble Saw ( p. 1 1 1 ) > Ba ndsawi ng a n d Sculpting Com pou n d Curves with I ntercon nected, Asym metrica I Com ponents ( p. 1 1 2 )

78

M

OVING F RO M TWO D I M E N S I O N S

to

three looks pretty challenging. Just thinking about it is hard enough, and getting the all those cuts in the right direction on the right face of the stock is even more so. But really, it's not as hard as it looks. The key is marking out carefully and working methodically, step by step. After all, compound shapes are just simple shapes put together. The rewards for your effort are new design possibilities and, in some cases-such as frame-and-panel work-better construction.

F R A M E - A N D - PA N E L C O N F I G U R AT I O N

The Beauty and Function of the Frame and Panel

The frame and panel is one of the most important elements of furniture design. Its construction allows for seasonal wood move ment, yet it can usually be adapted to suit most any style or period of furniture. The most common use of frame-and-panel con struction is in doors. But it's also used for lids and even for the sides of casework. The broad appeal of the frame-and-panel design is its ability to overcome problems normally associated with seasonal changes in relative humidity. It works like this: A panel is trapped within a framework, yet the panel is free to expand and contract within that frame. This works because the thin edges of the panel fit within a groove in the frame. The frame gets its strength from the typical ly used mortise-and-tenon joinery. This pre vents the panel from warping or distorting without limiting its natural movement. Frame-and-panel design allows you to cover a large expanse, yet keep the space around the door small, because expansion of the door is limited to its framework.

Stile J

Panels �--Bottom rail The float wiinthiseasonal n the frame,humi dity. whicpanel h al lowsis freefor tochanges

T Y P I C A L F R A M E - A N D - PA N E L D E S I G N

Frame \ 1/4 in.

T7/8 in.

1

/

/

Space al lows foron. panel expansi 2 in.

l in. � Decorati "stic king"ve Panel edge 1/4 in. 5/16 in.

"-

3/32 in.

\

Panel

T5/8 in. �

Com plex S h a p e s

79

T H E M O RT I S E - A N D - T E N O N J O I N T

Mortise

Tenon shoulder Tenon face Thegetstiitms e-honored morstrength tise-and-fromtenonthejoint unsurpassed mechaniarea c al inforterlgloucke. and long-grain surface R E C T A N G U L A R PA N E L S

Because the grain in the panel normally runs vertically, the top and bottom rails are made wider than the stile to prevent panel distortion. For visual balance, the bottom rail is typically made slightly wider than the top rail. There are exceptions to this rule of thumb, however. For example, doors with an arched panel require a wide top rail to accommodate the arch. In this case, the remainder of the rail after cutting the arch is typically equal to the stile width. Visually speaking, rectangular panels are more attractive than square ones. For this reason, square openings are usually divided into two doors (or one door with two rec tangular panels). Otherwise, I like using a numerical proportioning system for calculat ing door size. Once I've settled on the overall dimen sions and proportions, I turn my attention to visual details. The most common panel edge is a flat bevel. But the edge can also be a

PA N E L - E D G E D E S I G N O PT I O N S

To avoid a square, boxy look this door is divided into two rectangul a r panels. 80

I

Com p l e x S h a p e s

Beveled

\

Ogee

\

,-----�.

Ogee with bead

curve, ogee, or a simple bevel. The panel shape can be square, arched, tombstone, or cathedral. Once completed, the overall effect of the design is strong, so I'm careful to chose details and proportions that comple ment rather than compete with the overall design of the piece on which the panel is to be used. Panel-Raising Jig for the Table Saw

Panels can be raised with any number of methods: with a shaper, on a router table, or by hand. Without a doubt, the shaper is the most efficient tool you can use to raise panels. But shapers are expensive and routers lack the power to cut the profile in one pass. Because of these limitations, for many woodworkers the table saw may be the best option. Most woodworkers own table saws and the machine can easily make the cut in one pass. To set up your table saw for panel raising, it makes sense to build a jig. Of course you can instead tilt the blade and guide the stock with the fence. But the fence on most saws lacks sufficient height to provide good sup port for the panel. This jig overcomes the support problem and offers other advantages as well. The broad surface area of the jig provides plenty of support, and the bevel angle is built in. So there's no need to tilt the blade and check the angle. Each time you use the j ig, you'll save time. In addition, it's safer than using the fence. One final note: Construct the jig so that it fits in your saw's miter slot instead of just following the fence. This will prevent the jig (or work) from coming in contact with the back of the blade and causing kickback.

Tombstone Doors

Frame-and-panel doors can take on myriad designs. But certainly one of the most ele gant examples is the tombstone door. A centuries-old design, the tombstone door is from a period when all woodworking was done by hand. Today, despite the beauty of the design, tombstone doors are not often seen. I'm sure that one reason is that the inside corners that flank the arch must be T A B L E - S AW PA N E L - R A I S I N G J I G

Wood strip gui d es jig in straight path.

Com p l ex S h a p e s

81

T O M B ST O N E D O O R

VA R I AT I O N S O N T H E T O M B S T O N E PA N E L

onCenterl shouli ndeers

wimiCenterl tnhusedgestiincekiofalniraiggnedl

Centerlshoul ine ders above of fie l d

Same layoutdoorasbut standard with arched rai l Equal

Standard

Pinched

Stile

carved. That's because router bits and shaper cutters cut in an are, and so they won't create inside corners. The solution is to carve the corners by hand. This process isn't really difficult-just a bit time-consuming. If you would like to incorporate tomb stone doors into your next project, there are several designs from which to choose.

82


Strai ght Sided

Arched Top Rai l

Door Joinery and Structural Strength

C O P E - A N D - S T I C K J O I N E RY

Router bits and shaper cutters are available in several profiles, making it easy to achieve traditional door frame joinery. Cope-and stick joinery is actually quite a simple con cept. A profile is milled on the inside of the door stile (the vertical member), and its reverse profile or mirror image is milled on the rail (the horizontal member). In the process, a short tenon is formed that fits into the groove created for the panel. The draw ing below shows a typical cope-and-stick router bit set. Single reversible bits are somewhat cheaper, but they can be fussier to set up. Cope-and-stick joinery is fast and effi cient and is best used when you have a large number of doors to make, say, for a kitchen. But this method of construction is not as strong as a traditional mortise-and-tenon

Stic king Cope

�

L--_-,

Stile

Rail Offset shoulders on rail.

/

C O P E - A N D - ST I C K R O U T E R B I T S E T

Tricuttermming Bearing Cope cutter

Stick B it

Cope Bit

ljz-in. shank

Bearinandg limalitlsowscutting depth shaping arched rail. Groovi cutter ng Sticutterc king


83

C O P E D ST I C K I N G V E R S U S M I T E R E D ST I C K I N G

producec k profiles. theMatched matingcutters cope-and-sti

Coped Sticking

Stiandletenon. and raiStil jocikinnwig tish mimortitered.se Stic king width � M itered Sticking

/ � wiRaidlth

/ //

Triexcess m "ears" after y. assembl

Topbottomor of fidoornished Rai l Toon lstiayout, le. Thenmarkmarktop raiandl wibottom dth andofstifincikishedn g widoordth. joinery. The short tongue or tenon created by the coping cut is typically only in. and just doesn't have much long-grain gluing surface. So if you're building furniture for the ages, you'll want to consider the tried and-true mitered sticking method, in which a regular tenon provides all the strength the frame will need to stand up to time.

3f8

Sash Door Construction

Constructing a sash-type door with inter locking bars is always a challenge. There are two keys to completing a successful project: accurate layout and precise machine setup. I've found that by checking each setup for fit

84


to the previous one, success is virtually ensured. First, design your door. The drawing at right shows the structure of a typical sash door. Once you've drawn a plan for your door, mill your stock to the correct width and length. Mark your layout on the stock using a sharp pencil with a hard lead (no. 4) to get an accurate reference mark. Your mark needs to be exact, so use a very sharp pencil. After the initial sharpening, sharpen the pencil to a chisel edge with very fine sand paper. Carefully measure and mark the loca tion of each joint. As you cut your profiles, check and double-check to make sure your setup is accurate.

S A S H D O O R A N AT O M Y

Stile

Mul lion

Muntin

�

mMulltiio"n"and" ,, I Mortisneorfor munti mullion

O�,

Rai l tenon

, '------'- _ _Mor_ _ t_is_ e_ _ c_

for rail

LL_I-_� C om p l e x S h a p e s

85

S A S H D O O R L AY O U T

Dibetween stance mortises

�

calon Verti mul l i fihorits bzetween muntontal ins.

Shouldderertoshoul dimuststance; be e� tobetween distanc e ses morti wipludsththe sticking

I---�

Compound Curves Are Much Easier T han T hey Look

A compound curve flows in two directions simultaneously. Although the sculptural look appears difficult to execute, the technique is really quite easy. First bandsaw one face of the stock; then saw an adjacent face. When you've finished bandsawing, much of the effect has been achieved. The remaining handwork involves smoothing and blending the curves. Probably the most familiar example of a compound curve is the cabriole leg. But you can see the influence of compound curves in many furniture styles, including contempo rary pIeces.

This e i g hteenth-centu ry-styl e c h a i r l oo ks co m pl i cated; but when b roken d own i nto steps, these sha pes a re fa i rly stra i g ht fo rwa rd to create.

86

I


This coffee ta b l e s hows how com pou n d s h a pes can a d d i nte rest to a contem pora ry d es i g n .

When designing furniture with com pound curves, I find it necessary to build a prototype. It's very difficult to completely judge the curves and proportions by simply looking at a drawing (though it's a great place to begin). After sketching the design on plywood, bandsaw the curves to create a pattern. Then choose some inexpensive wood and model a prototype. Trace the pat tern onto two adjacent surfaces. Next, band saw the outline on the first surface. Then tape the offcuts back in position and saw the second face. After sawing, smooth and fair the curves with a spokeshave or rasp, depending on the tightness of the curve. As you work, examine the curve for irregularities. When you're sat isfied with the lines, begin sculpting and blending with a rasp. As you sculpt, follow the outline you've already established. Careful study of the prototype is one of the keys to success. When you're finished

Alth o u g h d rawi n g s a re a g reat p l ace to sta rt a desi g n , a p rototype brings the design to l ife.

Com p l e x S h a pe s

87

M achi nes can d o m ost of t h e ro u g h wo rk, b u t gou ges and rasps refi ne the fi n a l sha pes.

modeling the prototype, stand it on you bench for critiquing. This stage of the process is crucial; it gives you the opportuni ty to check out the design before commit ting it to a piece of furniture. I like to view the prototype from all angles, as I examine the curves and proportions. Usually, you'll find areas that need improvement. Perhaps the curve is too pronounced or maybe a dimension is disproportionate. If this hap pens, you'll be glad that you took the time to create a prototype. Complex Designs Requ ire Careful Planning

Asymmetrical compound curves (such as the chair arm and post in shown on p. 87) are a true test of a furniture maker's skill. Balance, curve, and proportion are critical for the piece to be visually successful. Added to the complexity is the joint where the arm and post meet. But a logical approach to the

88 I


problem combined with a systematic order of events help you avoid major setbacks. For example, I usually prefer to cut joints before bandsawing curves. If the stock is straight and square, it easily registers against the milled surfaces of my machines. But this isn't always practical-or even possible with curved elements. Although I cut the tenons on the arm post before sawing the curves, I use an opposite approach on the arm itself Otherwise, the stock is too wide to fit within my benchtop mortiser. Also, sometimes it's easier to cut the joint by hand than to consume time with an elaborate machine setup. Unlike most compound curves, asym metrical curves require two patterns. In fact, the arm in this example uses three patterns: top, inside, and outside. Mter the patterns are traced onto the stock, extra care is needed when sawing the side. Following the pattern precisely on one side will result in a miscut on the opposite side. But if you take time to plan the cutting sequence, you can avoid spoiling the work. You'll also find on this type of work that the bandsaw is really useful only for remov ing excess stock. Afterward, you'll need to shape the surfaces by hand with gouges and a rasp to remove stock in areas that the saw couldn't reach. This is the enjoyable part of the work-and the part that creates the details you can't match with machine work. Finally, before I commit time and expen sive stock to such a lengthy process, I model a prototype. Sculpted furniture parts are difficult to conceive without a three dimensional model.

Raised Panels on the S h a per If you ' re shaping a n u m ber o f panels, t h e shaper is defin itely the tool of choice. Most shapers have a hefty spindle and powerful m otor, which enable you to shape a panel i n one pass. Use a box fence to shield your hands from the cutter. As a n added benefit, the cutterhead open ing i n the fence is sma l l . This prevents the work from tipping i nto the cutterhead, which can pote ntia l ly cause a kickback. Beg i n by mounting a rub bea ring u nder the cutterhead . This provides additional support for the stock and aids i n setti ng the fence. Mount the cutterhead over the bea ring and lock it i n place with the spindle n u t . Next, adjust the height of the cutterhead

(A) .

Then secure the

fence (8) . Use a stra ig htedge to position the fence ta ngent to the bearing and cla mp the fence firmly i n place . Finally, adj u st the front of the box fence for the panel thickness (C) . Make a trial cut and fit it within the frame g roove. A snug (but not tight) fit al lows for seasonal expa nsion but prevents the panel from rattling when the door is opened. To avoid cross-g rai n tearout, fi rst s hape the ends

(0) (E) . and finish with the sides


89

Raised Panels o n the Router Ta ble Shapers a re expensive a n d have a steep learning curve to master. So if you a l ready own a router ta ble, it makes sense to use it to s hape pa nels especia lly if you ra ise panels only occasional ly. Depending on the density of the wood you ' re shaping and the size of your router, you ' l l need to make the cut in two to five passes. This prevents the router from overheating and s h utti ng down. To set up the router table, first mount the bit securely

(A) .

Make certa in that the shank of the

bit is clean and firmly locked i nto the collet. Next, adj ust the bit height for the panel cutting depth ( 8 ) . Then set the fence for a shallow cut (C)

Note that the u n ique design of a box fence com pletely surrounds the cutterhead to keep hands safe . It also directs the s havings toward the dust collector. Before con necting the router to a power sou rce, make certa in that the fence is clamped firmly and that the bit clears the fence. Final ly, adj ust the front of the box to the thickness of the panel ( D ) . Make the first cut starting with the end grain

(E);

then shape the edges. This way you 'll avoid tearout on the ends (F) . Shape a l l the panels before increasing the cutting depth (G) and check the final cut with the corresponding fra me groove.

90


Raised Panels by H a n d Why ra ise panels by h a n d ? It's q uiet and safe a nd there's a real pleasure that comes from shaping things by hand. Also, if you seldom s hape panels, then shaping them by hand may be a viable alternative to purchasing a router ta ble and accessories. To try this tec h n ique, you ' l l first need to sharpen your tools; they must cut cleanly for you to have success ra ising panels by hand. Beg i n by milling the stock for the panel flat and square and to thickness. Next, mark your layout by scribing li nes on the panel face to indicate the perimeter of the field of the panel (8).

�

(A). o n p. 45.

Then scribe the edge

See "Milling Stock to Size"

Start the shaping process by pla ning a rabbet to establish the field perimeter (C) . The rabbet p la ne's fence establishes the width of the cut, and a depth stop l i m its the cut to the scribe you made earl ier. To prevent tearout at the ends of the field, stop occasionally and scribe the field edge with a kn ife

(0) . ( E ) . (F). After planing the ends,

reposition the panel and rabbet the edges

N ow you ' re ready to beve l the panel. Use a

rabbeti ng block plane beca use the skewed blade cuts clean ly. Begin with the pa nel ends, so that a ny tearout can be cleaned up with the passes down the sides. As you push the plane, tilt it to create the beve l

When you a pproach the

final pass, make any adjustment i n the angle of tilt if necessary. After planing the ends, finish with the sides ( G ) . The completed pa nel is shown at right ( H ) .


91

Raised Pa nels o n the Ta ble Saw Shaping panels on the table saw is another good a lte rnative to using a sha pero The table saw has plenty of power, and most woodworkers own this machine. B ut before you begin shaping on the table saw, ta ke a few m i n utes to build a panel-raising jig. The j ig holds the panel securely for a smoother cut. Plus the angle is built in, so you avoid having to tilt the sawblade each time you use this tec h n ique.

� on

S e e "Panel-Raising Jigfor the Table Saw"

p . 81. (A) (0) . ( E ) .

Once you 've m i l led the stock for the panels, cut shal low g rooves in the panel face

to score the

perimeter of the field ( 8 ) . Next, set the j i g in posi tion and adjust the blade height.

Now you ' re ready for the final cut. Clamp the panel in the jig and bevel the edges beg i nning with the end g rain (C) . Finish the process by beveling the long gra i n

Final ly, use a scraper

and sandpaper to remove the saw marks

92

I


--__ ---1

--------------------------------------

.I.i,1i.

Arched Panel Door with Cope-and-Stick Router Bits It may seem that making an a rched door with a frame that matches the panel is compl icated but it's real ly not. The key is making an accurate, full-scale layout. Begin by drawing a rectangle to represent the outside dimensions of the door.

>-

See "Tombstone Doors "

on

p. 81.

Next, use a com pass to draw an a rch to repre sent the top rai l . Then, using the same center poi nt, shorten the compass setting and d raw an arch to represent the top edge of the pa nel . When you ' re satisfied with the d rawi ng, m i l l the frame parts. The next step is to set the bit height

(A);

then

you ' re ready to shape the cope on the ra il ends (8) . Use a miter gauge for su pport .

Now bandsaw the a rch i n the top ra il (C); use your d rawi ng to determine the radius. Next, fas ten a template to the ra il and trim it flush with the router table (D); then switch router bits and m i l l the sticking and g roove while the tem plate is sti l l attached

(E).

Remember to shape the stiles

and bottom ra il as wel l . Because the stock is straight rather than curved, it makes sense to use the fence (F). (Text continues on

p.

94.)


93

__

_.i.i.';i4;'4�I¥

--------------------------------------With t h e fra me completed, turn your attention to the pa nel. First. m i l l the panel to size. Then band saw the a rch and trim it flush with the template ( G ) . When fastening the template, drive the nails

i n the edges of the panel where they will be shaped away. Now you ' re ready to s hape the pa nel. Remove the template and beg i n with the arc h . Use a box fence for safety. Pos ition the a rch aga inst the fence (H) and pivot it into the spinning bit (I). N ext, shape the opposite end and then the edges

(J) . (K) .

The last steps a re to sand the panel and assem ble the door

94


Door with M itered Sticki n g M itered sticking adds structura l strength to a door beca use it relies on longer tenons and deeper mortises than cope-a nd-stic k joinery. Begin by making an accurate, full-scale drawing of the door. This provides a layout reference to use throughout the process. Next, accurately m i l l the stock along with a n extra piece or two for testi ng setu ps. Then lay out, cut, and fit the mortise-and-tenon Joi nts

(A)

When laying out the

tenons, add the sticking width to the shoulder at each end. Th is wi l l compensate for the sticking around the mortise, which is removed before assembly. The next step is to work the top rai l . Begin by laying out the a rch

(B). After bandsawi ng

(C)'

((E) 0).

smooth the curve with a spindle sander

N ow you ' re ready to shape the frame. Begin by shaping the sticking profi le; first on the top ra i l with a starting p i n t o beg i n t h e cut

a n d then

on the sti les and bottom rai l with a fence (F). N ext, cut the panel g roove using the same method as used for the sticking profile (G) . Once the sticking and panel grooves a re s haped, you ' re ready to m iter the sticking i n the corners. Fi rst, tilt the table-saw blade to 45 degrees; then adjust the blade height to cut only the sticking. (Text continues on

p.

96.)

Com p l e x S h a pe s

95

heistiSetcgkiblhttonagdewidth.

Verti c al reference line Miter

Next, mark a vertical line from the deepest poi nt of the cut ( H ) . Accu racy of the l i ne is critical to the fit of the miters. To use the setup, align the ra il shoulders with the

((K). (J).I).

layout line and cut the miter

If you ' re m itering

several pieces, clamp a thin piece of plywood to

450kerf �

the m iter gauge as a stop

To m iter the sti les,

align the mortise layout line with the layout line on the m iter gauge

.-- .- .-.- .-- .-- .--

Before assembling the

frame, you ' l l need to remove the excess sticking on the sti les with a ch isel . To make the pa nel, m i l l it to size and lay out the

Wood auxiliary fence

m

96


arch with a compass (L) . The radius of the panel is typically

1ft.

in. greater than that of the top ra il to

a l low for fitti ng i nto the panel g roove. Next, carefully bandsaw the panel a rch (M) and s mooth the curve with a file (N) . Now the panel

is ready for shaping. S hape the a rch fi rst, then the remainder of the panel

(0) .

To create an authentic panel, you ' l l need to carve the inside corners on each side of the a rc h . Although it's a bit time-consuming it's n o t a t a l l diffi cult. First, lay out the corner with a compass and square

(P). Use the compass to complete the

a rch i nto the corner and the square to lay out the shou lder. The next step is to cut away the excess stock i n the corner

(Q) .

Chisel across the g rain to avoid

spl itting the panel (R) . Next, i ncise the a rea i ndi cated by the layout l i ne. A chisel works well at the shou lder, but a carving gouge works best for the curve of the arc h . Check the depth with a combination square to avoid cutting the a rea too deep

(5).

With the i n itial carvi ng done

(T), you ' re ready to

m iter the i ntersectio n . Fi rst, incise the miter (U); then pare the beveled s u rfaces to the i ncision

(V) .

You ' l l need left- and rig ht-skewed chisels for

this last stage of the carving. Finally, sand the panel and assemble the door

(W) . Com p l e x S h a p e s

97

•• .._ I.I.,;.4;61.TI.1

--------------------------------------S m a i l Tom bsto n e Door The process for making a small tombstone door is similar to the process for a large door, H owever, beca use the parts a re very small, you ' l l need to use clamps and jigs to shape them safely, Always beg in with an accurate d rawi ng, on which you 've worked out details and proportions, After m i l l i n g the pa rts of the door, lay out the a rch i n t h e rai l

(A) .

When bandsawi ng, follow t h e l i n e

carefully t o avoid errors (8) . After smoothing the curve, s hape the sticking (C) and then the panel g roove. When shaping the

curve of the top ra i l , use a large handscrew, which safely positions you r hands and adds mass to the part being s haped. When cutti ng the pa nel g roove i n the stile, remember to start the groove at one mortise and stop it at the other mortise ( D ) . This will avoid having a gap i n the top of the door fra me after assemb ly, Use a stop block to prevent kickback, When milling the short bottom rai l , a lways use a push block

(E) p.95.

The next step is to m iter the sticking.

�

See "Door with Mitered Sticking"

on

With the fra me com plete . you ' re ready to s hape the pa nel. The panel-raising bit has a bea ring that

-C- -';"{-� -� " I -'�4-,1. _ ) F --�----'�', ,. ..,--.� TEMPLATE SHAPING SAFETY • • •

M a ke s u re the tem plate i s l a rge enough to p rovide safe p l acement of you r h a n ds. Secure the work to the te m p late with tog g l e c l a m ps, fasteners, o r dou b l e s i ded tape. M a ke certa i n that c l a m ps a n d/o r faste n

• • • •

Exten d the te m p late beyo nd the workpi ece when possi ble. Use a sta rting pin if the template does not extend beyo nd the stock. Feed the stock a g a i n st the s p i n d l e rotation. Avo i d making h eavy cuts.

e rs a re away fro m the cutter o r bit.

placed. Stop blocks are fastened to the jig in various locations to register the work and counteract the forces of the cutter. Although toggle clamps are quick to operate and work well, they can't be used when the work is to be shaped along with the entire perimeter. But they're a great choice when the work is to be shaped only along one or two edges. Fasteners, such as small nails and screws, are also useful for securing work to a tem plate. They hold well and are quick to install and remove. Of course, fasteners leave an unsightly hole in the work, so it's important to position them where the hole will be either hidden or later cut away. Also, it's cru cial for safety to position any nail or screw well out of the path of the cutter. Although double-sided woodturner's tape holds well, it's my last choice for securing a template. It's time-consuming to peel the paper from the tape and stick it in position.

But when the work is to be shaped around the entire perimeter and it's impossible to hide the hole from a nail or screw, then tape is a good option. Avoid carpet tape, how ever, because it lacks the strength of the cloth woodturner's tape. Also, never use tape for heavy cuts with the shaper; limit its use to small cuts on the router table. Making a Template from a Template

Sometimes when making furniture it's nec essary to match the curve (or a similar curve) on an adjacent element. The base, or seat board, is curved and above the seat board are drawers and dividers that must match, but they are stepped back. Matching the three elements-drawer, seat board, and divider-can be somewhat tedious.

Te m p l a t e S h a p i n g

1 21

Here's the method I use: Stack several layers of thin plywood together to equal the thickness of the seat board. The top layer of plywood is actually the template for the seat board; the bottom layer will become a tem plate for the dividers and drawers. Next, shape the stack with the same router bit that was used for shaping the seat board. After ward, separate the plywood layers; the bot tom layer is now a perfectly shaped new template. To m a ke a tem p l ate from a templ ate, fi rst stack plywood to e q u a l the th ickness of t h e p i ece to b e s h a pe d .

S h a pe the n ew tem p l ate from the o l d o n e u s i n g t h e same cutter y o u wou l d use t o m a ke the fi n is h ed part. The bottom - most p i ece of plywood is your n ew templ ate.

122

I

Te m p l ate S h a p i n g

Carving the Corners

No discussion of template shaping would be complete without examining the technique's major shortcoming: You can't use it to shape inside corners. As router bits and shaper cut ters spin, they cut in an are, which is left indelibly on any inside corners. One solution is to design furniture that is void of shaped inside corners. But this often results in fur niture that is void of detail and interest. I prefer instead to shape or carve the corners by hand once the machine shaping is com pleted. It usually takes just a few minutes, and the results are well worth it.

>-

See "Shaping Inside Corners "

o n p . 129.

Cutt i n g with Tem pl ates on the Tab l e Saw The table saw ca n be used with a template to c ut odd-s ha ped, straig ht-edged components. A good example is the s helf from a corner cabinet. Begin by preparing the template and guide. A piece of 1,I.z-i n . plywood is of sufficient thickness for the tem plate; the guide must have a long, stra ight edge that is suspended over and parallel to the blade (A) . Once the setup is ready, attach the template to the workpiece. To make the cut, the template is pushed along the guide as the excess wood is cut from the stock to create the desired shape (8).


1 23

Cutti n g with Tem plates on the B a ndsaw U n l i ke the table saw, the bandsaw can cut curves. To cut curves with a template you m ust first equip your bandsaw with a guide. The gu ide is si mply a stick with a notched end to fit a round the blade. Of cou rse, the end of the stick m ust be curved to fol low the curved template. The other end of the stick is clam ped firmly to the saw's ta ble.

�

S ee the drawing on

p. 48.

Once the setup is complete, you ' re ready to beg i n sawi ng. Depending on the type of cut, use brads, dou ble-stick tape, or toggle clamps to secure the work. To make the cut, simply main tai n contact between the template and guide

(A).

As you feed the work, follow the curves of the tem plate (8) .

124

I

Te m p l at e S h a p i n g

Flush Tri m m i n g a B road Cu rve on the Router Tab l e B a ndsaws don't create a finished s u rface; so after sawi n g curves, the saw ma rks m ust be removed . Without a doubt, the router is the most versatile tool for tem plate shaping. It cuts curves, flush cuts, creates molded profiles, and

Stop blocksto base are glofuedtemplandate. screwed Spindloen rotati

Bl o ck resistspreventi thrust ofn g cutterhead, �.Ia�teraIfromlY. moving _Feed__di r_ecti_on_ stock �---------

�..

��---7�

....

®•

s hapes i nto tight corners . A template-gu ided straight bit will do the job q ui ckly and efficiently. For this exa mple, I ' m using the rea r leg of the chair shown on p . 86. A pa i r of toggle clamps secures the leg in the te mplate, which is equipped with two edges: one for leg's face and the other for the leg's back (A) To the shank of the bit, add a bea ring that will fol low the template ( 8 ) . After bandsawing the leg

Stock a mpsaholte. d 3/4-in. plywood Toggl stocketocltempl

Templ ateworkpi extendsece,) beyond ng pin y. isos notstartinecessar

heavy of the layout l i ne, position the leg in the template for the first cut (C) . The order that you complete the cuts is important, because the tem plate is designed to remove equal a mou nts for each of the two cuts. Cutti ng out of order means that the first cut will be too heavy. I n addition, if you cut out of sequence there will not be suffi cient stock for remova l d u ring the second cut. Start the cut with the bea ri ng i n contact with the extended portion of the template base (D). This will give you a smooth entry i nto the cut. Feed the stock at a steady rate and listen to the machine to determine if you ' re feed ing the stock too qu ickly

(E) .

Afterward, reposition the leg and

make the second cut (F) .


1 25

Flush Tri m m i n g T i g ht Cu rves i n S m a l l Stock The small workpiece i n this exa m ple, a d rawer front from a desk, presents u n ique problems. The stock is sma l l , and the cut is somewhat heavy beca use of the stock thickness. Also, the entry and exit portions of the cut a re on end g ra i n , which is tough and doesn't cut easi ly. As the bit exits the cut, tearout can occu r on the d rawer face. To overcome the problem of the sma l l stock size, use a jig (A) that positions the toggle cla mps in the back, away from the cut. B l ocks on the face of the jig cou nteract the clamp force and help prevent tearout as the bit exits the work.

TI P

U se a spiral bit; it cuts m uch clean

er than an ordinary straight bit and with m i nimal tearout.

Beg i n by bandsawi ng the stock just outside the layout l i ne (8) Secure the work in the jig (C) . Make the first cut (D), and then ra ise the bit for the second cut

(E) .

During the second cut, the

bea ring fol lows the surface created by the first cut instead of the tem plate.

126

I


__4;i.'ii8'i;iMil

-

--------------------------------------

Profi le or Tri m o n the Router Tab l e This exa mple uses a seat board from a desk. The edge of the seat board has a thumbnail profile that m ust follow the c u rved contour at each d rawer. The tight curves would be i m possible to reach with a shaper and would be tedious to shape by hand.

�

See "Thumbnail Profile " drawing on

p. 1 8. (0).

Beg i n by tracing the template onto the workpiece (A) . Be careful to match the centerl ines, beca use

the eventual curves must align with two more sets of curves in the desk. After bandsawi ng

heavy of the layout line (8), adjust the bit height so that the bea ring contacts the template.

.-

•

To make the cut, sta rt by contacting the bearing with the extended portion of the template (C) This ma kes entry i nto the wood smooth

N ow

reposition the template and make the next cut

(E)

Shaping the seat board with this method

takes j ust a few min utes.


1 27

Profi le o r Tri m from a Previous Tem pl ate H e re's a u n ique method for making the tem plate: Make the template from the previous template.

�

See "Making a Templatefrom a Template "

onp. 12 .

For accu racy, trace the contou r onto the stock directly from the template (A). After bandsawing, fasten the tem plate to the stock with brads (8). Although the brads will leave small holes, they won't be seen in the finished desk and the process is fast to set up.

l

The bea ring on the bit fol lows the template, cutting away the saw marks and creating the

/.

profile-a l l in one light pass (C) .

TI P

If you choose a bit that's slig htly

large, you'll avoid the ridges that occur with a smaller bit and the larger radius appears more refined.

Stock Selectis sla ibightlt wiy tl ha rgera di athan meter that the stock thic kness. 128


TIL.--

S h a p i n g I nside Corners Begin b y shaping the work w i t h a tem plate. Next, select a tool for the job; i n this case, I ' m shaping a 3fJ6-i n .-th ick d ivider from the gal lery o f a desk i nterior. The profi l e that I s haped was a Y4-in.-d i a meter bead, so I want a s m a l l gouge that approximates the bead's c u rve (A) . Before you beg i n carving, s ketch the outline onto the work ( 8 ) . N ext, carve from both d i rections i nto the corner (C) . To remove any facets, smooth the a rea with a small file

(0) .

The finis hed divider

is a resu lt of com b i n i n g power-tool tech n iques with hand-tool s k i l ls to create detailed work efficiently ( E ) .


1 29

Simple Moldings, page

Curved Moldings, page

154 186

PART TH RE E

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 mold ings, because even the simplest styles, such as Shaker, use beads 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 shapero 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.

E d g e Treatm e nts

> S h a ped Edge with a H a n d h e l d Router ( p . 1 36)

> E nti re E d g e Sha ped on the S h a per ( p . 1 38)

> S h a ped Edge on the Router Ta ble ( p . 1 36)

> E ntire Edge of a Cu rved S h a pe on the Router ( p . 1 39)

> Cha mfer with a B lock Plane ( p . 1 37 )

> E ntire Edge of a Curved Shape on the S h a per ( p . 1 40 )

> A "Worn" Ta b l e Edge ( p. 1 37 )

132

> Shap ing a Lipped Door Edge ( p. 1 4 1 )

> Face of a Boa rd Sha ped on the S h a per (p. 1 42)

> Dished Ta b letop ( p . 1 43 )

W

H E N T H E EDGE OF A TAB LETOP

OR D WER F RONT is shaped, it creates the same visual effects as a strip molding. But shaping an edge yields additional benefits; the square corners are removed, the resulting edges are softer to the touch, and the problems of wood movement associated with applied moldings are nonex istent, because the edge is part of the origi nal stock. Undoubtedly, the simplest edge treatment for tabletops is the roundover. By shaping a small radius on the edges, you remove the hard look and feel of the corner. The effect improves with age as the surfaces wear unevenly, creating a worn look. To create the worn look artificially, you can work the rounded surfaces with a file. Another attractive table edge is the reverse ogee. The concave-convex profile creates an edge that appears thin and deli cate. When designing an ogee edge, you can alter the effect by changing the center-point locations. The possibilities for edge treat ments are broad, because router bits and shaper cutters are available in a wide variety of profiles.

�

RA

See "Basic Molding Profiles "

on

You can also bead the edges of drawer fronts made from solid stock. The bead can be shaped into the front with a plane, router, or scratch stock. If you choose to shape a bead on the ends and edges, you'll need to miter the corners with a chisel.

TAB L E E DG E S

\ \ G \\ \ \ \� , \ \\ \ ----l-.,L--!-p. 1 5 .

The edges of doors and drawers can also benefit from simple treatments. Adding a bead is a great way to frame the perimeter of flush-fitting doors and drawers. If a veneer is used on the faces, the bead will protect the fragile edges from chipping. You can add the bead after veneering; just cut a shallow rab bet around the drawer perimeter and miter a thin beaded strip.

\ , \ \\\

Astragal

\

Chamfer

Ogee

\\ \ \\'

, \ "\\ \ '\ \ \

\Eased \ \�\

Soft, worn edge

L I PP E D DOORS WIT H

T H U MB NAIL PROFI L E

Hi n ge

Face frame

Double Doors

Door

Jj4in. r 7/B in. 1

Thumbnail

C Expansion gap E d g e Tre a t m e n t s

13

The thu m b n a i l p rofi l e is a n attrac tive fi nish fo r the edges of doors, d rawer fronts, a n d tabletops.

L I P P E D T H U MB NA I L EDGE FOR DOORS A N D D R AW E R S

(

3/16.in. radius

� f----r--- �

rL-�__________ I

7/8 i n .

Almost any profile can be used on door and drawer edges. One popular and tradi tional profile is the thumbnail. It's most commonly used with lipped doors and drawers. A rabbet is cut around the inside perimeter, and the door or drawer front is fit within the opening. The lip that remains is shaped with a thumbnail profile. The result is a door or drawer that covers the opening, yet the edge is thin and refined. Shaping the Entire Edge

The most efficient tools for shaping edges are the router table and shapero Doors, drawers, and smaller tabletops are easy to handle when feeding through the machines. But large, awkward work is easier to shape with a handheld router. When shaping the edges of round or 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 low the remaining portion of the edge. However, if the entire edge is shaped, you'll need to make a template to guide the cut.

>-

See "Template Shaping"

on

p. 1 7 .

Dished Tops

When s h a p i n g an edge, a bea ring o r ru b co l l a r rides o n the rem a i n i n g portion o f t h e edge to g u i d e the cutter.

134

E d g e Tre a t m e n t s

Still another form of molded edge treat ments is the dished top. The surface of the top is recessed, and the raised rim is molded. If the top is rectilinear, it's simple to add a strip of molding to the edge and miter the corners. But if the top is round, the molding and top are easier to shape as one piece. Dished tops were popular on eighteenth century tea tables and candle stands. The traditional method used is to turn the top on

SHAPI NG E DG E S

(/ Edge is partial y shaped.

Entire edge is removed.

/ When the entire edge of curved stock is shaped, a template is required to guide the beari n g. a lathe. The molded perimeter and dished interior are both created by turning the top at a slow speed. A floor-stand tool rest is needed to support the tools during the turn mg process. These days, a more efficient method for dishing circular tops is with a router. A jig is used to suspend the router over the top, and the router is held stationary while the top is rotated in the jig. A straight bit is used to dish the flat interior, and profile bits are used for the molded edge. Afterward, the interior is scraped and sanded smooth.

A j i g a l l ows the router to ride a bove the work w h i l e cutting to a specific depth . This setu p creates the depression fo r a d ished ta b l etop.

E d g e Tr e a t m e n t s

1 35

S h a ped E d g e with a H a n d held Router One of the advantages of a router over a shaper is that it is lig htweight a n d portable. Profi ling the edge of large, awkward stock such as a tabletop can be d ifficult without a hel per-but with the router it's a snap. The chamfer shown here is just an exa mple of the many edge treatments you can cut with a router. First m i l l the stock to size and clamp it to your workbench. If you ' re creating a large cha mfer, you may want to shape it in two passes. Otherwise, set the bit for the req uired cutting depth and g u ide it a round the perimeter of the top in a cou nterclockwise d i rection. To avoid u nsightly tearout on the edges, shape an end first (A) and slow the feed rate as you approach the

corner. As you fin ish with the sides (8), any s l ight tearout will be shaped away.

S h a ped Edge o n t h e Router Tab l e The router ta ble has replaced the sha per for most small tasks. Shaping a cha mfer with the router ta ble is a prime example. Begin by adjusti ng the bit height (A) and set the fence tangent to the guide bea ring on the bit ( 8 ) . Then, starting with a n 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 m i nor tearout will be shaped away (D) .

136

I

E d g e Tre a t m e nt s

Cha mfer with a Bl ock Pla n e Hand tool s a re a pleasure to use a n d a re su rpris ingly efficient, especi a l ly when only a few pieces need to be shaped . First, lay out the chamfer with a pencil to use as a guide while cutting (Al A combination square will guide the pencil and keep the layout consistent (8). Next, begin chamfering the stock on the end of the board (C) . H old the plane at an angle that corresponds to the desired angle of the chamfer. As you approach the layout l i nes, you can adj ust the angle if needed. Finish the surface with one conti nuous l ight pass. Any tearout that occurs will disappear when you chamfer the edges

(0).

A " Worn " Tab l e Edge A worn, rou nded s u rface is friendly to t h e touch and has a fam i l ia r look. Any s u rface can be worked to create an appeara n ce of age; but the square, uti litarian edges of a tabletop work well for this technique. First, use a Y.-i n . roundover bit to remove the excess stock on the top and bottom of the edge (A) . Next, use a coarse file to gently rou nd and

soften the corners (8) . Be careful not to overdo it, or it can look a rtificia l . A light pass with a scrape r completes the job (C) .


1 37

E ntire Edge S h a ped on the S h a per Many attractive edge profiles, such as a n ogee, involve shaping the entire edge. When shaping the entire edge, part of the stock width is removed. To compensate for the loss of width, a split fence is used; the outfeed half of the fence is adjusted forward the same amount as the stock being removed. In other words, the out feed fence m ust be ta ngent to the smal lest cut ting dia meter of the cutterhead. Begin by adj usting the spindle height (A). To make the fence adjustment, first shape enough length of stock to reach the outfeed fence. N ow turn the s haper off. Next, turn the micrometer screw on the fence back to adva nce the fence until it contacts the stock (8) . Now lock the fence and make the cut beg i n n i ng with the end (C) . As you approach the corner, slow down the feed to avoid excessive tea rout at the edge. Any minor tearout will be cut away as the edge is shaped . Someti mes the back edge of a top does not need to be shaped . For exa mple, the top of a dressi n g table that is placed aga i n st a wa l l . I n t h i s case, rip the top to final size after shaping to remove any tearout that may have occu rred at the back edge

138


(0).

E ntire Edge of a Cu rved Shape on the Router Anytime you shape a curved s u rface with a router, the rub bea ring on the bit m u st follow a curve to gu ide the bit a nd l i mit the cutting depth. When only part of the edge is shaped, the por tion that rema ins can serve to guide the beari n g . H owever, w h e n t h e entire edge is shaped, a template is needed to guide the cut (A) .

�


on

p.1 7.

template is needed edgeleisonremoved, Becauseshapithengentithirseprofi when a curvedasurface.

After making the tem plate, trace it onto the work piece. Now saw the outline s l ightly proud of the l i ne, which will provide extra stock to be removed by the router bit. If the top is large and your bandsaw is l i m ited in size, you may opt to use a portable jigsaw (8) . If so, clamp the work to the bench to keep it stationary while sawin g . Next, attach t h e template t o t h e underside o f the top with screws (C) . The screw holes will later be hidden, but make certa in that the screw doesn't penetrate the full thickness of the top. Before shaping, set the bit height with a n offcut from the top

(0).

Now you ' re ready to make the

cut. To have complete control of routers and shapers, it's important a lways to feed i n the opposite direction of the cutter rotation (E). When hand feed ing a router, move it cou nterclockwise a round the top's perimeter.


1 39

Entire Edge of a C u rved S h a pe on the S h a per If you own a shaper you ' l l f i n d i t t o b e a g reat tool for shaping edges. To s hape curved edges, you ' l l need a rub bearin g from the cutterhead manufacturer. You ' l l a lso need to construct a template to work in conj u n ction with the bearin g . Secure t h e work firmly t o t h e template. U s e a guard ; keep your hands safely distanced from the cutterhead; and, if possible, extend the template beyond the workpiece. This will give you a smooth entry to the cut, beca use the tem plate will contact the bea ring before the cutterhead contacts the workpiece.

>-


on

p . 1 7.

The fi rst step is to carefully set up the shapero Fi rst mount the bea ring (A), then the cutterhead (8), and finally the guard . Secure the assembly

with a lockwasher and nut (C) . Next, secure the work to the tem plate with a pa ir of toggle clamps ( D ) and a single screw (E). The screw holds the work to the tem plate in a n a rea that the clamps can't reach . Because the screw leaves an ugly hole, make sure it's located where it won 't a ppear in the completed work; in this exa mple, a hand hold wi l l be cut out i n the a rea of the screw hole. Note, too, that the screw is placed well out of the cutterhead's pat h . Start t h e c u t b y first positioning t h e template against the bea ring ( F) . Then feed the stock agai nst the cutterhead rotation (G).

, •

WA R N I N G

Shapers can be

dangerous, especially when used to shape curved stock. Take the necessary precautions.

140


S h a p i n g a Lipped Door Edge U n like a n overlay door that closes agai nst the cabi net face, a l i pped door looks refined. That's beca use most of the door's th ickness fits inside the cabinet and the remaining l i p is shaped with a del icate thumbnail profile. The example I'm using here is the pen d u l u m door from t h e waist o f a t a l l clock. T h e top o f the door has a decorative cutout. After bandsawing the top of the door, use a flush-tri m m i n g router bit and a template to remove the bandsaw marks (A) . Then ca rve the inside corners where the router bit didn't reach

(B). Next, use a

rou ndover bit to shape the thumbnail profile around the peri meter of the door (C) . Set the height of the bit to create a V,6-i n . f i l l et next to the thumbnail profile. This fil let is i m porta nt; it creates a nother fine deta i l to capture light and create a shadow line. After the thumbnai l , shape the rabbet that al lows most of the door to fit with i n the ope n i n g . The bea ri ng on the rabbeti ng bit can ride along the thumbna i l without damaging it; just don't press

(P A0).

too hard TI

fence c a n be used t o l i m it t h e

rabbet's depth a l o n g the straight portions of the door.

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


1 41

Face of a Boa rd S h a ped o n the S h a per Whenever you shape the face o f a board on the shaper, it's necessary to m i l l the stock oversize i n width . As the stock passes the cutterhead a portion of the original face remains intact to pro vide a reference surface on the outfeed fence. The exa mple shown here is a skirt from a tea ta ble (A) . The face of the skirt is a contoured molding strip that matches the knee of the leg to which it joins. To provide stabil ity, use a featherboard to keep the stock firmly in position agai nst the fence. Note that the featherboard is mou nted on a wood block to ra ise it off of the table ( 8 ) . This provides pressure i n the a rea that rema ins i ntact. After shaping, rip the molded skirt free from the stock (C)

142


Use corebox

Dished Ta b l etop

Use spig htrbialt strai for dishing.

A dished tabletop has a molded rim that sets slightly a bove the rest of the table s u rface (A) . The molding is s m a l l and refi ned and the effect

T

is d ra matic as it reflects light and casts shadows. The design is a classic one but the router tech nique for producing it is relatively new. The router is suspended over the top, which rotates on a hub. To use the technique you ' l l first have to build a j i g .

TI P A

one-board top looks best; b u t if

you m u st use two boards, take care when

Round edge wilothwerrasp.

�

�TOP

7/sin.

11

matching the g rain and color.

Beg i n by m i l l i n g the stock for the top. Now draw the radius of the top ( 8 ) . Next bandsaw the top perimeter and g l ue the hub to the center (C) . If you sandwich a layer of heavy paper between the top and the h ub, it is much easier to remove the hub after the process is com plete. After the glue has d ried, mount the top i nto the jig (D) Before shaping the molding, it's necessary to true the edge of the top. A spira l straight bit cuts cleaner and with less chatter than an ordi nary stra ight bit ( E) Once the bit is mou nted, you ' re ready to beg i n . Neve r atte mpt t o sta rt t h e router w h e n t h e b i t i s i n contact with t h e stock. I n stead, start the router, s l ide it along the rails until it touches the top, clamp the router i n position, and rotate the top. Always rotate the top clockwise agai nst the bit rotation (F). Next, switch to the rou nd over bit to create the bead. If you ' re not able to find a bit without a bea ri ng it's easy to remove the bea ring and grind away the bea ring stud. To adj ust the bit depth, use a block of plywood from the jig ( G ) . (Text continues o n

p.

144.)


1 43

·',.:.,'3-14):",'.,._Shaping the molding is much the same as truing the peri meter: Start the router, clamp it in posi tion, and rotate the top ( H ) . To ens ure that the molding isn't squeezed, begin from the outside edge and work i nward ( I ) . The mold ing is shaped in th ree steps: outside edge of bead; inside edge of bead; and cove, which is shaped with a bull nose bit. Once the mold ing is complete, switch back to the straight bit to dish the top

(J) .

This process

goes quickly, beca use there is no careful position ing of the router as there was with the molding. If you have a hel per, one of you can hold the router while the other rotates the top, which sidesteps the process of clamping the router for each cut. With the router work completed, you ' re ready for the ha ndwork. Clamp the top to the bench and scrape the s u rface smooth

(K).

Use care to avoid

scarring the molding. After smoothing the top, the edge will need shaping along the u nderside to remove the square corner. This step also gives the top a thin, refined appeara nce. A rasp works we l l for this process, but first draw a l i n e with a compass for use as a guide. Now secure the top i n the vise and rasp the edge (L) . Work the sur face from the fil let at the bead to the layout l i ne. When you ' re satisfied, smooth the edge with a file, scraper, and then sandpaper.

, •

WA R N I N G

A dust collector is a

m ust. Otherwise this process produces a choking cloud of fine dust and chips.

144


Beads

� �

Quirk Bead with a Wooden Plane (p. 1 48) Qu irk Bead on the Router Ta ble (p. 1 49)

� �

Beaded Backboard with a No. 45 Plane (p. 1 50 ) Beaded Backbo a rd on the Router Ta b l e (p. 1 5 1 )

� �

Appl ied Cock Bead for a Drawer Front (p. 1 52) I nteg ra l Cock Bead for a Drawer Front with a Scratch Stock (p. 1 53 )

.1

T

' H E RE S PROBABLY NOT A M O RE

molding profile than the bead. A bead is a semicircular or semi-elliptical profile. It can be shaped flush along the edge of a table apron or proud around the perimeter of a drawer front. Used along the edge of backboards in casework, the bead will embellish the back while hid ing the expansion joint between the boards. Beads are easily shaped with a router, plane, hand beader, or even scratch stock. VERSATILE

Undoubtedly, it's this versatility and ease of use that has made the bead so popular for centuries. Next time you need to soften a hard edge or add a bit of decoration, remember this simple, versatile profile. When shaping beads, remember that you need to get to the full depth of the cutter's profile to achieve the right shape. Beads that aren't cut to full depth can appear flattened on one or more sides. Making a Scratch Stock

U S E S F O R T H E V E R S AT I L E B E A D

)

I

Table edge

l Scri b ed bead on drawer

� \\

Backboard

\

Cock bead on drawer

�

A scratch stock is simply a scraper with a profile. By pushing the tool across the wood surface, you produce a molding profile. Why use a scratch stock instead of a router? There are several reasons. A scratch stock can shape tiny profiles that a router can't. Also, a scratch stock can easily shape a pro file along a freeform curve. Plus you can customize the shape to suite your design requirements.

P R O B L E MS W I T H S HA P I N G B EA D S

• Warped stock di d n't make full contact with bit. • Surface was pl a ned or Bead Flat on Top

t

//

Rail � okmg ,,;Beaded 146

Beads

/ Stile

� sanded after shaping. �

• I n correct setting of tool . • Edge was tri m med after Bead Flat on Side

tr-------.

shapi n g.

• Bead i s ful l and round. Correct Profile

These days you can buy a scratch stock but it's just as easy to make your own. You can shape a scratch stock from a wood block or you can use an old wooden marking gauge. Pieces of an old handsaw work well for the blade. To shape the profile into the blade, I use small files of various shapes.

M A K I N G A S C R AT C H S T O C K

Piece of olford handsaw

��/�

�/ Bolt secures cutter . � � .

/:/

V A scratch stock is s i m ply a d evice to h o l d a cutter a n d a fence to run a g a i n st the work.

A scratch stock can cut elegant s m a l l beads and oth e r p rofi l es . You easi ly can m a ke o n e from a n o l d m a rki n g gauge.

'"�/ / /

� folFacelowistirounded to ght contours. A s i m p l e scratch can be constructed by cutting a kerf i n a b l ock of woo d . S h a p e the fence to a rou nd to e n s u re good co ntact with the edge of the stock.

O l d bandsaw b l a des m a ke good scratch stock blades. S m a l l fi les a re used to s h a pe the p rofi l es .

Beads

1 47

Q u i rk Bead with a Wooden Pla n e Wooden q u i rk-bead planes a re sti l l widely ava i l able, and they're a pleasure to use. Best of a l l , t h e quirk bead h a s a w i d e va riety o f appl ications. Beg i n by selecting clear, straig ht-gra i n stock for planing. Sight down the sole of the plane to set the plane i ron for a light cut

(A).

To make the cut, use one hand to keep the fence of the plane against the stock (notice I 've added a strip a wood to my plane as a fence). while pushing the plane with the other hand (8) A quirk bead should have a full, rou nd profile. If the plane comes away from the stock, the bead will be flat on the side. If you don't plane to the full depth, the bead will be flat on top. The pla ne's bui lt-in stop will ride agai nst the stock to prevent further cutting once the full profile is reached .

�

148

Beads

See ''Problems with Shaping Beads"

onp.146.

Qu i rk Bead on the Router Ta ble With your router ta ble, you c a n s hape a q u i rk bead q u ickly and easily and on c u rved stock. H owever, many beading router bits have too l a rge of a q u i rk; it looks disproportionate to the bea d . It pays to shop around and find a brand with pleasing proportions. Begin by mounting the bit and setting the height (A) . Next, position the fence ta ngent to the bear

ing (8). Set the router speed high and make the cut (C) . If you experience burning, try i ncreasing the feed rate or red ucing the revolutions per m i n ute ( rpms) .

Beads

1 49

Beaded Backboa rd with a N o . 45 Plane You 've proba bly seen n o . 4 5 planes a t your local flea ma rket (A) . Stan ley Tools man ufactured them for many years, and so they're qu ite com mon. They work well for shaping beaded back boards. The idea behind a beaded backboard is to hide the expa nsion joi nts i n a solid-wood case

I�1/2 in. _I____ Joint al lows for

1/4-in.-dia. bead with quirk

.......J

--'-_

seasonal expansion. �!

\

'------.-_'--'-"'Backboard

back (8). Beg i n by m i l l i n g the stock for the backboa rds . I prefer to use ra ndom-width boards with m i nor defects. This a l lows me to use stock I have on hand that may not be suita ble for more visi ble areas. After m i lling the stock, cut a rabbet along both edges of each boa rd . Keep in mind that the rab bets m ust be on opposite faces. Fi rst, mount a square cutter in the main body of the plane and position the second skate flush with the outside edge of the cutter. Lock the skate in position with the thum bscrews. Now adjust the cutter for a light cut and lock it i n place. Finally, slide the fence in position on the a rms and lock it in place next to the cutter (C) . While cutting the rabbet, keep the fence firmly agai nst the stock

(0)

As

you reach the full depth of the rabbet on the first piece, adjust the depth stop to bea r agai nst the work. After cutting the rabbets on all the stock, shape the bead (E) Fol low the same set-up procedure as you did earlier: set the i ron, then the second skate, and fina l ly the fence. The no. 45 plane is equi pped with a special fence for beading that rides the edge of the rabbet. To make use of it, you ' l l fi rst need to remove the wood fence (F) .

150

I

Beads

Beaded Backboard o n the Router Ta ble Begin b y mounting a rabbeti ng bit in the router. Set the height of the bit with a g raduated square (A); then set the fence flush with the bearing ( 8 ) .

Final ly, set a featherboard or other hold-down device in position to keep the stock aga inst the table (C) . N ow you ' re ready to cut the rabbet

(0).

Once you 've cut the rabbet, change to the bead ing bit. Set the lower edge of the bead flush with the edge of the rabbet ( E ) . To maintain pressure throughout the cut. cla m p a featherboard to the ta ble

(F) .

As with any cut on the router, maintain

a steady, uniform feed rate . Feeding the stock too fast wi l l result in a coarse, wash board s u r face; feed ing too slow may cause scorching.

Beads

1 51

Veneer

-l r 1/s in.

========�===n Cock bead on drawer

Appl i ed Cock Bead for a Drawer Front Cock bead is a small beaded strip applied to the perimeter of a drawer (A) . The bead sits proud of the d rawer front and protects the veneered edges from chipping. Obviously, the effect is attractive on solid fronts as we l l . This is a nother example of how to use the versatile bead . Beg i n t h e process b y building t h e drawers (8) and fitting them to the case (C) . Don't fit the d rawers after bead ing them, or you ' l l flatten the side of the bead. Next, m i l l the strips for the cock bead. I n this exa mple, they measure )f; in. thick and a re attached

Y,6

i n . proud of the drawer front. Make

sure to m i l l the strips wide enough to safely shape them . After m i l l i n g the stock, s hape the bead with a )f;-i n . -diameter bead ing bit on the router table

(0)

The next step is to rabbet the d rawer (E).

ID.

Mount a rabbeting bit i n the router table and set it for the depth a nd height of the rabbet. If you 've doveta iled the d rawer, you may opt to cut the rabbet only to the base of the joint so that the join ery wi l l be exposed for view. Cut the rab bet on the ends of the drawe r first

(F)

and then

on the edges. To provide support on the edges, tack a strip of thin plywood to the inside of the drawer (G) . Now ri p the cock bead to final width and miter the ends. Next, dri l l small holes for the brads to avoid spl itting the thin cock bead ( H ) . Then attach the stri p to the drawer with g l ue and small brads .

152

Beads

I nteg ra l Cock Bead for a Drawer Front with a Scratch Stock

/ // ./

Another method for cock beading is simply to shape the profile di rectly i nto the d rawer front. Although the bead doesn't sta n d proud of the drawer front, it's a way to add a neat deta il with out all the fuss (A) . There are a couple of options for this technique. You can bead all four edges or simply bead the upper and lower edges. Both methods a re attrac tive, but if you choose to bead a l l four edges you ' l l need to miter the corners with a chisel. Although you can certa i n ly shape the bead with a router bit. a scratch stock will yield the authen tic i rregularities that a re associated with the provi ncial furn iture on which this tech nique was fi rst used.

TI P

S harpen a scratch stock beading

blade with a few strokes of a round file.

To shape the bead, first secure the work on the bench . Then scrape the profile i nto the edge of the d rawer with long, smooth strokes (8). As you work the tool, tilt it sl ightly in the d i rection in which you a re pushing it (C)

Beads

1 53

S i m p l e M ol d i n gs

>>>-

15

S i m p l e M o l d i ng on the Router Ta b l e (p. 1 59) Simple M o l d i n g on the Shaper ( p . 1 60 ) Simple Molding on the Tab l e Saw with a M o l d i n g Head (p. 1 6 1 )

>>-

Simple Molding with a M o l d i ng Plane ( p. 1 62 ) S i m p l e Molding with a U n iversal Plane (p. 1 63 )

LL MOLDINGS,

even seemingly com plex ones, are made up of shapes derived from about a half dozen basic profiles: bead, thumbnail, ovolo, ogee, chamfer, and cove. Simple moldings typi cally use just one of these profiles, whereas complex moldings use a number of them. By mixing sizes and variations of the basic pro files, the options become nearly endless. Moldings are integrated into furniture in one of two ways: a strip of molding is

A

mitered and attached to the work or the edge of a surface is shaped. Strip moldings perform several functions: They unity sepa rate cases, frame the work, establish visual parameters, and provide visual unity. Most of all, strip moldings add visual interest by reflecting light and creating shadow lines.

�

See "Edge Treatments "

on

p . 132.

BASIC MO L D I N G P R O FI L E S

C Quirk

1Cove

� )/J Astragal / / / f 1Ogee V

Ovalo

Reverse agee

Thumbnai l

Chamfer

I'Quir;k'bead /f ,v /

/

/ f/

A m o l d i ng can be eithe r cut d i rectly i nto the stock o r ri pped from the board a n d a p p l i e d .

Use a wide p iece o f stock when m a k i n g a p p l i ed m o l d i ngs t o a l l ow a safe m a rg i n for h a n d placement when r i p p i n g it from the o ri g i n a l board.

S i m p l e M ol d i n g s

15

��;iW�Q4 MO L D I N G S O N A C O R N E R CAB I N ET

I� ----r:.-- Cmolrownding Neckdetai moldli.ng o.!.o• � adds

�� Ovolo sedge frame gll igahtss. -

� ��

==� =='

VU

'--- Femphasi luted pizlaesster

----/"

vertic al l i n es.

It� � r" 7-" � U I� � 71�

II ,, II :'

VV

,,'=': ===

156 I Simple Moldings

===, ===i

Stock Selection for Moldings

Strip moldings are shaped on lengths of straight-grain stock and then attached to the work with glue and/or fasteners. Strip mold ings can consist of one or more profiles shaped onto a single wood strip or several strips joined together to make a wide and/or deep complex molding . It's best to select straight-grain stock when making strip moldings. When using hand tools, such as planes and scratch stock, straight-grain stock will produce less tearout.

wai sitng mol d viseparates sually and . lupper ower cases Tfrhumbnai ames panell edges. -+--.. Base cap

providtesion transi between n et andcabifoot.

M o l d i ngs a d d refi nement to this eig hteenth centu ry corner cabi n et.

For an a p p l i ed m o l d i n g , rip the m o lded p rofi l e from the m a i n boa rd o n t h e t a b l e saw. F o r safety, a lways use a push stick to feed t h e stock.

When using machines, it's often necessary to shape a wide board and rip the molding free afterward. This method will keep your hands a safe distance from the cutter or bit. If you select straight-grain stock, the strips will be less likely to distort when you rip them free. Also, when milling stock for strip mold ing, it's a good idea to make extra for a mis cut 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 miter saw. When fitting molding to casework, it works well to miter the front strip first and then the returns or side strips. If adjustments need to be made for a precise fit, they can be made to the returns. Afterward, the ends of the returns are cut 90 degrees to be flush with the case back. One of the most important points to remember when attaching strip molding is to allow for cross-grain seasonal wood move ment. Small moldings can be effectively fas tened with brads, which are set below the wood surface. As the wood moves, the soft brads will flex. Large moldings, such as a crown molding on casework, can be fasten with screws from the inside of the case.

> MAKE A LITTLE EXTRA MOLDING Don't shortc h a n ge yourself when making m o l d i ngs; a

l ittle extra i s a l ways u sefu l . If you run short of you r o ri g i n a l esti m ate, the extra wi l l match t h e g ra i n a n d p rofi l e o f the other m o l d i ng exactly. If you n eed to cut m o re later, you ' l l have to set up you r machine ry a g a i n , and it has to be spot-on to match . Furthermore, a lways save a short section of m o l d i ng when

j

the o b is co m p l ete. It p rovides a reference sample fo r des i g n i n g o r s h a p i n g m o l d i n g at a l ater date.

Remember to slot the holes in the case so the screws will be able to slide as the case expands and contracts. Always use glue in the miter joints of moldings; it keeps the joint closed tight through the years.

Simple Moldings

1 57

Using Hand Tools to Create Moldings

There's something addictive about making moldings with hand tools, watching the shavings pile up like confetti. It's quiet work; and for period projects, you get the tool marks and slight imperfections that lend an authentic look. For small moldings, you can use a scratch stock. Molding planes were once made in an amazing variety of profiles; When u s i n g h a nd p l a nes o r a scratch stock to cut mold i n gs, a lways sel ect stra i g ht-g ra i n stock to avoid tearout.

they can still be found at flea markets and in antiques shops.

�

See "Making a Scratch Stock "

on

The so-called universal plane-the Stanley 55-was developed around the turn of the twentieth century to replace a multi tude of wooden planes. Although it's some times a useful tool, it's too impractical to be the "planing mill within itself," as it was originally claimed to be. However, it is an enjoyable tool to use and can create many profiles. Whenever you use hand tools to cut 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.

T H E ST A N L E Y

55

PLA N E

Slidinogn secti

Arm

depth adjCutterustment

Skate Depth stop 158

S i m p l e M ol d i ng s

p . 146.

Depth stop

Mai n body of plane

S i m ple M o l d i n g on t h e Router Table Anyti me you ' re shaping stri p molding on the router table you ' l l want to select wide stock to distance your hands safely from the s p i n n i ng bit. After securing the bit in the collet, set the height to create the cutting depth you desire. A small, g raduated squa re works well for gauging the bit height

(A).

Next, set the fence in position by a l ig n i ng it tan gent with the bea ri ng on the bit (8). N ow 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

(0) . (E)

Listen

to the router for an indication of the proper feed rate and rotations per m i n ute (rpms). After shap ing, ri p the molding free on the table saw

The finished molding is now ready to apply (F) .

S i m p l e M ol d i n g s

1 59

Simple Molding on t h e Sha per When using the sha per, safety is a lways the most im portant issue, even when shaping a basic profile. Resist any tem ptation to shape nar row stock without a power feed or appropriate jig. I n stead, select wide stock, which positions you r hands a safe d i stance from the cutterhea d . After mou nting t h e cutterhead, check t h e height with a combi nation square (A) . Next, adjust the fence ta ngent to the smal lest cutting circle (8); then adjust the fence for the smal lest possible opening (C) N ext, check the spindle rotation. To position the cutterhead underneath the stock for safety req u i res reversing the spindle to a clock wise rotation

(0).

Now add a featherboard for

add itional safety and make the cut (E). Afterwa rd, rip the molding free on the ta ble saw (F)

160

I

Simple Moldings

S i m ple M o l d i n g o n t h e Ta b l e Saw with a M o l d i n g Head A molding head has i nsert cutters that lock securely in the head . The entire assembly mou nts on the saw a rbor. Why use a molding head when the router ta ble is just a few feet away? When shaping the face of a board, you a re not l i m ited by the board's width when you use a mold i n g head in the table saw. This is a disti nct advantage when shaping wi ndow trim and other wide stock that is beyond the reach of a router bit. The first step when using the head is to lock the cutters securely in position (A) Head styles vary so read and fol low the man ufacturer's instruc tions careful ly. Next, mount the head on your table saw (8). Make certa i n that the head spins freely and fits with i n the throat plate opening. It may be necessary to add a spacer to center the head (C) . Lower the head for a light cut. The next step is to position the fence and clamp a featherboard in place to hold the stock firmly to the table ( D ) . Now you ' re ready for a trial cut; a quick check of the profile depth and you ' re ready to begin.

TI P

Make test cuts on i nexpensive

stock, such as pine or poplar. This saves your best stock for the project.

Keep your hands clear of the molding head and use push sticks or bloc ks (E). After shaping, rip the molding free (F) .

Simple Moldings

1 61

S i m ple M o l d i n g with a Molding Plane Wooden molding planes have been a round for centuries. Despite the a rray of power tool s avail able, the wooden plane is sti l l an effective and enjoya ble tool for shaping moldings. Molding planes a re readily ava i lable from tool dealers and flea ma rkets; if you've never experienced the pleasure using them, I encourage you to find one and give it a try. Stock selection is im portant; wooden molding pla nes are l ightweight and work best on stra ight grain stock. C heck the i ron for sharpness and set it for a light cut (A) . Most asym metrical profiles ( l i ke the ogee in this example) req uire that you hold the plane at an angle in relationship to the work. As an aid in gauging and maintaining the correct angle, planes usually have spring lines scribed into the front end of the plane (8). As you begin each cut. keep the spring l i nes parallel to the stock and the fence in contact with the edge of the stock (C) . When you reach the full depth of the profi le, the stop wi l l contact the surface of the work and pre vent the plane from cutting farther

162

I

Simple Moldings

(0) .

S i m ple M o l d i n g with a U n iversal P l a n e Begin by selecti ng the stock. Anyth ing but the stra ig htest g ra i n m a kes pla n i n g d ifficult. Although soft woods plane easi ly, you can also ach ieve good resu lts with a moderately hard wood, such as wa l n ut or cherry. The next step is to set the i ron in place and adjust the cutting depth (A) .

TI P

C h eck the iron for sharpness first;

like any chisel or place iron, the edge should be smooth and polished.

Adjust the iron with the thumbwheel for a light s havi n g . Next, set the second skate in position flush with the cutter or slightly inset (8) Then slide the fence onto the arms and lock it in place with the thumbscrews (C) . When shaping asym metrical profiles such as this ogee, it works best to position the cut i nward slightly from the edge of the stock. This way, the cutter wi l l be trapped by the stock as you plane, which prevents it from slid i ng off of the profi l e . N ow you ' re ready t o make t h e cut. Keep the fence agai nst the stock with one hand and push the plane firmly with the other (D). As the shav ings peel away and the profile is revealed (E). set the pla ne's stop to bear agai nst the stock (F). The stop will ensure that all subsequent moldings a re identical i n profile depth .

Simple Moldings

1 63

Com plex a n d Bu i lt-U p M ol d i ngs

>>>>>>>164 I

Large, Solid Crown Molding on the Ta b l e S a w a n d Router Ta b l e (p. l 72) Another Large, Solid Crown M o l d i n g o n the Ta b l e Saw a n d Router Ta b l e (p. 1 74) Flat Crown M o l d i n g o n the S h a p e r (p. 1 75 ) Compl ex M o l d i n g o n the Router Ta b l e ( p. 1 76) Anot h e r Complex M o l d i n g o n the Router Ta b l e (p. l 77 ) F l a t M o l d i n g o n the Router Ta ble ( p . 1 78) Flat Crown M o l d i n g w i t h Wooden H a n d p la n es (p. 1 79)

>>>-

Com plex Flat M o l d i n g ( p. 1 80 ) Stacked-Strip Co m pl ex M o l d i n g ( p. 1 8 1 ) Cornice with a Flat Crown a n d Stacked Strips (p. 1 82)

>>>-

Basic Dentil Moldings o n the Ta b l e Saw (p. 1 83) Dentil with a Stepped B lock Deta i l (p. 1 84) Denti l with a Carved Deta i l (p. 1 85 )

C

OM PLEX MOLDINGS ARE COMB INA

of two or more simple pro files. They are used when a more dramatic or formal look is desired. A typical example of a complex molding is the crown molding on most casework. Generally, a crown consists of a large cove flanked by 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, clocks, desks, and other tall pieces are usu 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 complex molding: shaping thin, flat stock and attaching it to the case at an angle,

M O L D I N G S O N A C H E ST

TIONS

A SA M P L E O F COMP L EX MO L D I N G S

looks, ,) Crowntoward molding ewer down ing a term toprovithedchest . i n us vi

Thumbnai l edge. frames drawer

� � �

� �

Wai st moldanding luniowerfies thecases.upper

�

� � �

(

�

�

��

I I/

C o m p l ex a n d B u i l t- U p M o l d i n g s

1 65

C O M B I N I N G A F L AT C R O W N

T H R E E MET HODS FOR

M O L D I N G W I T H STAC K E D ST R I PS

SHAPING CROWN MO L D I N G

// , Shape stack striandps.

Shape solid stock. shaping thick stock, and shaping and stack ing strips of simple profiles . You can also use a combination of these methods to cre ate a cornice. But first let's discuss each method individually. Flat Stock Moldings

Architectural crown moldings are commonly shaped out of flat stock and mounted. This also works well for furniture. 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. The downside is that flat moldings are diffi-

166

Com p l ex a n d

Buil t -Up

Moldings

Shape stock and bevelflatedges.

� SAFETY FOR CUTTING COMPLEX MOLDINGS Cutt i n g comp l ex mol d i n g s fro m

•

M a ke certa i n that th ere i s suffi cient

a s i n g l e p i ece of stock p resents some

su rface a rea in contact with the ta ble

safety challen g es. Here are some g u ide

a n d fence to prevent the poss i b i l ity of

l i nes to help you m a ke the process as

the stock tippi n g i nto the cutte r a n d

safe as possible. Remem ber, as with any

spo i l i ng the work.

woodwo rking tech n i q ue, if you feel u n

•

Position the workpi ece to expose the

comforta ble, try to fi nd a nother method

l east a mo u nt of cutter, th ereby expos

with which you feel more confi dent.

i n g less cutt i n g su rface to yo u r ha nds.

•

M a ke the l a rgest cut fi rst, wh i l e the

When poss i b le, position the cut u nder

stock has the g reatest mass and resis

neath the stock so that the stock shields

tance to ch atter and kickback.

you r hands.

U S I N G A F L AT C R O W N

A S A M P L E O F F L AT

M O L D I N G T O C R E AT E

CROWN MO L D I N G S

A CORNICE

Flat crown molding

Complex and Buil t-Up Moldings

1 67

M a ki n g m o l d i n gs from wide, flat stock req u i res a s h a p e r with a long s p i n d l e. Anoth e r o ption is a table saw fitted with a m o l d i n g head.

ST R I P MO L D I N G S

Thias twos corner cupboard corni cedwaswaste;shaped separate stri p s to avoi then it was fastened to the case. Bead

� Cove � JOint � Fil et ,-- Bead

"--- Thumbnail cult to apply; it's awkward to align the molding and attach it. In addition, if the molding isn't capped off, it will need to be supported by triangular glue blocks. The main advantage to this method is that it avoids using thick stock. To shape wide, flat stock you'll need a shaper with a long spindle, some molding planes, or a table saw molding head. Unfortunately, a router can't reach to shape wide stock.

168

C o m p l e x a n d B u i l t- U p M o l d i n g s

T hick Stock Moldings

The second method of shaping a complex molding uses thick stock. This method works well when a large, elliptical cove is the centerpiece of the molding. First, the cove is cut on the table saw; then smaller profiles are shaped on each side of the cove. Because it's shaped from thick stock, the molding is self-supporting and easier than flat stock to apply to a case. It appears more finished, too. This can be especially important when the case is short enough to view from the

S H A P I N G A C O M P L E X MO L D I N G O N T H I C K ST O C K

1. Shape cove Step On compl ex moldseparatel ings, eachy. and bead. profi l e i s shaped Sequence is shown here. - - � OVOIO Stock Fence Cove VBead 4 in. Knife Fil ets

stockbead. nvertcenter Step andFil etsshape squareareprofishaped le. with 2. I

Fence

I

I

Step ts. cove and fi3.l eShape

Covebead and

Step 4. Shape ovalo profile. Fence Fence

Knife

top. Also, this method is a great choice when the molding curves, such as a semicircular or gooseneck pediment molding.

a secondary wood, such as poplar. Once the strips are stacked, the secondary wood will be hidden.

Stacked Moldings

Still an ther option is to combine the meth ods described above. The decision of which method to use is often based on the tools and materials at hand.

The third method involves stacking strips of simple molding profiles to create a wide, dramatic effect. To avoid using a lot of valuable stock, the strips can be glued to

�

C o m p l ex a n d B u i l t - U p M o l d i n g s

1 69

> ORDERING A CUSTOM CUTTERHEAD If you need to create mol d i n g s effi c iently, it's tou g h t o beat t h e power

a n d speed of a sha pero U nfortu nately, you may not always be a b l e to fi nd the

• •

Sketch of the cutter pattern. A fu l l -sca l e d rawi ng i s best. M a ke certa i n that i t is accu rate.

Cutter diameter. Do you need a specific

exact profi l e that you req u i re. The solu

d i a meter? It's i m p o rtant that the d i a m e

tion may be to order a custom cutter

ter doesn't exceed the spindle and

head. To do this, you ' l l need to supply

th roat ca pacity of yo u r shape ro

the m a n ufactu re r with the fo l l owi n g

•

i nfo rmati o n .

•

Cutterhead rotation. The most co mmon i s a cou nterclockwise rotation with a

Number of wings. Two wing cutterheads

rig ht-to-I eft feed.

a re less expensive and a re better su ited to the slower pace associated with h a n d feed i n g the work. If yo u ' re u s i n g a power feed e r, opt for t h ree wings; yo u ' l l b e a b l e to choose a faster feed rate.

•

Bore size. S h a pe r spind les a re sized fro m

� 1� i n . to

i n . so s pecify your

mach i ne's s pi n d l e size.

Ta l k with the m a n ufacturer to see if you m u st p rovide additio n a l i nfo rmatio n . And be p repared for sticker shock. L i ke creat ing custom fu rn itu re, making custom shaper cutterheads i s l a bor i ntensive, a n d t h e price wi l l most l i kely reflect that. But for a special job, the extra cost may be we l l worth it.

� 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 resemble teeth, giving the molding its name. Because the cuts are shallow, the teeth remain intact; it's much easier to work with a strip of evenly spaced block than with dozens of individual blocks. But the blocks, or teeth, appear individual because the upper

1 70


See "List of Suppliers "

on

p. 285.

portion of the dentil molding is hidden by another applied molding. The whole process of laying out, cutting, and applying dentil molding is a bit time consuming. But the result is certainly worth the extra effort. Using dentil molding is an easy way to add formality and distinction to almost any cornice. There are several options to choose from when designing a cornice with dentil mold ing. For example, you can leave the bottom of each cut flat or you can carve a convex

A R C H I T E CT U R A L C O R N I C E

s using Thisimsplcorni can lbees.made madefromon thesixtablseparate e knifcee profi Dentionls canthe beshaper e sawmolwithdinagdadostriphead. Reverse agee

Crown

Tongue-and-groove knivess(orprofisquare) cutthi le. Soffit

Cove Fascia Reverse agee

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 impor tant. The blocks look best if each is a verti cal rectangle rather than a square. The pro portion 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 miters meet at blocks rather than at a space between the blocks. To space the blocks accurately you'll need to lay out the den til strip with dividers before you begin cutting.

Fasci a Ovalo

Dentil

The d es i g n options fo r d e nti l m o l d i ngs a re nea rly l i m it l ess a n d can m a ke a p i ece of fu rnitu re q u ite d isti nctive.


1 71

Stepp away 2. Riexcess stock. �/

\\\ \

\(

La rge, Sol id Crown M o l d i n g on the Ta ble Saw

Table

onStepthe1. tablCutecove saw.

and Router Ta ble T h e molding s hown here is used as a crown for a la rge case, such as a Connecticut-style ta l l chest. B ut t h e tech nique, l i ke most i n this book, has broad appl ication s . M a n y furniture crown moldings u s e a deep, ell ip tical cove as the large focal point, with smaller, basic profiles fla nking it. Making the molding from one piece of solid stock ensures continu ity of grain and color and greatly simplifies applica tion to the casework Begin by d rawing the profile ful l-scale. This ensures good proportions and al lows you to plan each cut more easi ly. Next, s hape the cove on the table saw while the stock is stil l square (A, B)

�

Step Shape bead. 2.

r Table

m 172

Shapetablthumbnai l onanSteptheinver1 .router e wi t h molding tbiedt. crown ___


See "Machine-Cut Coves "

on

p . 209.

Before you begin shaping with the router, rip away the excess stock at the base of the mold i n g . Now turn your attention to the thumbnail profile at the top of the molding. If you have a shaper, you can i nvert a roundover cutter (C); or you can use a special inverted router bit, available from CMT U SA, I nc. (D).

�


on

p. 285.

Shape the bead next. The ta l l fence that came with your router ta ble will obstruct the cut. I n stead, use a flat, wide piece of stock. Cut it the same length as your router table and clamp it to the top after cutting a small opening for the bit. N ow sta nd the mold ing on edge and shape the bead

(E).

There is only one profile remaining: the small cove at the base. To cut the cove, you can

I II

use the s haper (F, G ) or a corebox bit on the router ta ble.

m

wiCutththean cove i nvertedon thecuttshaper erhead.

Table


1 73

Another La rge, Solid Crown M o l d i n g o n the Ta ble Saw a n d Router Ta ble H e re's a nother example of a solid crown mold ing. Many design variations can be accomplished with the use of different profiles. This exa mple

Thumbnai crown-moll dwiintgh bits

tablCovee wisawth

uses a large cove flan ked by a n ogee at the top

(A). o n p . 209. (E). on p. 285.

and a thumbnail profile at the base

Begin by shaping the large cove on the table saw (8) and then rip off the excess stock (C).

>-

See "Machine-Cut Coves "

Next, i nvert the mold ing to shape the ogee at the top (D) . Final ly, lay the molding on its back to shape the thumbnail

This and the profile s hown on p. 1 72 a re from the CMT U SA, I n c . , crown-molding set.

>-

174



in. wiwitdhe byaFeathers 5widine. blloangmeasure and are cut de in the bandsaw. T6 in.

1/8 1/4in'l

Flat Crown M o l d i n g o n the S h a pe r For shaping this moldi n g . you ' l l need a ta l l cutter head desig ned for crown molding (A) . A power feed works best for feed ing the stock but you can also use featherboards (8) and push sticks. Begin by milling the stock oversize i n width ; this provides a flat surface on either side of the pro file to contact the outfeed fence (C) . Next, adj ust the cutterhead height so that it is centered i n the stock. Then set the fence for a light cut. I prefer

��__---.J � I'�----�---------� I---;.!'1 T 1 I'---- 6in.to 18i n. --

III

to shape a profile this size in two passes for a smoother surface that is free of m i l l i ng defects. As you feed the stock, keep the ends butted together to reduce sniping

(0). (E),

After shaping the first pass on all of the stock

reposition the fence and make the second pass. The last step is to bevel the edges of the mold i n g . Tilt the table-saw blade to 45 degrees and position the stock between the blade and fence for un iform ity (F) . Then rip the second edge (G).

�, •

WAR N I N G

Oust collection is a

m u st with a cutterhead of this size.


\ 175

Com plex M o l d i n g o n the Router Table This two-step profile i s commonly used as a tra n sition molding between stacking casework. As with a l l na rrow strip moldings, it's i mportant to m i l l wide strips for safe handling and then rip the molding free. Begin by shaping the cove (A) Set the fence tan gent to the bea ring and shape the stock on edge. Afterward, ra ise the bit and cut the stock a sec ond time (8). Now switch to the roundover bit for shaping the thumbnai l . Tu rn the stock

90

degrees

and shape it on the face (C) . Now rip the molding free (D). Use a push stick and spl itter for safety.

176

C o m p l e x a n d B u i l t- U p M o l d i n g s

Another Co m plex M o l d i n g o n t h e Router Ta ble Here's a nother example that shows the wide vari ety of appl ications associated with making mold ings on the router ta ble. This small molding forms the base and capital on the fl uted p i lasters for a desk i nterior. Afte r the stri ps a re shaped, they are cut into small blocks and shaped on the ends to complete the deta i l .

>-

See "Template Shaping Small Parts"

TI P

on

p . 28 .

Whenever I design a new molding,

I first m ake a drawin g . It's a g reat 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 drawi ng to check accuracy.

The fi rst step is to shape the bead. To set the bit height, I used a molding sample that I saved from a previous run

(A).

Shape the bead with the

mold ing i nverted (B) The next step is to lay the molding face down and s hape the large cove at the top edge (C) . Now turn the molding end for end, which will position the remaining flat surface agai nst the fence, and shape the small cove (D). Finally, u se a straight bit to cut the fillets next to the small cove (E).


17

Flat M o l d i n g on the Router Ta ble Like a n a rch itectura l cornice, this mold i n g i s attached t o a case a t a 45-degree angle (A) . After m i l l ing wide stock for safety, start by shap ing the cove. I 've removed the bea ring on the cove bit to a l low it to cut deeper. Shape this pro file with the stock face down (8) Next, shape the thumbnail profile at the base of the molding (C) . Now turn the stock on edge and shape the sec ond thumbnail

(0).

Because the back of this molding can be seen inside the lid, it's necessary to bevel the back cor ner for refinement. Beg i n by tilting the table-saw blade to 45 degrees and lowering the blade so that it doesn 't penetrate the stock thickness. Now rip a kerf along the back of the molding ( E ) . Return the blade to

90

degrees and set the

height j ust above the stock thickness. Position the fence for the width of the molding and rip it free (F).

178


Flat Crown M o l d i n g with Wooden H a n d p l a n es Wooden handplanes sti l l 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 s haper or a molder. Yet you can easily s hape crown moldings with a few hol low a n d rou nd planes. Begin by drawing the crown molding ful l-size . Next se lect clear stra ig ht-g rain stock for the molding (A) . The first step in shaping is to saw the fil let that sepa rates the two profiles. Tilt the sawblade to 45 degrees and position the fence to a l ign with the d rawi ng you made earlier. Next, saw V-g rooves to guide the planes (8). N ow, s hape the cove that is part of the ogee. Then shape the cove that is adjacent to the fil let (C) . 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).


1 79

Com plex Flat M o l d i n g Many crown moldings, including the one i n this exa mple, i ncorporate a la rge cove flan ked by a small bead at the base (A) . With this style of molding, it becomes necessary to shape the

Shape glue oncove beadseparatel strip. y; then

cove and bead separately and join them after shaping. Otherwise, the bead will be cut away d u ring the cove-shaping process. Begin by shaping the cove ( B ) . Next, bevel the edges of the cove stri p. Fi rst bevel the front

(on0p)..209. (E)

edges (C); then the back edges

_-J

>>-

186

I

Arched M o l d i n g Face on the Router Ta ble (p. 1 92) Arc h ed M o l d i ng Edge on the Router Ta b l e (p. 1 93 ) Arched M o l d i n g Face on the S h aper (p. 1 94)

>>>-

Gooseneck M o l d i n g on the Shaper (p. 1 95 ) Gooseneck M o l d i ng on the Router Ta b l e with Pi n Jig (p. 1 98) Quirk Bead on a Compound Cu rve (p. 201 )

B

UILDING CURVILINEAR FURNITURE

presents many challenges, one of which is shaping curved moldings to match the contours. To shape curved mold ings successfully it's important to understand the type of curve so that you can approach the problem logically. For all practical pur poses, 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 cut ting 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 suming to shape the work from the edge; 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 usu ally 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 dis tance from the cutterhead. If you use the router, you'll also need to first construct a jig to guide the work. The

P R O F I L E S T H AT M U ST B E S H A P E D F R O M T H E FA C E

Some profithoutl e susiarengimdangerousl possible toyshape fromves.the edge wi l o ng kni So shape these profi l e s from the face.

/ / /

Wicasindow ng

Quiageerk with

Quibeadrk with

When using the router ta b l e to cut cu rved m o l d i n g on the face of the stock, use a cra d l e to support a n d g u i d e the work.

C u rv e d M o l d i n g s

1 87

C R E AT I N G A G O O S E N E C K MO L D I N G O N T H E SHA P E R

Rub bearing

�

Wh � Table

Plywood tomp' ''' Shape in several passes using a smaller bearing for each pass.

jig shown at top right clamps to the edge of the router table to convert it to a pin router. The work is secured to a template, which is guided by the pin. With either a router or a shaper setup, plan on making multiple passes. This pre vents bogging down the machine and reduces the chance of kickback. Also be aware that the router setup requires skill and patience to keep the work moving tan gent to the guide pin at the point at which the cut occurs. It's a good idea to develop

T E M P L AT E J I G F O R T H E S H A P E R

Cutting a g ooseneck m o l d i n g o n the sha per req u i res a ded icated jig to secu re the work.

Stock is also fastened to jig with screws from underneath. G ooseneck m o l d i n gs can be cut on the face on the router ta ble. The j i g c reates a setu p that works l i ke a p i n router.

188

C u rved M o l d i n g s

RO U T E R J I G FOR G O O S E N E C K MO L D I N G

C R E AT I N G A G O O S E N E C K M O L D I N G O N T H E RO U T E R TA B L E

C

Pin rubs here

cove wiStepth pinCutrouter.ogee wiiStep tn mulh pi1t.nipCutrouter le passes. 2.

Stepcut3. Ithumbnai nvert molldoning androuter table with CMT bit. C u rved

Moldings

1 89

The overhead a r m h o l d s a p i n that g u i d es the template. This tec h n i q u e re q u i res ski l l . Ta ke p ractice cuts i n i nex pe nsive stock fi rst.

Compound curves flow in two directions simultaneously. Moldings that follow com pound curves are usually limited to simple profiles, such as a quirk bead along the edge of a chair back. By far the most practical 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.

�


on

p. 1 4 6 .

Mitering Gooseneck Moldings

skill with the technique on some inexpensive stock first. Moldings that follow an elliptical curve can be shaped easily with the router table and jig shown on p. 1 89. An elliptical tem plate follows the bearing on the jig to shape the profile accurately.

190


It can seem puzzling-how do you miter the end of a molding with an S curve? It's actu ally 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 sur face to register on the table of the miter saw. But you have only one chance to cut it, so it must be accurate. First position the molding on the pediment and mark the miter loca tion. Next, make certain that the saw is cut ting a precise 90-degree angle. Now position the molding on the saw and make the cut.

H ow do you draw two freeform curves that a re

After bandsawi ng the pat tern of the cu rve, tra n sfer it to a seco nd sh eet of p lywood .

a bsol utely para l lel to each

negative

oth e r? The a n swer is to use a disk to g u i de the penc i l . The edge of the d isk ro l l s along the edge of the fi rst curve a n d g u ides the pencil fo r a para l l e l cu rve . Yo u ' l l need t o m a ke t h e

•

rad i u s o f t h e d i s k e q u a l t o t h e width o f t h e m o l d i n g . To ensure that the d i s k is a per

U s e a d i s k eq u a l i n rad i u s t o t h e width o f t h e molding to guide yo u r penc i l .

fect c i rcle, turn it on the lathe. Beg i n by ca refu l l y s ketch ing the freeform cu rve on t h i n plywood . Next, ban dsaw t h e

negative

conto u r. N o w tack

the plywood over a seco nd l ayer of plywood . Trace the neg ative patte rn, then use the d isk to d raw a seco nd l i n e parallel t o t h e fi rst. T h e res u lt i s a perfect pattern.

\ An accu rate pattern resu lts from cutt i n g to the p a ra l l e l l i n e .


1 91

_4;1YUi-iM."

.lIU._IArched M o l d i n g Face on the Router Ta ble This tech nique is useful a nyti me the profile has a quirk that ca n 't be shaped from the edge. It i nvolves making a curved jig, or cradle, i n which the stock trave ls i n a n a rc d u ring shaping

(A).

After m i l l i ng the stock, strike the radius of the outside edge of the molding onto the face. Using the same compass setti ng, strike the radius onto a recta ngle of plywood to serve as a cradle. Now bandsaw the outs ide (convex) curve of the molding stock (8) and the inside (concave) curve of the cradle. Smooth the edge of the stock with a spokeshave (C) and fasten the crad le to the router ta ble fence with screws (D). N ow mount the bit and adjust the height to a l ign with the edge of the stock-a nd you ' re ready to beg i n

(E).

To shape the curve without spoiling the profi le, it's necessary to keep the face of the stock against the fence and the edge of the stock agai nst the cradle (F). TI P

To get a feel for the tech nique,

m a ke a practice run without power.

You may find it helpful to use a featherboard to maintain pressure agai nst the fence. After cut ting the bead, shape the cove using the same process (G). When you ' re finished, bandsaw the inside radius to complete the molding.

192


- - - - - - - - - - - - - - - - - - - -__

4;i4hii·iM."·lid_

Arched M o l d i n g Edge on the Router Tab l e The process of shaping a curved strip molding is much l i ke shaping a straight strip of moldi n g . The differen ce is that you ' l l fi rst have to bandsaw the curve i nto the stock ( A ) Then, when shaping, you ' l l gu ide the workpiece agai nst a bearing instead of a fence (8). After shaping, bandsaw the outside radius of the curved molding and smooth the edges (C) .

, •

WAR N I N G

Remem ber to use

a starting pin as a fu lcrum to enter the cut safely.


1 93

....

_iliJ,,,,ri1.,..,"

f----------------------------------------Arched M o l d i n g Face on the S h a per T h e spindle o f the shaper is m u c h longer than the shank of a router bit. This allows you to shape a rched moldings that a re too wide for the router table. Exa m ples of this type of mold i n g a re a rched t r i m on a bui lt-in bookcase and casing over a n a rched wi ndow. Begin by stri king the outside radius of the mold ing onto the stock. Using the same rad ius, strike an a rc onto a plywood recta ngle to serve as a cra dle. Next, bandsaw the outside radius (convex) of the stock and the inside radius (concave) of the plywood. Now, fasten the crad le to the s haper fence with a couple of screws (A). Make certain that the lowest poi nt of the crad le is located in front of the shaper spindle. Begin by shaping the wide, flat section of the profi le. Mount a ta ll, square cutter on the spindle (8) and position the fence for the required cutting depth . Next clamp a featherboard to the shaper ta ble to apply pressure as the stock is shaped (C). After checking the fence and spindle lock,

you ' re ready to begin shaping (D). To avoid spoil ing the stock, it's im porta nt that you keep it i n contact with t h e cradle throug hout t h e c u t (E) Now repeat the process with the rema ining pro files to complete the molding design. After shap ing, bandsaw the inside radius of the molding.

194


Gooseneck M o l d i n g o n t h e S ha per T h e shaper is t h e most efficient tool for shaping a gooseneck moldi n g . By using a complex cutter and a te m plate/j ig to hold the stock, the profile can be shaped clea n ly i n just a few m i n utes. Before shaping, you ' l l need to build a template/j ig to hold the stock and g u ide the cutterhead in a curved path. Select a piece of %-i n . plywood for the jig that's wide enough to position your hands a m i n i m u m of 8 in. from the cutterhead and long enough to extend several inches beyond the stock. Afte r bandsawing the curve, attach a pa ir of toggle clamps to the jig to help hold the stock.

�

See "Making a Pattern for a Gooseneck

Molding"

on

p. 19 .

Now select a wide piece of stra ight-g rai n stock for the molding and trace the inside curve directly from the pattern (A) Bandsaw the i n side curve only (8) and fasten the stock to the jig with sev eral screws. The screws, combi ned with the tog gle clamps, keep the stock securely in the jig d u r ing shaping. Obviously, you ' l l need to locate the screws well out of the path of the cutterhead (C) . (Text continues on

,.

p.

WAR N I N G

196.)

Safety is always

an issue with any machine. But it's a special concern with the shaper, especially when shaping cu rved stock. I strongly urge you to gain plenty of experience with the shaper before using this tech nique.


1 95

The cutterhead shown here i s one I designed; it was custom man ufactured by Freeborn Tool Compa ny. It's i mportant to shape the profile in m U ltiple passes to reduce the feed resistance and increase safety. Th is is accomplished by switching to a smaller rub bea ring after each successive pass. I used th ree bea ring sizes with this cutterhead; the smal lest bea ring a l lows the cutterhead to shape the full profi le. Also, notice that I ' m using a disk guard that mou nts a bove the cutterhead. This guard is ava i lable from Delta. Although I removed the guard so the photos would be clear, I don't recom mend using this technique without it.

�


on p . 2 8 5 .

Once the construction of the jig is complete, set up the cutterhead assembly on the shaper spin dle. Slip the largest bearing on the spindle fi rst, then the cutterhead, and finally the guard . Then lock the assembly i n place with the lockwasher and spindle nut. Now position the jig and work piece next to the spindle to make the height adjustment; then lock the spindle height

(0).

Now you ' re ready for the cut. Remember always to feed the stock aga i n st the spindle rotatio n . I n this case, I ' m feed ing from right to left. Tu rn on the s haper and position the extended portion of the jig against the rub bea ring (E) Now begin feed ing at a steady pace (F) . As you feed the work, keep the jig resting on the table and the edge agai nst the beari ng. As the chips fly, you ' l l soon be at the end of the cut (G).

196


Pull the work away from the spindle and turn off the shaper. Now switch to a smaller bea ring and repeat the procedure (H). Remember to shape the matching gooseneck each time. Finally, i n sta l l the smal lest bea ri ng ( I ) and s hape t h e complete

((K).J). (L).

profile

N ow remove the molding from the jig

and bandsaw the outside curve . I nvert the mold i n g and bandsaw from the back for an accurate cut

Next, place the molding i nto a second jig

for flush tri m m i n g

This j i g has a negative pat

tern that acts as an a l i g n ment strip (M) When you ' re fin ished (N), place the fence around the cutterhead and s hape the retu rns that m iter to the ends of the gooseneck.


1 97

G ooseneck M o l d i n g on the Router Ta ble with Pin J i g Another method for shaping gooseneck and a rched moldings is to use a pin router. A p i n or bearing is suspended over the router, which is mou nted i n a table. A template, which is posi tioned over the stock, fol lows the gu ide pin . Beca use the pin can be positioned offset to the router bit, i nterior cuts can be made . Although pin routers a re expensive, the j i g shown here cla mps to the edge of you r router table to convert it to a pin router. A bea ring is fastened to the end of the a rm to g u ide 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 a rm from moving sideways (8)

Pilot bearing Flush-trimming bit

After constructing the jig, make a full-size pattern of the gooseneck curve . Next, use the pattern to lay out the curve on both the template and the stock. Extend the l i ne on the template beyond the curve of the molding. Th is way the template will contact the bea ring before the router bit con tacts the stock, eliminating potential grabbing at

Templ workpiaeteceover

w///Z

the entry of the cut.

� Routertable

�

See "Making a Patternfor a Gooseneck Molding"

onp.l91.

Now fasten the workpiece to the template with severa l screws. Ta ke care to keep them out of the path of the spinning bits. Allow the work to extend 'A6-in. beyond the template edge for flush

198


tri m m i n g . N ext, fasten a large block of the same thickness toward the back of the tem plate to sta bi lize it as you ' re shaping. N ow you ' re ready to begin shaping. Begin by flush tri mming the work (C) with a flush-tri mming 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 i n the router and clamp the jig to the ta ble edge. Now s l ide the arm of the j i g out and lock it in position for a light cut Before starting the cut, you m ust rea lize that it's necessary to keep the template edge i n the same spot on the bea ri ng throug hout the cut; the location is a poi nt ta ngent to the bea ring 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 th is task is not difficu lt, but req u i res concentratio n . Also, rea lize that you ' l l gain experience as you go and keeping the tem plate located properly is not extremely critical until the final pass. Let's give it a try. Tu rn on the router, position the end of the template agai nst the bea ri ng, and begin feed ing the stock

( E , F) .

As the template

curves, rotate it to maintain contact at the front of the bea ring (G, H, I ) . N ow turn off the router, retract the a rm slig htly, and repeat the process several times until the full profile of the cove has been shaped (J) . (Text continues on

p.

200.)


19

The next step i s to shape the ogee at the top of the mold ing. If the router bit you ' re using has a bearing, you ' l l fi rst need to remove it and grind off the stud

(K).

Now, mount the bit in the router and

adj ust the arm to position the bit correctly in rela tionship to the molding. Now make the cut (L) .

13

The last step is to shape the thumbna i l at the base of the molding (M). For this profile, you ' l l need a b i t from C M T U SA's crown-molding set. The inverted profile allows you to s hape the thumbnail on the router ta ble (N)

�

200


See "List of Suppliers

"

on

p. 2 8 5 .

Qu i r k Bead o n a Co m po u n d Cu rve Remember that a compound curve is one that flows i n two d i rections simu ltaneously. Some furniture components that have compound curves use s i m ple profi les such as a q u i rk bead to provide additional deta i l and d raw the eye to the flowing lines of the c u rve. The easiest method for shaping a profile on com pound curve is to use a scratch stock (A) .

�


on

p . 146.

After bandsawi ng and s mooth ing the curves, secure the workpiece in a vise. Using the scratch stock, gently scrape the qui rk-bead profile onto the surface (8). As you work, keep the body of the scratch stock agai nst the work and tilt it slightly in the di rection of the cut (C) .


1 201

PART FOU R

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 biggest 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 archi tectural 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.

Coves

� �

204

I

Cove Cut on the Ta b l e Saw ( p . 209) Cove Cut o n the Router Ta ble ( p . 2 1 0)

�

Cove Cut with a Molding Plane (p. 21 1 )

but perhaps their greatest use is in mak ing moldings. Many large, complex moldings for furniture, casework, and archi tectural cornices use a cove as the main pro file. The cove is usually flanked by smaller basic profiles, such as an ogee or thumbnail. The problem when making this type of molding is always how to cut a large, deep cove. Even the largest router bits cut a rela tively small cove-and large shapers and molders are beyond the price range of most small shops. The table saw provides a viable solution. Probably one of the most useful, yet unu sual, table saw techniques is cove cutting. A strip of wood is clamped to the table at an angle to the blade to act as a fence. Then the stock is repeatedly passed over the top of the blade. For each successive pass, the blade is raised slightly, resulting in a deep cove throughout the length of the stock. Best of all, the shape and size of the cove can be varied tremendously with different fence angles and blade heights.

C

avES HAVE MANY APPLICAT I O N S ,

Coves a re a n i m porta nt e l e m ent i n the desi g n of crown m o l d i ngs. This co m plex exa m p l e uses two coves.

E F F E CT O F F E N C E A N G L E W H E N SAWI N G C O V E S

o o

Coves

1 205

The fence fo r cut ting coves can be as s i m p l e as a stu rdy piece of flat stock fi rmly c l a m ped to the ta b l e of the table saw.

To visualize how this works, hold a circular sawblade at arm's length and pivot it slowly. As the viewing angle changes, the blade appears as a long, narrow ellipse. As you continue to pivot the blade the ellipse becomes broader until it appears as a full circle. Of course, you can't pivot the blade on the saw, so instead you attach an angled fence. Making a Fence

COVE S E T- U P J I G

Width of cove Wing nut

206

I

Coves

Hardwood strips

Fence angl e

The first step in using this technique is to mill a length of stock for use as a fence. The dimension of the stock isn't exact, but it must be of sufficient size to avoid flexing. A length of 2x4 works well once the edge has been trued on the jointer. Also, the stock must be longer than a standard fence to span the saw's table at various angles. An alterna tive to the single fence is a double fence through which the workpiece passes. Once you establish the angle, the fence must be securely clamped to the saw table using standard clamps or wooden handscrews. Finding the Ang le

Finding the correct angle may seem like somewhat of a mystery, but it's actually quite simple. In fact, there are a couple of meth ods from which you can choose. For the first method, you'll need to build the parallelogram jig shown at left. The jig pivots at the corners and locks in place to hold a setting. Set the space between the bars for the width of the cove and raise the

The best way to rem ove the saw m a rks from a table sawn cove is to use a h a n d scra per with a cu rved p rofi l e .

COVES ON T H E T A B L E SAW

---Width

I�E

of cove

--�'IsawblHeightaofde

sawblade to a height that equals the depth of the cove. Next, place the jig over the saw blade and position it so that it contacts both the front and back of the blade. Now posi tion the fence at the same angle and clamp it in place on the front and back rails of the table saw. To find the angle using the second method, first mill the stock for the cove. Next, draw the cove on each end of the stock or simply mark layout lines to indicate the depth and width of the cove. Now raise the sawblade to equal the depth of the cove and position the fence so the blade enters the cove on one edge and exits on the oppo site edge. Finally, clamp the fence securely on the table. Making the Cut

It's essential for safety that you make the cove by taking multiple, light cuts. For the first cut, lower the blade to a height of 1/1 6 in. Then raise the blade approximately

1/1 6 in. for each successive pass. As you feed the stock over the blade, maintain contact with the fence and use push blocks to keep your hands a safe distance from the blade. On the final pass, the blade should contact the layout lines that mark the height and width of the cove. Afterward, you'll need to smooth the sur face and remove all traces of saw marks. A curved scraper makes this tedious process go much faster. Mter scraping, sand the surface lightly.

Coves

1 20 7

� SAFETY GUIDELINES FOR COVE CUTTING Cove c utt i n g is a great tec h n i q ue

can push the stock fi rmly against the

with b road a p p l icati ons; but a s with

fe nce as you feed it. Sti l l a nother solu

most a dvanced methods, there a re spe

tion is to use two para l lel fe nces a n d

cial safety conce rns. He re's a l ist of

run t h e stock between them .

g u i d e l i nes.

•

Position the fence properly. When you ' re cutt i n g coves, you m i g ht wonder if the fence i s positioned i n front of the blade

that t h e fence wi l l not m ove d u ri n g the cov i n g ope ration.

Take light cuts. As with any woodwo rk i n g machi ne, heavy cuts produce

thoug ht on th i s q u estion. Some wood

g reater feed resi sta nce a n d an i nvita

workers co nte nd that the fe nce s h o u l d

tion to kickback.

cou nteract blade force and l i m it the poss i b i l ity of kickback. But using this position is awkwa rd, beca use you ' re p u s h i n g the stock away fro m the fence as you feed it. Another option is to positi o n the fence beh i n d the blade. This setu p fee ls positive beca use you

Coves

Clamp the fence securely. M a ke certa i n

o r beh i n d it. There a re two sch ools of

b e positioned i n front o f t h e b l a d e to

208

• • • •

Use push blocks. Keep your hands a safe d ista nce from the sawblade at a l l times.

Use a g u a rd. If the g u a rd that ca m e with y o u r ta ble s a w doesn't work, devise one of you r own. An overa rm g u a rd, such as the Biesemeyer, works wel l with this tech nique.

Cove Cut o n the Tab l e Saw

,.

The fi rst woodworker to use this technique has been long forgotten . In fact I suspect that cove cutting on the ta ble saw is as old as the saw itself. It's a g reat tec h n ique that has a mu ltitude of uses. Beg i n by m i l l i n g the stock and drawi ng the cove 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 ta ble saw. Now check the fence once more. If necessa ry, make minor adjust ments to the angle. Then lower the blade to

)1,6

i n . , 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, ra ise the blade approxi mate ly

)1,6

i n . (F) . For the final pass, take a very

light cut and feed the workpiece slowly to achieve the smoothest surface possible ( G ) . Afterward, remove the saw marks with a curved scraper and sand the cove smooth ( H ) . By tilting the blade, you can create asym metrica l coves (I).

Coves

1 209

Cove Cut o n t h e Router Ta b l e

/

Even the la rgest router bits will not cut a very deep cove . But there's a practica l way to in crease the size of the cove . Use two bits of dif ferent rad i i and create an e l l iptical cove (A). This will greatly increase the depth and width of the cove and enable you to create a large molding

Even a al avery rge router bit can't shape l a rge cove.

profi le. As a n added benefit, an e l l iptical cove is more appea ling than one with a consta nt rad i u s . B e g i n b y m a k i n g m u ltiple light passes with the first bit (8). It's i mportant to keep each cut l ight; heavy cuts a re prone to kickback and tend to cause overheati ng of the router. Use feather boards to keep the workpiece in position .

P/8

First Cut

in. radi u s

After making the first portion of the cove, switch

J I nstead use two l a rge router

bits and complete the cut (C) . Adjust the fence position and the bit height to blend the c u rves from each of the two router bits. The final cove

bits witah ldiaffrgeerentellipraditi c ali tocove. create

should be a s mooth, conti nuous c u rve (D) .

Second Cut

1

210

Coves

i n . radius

Cove Cut with a Molding Plane O n e of the most common molding planes i s ca lled a round. It's aptly named beca use of the semicircular, convex shape of its sole. Hol lows, as the name i m p l ies, have a concave sole. H ol lows and rou nds were o nce prod uced together i n matc h i n g pairs for making moldings-and they're sti l l useful today.

�

See "Toolsfor Edge Treatments and

Moldings "

on p. 18.

To make a cove with a wooden plane, beg i n by layi ng out the parameters of the cove on the stock (A) Next, cut a V groove down the length of the stock. This type of plane does not use a fence, so the V is required to keep it run n i ng i n a straight path. To cut the profile. make several passes down the V to establish a cove (8). Then widen and deepen the cove u ntil the full profile is reached (C)

Coves

121

��iW�i4W3Mi@�- - - - - - - - - - - - - - - - - - - Fl utes a n d Reeds

� � � �

212 I

La rge Pilaster Fl uted with a H a n d h e l d Router (p. 2 1 4) S m a l l Stock Fl uted on the Router Ta ble (p. 2 1 5) Ca rved Reverse Stop Fl utes (p. 2 1 6) Fl uted Quarter Col u m n s (p. 2 1 7 )

�

Reeded S u rface (p. 220)

ITHOUT DOUBT,

C a rving a reversed a rch at the base of a flute is an e l e g a nt d etail fo r you r best work.

proportions are the most critical element of any furniture design. This holds true for the overall proportions (such as height to width) as well as proportions of the details. Proportioning flutes is a good example, because there are several considera tions to keep in mind if the final look is to be appealing. When making design deci sions, it's always helpful to make full-scale drawings of the variations for side-by-side companson. Here's a list of guidelines to consider when adding flutes to a project:

W

• • • •

A

Keep the width of the flute proportional

Often 1 changes as small as /1 6 in. can make a substantial difference in the final effect.

to the surface being shaped.

The space be tween flutes should be smaller than the flutes themselves. The purpose of the flutes is to break up the flat surface and provide detail. To achieve this, don't skimp on the number of flutes . Space the flutes closely.

R E V E R S E - ST O P F L U T E S

Topend

Decide if you want to use stop flutes or

Flutes that run the entire length of the column or pilaster are attractive and are easier to cut, because you don't have to keeping the stopping point uniform. But stopped flutes cer tainly are more eye catching and provide additional detail. And besides, it requires only a few minutes more to set up stops if you're using a router table. through flutes.

Want still more detail? Try carving a reverse arch at the base of each flute. Carving the arch is labor intensive, so you'll probably want to reserve this fine detail for your best work. Consider carved end details.

endBottom

F l utes a n d Reeds

.123

La rge Pilaster Fl uted with a H a nd held Router F l uting lengthy stock, such as this pi laster for a corner cabinet. can be awkward when passed across the short top of a router table. In situa tions such as this, it's much easier to pass the router over the stock. Before you begi n , you ' l l need a gu ide accessory, w h i c h attaches t o the base of your router. Or you can make a g u ide as I did here (A) After attaching the guide, adj ust the cutting depth of the bit (8). Next, mill the stock for the pi lasters. If you mill it oversize in length, you ' l l have a n area to lay out t h e fl utes a n d check each router setting (C) . After layout, clamp a stop b lock at each end to keep the fl utes un iform i n length . Begin by routing the center fl utes and work outward (D). Afterward, cut two fl utes with each new setting

(E)

Each time you start a new fl ute, position the

router base agai nst the stop block (F).

214

I

Fl utes a n d Reeds

S m a l l Stock Fl uted on the Router Tab l e A router ta ble wi l l d ra matica lly i ncrease the ver sati lity of your router. Here's a good example. This small fl uted plinth is na rrow, which makes it difficult to keep the router steady if it's handheld. Begin with layout. You ' l l want to be accurate with the spacing, because it's used to set up the router. Also, mark the position of the end of the flute (A) . Next, set the cutting depth of the bit and position the fence to cut the center flute. Finally, set stops at each fence to control the length of the fl utes and keep them consistent. Now you ' re ready for shaping. Pos ition the workpiece agai nst the i nfeed stop and lower it onto the spinning bit (B) Then push the stock to the next stop (C). Feed the stock slowly to avoid a fuzzy, torn surface; s m a l l diameter bits have a relative ly s low rim speed even at higher rotations per m i n ute (rpms) . For each s uccessive cut, move the fence closer to the bit (D). For each side of the center fl ute, each fence setti ng will make two flutes; s i mply turn the stock end for end.


125

Carved Reverse-Stop Flutes Before carving stop fl utes, you ' l l need to mod ify the edge of the gouge. Carvi ng gouges a re somewhat square when you buy them . Although this profile is effective for most types of carving, the outside corners of the gouge will dig i n when incising a stop fl ute. I nstead, the end of the gouge m ust be semicircular to follow the con tour of the fl ute. The most efficient way to change the tool shape is to use a grinder. Roll the tool from side to side on the grinding wheel to grind away the corners. As you grind, keep the tool movi ng to avoid dead spots in the curve. After grinding, sharpen the tool to a m i rror surface with benchstones. A reverse-stop fl ute is a neat deta i l at the lower end of a fl ute (see the drawing on p. 2 1 3) . Rather than leave the fl ute end concave, as from the router, the end is ca rved to a convex profile. Like many details that add visual i nterest to a piece of furniture, reverse-stop fl utes ca n 't be created by machine. B ut for a special piece of furnitu re, the extra handwork is worth it. Beg i n by routing stop fl utes as s hown on p 2 1 5. Be certa i n to provide space for the carving. Next, lay out the stop fl ute. Use a combination square to extend the sides of the fl ute and a circle tem plate to draw the a rc (A, B) . Now select a carving gouge with a sweep that comes closest to the curve of the a rc. I ncise the curve by cutting vertica lly with the gouge

(e) .

Then carve parallel to the fl ute to complete the profile (D).

216

Fl utes a n d R ee d s

Fl uted Qu a rter Col u m ns Quarter col u m ns, as the name i mp l ies, a re one quarter of a full circle. Typically fl uted, the col u m n s a re i n set within the front corners of casework such as desks, chest, and clocks. Like full-round col u m n s and pilasters, qua rter col u m n s req u i re a base and capital t o complete t h e m visu a l ly. O n ce complete, quarter col u m n s provide a formal a rc h itectura l look and additional deta i l . To create quarter colu m n s, you mu st g l u e four strips of wood together with heavy paper in the glue joi nts. After turning and fluting, the col u m n

r----- in' ------1

1

Q

/1.---- Column VCase

is easily split into four segme nts, beca use the heavy paper i n the joi nts a l lows the pieces to separate . Begin by drawing a cross-section of the col u m n full-scale (A) . Col umns typically have a 1 % i n . diameter, w h i c h yields a quarter col u m n that's

%

i n . across when viewed from the front of the

case. Next, draw the fl utes in place. The size and spacing of the fl utes must look proportiona l to the col u m n ; spacing is determined by the i ndex head on your lathe. More specifical ly, the n u m ber

) f====�).J� Base

of fl utes m ust divide equally i nto the n u m ber of divisions on the i ndex head of you r lathe. The next step is to m i l l the stock for the col u m n s . If you m i l l it sl ightly oversize, you ' l l easily be able to turn the col u m n to the req u i red diame ter. After m i l l ing, you must glue the four sections together to create a full col u m n . H owever, before you begin, remember that joint a l ignment is criti ca l ; the four seams must a lign perfectly. Other wise the separate col umns will not be exactly a quarter circle. Sta rting with the ends, align the joi nts with pressure from opposing clamps (8). You can check the a l ig n ment by examining the joint at the end of the assembly (C) . After aligning (Text continues o n

p.

218.)

F l utes a n d R eeds

127

the ends, clamp the remainder of the work. For safety reasons, al low the g l ue to dry ove rnight before turning. The next step is to turn the square to a u n iform cyl i n der. Begin by squaring the ends of the tu rn ing blank. Then mark the centers for mounting i n t h e lathe. Once agai n , alignment is critica l . Mark the exact location with the point of a n awl

(0).

Afterward, mount the blank securely i n the lathe for turning. Tu rning a stra ight, un iform cyl inder isn't difficult if you follow a few easy steps. Fi rst, turn the blank round with a roug h i ng gouge ( E ) . Then carefu l ly turn it to the required diameter. You can accom plish this by cutting to the dia meter at several locations with a parti ng tool. As you lever the tool i nto the spi n n i n g stock with one hand, gauge the dia meter with spring ca lipers in the other hand (F) . Then turn the rema i n i ng portion of the cylin

der to dia meter with the roug hing gouge. Afterwa rd, smooth the cyl inder with a block plane. Su pport the plane on the tool rest and push it s lowly down the length of the slowly spinning stock ( G ) . This is a great technique! The plane cleanly shears away the high spots to cre ate a perfectly smooth , u n iform surface ( H ) .

�

218

I

F l u t e s a n d R ee d s

S e e "Turning"

on p . 2 4.

The next step is to rout the flutes. B ut first you ' l l need t o b u i l d a J i g ( I ) T h e jig is actually a box that mou nts to the bed of the lathe to su pport the router during the fluting process. Next, mount the box under the workpiece and, if necessa ry, attach a square base to your router to fit with i n the sides o f t h e box

(J ) .

Finally, set the cutting

depth of the bit and lock it i n positio n . Before you begin routi ng, remember that the fl utes must be spaced equa l ly a round each quar ter col u m n ; the first and last fl ute on each quarter col u m n should be adjacent to a glue joint. For this spacing to occur, it may be necessary to

a

repos ition the cyl inder between the centers. Lock the cyl inder in place with the pin on the i ndex head

(K);

then make a very short test cut

on one end of the cyl i nder. If the fl ute falls next to the g l ue joint, fine. If not, release the pressure slightly at the ta ilstock and rotate the col u m n to bring the router bit i nto a lignment. Now tig hten the ha ndwheel at the tailstock and make a sec ond test cut. Once the col u m n is a l igned for the first flute, successive fl utes will be correctly positioned in relation to the glue joints. Once the setu p is complete, route the fl utes (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 col u m n from t h e lathe and carefully s p l i t i t i nto corners by placing a wide chisel at one end and tapping it ge ntly (M).

Fl utes a n d Reeds

129

Reeded S u rface Reeding is a series of convex semicircular s ha pes, used as surface decoration (A). Although

Section

a router bit can be used for reeding, it's effective only when the s u rface to be reeded is stra ight. S u rfaces that swe l l and ta per, such as the exam ple shown here, must be carved. Think a bout it this way: As the reeds flow down a tapered s u r

Section

face they m ust ta per too (8). F u rthermore, as they taper, the rad ius of each reed conti n u a l ly changes. Although a router gu ided by a tapered template wi l l s hape the reeds, it will not created a truly reeded s u rface-only a facsimile. This is beca use the radius of the router bit profile is constant. Begin by turning the leg (C) N ext, lay out the reeds equally a round the circu mference of the turning (D) . This is easy to accomplish with the

(onp.E2). 4.

sim ple jig s hown here

Use the i ndex head on

your lathe to keep the spaci n g accurate.

Section

220

F l utes a n d R eeds

�

See "Turn ing"

The next step is to outli n e each mark with a V gouge. Fi rst lock the turning i n position with the pin on the index head. Then carefully fol low each layout line with the gouge

(F) .

Be sure to

keep the li nes running straight (G) . Now rou nd

Dowel

over the reeds with various sweeps of carving gouges ( H ) . The wider portions of each reed will require gouges with a broader sweep; na rrow a reas req u i re a gouge with a tig hter sweep. Work carefully to keep each reed u n iform as it ta pers. Once you 've carved each reed, i nspect the s u r faces for un iformity and make any necessary

II

Screw pi n ches dowel in kerf.

adj u stments ( I ) . Complete the carving by sanding each reed lig htly to smooth away any rema ining facets from the gouges.


121

PART F IVE

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 essential to some period furniture styles. Carvings have enhanced furni ture since time immemorial. One of the most artistic aspects of wood working, carvings not only provide interesting detail but allow the maker a highly personal form of creative expression. B oth 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 distinc tive technique in the repertoire of shaping methods, because it is the one way to shape wood that doesn't involve cutting. Instead it takes advan tage of wood's natural flexibility and ability to be plasticized.

Tu rn i ng

� � � � �

224

I

Tu rning a Cyl inder (po 229) Tu rning a Po m m e l ( p o 230) Bead Tu rned with a S p i n d l e Gouge (po 231 ) Bead Tu rned with a S kew ( p o 232) Tu rning a Cove (po 233)

� � �

Tu rning a Ta pered Leg (po 234) Tu rning a Pad Foot (po 236) Tu rning a n Offset Leg ( p o 237)

�

Tu rning a Vase Pedestal ( po 239)

� �

Tu rning a Rosette (po 241 ) Tu rning a Flame F i n i a l ( po 242 )

�

A Complex Tu rning ( po 246)

R

turn ing is cutting the wood while it spins on a lathe. The final shape is always equidistant from the center. This enables symmetry while producing an amaz ing variety of curved shapes. Try to imagine what furniture might look like if the lathe hadn't been invented. The beads, coves, and urns of the Jacobean table leg may not be to everyone's taste, but think how different the history of furniture design might be without turnings. Eighteenth-century furniture, which many consider a high point of furniture design, would look incomplete! Even a simple Shaker piece comes alive with the softer lines of a turned leg. Complex turnings are nothing more than combinations or modifications of simple shapes. A vase or urn shape starts out as a bead on one side and is cut like a tapered cove on the other. So even though turning may look challenging, once you learn to turn EDUCED TO BARE E S S ENTIALS,

the basic shapes, you can combine them to create infinite permutations on these com mon themes. This section explains basic turning techniques so that you can add turn ings to your designs. learn to Grind the Tools Properly

Sharp tools are essential to every kind of woodworking; but in turning, the shape of the edge is also critical. The bevel of a turn ing gouge or skew must be flat or hollow This eig hteenth centu ry-styl e g oosen eck pedi m e nt is e m be l l ished with turned-a n d ca rved rosettes a n d fl a m e fi n ia l s.

PA RT S O F A T Y P I C A L T U R N I N G

Cove Bead

Fil et

Reverse ogee

Bead Turning

125

GRINDING G O U G ES A N D CHISELS FOR SPI NDLE T U RNING

Aholsilonwgleground -bevel,ifls arequi t or red for successful turning.

Abevelmultiisfaceted convex di f i c ul t to use and wil likely catch.

ground. A tool with multiple facets will have a convex bevel. What's the difference? The bevel must continually rub the stock to sup port the edge while turning. A faceted, con vex bevel won't accomplish this. Keep your tools sharp. You'll gain more control and 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) tools are more heat resistant than those of ordinary carbon steel, they still require fre quent touching up with a slipstone. Learning to Use the Basic Tools

A LWAY S T U R N D O W N H I L L

,,

226

I

Tu r n i n g

Some turning tools are friendlier than others, and the spindle gouge is easily the beginning turner's best friend. You'll achieve success faster and most likely enjoy turning more if you begin by mastering the spindle 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.

Avoiding Chatter

Chatter is a woodworking term for "vibra tion." When turning, chatter creates a dis tinctive spiral pattern on the work, which can be difficult to remove. Chatter most often occurs when turning long, slender work. But even a heavy bedpost can some times be a problem because of its extended length. Fortunately, there are several solu tions to the problem:

•• • •• •

� LET THE BEVEL RUB A catch usu a l ly occ urs when the bevel

i s lifted from the stock, leav i n g the u ns u p ported edge to d i g i n . H ow can you be certain that the bevel i s ru b b i n g ? S i m p ly position the too l o n the s p i n n i n g stock so that the bevel rubs but the edge is not i n contact. Then slowly l ift t h e h a n d l e of the

A dull tool flex es the workpiece rather than cutting it cleanly.

too l u nti l shavings beg i n to fly. At t h i s poi nt,

Position the rest firmly behind the stock close to the area that you're turning.

catches, keep the bevel rubbing the stock

Try sharpening the tool.

Use a steady rest.

This technique works extremely well, but use caution. Don't wear clothing or jewelry that can get caught by the spinning stock. Also, to avoid a nasty pinch, position your hand behind the work away from the rest. S teady the work with your hand.

both the edge and the bevel a re i n contact. To l i m it d ra m atica l ly the occu rrence of a s you turn.

POSITIONING THE GOUGE Gouge

Adjusting the speed up or down slightly will often help put a stop to excessive vibration. Change the speed.

Turn the center of a long turning first.

Save the end portions for last to help reduce the occurrence of chatter. This will avoid weakening the turning, which causes it to flex and vibrate.

Tool rest Workpiece �

Turn the smallest diameter last.

Special Cases

How do you turn something longer than the bed of your lathe? Divide it into two or more sections. This is an effective method for long, slender bedposts as well as shorter

turnings with small diameters. The finial shown on p. 242 is a good example. The narrow cove at the base of the flame makes this difficult to create as a one-piece turning. But by dividing it into two sections, the job's a snap. It also makes it easier to maneuver the gouges when carving the flame. As an

Tu r n i n g

127

�

D I V I D I N G A T U R N I N G I N T O S E CT I O N S

R'""dt'"'

�f---==- =-

Y

_ _

added benefit, this method allows you to turn long posts on a short lathe. When dividing a turning into sections, use a round mortise-and-tenon to join the sections afterward. Remember to plan ahead and position the joint adjacent to a bead where it will pass undetected. Turning Multiples

Turning several pieces alike isn't nearly as difficult as it may seem if you do some plan ning ahead. The first thing you should do is design your turning and make a master. When you're turning its mates, you can position the master behind your lathe where you can view it while turning. It's much eas ier to duplicate something within view. Use the master to create a story stick, which will allow you to lay out linear dimen sions of a turning quickly and accurately. To make a story stick, glue a photocopy of your drawing onto 1/4-in. plywood. Next, extend perpendicular lines from the plywood edge to the inside corner of each fillet. Finally, cut small V's along the edge of the stick as a rest for a pencil. To use the story stick, place it on the tool rest against the spinning cylinder. Then mark the cylinder by placing a pencil in each notch or This method is much more

V.

228

I

Tu r n i n g

A story stick m a kes laying out a turning fast a n d easy. If you ' re turning m u lt i p l es, it h e l ps ensure consiste nt resu lts.

EXPECT � DON'T EXACT COPIES It's both i mposs i b l e a n d u ndes ir a b l e to create fou r perfectly identica l

turnings by h a n d . Even the best hand crafted turnings h ave m i no r variations. This is not only accepta ble but the m a rk of h a n dcrafted wo rk. M ass-produced turnings a re i dentica l but they lack the crisp deta i l s a n d sensuous cu rves of good, h a ndcrafted turni ngs.

accurate and efficient than measuring and marking each individual turning. One way to dramatically increase your accuracy and efficiency when turning multi pIes is to use individual calipers for each diameter. This way you'll save time and avoid the inevitable errors associated with continually resetting a single caliper. You can find serviceable calipers of many sizes at flea markets and used-tool dealers.

Tu r n i n g a Cyl i nder Tu rning a cyl inder involves removing t h e four corners of the stock to produ ce a smooth, u n i form s u rface. It's typically the fi rst step in pro ducing a spindle turning, such as a leg or post. Beca use the stock contacts the tool only four times per revolution, the i n itial stage of this process is natura lly rou g h . The best tool for the job is a massive, square-end gouge aptly ca lled a roughing gouge. Begin by securely mounting the work i n the lathe. To beg in the cut, sta rt with the gouge handle low and gradually l ift the handle u ntil the cutting begins (A) . Once the chips begin to fly, slide the gouge along the tool rest to s ha pe the entire length of the stock (8). To keep the stock un iform in dia meter, l i m it the cutting depth by bracing your fist agai nst the tool rest. TI P

When rounding square stock to

form a cylinder, you can qu ickly and easily check for roundness by holding the mid dle of the gouge on the spinning stock. If it bounces lig htly there's stil l a flat spot remaining.

To shape the stock next to a pom mel, rotate the gouge (C) and cut with the corner

(0)(.E)

As you

approach a true cyl inder, you can check the stock for rou nd ness by placing the middle portion of the tool on top of the spinning work

This

speeds the process by avoiding switching the lathe off and on aga i n . The finis hed cyl inder should be un iform and s mooth, and its dia meter should match the major diameter of the object you plan to turn.

Tu r n i n g

129

�iilldl

'*, Tu r n i n g a Po m mel A pommel is t h e square corner o n a post or leg where a turned section intersects a square sec tion. It's created by shearing a V i nto the square stock with a skew. Beg i n by squaring the stock and m i l ling it to size. Next, locate the center at each end of the stock by d rawi ng diagonal lines. Mark the center with an awl to ensure accu racy. Then mount the work securely in the lathe. Before turning, mark a layout l i ne to ind icate the location of the pommel. With the stock spinning relatively fast, nick the corners of the stock with the point of a skew. Next, make the cut deeper and wider by working the skew from the left and from the right (A) . Each time you make a cut, lever the edge of the skew i nto the work (8). Use only the point of the skew to avoid catching the work and spoiling it. The pommel is complete when the cuts at each corner meet to surround the ci rcumference of the work (C) .

230

Tu r n i n g

Bead Tu rned with a Spindle Gouge A bead i s a convex curve made u p of one-quarter or one-half of a circle or ellipse. Begin by establishing the size of the bead. Fi rst cut the fil lets that fla n k the bead (A). Then cut the bead to the req uired dia mete r. The next step is to s hape the bead. Always work from the center toward the edges, or down h i l l . Fi rst, position t h e gouge s o that t h e bevel rubs the spinning stock and then l ift the handle until cutting begins. N ow, rol l the gouge to form one half of the bead (8) As you roll the gouge, lift the handle and pivot the handle in the di rection you a re cutting (C) . The th ree movements-roll, l ift, and pivot-m ust be done s i m u lta neously. It takes a bit of practice, but you ' l l soon begin to deve lop a feel for it. As you roll the bead, watch the top of the work so that you can view the bead as it is shaped. After you 've shaped half of the bead, start at the

'---theStepcenter 1. Begiofn in

center once again and shape the second half (D).

the bead.

If the gouge catches d u ring the process, you 've most l i kely pivoted the handle too far, l ifting the bevel from the work. The resu lt is that the u nsup ported edge digs in, an occu rrence referred to as a

catch

by woodturners. If the cutting action

stops before you 've shaped the bead entirely, it's beca use you didn't pivot the handle far enough and consequently the edge is not making contact with the stock.

( Stophandle siRolmlul, pitaneousl ,,,, oedy.Ilftth' 2.

II

Repeattethesidprocess onStepthe3. opposi e.

Tu r n i ng

I 231

Bead Tu rned with a S kew As you 've probably heard, the skew is a difficult tool to master. It can catch easily and ofte n . So why n ot s ha pe a bead with a spindle gouge? Someti mes a bead is positioned adjacent to an ogee, pommel, or a nother bead . A gouge won't work i n these tight situations; but the s harp, nar row point of a skew wi l l .

TI P

Keep a block of paraffin at hand

and periodically rub a coat on the tool rest. You will get more control, because the tools wil l slide m uch easier across the rest.

There a re some remedies for red ucing the risk of a catc h . Fi rst, keep the skew sharp. Sharp tools will a lways give you better contro l . Second, as you grind the skew, use a grinding method that keeps the bevel flat or hol low grou n d . A faceted, convex bevel will leave the edge unsu pported, which will l i kely result in a catch . To begin shaping a bead with a skew, first i ncise the width of the bead with the poi nt (A) . Next, cut V's at the i ncisions to remove the excess stock (8). Now, you ' re ready to shape the bead. Using the heel of the skew, start off-center of the bead to take a light cut (C) . Let the bevel rub, and l ift the handle until the cutting begins. Then rol l the skew, l ift the handle, a n d pivot it. After the fi rst light cut, start at the apex of the bead and repeat the process

(0). (E).

The motions are very sim

ilar to those used with the spindle gouge

After shaping the fi rst half, beg in at the apex of the bead and shape the second half. The finished s hape should be full and round (F).

232

I

Tu r n i n g

Tu r n i n g a Cove The cove is a concave or hol low profile. The process of turn i n g a cove is similar to turn i n g a bead with a spindle gouge. The difference is that the profile and movements a re reversed (A). Beg i n by making two slight incisions with the poi nt of a skew (8) These l ig ht cuts define the width of the cove and provide a notch to rest the gouge when starti ng the cut. Next, remove some of the excess wood from the center of the cove with the spindle gouge. Let the bevel of the gouge rub (C) and l ift the handle until the cutting begins; then cut a sma l l hollow area (D)

II

. Rol l and pisiStepvmotulthet1 aneousl gougey.

skew totiveprovista rdte aforposigouge. Keep rubbintheg thebevelstock.

N ow you ' re ready to shape the cove. Position the gouge horizonta l ly on the rest, with the gouge rol led 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, s i m u ltaneously rol l the gouge, pivot the handle, and lower the handle

(F). To avoid a catch don't attempt to cut

u p h i l l ; i n stead, end the cut at the bottom of the cove. Now repeat the process for the second side. As you shape the cove, view the top of the turning to watch the shape as you create it.

"--- toSteprotateContigouge.nue 2.

To enlarge the cove, repeat the process u ntil the final width and depth a re reached (G). Check the dia meter at the bottom of the cove with a spring ca l i per.

Turning

1 23

Tu r n i n g a Tapered Leg

L"h' ;0

in.

Beca use the leg used i n this exa mple has a

1 in.

1/6 J9!16

square section for joinery, it's important to center the stock accu rately in the lathe (A) Otherwise, the tu rned portion will be offset from the square portion. Begin by turning the pommel with the poi nt of a skew (8). Fi rst nick the corner; then cut from the right and the left. The pom mel is complete when the cut from the skew runs the entire circu mference (C) Next, turn the leg round with a roug h i ng gouge (D). Use the corner of the gouge to cut i n the

area adjacent to the pommel

234

I

Tu r n i n g

(E)

Once the leg is round, lay out the turning with a story stick (F). Next, shape the bead adjacent to the pommel. You ' l l 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 fil let adjacent to the bead location ( G ) . Then u se a skew to remove the extra stock

at the taper ( H ) . Now, use a spindle gouge to sha pe the cove ( I ) . Use a spring ca l i per to mea sure the final dia meter of the cove. Most of the taper can be shaped with a gouge, but you ' l l need t o u s e a skew t o complete t h e ta per as it approaches the bead. Finally, turn the bead and

( K ) . (J ) .

cove at the foot to smooth it

Then sand the turning l i g htly

Tu r n i n g

1 2 35

Tu r n i n g a Pad Foot The pad foot was the most common form of foot used on eighteenth-century cabriole legs (A) . It's qu ite easy to turn, and the entire process

Ankle

�

di a meter Foot

takes just a few m i n utes . You ' l l need to use a s low lathe speed, beca use the asymmetrical leg spins off ba lance. Beg i n by bandsawi ng the leg . Next, locate the centers and mount the leg i n the lathe with the foot at the ta ilstock. This avoids the possibil ity of

Pad

the gouge com ing in contact with the d rive cen ter. N ow, turn the foot round with a spindle gouge (8); the roug h i ng gouge is too large and awkward for this cut. As you rou nd the foot, use care to avoid cutting the a n kle, which wou ld spoi l the curve of the leg.

m Adjust dimensions to fit leg proportions.

�

See "Bandsawing Broad, Sweeping Curves "

onp. 69.

As the work progresses, you can check for round ness by layi ng the shank of the gouge on top of the spinning foot (C) . Once the foot is rou nd, cut a small V at the top of the foot to i n dicate the height

(0)

Next, turn the pad to

dia meter with a parting tool and gauge it with a ca l i per (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 rou nd the foot to the pad (F) . Remember, as you turn the foot, roll the gouge, lift the handle, and pivot the handle ( G ) . To avoid chatter, it's a good idea to turn the foot in two or three passes. The final pass should be from the V to the pad to create a conti n uous curve (H)

236

I

Tu r n i n g

Tu r n i n g a n Offset Leg The simple, yet attractive, offset leg is most often used on small tables. U n l ike a true cabriole leg, this leg is turned in entirety, which makes it quick to prod uce. To make the leg, fi rst turn the pommel with the stock centered. Then offset

II

V

Bottom View

[t

�I'--Adjust to sui--t.

'I _______=_ ___ Axes intersect h ere.7 1=fiAdjust t rai l. to �

� -It I �op View

the turning in the lathe to turn the ankle and the ta per of the leg. Finally, retu rn the leg to center and turn the foot. Beca use two sets of poi nts a re used, the turning will have two axes. For the leg to have the correct a ppearance the axes should converge at the pommel (A) . Begin by locating the true center of the stock on each end of the workpiece; then locate the cen ter for the an kle (B) . Next, mount the leg in the lathe with the foot at the ta i l stock. This wi l l avoid the risk of striking the drive center as you turn the foot. Now, turn the pommel with the point of a skew. Fi rst nick the corner (C) ; then cut from the left

(0)

and the right (E) until the poi nt of the

skew scores the entire perimeter (F) . Afterward, turn the leg round below the pommel with a roughing gouge (G). Then mark a l i ne to ind icate the top of the foot (H). Don't turn the foot yet; otherwise you wi l l cut away the center needed for turning the a n kle. The next step is to offset the stock i n the lathe (I). Most of the offset occurs at the foot end of

the stock. However, it's im portant to s l ightly off set the opposite end as we l l . Check the offset for accuracy before turning. When offset correctly, the two separate axes will converge at the pom mel. Tu rn on the lathe and watch the spinning " g host " of the leg to see where the axes con verge. If necessary, stop the lathe and reposition the leg at the top slig htly. Don't adj u st the center location at the foot-otherwise you ' l l change the dia meter of the a n kle. (Text continues on

p.

238.)

Tu r n i n g

1 23 7

The next step i s to turn the a n kle. Before you beg i n , check the location of the tool rest. Position the rest as close as possible for the best su pport of the tool, but spin the work by hand to ensure that it clears the rest. D u ring the i n itial turning of the a n kle, the gouge makes contact with the stock only once each rev o l utio n . Because of this, take light cuts to avoid having the stock grab the too l . Starting near the top of the foot, cut downward toward the a n kle with a spindle gouge (J). Start with the gouge on edge, and rol l it as you approach the bottom of the foot

(K) . (0) .

Ta ke several light cuts and then

check the ankle size. When the cut encompasses the full peri meter, the a n kle is complete . Next, turn the tapered portion of the leg (L) . If the leg vi brates, try wrapping one hand around it for support (M) The amount of stock to be removed d i m i n ishes as the taper ends at the pom mel ( N ) . N ow, sand and smooth the taper before turning the foot

To turn the foot, fi rst reposition the turning on the true centers . Then turn the pad to diameter with a parting tool (P). Next, rou nd the foot profile

( Q ) . ,

with a spindle gouge

The technique is the

same as that used when turning a bead. Sand the foot l ightly to complete the turning (R) .

•

WAR N I N G

Supporting slender

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.

238

I

Tu r n i n g

.......

------------------------------------------------------------------------------

Tu r n i n g a Vase Pedesta l

1

The pedestal shown here is typical of the form used on Shaker candle sta nds (A) . M ost such pedesta ls consist of a long, slender vase with a sma l l n u mber of beads and coves for simple embellishment.

..4aJtr.1I

_--1 in. --

I�--2 ' / 8 'L;:=+===�---P1!'/42 '------

in. in. in.

Begin by mounting the stock and turning a cyl i n der to the la rgest diameter on the d rawi ng (8)

I

Now, lay out the meas u rements with a story stick (C); then cut each line to diameter with a parting tool

(0).

Next, turn the h u b at the base of

the turning and check it with a stra ig htedge

(E).

Having the surface of the h u b straight and parallel to the axis is i m portant to the s ubsequent fit and sta nce of the legs. (Text continues o n

p.

240.)

I} I\ ;

I C-�'::i= ::==:t: ==�;:::==:= =--===�:===:::;- iiinnni..n. .

,11�---1 -22P''353//4/8816 -+----

in. in.

Tu r n i n g

1 23 9

.44.];,.114

.. With the prelimi nary work completed, you ' re ready to create the shapes that define the tu rn i n g . Beg i n by turning the cove at the base with a spindle gouge

(F) Next, use a skew to turn the

V's that flank the cove ( G ) . While you ' re using the skew, turn the small rounded corner at the top of the hub (H) Then turn the bottom portion of the vase with a skew ( I ) . Now roll the bead at the top of the pedesta l . Cut the fil let first with a parting

(K). ((JL)).. (0) .

tool to clear the excess stock the bead

Then shape

The last step is to shape the vase. Beg i n by incis ing the stock next to the fillet

Then use a

large, sharp skew and remove lig ht, slender shav ings (M) Watch the top of the turning to view the shape as it's created and g radua l ly remove stock until you ' re satisfied with the profile ( N ) . Then sand the turning lightly and avoid softening the crisp deta i ls

Finally, burnish the turning

with a handf u l of shavings

240

I

Tu r n i n g

(P)

Tu r n i n g a Rosette This rosette is a simple faceplate turning (A) . To avoid sca rri ng the work with a screw it's fi rst g l ued to a scrap of plywood with heavy paper i n t h e joint. T h e n t h e plywood is fastened t o the faceplate with screws . After the turning and ca rv ing a re completed, the glue Joint is separated. Begin by g l u ing the stock to a scrap of plywood; %-i n .-thick plywood is sufficient to screw the faceplate . After the glue has d ried, bandsaw a n oversize circle o u t o f t h e stock a n d mount i t on

in. di a .

�--- ------>i 21/2

the lathe. Before turning, mark the dimensions of the rosette (8). Next, turn the rosette to diameter with a parting tool (C) . Now you ' re ready to turn the beveled s hape on the face of the rosette. Position the scraper on the tool rest with the edge slightly lowered. This will cause the burr on the scraper to cut clean shavings from the face of the disk. Now simply pivot the tool side to side to create the desi red s hape

(0, E ) .

It's that easy !

Don't sand the turning; otherwise the fine abra sive grit will lodge in the pores of the wood and dull your carving tools. A s ha rp scraper will leave the surface relatively smooth; and besides, much of the surface is ca rved away.

Tu

rn i n g

241

Tu r n i n g a Fla m e F i n i a l Finials a re typically used a s embel l i s h ment on casework such as clocks, desks, and chests . After turning the u pper portion of the finial, the

II

flame is carved .

I( \\ (\

\\

1 2'/2

----in.

�

See "Carving"

onp.25 .

This large finial (A) is easiest to turn as two pieces. Otherwise the na rrow section at the base of the flame is qu ite fragile and causes consider able vibration and difficu lty during turning. After

\

turning and carving the urn and flame, the two a re joi ned together with a rou nd mortise-and tenon joint. Begin the urn by turning the blank round with a

.---C===�----35/8

!---1_-�==�---3'/3816 ----_ in. in.

\;;; 1 ;��--in.

in. in.

242

I

Tu r n i n g

roug hing gouge to the largest dia meter (8) For accu racy, gauge the dia meter with a spring ca liper. Next, lay out the l i near measu rements with a story stick (C) . With a parting tool , cut each of the dia meters as i nd icated on the story stick

(0).

With the sizing complete, you ' re ready

to turn the va rious s hapes.

Fi rst turn the reverse ogee. Scribe a shal low l i ne with the point of a skew at the start of the ogee

(E).

This i ncision will give you a positive start

when shaping the profile. Beg i n turning by shap ing the bottom of the ogee as a bead

(F) .

Then

turn the top portion as a cove (G) and blend the two to create a fluid cyma curve ( H ) . Next turn the bead at the top, which is adjacent to the fil let ( I ) . Afterward, remove the extra stock to provide

room to maneuver

(J ) .

Then cut the ogee at the

top of the turning (K) If necessary, clean up the fil let to make the surface smooth and the corner crisp (L, M) Now shape the bead at the base of the turning (N) . Then d i rect your attention to the tiny bead at

the base of the ogee. Shaping the bead requi res a delicate touch with the heel of a small skew. You can gauge the width of this bead with a small set of dividers. The last profile is the small cove. Use a small spindle gouge and a light touch as you s hape each side of the cove toward the bottom

(0).

If necessary, sharpen the fillets that

fla n k the cove with a small skew. (Text continues on

p.

244.)

Tu r n i n g

1 243

Now l ightly sand the turning (P) and burnish it with a handful of shavings

(Q);

then cut the top

off with a parti ng too l . As you cut the top off you ' l l 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 fla me. First mount a chuck equ ipped with a %-in . bit into the tailstock. N ext, center the bit on the turning and advance it i nto the spi n n i ng work with the handwheel on the ta ilstock

(5).

To turn the flame, fi rst remove the corners of the stock with a roughing gouge to the major diame ter. Next, lay out the linear measurements with a story stick (T) and cut into the final dia meters with a parting tool ( U ) . T h e next step is t o turn t h e top o f t h e flame. Simply approach this convex curve as a bead and rol l it over with a spindle gouge

244

I

Tu r n i n g

(V) .

Next, s hape

the tapered lower portion of the flame with a

( W ) . ( X ) ; ( Y ) . (Z) . (A ) .

skew or large spindle gouge

Then incise the

width of the bead with the poi nt of a skew

then use the skew to turn the base of the flame further

Next, roll the bead to the left and right

until it is full and round

The last shape is the

small cove u nder the bead

After the turning is complete (88), cut the round tenon for a snug fit with i n 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 tool s later on. Use a parting tool to cut the rema i n ing stock from the end of the tenon and fit it i nto the mortise in the base (DD)

Tu r n i n g

1 245

A Com plex Tu r n i n g

Square ------'------r--� Center'------,,-----,,-Foot'---

The bedpost design in this example i s from the ni neteenth century. It's a challenging post to turn

---1�� II------�

becau se it has severa l shapes that req u i re use of

a skew (A) . To gain the most control of the skew and avoid catching the stock, keep it sharp. I n

fact, it's a good idea t o stop periodica l ly and hone the edges of the s kew with a very fine slip stone. Also, for each cut that req u i res a skew, use the largest skew in your a rsena l . The wide edge and extra mass of a la rge 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 accom modates the ra il joinery, this post a lso has a decorative octagonal section between the turnings. The octagon is cut on the table saw before turning. After cutting the octagon, carefully locate the cen ters of the stock and mount the stock securely in the lathe. Next, mark the separate sections of turnings, square, and octagon . Tu rn 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 ( 8) and octagon pommels (C) with the point of a la rge skew. Use care at

the octagon ; it's easy to cut too deep. N ext, 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 l i near di mensions

(F) Before tu rn

ing the shapes, cut the diameters with a parting

246

I

Tu r n i n g

tool ; leve r the tool i nto the spi n n i n g work using the tool rest as a fulcrum (G). Now you ' re ready to cut the s hapes. 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 t h e second half o f t h e bead, remove the excess stock adjacent to the bead to provide room to maneuver the tool (J) You can a lso complete the other half of the bead with a skew or, if you prefer, use a spindle gouge, which is less l i kely 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 i n the center, f a r from the su pport o f the headstock and tai l stock. If this occu rs, it's helpfu l to add a steady rest (N) To make the top of the post, begin by incising the octagon with a skew and turning the top of the post cyl indrica l . Lay out the dimensions and cut the diameters with a parting too l .

TI P

When turning t h e shapes, start at

the base and work u pward toward the top of the bedpost. (Text continues on

p.

248.)

Tu r n i n g

1 24 7

(0) . ( Q ) . (5)

Next, i ncise the bead; then roll the edges

After turn ing the bead, concentrate on the short vase. This elegant s hape, or a va riation of it, is quite common on the tu rned elements from the eig hteenth and n i neteenth centuries. It's rea l ly noth i n g more than a combi ned bead and cove. Beg i n by hol lowi ng out the cove to remove some of the excess stock

(P). Then, starting at the apex

of the bead, rol l the bead and conti nue the curve downward to the bottom of the cove. Watch the top of the turning and concentrate on shaping a fluid cyma curve. Afterwa rd, gauge the cove with ca l i pers to keep all four bed posts identical

Next, incise the edge of the bead (R) and shape it to the fil let

The next section of the post is u n usual and requ i res careful sequenci ng of the cuts. The required shapes consist of a large cove and a reverse ogee separated by a small, round bead. Beg i n by shaping the cove using a spindle

248

Tu r n i n g

gouge (T) ; then incise next to the bead ( U ) and

( V ) . ( W ) (X). ( V ) . (Z).

deepen the cove further

After removing the

extra stock, start at the large dia meter

and

shape a fluid ogee, which ends adjacent to the bead

Ta ke several passes with the gouge

until you reach the diameter of the small bead. Next, turn the reverse ogee.

N ow turn the small bead. Because it's flan ked by a large cove on one side and a reverse ogee on the other, you ' l l need to shape the bead with a skew. Use a small (Y.;-i n . ) skew, beca use it's easy to maneuver in this tight, na rrow location. Begin with the skew nearly parallel to the axis

Next,

use the heel of the skew to roll the bead to the left and the right until you 've ach ieved a full, round profile

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 (88). (Text continues on

p.

250.)

Tu r n i n g

1 249

When the top of the bedpost i s complete (CC), it's time to turn the details at the foot. The foot is turned by beginning with the pom mel, which is turned with a large skew (DO) and then removing the corners of the stock with a rough ing gouge

(E ) .

You can quickly check for rou nd

ness by placing the gouge on top of the work as it spins (FF) . Next, lay out the l i near measu rements with a story stick and turn the diameters with a parting too l . The order in which you shape the elements of the foot is not as critica l as it is for other tu rn ings. You can begin by turning the ogee (GG) and then turn i ng the large bead (HH). Next, shape the cove at the base of the post (II ) . Use a spindle gouge and turn the cove to the requ i red diameter.

250

I

Tu r n i n g

( J ) (K ).

Now i n cise the width of the bead bead with a skew

and roll the

Final ly, turn the taper

with a large skew (LL) . Use the skew to take deli cate s havings and work the taper i nto the corner. To complete the bedpost, fi rst smooth the octag onal and square sections with a bench plane to remove the saw marks left from the table saw (MM). Next. sand the turning lig htly. F i rst curl the

sandpaper to fit the contours of the turning, which prevents removi ng the crisp deta i l s of the design (NN). Afterward, sand the ta per with the g ra i n

(0 ).

Finally, burnish the work with hand

fuls of shavings (PP) .

Tu rn i n g

251

Ca rvi ng

252

>-

Ca rving a Lam b's To ngue (p. 256)

>-

Ca rving a S h e l l (p. 257)

>-

Carving a Vo l ute (p. 261 )

>-

Ca rving a Rosette (p. 262)

>-

Carving a Flame Finial (po 263)

>>-

Carvi ng a Trifid Foot ( p . 267) Carving a Bal l-and Claw Foot (p. 269)

C

ARVED ELEM ENTS HAVE B E EN U S E D

since the beginning of time as fur niture embellishment. Despite the seeming complexity of the carvings, anyone with hand-tool skills can learn to carve sim ple shells, fans, and rosettes-all of which can add interest to a piece of furniture. Why add carving to your repertoire of woodworking skills? Obviously, if your goal is making reproduction furniture of certain periods, especially the eighteenth century, you know that carvings are an essential ele ment in many pieces. But there's another reason. Carving allows you a way to express yourself as few other aspects of woodwork ing. Even if you're attempting to reproduce a historical carving, yours will never be exactly the same as the original. A carving is made one patient cut at a time. And each cut is made by the individual maker's hand. Why not yours? Designing Carvings

Successful carving begins with a good design. You don't have to be an artist to design carvings. Beautifully designed carv ings have been used to decorate furniture for centuries. Get some good books that show carved details and study them for inspiration. Remember that it's important to blend the carving with the furniture design on which it will be used. An ornate eighteenth-century motif will look out of place on a modern piece. Proportion is also essential. If the carved ornament is disproportionate with the scale of the overall piece, it will distract rather than add to the piece.

Once you've chosen the motif you want to carve and determined its proportions, the next step is to create a drawing. It's difficult to overemphasize the importance of the drawing; it provides an essential road map for carving. Create the drawing full size and add the details. This means not simply the outlines of the carving and its highest points. Because carving is three-dimensional, you'll need to consider the play of light on the parts. Indicate the highs and lows with shading. Once you're satisfied with your sketch, transfer it to your workpiece to use as a guide when you begin to cut.

This c h a i r back featu res a ca rved s h e l l and ca rved vol utes.

Secure the Work

If the carved surface is not secure you run the risk of two things: ruining your carving or, worse, cutting yourself. The way you secure your carving is determined by the work itself. Directly carved work may be secured by clamping the part on which it is carved. However, many carvings are glued or

C a rv i n g

1 25 3

fastened to a backup board. Feet, such as the trifid and ball and claw, can be secured in a pipe clamp. Sometimes, as in the case of the flame finial, it's necessary to devise a special jig to clamp the work without damaging it. Applied carvings, such as the shell, can be glued to a backup board for carving. Make sure to clamp the backup board to a sturdy surface such as a workbench. Keep the Tools Sharp

Your best work begins with sharp tools. There's nothing more frustrating than hav ing a gouge slip because it's not sharp enough to bite into the wood. Invest in a set of good slipstones for honing the many shapes of carving tools. A small number of Use cla m ps m o u nted i n a vise to hold complex s h a ped ca rvi ngs.

An assortment of s l i psto nes i n various sha pes is usefu l fo r kee ping your ca rvi ng tools sha rp.

254 I

C a rv i n g

tapered slipstones can service many shapes. Keep a leather strop nearby for quick touch up, and hone the tools often, especially when carving fine details. Go with the Grain

Always cut with the grain or across it, never against it. When you cut against the grain, you risk splintering and tearing out the wood instead of cutting it. Sometimes it's hard to determine the grain direction, especially in multilayered, complex carvings. Try taking a light cut. If the tool is digging in instead of cutting cleanly, turn around. Cutting across the grain is a good method for initial shaping and quickly removing excess stock. When possible, the final surface should be created by cutting with the grain. Use the Tools to Your Advantage

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 don't go out a buy a set of tools just to have a selection. Start with a few basic shapes and learn to use each well. You can always add individual carving tools for a given project. Before you begin to cut, study the project to determine which tools you'll need to accom plish the carving.

C U T WIT H O R ACROSS T H E G RA I N

diGrairectin on Fu rnitu re carvings ca n be created with j ust a s ma l l assortment of too ls.

Cutting with the grai n leaves the surface smooth.

HAZARDS � OFTHESANDPAPER When carvi ng, use sandpaper as

l ittl e as possible. If you sand between stag es, the a b rasive g rit wi l l lodge i n the po res of the wood, q u ickly d u l l i n g you r too l s l ater i n t h e carving p rocess. Th i n k twice a bout sanding the fi n i shed p roduct. It's easy to q u i ckly and inadver tently sand away the crisp deta i l s that you created with the carving tools. If

Cutting agai nst the grai n leaves the surface torn and rough.

you m u st sand, be ca refu l and use a fi ne a brasive

( 2 40

g rit) a m i n i m a l

a m o u nt.

Keep the Details Crisp

The best carvings show the clean definition achieved by cutting the wood rather than abrading it. A rasp may help remove large amounts of material, but when you come to the final surface, pick up your carving tools. Avoid excessive sanding. Use light sanding

to smooth the carving, not shape it. Coarse abrasive and excessive sanding only spoil the crisp edges and details that you worked so hard to create. And don't try to remove all of the tool marks; they're the true sign of hand carved work.

C a rv i n g

1 25

Carving a La m b's Ton g u e When creating a n octagona l taper with a router or shaper, the cutter will leave the end asym metrical

(A)

Beca use the tool cuts in a spin

n i n g motion, one face will be an a rc, the other a beve l .

Acreate chamfera symmetri bit or cutter wil One not c al stop. face beveled. The adjacent face wiwill bebe curved.

To create visual un ity, you ' l l proba bly prefer to finish the deta i l by hand. One option is simply to make both s u rfaces either curved or beveled. Either choice is attractive, and each creates a more contempora ry look. Another more traditional approach is to carve an ogee at the end of the taper (8). This deta i l is, obviously, a bit more time cons uming. But the u n ique 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 ply wood to make a pattern (C) . After bandsawi ng and smoothing the curves with a file, trace the pattern onto the post (D)

carving,ontomakethea post. pattern for traci n g the lBefore a mb' s tongue

III

Start shaping the lam b's tongue by removing the excess stock with a chisel, bevel down, and then bevel up

(E).

The convex segment of the la mb's

tongue i ntersects the post at a crisp inside corner (F) . If the gra i n is running i n a reverse d i rection,

cut across the g rain to prevent tearout (G). To finish the detail, s mooth it with a file ( H ) .

256

I

C a rv i n g

Carv i n g a Shel l

face ofthen the loswibestch witoContour tah no.a no.7thegouge 5 gouge; as the lobe tapers.

The fi rst step is to d raw and proportion the s h e l l

bes wiOutlthinaeno.the7logouge.

that y o u would l i ke t o carve . All carvi ngs, i n clud ing shel ls, can be varied in size and proportion to fit with the design of the fu rniture to which they're applied. The shell shown here (A) is a five-lobe exa mple that I designed for a Pen nsylva nia armchair (8). When you ' re satisfied with the drawing, make several photocopies of it. Next, glue a copy of the d rawi ng to the stock for the shell (C) . After carvi ng, this shell will be g l ued to the front seat ra il of the chair; it's i mportant that the grain in the shell runs from side to side to coincide with the

Cara .v5emmtheno.veinsgouge. with 1

12

gra i n in the seat ra i l . The next step is t o select the gouges for carving. The sweep, or curvature, of the gouge should closely follow the outline that you sketched ear lier. For the lobes on this shell, use a 1 4m m no.

7

gouge ( D ) . F o r t h e a rea around t h e hi nge,

use a 25mm no. 5 gouge. Although the na rrow gouge cou ld be used for both, the wide gouge is more efficient and easily yields smooth, u n i nter ru pted curves around the hinge. The next step is to bandsaw the outline of the shell to remove the excess stock. It's i mportant to saw approximately ;1,6 i n . from the line (E) because the final outline of the shell is created with carving tools. Next, begin incising the perimeter of the shell

II-f__�

with gouges (F) Be aware that the g rain 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 (Text continues on

p.

258.)

C a rv i n g

1 25 7

spl itting (H) The entire outline will later be in verted to become the base of the shell, so it's not necessary to incise beyond :;1,6 i n . deep

(I).

When incising the outl ine of the shell, it's impor tant to keep the cuts vertica l . To achieve this, you ' l l need to angle the gouge away from the work for the concave cuts. This will compensate for the bevel on the edge of the too l . Also, con centrate on keeping the cuts i ntercon nected and flowing uni nterrupted around the shell. When you ' re satisfied with the outl ine of the shell

(J),

you ' re ready to move on. The next step

is to glue it face down to a short length of inex pensive stock. Afterward, the clamps are posi tioned on the scrap stock to give you full access to the shell for carving. Don't use a lot of glue; the shell m u st be pried up after carving. Besides, a small amount of g l ue is all that's necessary to hold it firmly (K) . Clamp the shell to the board and al low the g l ue to thoroughly dry (L) The next stage of the process is to contour the face of the shell. But first mark the high poi nt of the contour. The point is centered left to right and s l ightly below center from top to bottom (M) Now select a 25mm no. 2 gouge for shaping the contour. The goal of this process is to prod uce sweeping curves from left to right and top to bot tom ( N ) . After paring the face of the shell, the only original surface remaining will be the high point that you ma rked earlier. Watch the gra i n di rection and c u t with t h e gra i n or across; you ' l l wa nt t o produce clean shavings, not spli nters . Carve the surface down to the :;I,6-in. perimeter that you incised in the first step. After carving the contour, you can remove any remaining facets with a smooth file

(0) .

Avoid

using sandpaper though-the abrasive g rit will

258

I

C a rv i n g

settle i n the pores of the wood and q u ickly d u l l your tools later i n the process. The next step is to draw the lobes as a g u ide for carvi ng. Using your original d rawing as a guide, locate the poi nts of the lobes with dividers

(P) .

Then divide the base of the shell into equal spaces

(Q)

Next, connect the poi nts by sketch

ing smooth , flowing curves (R) . To achieve visual balance in the carving, spaci ng is i m portant. Exa m i n e the curves closely and, if necessary, redraw any that need i m provement. Now you ' re ready for the next stage of carving. The fi rst step in this stage is to i n cise the hi nge a rea . Hold a 25mm no. 5 gouge nea rly vertical to create a steep wa l l (S) and carve this area gradu a l ly until you reach the layout line (T) . Finish the i nside corner with a 6mm no.

7

gouge. Ta ke long,

sweeping cuts to blend the wa l l with the h i nge a rea (U) . The next step is to outl ine the curves on the face of the shell with a V gouge. For g reatest control, take several light cuts and prog ressively deepen the V. Also, as you carve the V's, watch the spac ing 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 1 2m m no. 5 gouge

(W).

As the lobe tapers back, the curvature

becomes tighter, so you ' l l need to switch to a 1 0m m no.

7

gouge; then a 6 m m no.

7

gouge.

G radually, 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 dimi n ishes. (Text continues on

p.

260.)

C a rv i n g

1 25 9

Next, carve the concave rays between the lobes

((XY))..

Begi n n i ng with a 1 Omm no.

7

gouge, work

back g radually; then switch to a 6mm no. final ly, a 4mm no.

7

7

and,

gouge. As you carve the rays

and lobes, use the gouges to blend the curves During the entire process, stop periodically

and hone the gouges; sharpness is the key to accuracy and control. The final step is to carve the veins into the s u rface of the h i nge. These tiny U-shaped g rooves break up the flat s u rface to add more i nteresting deta i l . Starting a t t h e outer edge, sketch each v e i n with a pencil

(Z) .

Keep the spacing un iform and follow

the curve at the edge of the h i nge. Next, use a 1 . 5mm no. 1 1 gouge to carve the vei ns (AA) The completed carving should be crisp, flowi ng, and full of visual details (88) You ca n smooth the carving lightly with 240-grit sandpaper to blend the facets. B ut be careful not to spoil the sharp deta i l s .

260

I

C a rv i n g

Ca rvi n g a Vol ute A volute is a spira l (A) . It's used as embellis h ment on the ends of arms and the back of chai rs-among other a reas-to create the a ppearance of a scroll. As the volute unwinds, the curve natura l ly broadens. This bea utiful effect is easily created by using a series of gouges. Begin by drawing the volute. Although it would

II

be easy if the volute fit with i n a mathematical framework, it seldom does. I n stead, the vol ute must fit with i n the a rea of the workpiece on which it will be carved . For this exa mple, I 've connected vol utes of two sizes to create a sample carving block. Whether found on furniture or arch itecture, vol utes a re typically carved in pairs. As you might imagine, d rawing accu rate pa irs of vol utes can be time consuming. So for ease of d u p l ication, I prefer to make a plastic template. Fi rst d raw the design on paper; then position a transparent plas tic sheet over the drawing and incise the outline to form a template (8) Next, trace the template onto the stock (C) and begin carving

((0E)).

Begi n n i ng with the center h u b, i ncise the outline of the volute with the same series of gouges that you used to incise the template

As the

curves become broader, use wider gouges with less sweep (F) . A typical se ries of cuts would begin with a no.

7,

progress to a no. 5, and

end with a no. 3 gouge. I ncise the volute to a depth of

�

in.

Next, make a second series o f cuts that i ntersect the first cut at a shal low angle (G). Each time you make a cut, a small chip of wood should be released. This will have the effect of creating a ra ised spira l ridge ( H ) . After this procedure is fol lowed a round the entire spira l , a series of facets will rema i n . Use a no. 3 gouge and take sweeping cuts around the volute to remove the facets (I).

Ca rvi n g

1 261

Carvi n g a Rosette A rosette is an orna mental term i n u s for a goose neck molding on a pediment. The variation s of this design a re n u merous. The example shown here is a small, simple design that is u sed on a clock. Begin by turning the rosette on a lathe to the required shape. Next step off a n even n u m ber of spaces around the perimeter (A) with dividers and make a mark at each division (8). With the aid of a center head, d raw a line from each divi sion mark to the hub (C) .

�

See "Turning"

on

p. 2 4.

With the layout complete, you can turn your attention to carving. Beg i n by outlining each lay out l i ne with a V gouge (D). The depth of each V should be g reatest at the peri meter and gradually

( E ) . (F).

diminish i n size as it reaches the h u b

Next, use a Y.-i n . no. 5 gouge to carve the rays and lobes

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 site d i rection ( G ) . You can sand the carving lightly with 240-grit sandpaper to blend the facets from the gouge. Use care to avoid sanding away the crisp ridges on the V's.

262

I

C a rv i n g

Carv i n g a F l a m e F i n i a l Finials a re a t u rned and carved decoration most commonly used on the pediments of casework. The stylized flame finial shown here was a popu

ge i s 'P"" Six equal"top aEachcymaridcurve.

b

1

lar ornament on Pen n sylvania furn iture d u ring the eig hteenth century. Although smaller finials a re crafted from one piece of stock, la rge finials, such as this example, a re easier to turn in two

�

Line 1 = rotates ofone-quar a circleter.

1

pieces. See "Turning a Flame Fin ial "

o n p . 24 .

After turning, the next step is to sketch the desig n . Good layout a l l ows you to work through the design details and proportions before you begin to carve (A) . It also provides an essentia l road m a p t o give you di rection as you ' re working. Although seemingly complex, the layout for this finial is relatively easy. It i nvolves repeatedly sketching cyma curves around the peri meter of

\;:===;1 spacesSibasex eq;/"at 0

1

the turni n g . Spacing the curves is i m portant, too, but it's easily accomplished with dividers. Begin layout by sketch i n g the first c u rve . It be comes a ridge that rises from the base and spi ra ls one-q uarter of the circle as it reaches the top. Use the lathe divid ing wheel to mark the beginning (8) and end (C) of the c u rve. It's most important that the curve is pleasing to the eye, especial ly beca use a l l the other ridges wi l l be modeled according to the fi rst one. You ' l l find it easier to sketch the curve if you pivot the pencil from your wrist or the knuckle of your little finger

(0).

Just below the midpoint of the turning is the

transition point at which the curve changes direc tion. You ' l l probably find it easier to i nvert the turn i n g to draw the u pper portion of the curve. (Text continues on

p.

264.)

Carving

1 26 3

When you ' re satisfied with the fi rst curve, the next step is to repeat the sketch around the peri meter of the turning. To make the spaci n g somewhat even, it's necessary t o divide t h e turn ing into equal segments. But first. notice the pat tern in the carving. The fi rst ridge sta rts at the base and rises to the top. The second ridge beg ins at the base but it ends before reaching the top. The third ridge sta rts at the top and 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 i n the lathe and divide the height of the flame i nto th irds. Next, draw a line a round the circu mference at the poi nt of each division (E) Now you ' re ready to divide the turning I nto

sepa rate ridges-nine a round the middle and six at the top and the base. Beg i n n ing with the base, position one leg of the dividers on the fi rst ridge and step off six spaces (F) . Next, step off six spaces at the top sta rting

with the ridge you 've a l ready d rawn . Finally, divide the turning i nto nine equal spaces at each of the circumference l i nes, sta rting 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 the adjacent ridge. It begins at the base and flows upward, ending before it reaches the top. Use the division poi nts as g u ideli nes, but remem ber that they a re there as only a guide; it's not necessary to fol low them precisely. It's most important to draw a smooth, flowi ng curve (H). The third ridge sta rts 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 n i n e ridges, yet only six points at the top and six at the base. Before ca rv ing, study your layout and check for spacing and

264

C a rv i n g

i rregula rities in the c u rves. The layout does n't req u i re mechanical precision, but instead the li nes should flow gracefully as they spira l toward the top. Spacing s hould look somewhat u n iform ; but it doesn 't need to be, or should be, perfect. The idea is to create a carving that is well propor tioned with pleasing c u rves. Before you beg i n carving, take a few m i n utes to build the jig shown in photo I (at right) and photo M (on p. 266) . It's essentia l ly a V block with a build-i n clamp for securi ng the work.

m

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 a rea between a pa ir of ridges forms a V. Carving is now simply a matter of removing the a rea between the ridges. And if you keep a couple of key poi nts in m i nd as you carve, success is virtu ally ensured. First, keep the tools s ha rp; sha rp 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 gra i n , not agai nst it. If you attempt to work agai nst the gra i n the wood will splinter and tear. Beg i n by carving across the g rain toward the bot tom of each V (I) Alternate the cuts from either side of the V so that the wood between the cuts is removed clea nly (J). Work from the center of the V outward toward the ridges and from the base of the flame to the tip. Cutting across the grain will leave the surface slightly coa rse; but the technique removes wood q u ickly, and you ' l l smooth and refine the s u rface later b y carving with the g ra i n . As you carve, remember that each layout l i n e becomes a ridge. Also, it's i m porta nt that t h e l i n e formed by t h e bottom o f the V is smooth a n d flows i n harmony with t h e ridges. A s you deepen each V adjust the li ne, if necessary, to cause it to flow smoothly. (Text continues on

p.

266.)

Ca rvi n g

1 26 5

Avoid carving too deep a t first. Once you 've carved the entire ci rcumference of the turning you ' l l have a better feel for the look you ' re trying to ach ieve, and you can deepen the cuts, if nec essa ry. U n l i ke many other a reas of woodworki ng, carving isn't a process of cutting to a set of pre cise di mensions. I nstead, it's a matter of creati ng balanced, flowing l i nes. Often the l i nes can't be gauged or measured but are j udged by a critical eye. In this case, each l i ne should spira l along its length in a flowi ng, u n i nterru pted cyma curve. As the carving progresses, the only remaining portion of the original tu rned surface will be each ridge. Be careful to leave the ridges i ntact otherwise the flow of the curve that you created on the lathe wi l l be spoiled. The only exception is the ridges that stop before reaching the base or the tip. Ca rve these ridges downward at the ends so that their l i nes flow smooth ly toward the center of the work

(K) .

When you ' re satisfied with the i n itial carving, the next step is to refine the work. With a 1 2m m no. 2 gouge, s mooth t h e surface o f each curve by cutting with the gra i n (L) . Sever the end g ra i n a t t h e base between t h e fla mes with t h e point of a skew. The final touch is to carve the tiny veins on the s u rfaces of the fla me. These shal low grooves break up the otherwise flat surface to give the carving g reater detai l and visual i nterest. But fi rst sketch them in with a penci l . Depend ing o n the width of the surface, each has th ree to five vei ns. Using you r middle finger as a gauge, d raw 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 na rrows. Then with a steady hand, carve each vein with a 1 . 5 m m no. 1 1 gouge ( N ) .

266

I

Carving

Ca rvi n g a Trifid Foot The trifid, or three-toe, foot is a simple, yet ele gant carved foot commonly found on period fur niture from Pennsylvania and the Delaware Va l ley. Begin by bandsawi ng and shaping the leg.

�

See "Complex Shapes"

on

p. 78.

Next, make a pattern for the bottom of the foot to serve as a g u ide while carvi ng. 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 and trace the outl ine (A). To beg in carvi ng, secure the leg i n a pipe clamp that is mou nted 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 worki ng toward the base (8) . As you carve, maintain the angles on the edge of the foot that were established earlier when bandsawi ng. I nvert the gouge to carve the convex a rea (C, D). Afterwa rd, smooth and blend the a reas with a small file (E). The next step is to carve the stocking. Beg i n with layout. Fi rst locate the height of the stocking with a com pass

(F) .

Used as a divider, the com pass

ensures that this measurement is consistent from one foot to the next. (Text continues on

p.

268.)

C a rv i n g

1 26 7

To outline the concave areas that form the stock ing, flex a stra ig htedge i nto the curve and trace it from toe to a n kle ( G ) . Now you ' re ready for the next stage of carvi ng. Begi n n i ng at the toe, scoop out the wood be tween the toes with a no. 5 gouge (H). As you near the sharp curve at the ankle the gouge will have a natu ra l tendency to dig i n ( I ) . At this point, switch to a na rrow spoon gouge and ca rve a l ittle farther until the gouge beg ins to l ift the gra i n . Th is is a sign that the g rain di rection has changed; switch d i rections and carve from the top of the stocking to this transition point and blend the two areas where they meet

(J) .

After carving the stoc kings, they wi l l be some what faceted from the gouges. B ut sanding this a rea will spoil the sharp ridges that outl ine the stocking. I nstead, u se a small bent file, other wise known as a riffler

(K).

This u n ique tool will

a l low you to preserve the details as you smooth the s u rface.

268

I

C a rv i n g

2'/4 in. dia meter

Carv i n g a B a l l -a nd-Claw Foot The bal l-and-claw foot is a classic design that has become a n i con of Colonial American furniture. It fi rst emerged d u ring the m i d-eighteenth century and q u ickly beca me popular as a sign of wealth and status . The foot shown here (A) is modeled after Pen nsylva nia examples. It features tense, powerful claws gripping a slightly flattened ba l l . Beg i n b y bandsawi ng the leg and shaping the contours with a rasp and file. Shaping the leg fi rst ensures that the contours of the leg and foot blend together.

>-

See "Complex Shapes"

on

27T /8 in.

Fo t l a y o u t

�5/8in.

- --L L-__

in.

o�

Ik' __ --4� 1 7 i n. __

p. 7 8 .

The next step is layout. Start by marki ng diagonal l i nes from the corners to locate the center of the foot. Next, d raw a circle with a compass to serve as a guide when carving the ball (8). To outline the claws, draw a pai r of parallel l i nes

0/,6

in. from

each centerline (C). Then extend each line up

( 0 ) . (E),

ward to the a n kle where the l i nes converge

Finally, mark the apex of the ball on each of the four faces. With the layout complete

you ' re ready to

beg in carvi n g . The fi rst stage involves rou g h i ng in the contours of the ba l l . As the ba l l is shaped, the corners of the block a re further exposed to be later formed i nto the claws. My favorite tool for carving the bal l is an old %-i n . socket firmer chisel about 1 2 in. long. The extended length of this tool provides leverage beyond that of a sta ndard carving gouge for quick remova l of stock. Later on, after the contours of the ba l l are roughed in, further refine the ba l l and remove the facets with a no. 2 gouge. (Text continues on

p.

270.)

C a rv i n g

1 269

Sta rt by carving from the apex of the ba l l down ward toward the circle on the underside of the foot (F). Next, change d i rections and carve from the apex toward the top ( G ) . Com pare the curva ture of the top to that at the bottom and keep the two a l ike. Add additional curvature to the ba l l by carving across the g rain from the apex toward the claw (H) At the back of the foot, beg in carving by outlining the curve at the top of the ba l l with a no. 5 gouge. Aim the gouge toward the ba l l 's center and tap it lig htly with a mal let (I) . Repeat the process several times to form a n a rc. Afterwa rd, carve the face of the ba l l downward toward the arc

(J ) . ( K ) .

J ust as on the front, carve from the apex

of the ba l l i n every d i rection, and the ba l l will begin to emerge from the block

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 ba l l will further emerge and the web will beg in to form. Also, the height of the ba l l will shorten as it becomes round and fully formed (N) . Once a l l four surfaces of the ball beg i n to ta ke shape, it becomes easier to visua l ize the overa l l form . Work your way a round t h e ba l l once more and refine it so that the four surfaces become one sphere

(0)

Then you ' re ready to begin

roughing i n the claws. Before carving the claws, use compass as a divider to lay out the location of each knuckle

(P) .

Next, begin roug hing in the claws by fi rst remov ing the corners

(0)

Then carve the excess block

away so that the claws bend at the knuckles to fol low the contours of the ba l l (R) Afterward,

270

C a rv i n g

check the knuckle spacing with dividers and make any necessary adjustments (S). With the claws contoured to fol l ow the ba ll, the next step is to refine them (T) . Using a no. 5 gouge, cut across the grain to hol low the space between each knuckle. This gives the knuckles a more l ifelike a ppeara nce. Next, use a no.

7

gouge to remove the excess

stock at the web ( U ) . This a rea is tough end gra i n , so keep the gouge sharp for greatest con tro l . As you pare the excess stock away at the web, the claws at the top of the ba l l will beg i n to form

(V) .

Continue to contour the web until you

reach the a n kle. At this point, the web diminishes as it blends i nto the c u rves of the ankle. At the sides the claws flex i nward at the sec ond knuckle to follow the contour of the ba l l . Remove stock a t t h e back o f t h e claw to yield

((WX)).. ( V ) . (Z).

this effect

Now carve the talons. C u rve the s u rfaces of the

talon with a no. 5 gouge and taper them to a blunt poi nt

Next, add further refi nement to

the web by hol lowi ng the corners adjacent to each claw with a no.

7

gouge

Finally, s mooth

a l l of the surfaces. A no. 2 gouge will remove facets on the s u rface of the ba l l left by the chisel Afterward, s mooth the ba l l with a file (AA).

A short bent file known as a riffler is useful for smoothing the concave surface of the web (BB) . Final s mooth ing is done with 240-grit sandpaper.

C a rv i n g

1 27 1

Be n d i n g

>>>-

272

Steam Bending (p. 276) Bending Lig htweight Stock (p. 277) Bending H eavy Stock (p. 277)

>>>-

Bent La m i n ation with a Two-Part Form (p. 278) Bent La m i n ation with a Vac u u m Press (p. 279) Bent La m i n ation with Flexible Plywood (p. 280)

>-

Kerf B e n d i n g (p. 28 1 )

B

ENDING I S O N E OF T H O S E TECH

that seems exotic but is really simple. Bending opens many design options to the furniture maker, especially when a large curve is required and cutting the wood will leave too much short grain, weakening the curved part. This section cov ers bending techniques that can be applied to making furniture. The furniture maker has basically two practical strategies for bending wood: lami nating and plasticizing the wood using heat. The most practical heat method is steam bending, which is widely used in boatbuild ing and other types of woodworking where long bends are required. A specialized N I QU E S

This rocki n g c h a i r conta i n s several stea m-bent pa rts.

method called hot pipe bending also employs heat but is limited to bending very thin parts for musical instruments. Another specialized method, called kerf bending, has some utility in making mirror and picture frames as well as in high-end architectural woodwork, where it is sometimes used to bend trim. Because the kerfs are visible in the finished work, this method has obvious shortcomings. Bent Lamination

Laminated bends are made by bending thin layers of glue-coated stock around a curved form. The layers are held in position with clamps or a vacuum press until the glue sets.

The stea m-bent rungs of this chair back p rovide n ot o n ly a n i nteresting design e l e m e nt but a l so comfo rt. Bending

1 2 73

I n bent l a m i nation, t h e l ayers, o r a re v i s i b l e o nce t h e e d g e s a re j o i nted flush.

laminae,

Afterward, the excess glue i s scraped and removed and the edges are trimmed flu sh. Bent laminations are very strong, and the method is extremely versatile. Narrow lami nations are used for legs of tables and chairs; wide laminations are used as the sides for casework. Laminations are also widely used in architectural woodwork from beams in churches to stringers in circular and geo metric stairs. The only downside to bent laminations are the layers themselves, which can some times be distracting. To overcome this prob lem, it's helpful to mill the lamina from one piece of stock, keeping track of the layers and gluing them together in the original order. Still, some of the stock is lost in the kerf during milling, so the grain in the lami nation won't be a perfect match. Tapers should be cut before laminating. Otherwise the taper will cut through the individual layers, adding to the visual distraction. Steam Bending

Steam bending is a process of softening the wood fibers with a combination of heat and moisture until they are sufficiently pliable to bend. The hot, wet sticks are pulled from a steam box and quickly wrapped around a

274

I

Bending

curved form. Depending on the size of the stock, pressure for the bend can be supplied by physical force or supplemented with clamps. After the bend, the part is held in 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 this way is remarkable in itself Although steam-bent parts lack the strength of bent laminations, they are still remarkably strong. And they are obviously much stronger than bandsawn stock, which has been weakened by short grain. Also, steam-bent stock lacks the dis tracting layer lines present in laminations. Instead, the grain runs naturally and con tinually throughout the curves of the stock. Steam-bent stock can be carved, too; whereas the glue and constant grain changes of bent laminations make carving impractical. Bending Forms

Bending forms should be stiff and strong to resist the forces of bending. Most important, the curve of the form should be smooth and consistent. The best material for forms is plywood. Solid wood tends to have weak areas resulting from short grain; particle board is harsh and quickly dulls tools. However, plywood doesn't have these short comings. It's easily worked and doesn't move drastically with humidity changes. To create a thick form, stack the plywood in layers and use glue and screws to fasten the layers together. Make certain that the

screws are located away from the path of the eventual curve. 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 arrange ment of pins and wedges or a more complex system of steel rods and bolts driven with a pneumatic impact wrench. The decision 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 puncture the bag.

A S I M P L E ST E A M B O X

PVC pipe for steam box

( )

hose toRadicarratory 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 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.

�

See " Toolsfor Bending"

o n p. 2 6 .

Heat source

A fo rm fo r bent l a m i nation needs to be stro n g . Plywood p rovides m o re strength th a n s o l i d wood when m a k i n g fo rms.

Ben d i n g

1 275

Steam Ben d i n g To find the examples g iven i n this section on steam bending, I visited Brian Boggs at his shop i n Berea, Kentucky. A long-time chairma ker, Brian has taken steam bending to a science. H e uses a pressure cooker to s u pply the stea m , a n d his steam box is sta in l ess steel . The steel steam box is fitted with i n a well-insu lated wooden box. His forms a re soph isticated, too. B u i lt up of layers of plywood, the forms have stain less-steel straps that fit over the outer portion of the bend to prevent fa il ure from the extreme stresses that occu r when bend ing. Begin by selecti ng the stock and working it to rough size . It's im portant that the gra i n is stra ight and runs i n the same direction as the stock. The stock can be rived (spl it) or sawn, as long as the grain direction is parallel with the edge and face (A) . After roug h sizing, m i l l the stock to fina l size.

The next step is to steam the parts . A rule of thumb is to steam the pa rts 1 hour for each inch of thickness. Make certain that the steam box is hot before loading the parts (8) Ta ke advantage of the time while the parts a re stea ming to make preparations for bending. Make certa in your form is i n place and that you have the necessary clamps at hand. Once the pa rts a re sufficiently pliable to bend a round the form, remove them from the steam box.

WAR N I N G

Wooden parts

coming out of a steam box are very hot! Protect you r hands with a pair of leather work gloves.

276

I

Bending

Bend i n g Lig htweig ht Stock B r i a n prebends the thin s lats f o r h i s ladder-back chairs over a plywood form . The tig ht, smooth curve of the prebending form e nsures a s mooth, fa i r curve on the stock. A stainless-steel strap su pports 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 ( 8 ) . After holding the stock over the form for approxi mately 1 m i n ute, he p laces it i nto a d rying rack (C) . B ria n 's rack is designed to hold a complete set of s lats for one chair

(0). Ben d i n g Heavy Stock Bending thick, heavy stock req u i res greater force in add ition to the longer steaming time (A) . To bend the rear legs for h i s cha i rs, Brian s l ides the end of the leg i nto a jig (8). He makes the fi rst bend by tightening a U-bolt with an i m pact wrench (C) . Then he bends the top of the leg using the leverage from a length of steel bar

(0).

The top of the leg is held i n position for d rying with a steel pin and a wedge. While holding the leg agai nst the form, Brian s l i ps the pin through a pair of holes and slides the wedge under the pi n . A couple of taps with a mal let tig htens the wedge firmly agai nst the leg

(E) Bending

1 27

Bent La m i nation with a Two-Part Form B e g i n b y resawi ng stock f o r t h e lami nae (A) . Experiment to find a thickness that easily con forms to the c u rve of the plywood form . After sawing, scrape or sand the s u rfaces 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 a i r. The next step is to prepare for gl ue-up. If you use plastic resi n g l ue, you ' l l need measu ring cups and a stirri ng stick. A small foam pa i nt rol ler works wel l for glue appl icatio n . I l i ke to have the clamps I ' l l be using ready and waiti ng (8) These simple steps make the gluing process proceed smoothly and without fuss. After spreading the gl ue, stack the layers and position them with i n the form. Then apply clamp press ure from the center and work toward each end (C) .

, •

WAR N I N G

Plastic resin and

other two-part ad hesives cure by chem ical reaction as the two parts are m ixed . During this process, toxic chemical fu mes are often released. Protect your self by having good cross-venti lation.

278

I

Bending

Bent La m i nati o n with a Vacu u m Press A vacu um press m a kes the lamination process easy and conven ient. There's no need for clamps or a mating half to the form . J ust make ce rta in that you've softened a l l the sharp edges on both the work and the form; otherwise you risk pu nc turing the vacuum bag . Begin by resawi ng stock for the laminae. Experi ment to find a thickness that flexes easily to the curves of the form . After resawing, s mooth away the bandsaw marks by scraping or sand i n g . If you sand the lami nae use a bu rst of compressed a i r t o blow t h e dust from the pores. The next step is to prepare for g l ue-up (A). If you ' re using plastic resi n glue you ' l l need mea suring cups and a sti rring stick. A small foam paint roller ma kes it easy to spread an even a ppli cation of glue. After mixing thoroughly ( 8 ) , spread a n even coat of glue on each layer (C) . Then stack the layers and b i nd them with masking tape to keep them a l igned

(0). (E).

Position the stack over the form, seal

the bag, and turn on the pump

Afterwa rd, scrape away the excess g l ue and use a joi nter or handplane to true the edges.

Bending

1 2 79

Bent La m i nation with Flexi ble Plywood Flexible plywood provides a fast conve nient method for creating curved panels, especia lly wide panels for casework (A) . By g l u i n g two layers of plywood and covering them with veneer, a strong, attractive pa nel is easily produced . Begin by cutting two sections of flexible plywood to the requi red dimension. Next, cut two sheets of veneer to cover the outer layers of the ply wood . To keep the moisture in equi l i brium i n t h e fin ished pa nel, it's always best t o veneer both faces. The next step is to prepare for g l ue-up (8). Gather the tools for measuring and mixing the adhesive. After mixing the two pa rts of the adhe sive

( e l . (F) . (E) .

spread an even coat on each member of

the lamination (D). Stack the layers and bind them with tape to keep them in a l ignment

Now position the stack over the form; seal the bag and t u rn on the pump

Afterwa rd, scrape away the d ried adhesive from the edges of the pa n e l .

280

I

Bending

Kerf Bend i n g Kerf bending i s a n old method that has been mostly replaced by newer materials and meth ods that yield better resu lts, such as flexible ply wood. H owever, kerf bending may sti l l be occa sionally useful when strength a n d appearance a re not extremely i m porta nt. To kerf bend a plywood pa nel, rip a series of 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 pa nel. N ow s i mply flex the stock to the desi red curve . There a re several methods for reinforcing the wea kened pa nel. One way is to attach it to curved ribs ( 8 ) . Other methods include f i l l i ng the kerfs with wood strips or epoxy.

Bending

1 28 1

App endix: Shap ing Small Parts Te m p l ate S h a p i n g S m a l l Pa rts These tiny blocks (A) measure approx i mately i n . by

� Ys

i n . by 3 i n . a nd req u i re a thumbnail

profile along one edge and both ends. Because the entire edge is s ha ped, the setup req u i res either a fence or a template to l i m it the cutting depth . After shaping, the bloc ks will be m itered on the ends a n d carefu l ly fit i nto a notch in the seat board. Beg i n by m i l l i n g the stock to the final thickness, but leave it oversize in width and length . Next, glue the stock to a piece of Y.-i n .-thick plywood with heavy paper in the joint (B) The plywood will provide a tem plate for the router bea ring d u r ing the shaping process. After shaping, the paper will a l low you to separate the plywood easily from the workpiece. After the glue has d ried, joint the edge of the assembly with a bench plane or joi nter (C) Then rip the stock to final width and crosscut it to final length

(0).

The next step is to s hape the profile. There a re 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 sol ution is to g rip the part within the jaws of a wooden handscrew. The heavy wooden clamp effectively adds mass and positions hands a safe distance from the spinning router bit. Also, if the bit i nad vertently contacts the jaws of the clamp, there's no dangerous meta l-to-meta l contact.

282

I

Begin by shaping the ends. Tighten the jaws of the clamp firmly around the stock. Next, feed the work into the spinning bit until the plywood tem plate ma kes contact with the bearing

(E).

After

shaping the ends, shape the edge using the same procedure (F). After the shaping is com plete, gently pry the ply wood from the workpiece by placing a chisel into the seam along the back edge (G)

Shaping Small Parts with a J i g

Feed

Here's a second method for shaping the entire edge of a small part. It involves a s i mple jig that is designed for shaping m u ltiple parts, such as the candle-slide front for a desk. The jig is a piece of '%-i n .-thick plywood with pockets for holding the work (A). A rabbet holds the fi rst workpiece as it is s ha ped along the edge; the second workpiece is held within a g roove as the end is shaped . The fit of the workpiece within

Stock fimust t snug.

stock here forng shapi shaping edges. ends. Note: Ji g is pi ctured upside down.

the g roove m ust be snug; a finger hole i n the top of the jig provides a way to push the work free from the jig after shaping. Furthermore, the rabbet that secures the work for shaping the edge m ust be slightly less i n d i mension t h a n t h e stock being shaped . This way pressure is applied to the stock as it is shaped, preventing chatter. After making the jig, m i l l the stock for a snug fit with i n the g roove of the jig ( 8 ) . Next, s hape the ends of the stock. Then place it into the rabbet for shaping an edge. If you are shaping m u ltiple

II

pieces, you can also position a second piece i nto the jig for end shaping (C) . As you use the jig, maintain firm pressure agai nst the router table and fence

(0). A p p e n d i x : S h a p i n g S m a l l Pa rts

1 283

IIIIIdQQi�i

.,£� S h a p i n g S m a i l Pa rts with a M iter G a u g e This smal l-part setup uses a miter gauge i n con junction with a backup board, which is fastened to the head of the gauge with a pair of screws . The router table fence is fi rst secured parallel to the m iter gauge slot; the s m a l l workpiece is then clamped to the backup board for safe shaping. The pa rts being shaped i n this example are the base and capital for a pilaster, or flat col u m n . After shaping, the complete pilaste r is added to the i nterior of a desk.

�

See "Fluted Quarter Columns "

on p . 217.

The fi rst stage in this process involves shaping a strip of moldi ng. After shaping, short blocks of the molding a re cut from the strip for use as the base and capital (A). B ut fi rst the ends of the blocks m ust be shaped, or " returned , " with the same profi les used on the face of the block. This setu p al lows safe and accurate shaping of very small workpieces such as these. For each profile, orient the stock on the edge (8) or end (C) and firmly clamp it to the backup board on the miter gauge.

284

I

A p p e n d i x : S h a p i n g S m a l l P a rt s

List of Supp liers

I

wish to gratefully acknowledge thefollowing companiesfor providing toolsfor photos in this book. S t a t i o n a ry P o w e r To o l s

H a n d To o l s Lie-Nielson Tool Works, Inc. 800-327-2520 lie-nielson. com Woodcraft

Laguna Tools 800-234-1 976

800-542-9 1 15

lagunatools.com

woodcraft. com

Jet Equipment

&

Tools

Stubai

800-274-6848

800-326-5 3 1 6

jettools.com

diefenbacher.com

P o rt a b l e P o w e r To o l s

Ba ndsaw Blades

Porter-Cable

American S aw

800-487-8665

800-628-3030

porter-cable. com

lenoxsaw.com

Makita 800-4MAKITA makitatools.com

&

Manufacturing Co.

Clamps American Clamping Corporation 800-828-1004 americanclamping.com

Bosch 877-267-2499

R o u t e r Ta b l e s

boschtools.com

Bench-Dog

DeWalt

benchdog.com

800-4DEWALT dewalt.com

S h a p e r Cutters Freeborn Tool Company, Inc. 800-523 -8988 freeborntool.com

Ta b l e S a w M o l d i n g H e a d LRH Enterprises, Inc. 800-423-2544 lrhent.com

800-786-8902

Router Bits CMT USA, Inc. 888-268-2487 cmtusa.com

Va c u u m P r e s s e s Vacuum Pressing Systems 207-725-0935 vacupress.com

A n t i q u e To o l s The Tool Merchant 740-3 73-9973

I 285

_*1'; :'3;.;1"."

•

4_1----

Further Reading C A B I N ET M A KI N G

Joyce, Ernest. Encyclopedia ofFurniture Making. Sterling Publishing. Krenov, James. The Fine Art of Cabinetmaking. Sterling Publishing. Tolpin, Jim. Building Traditional Kitchen Cabinets. The Taunton Press.

Lee, Leonard. The Complete Guide to Sharpening. The Taunton Press. Mehler, Kelly. The Table Saw Book. The Taunton Press. Nagyszalanczy, Sandor. The Art ofFine Tools. The Taunton Press. Woodshop Jigs and Fixtures. The Taunton Press.

WO O D T E C H N O LO G Y

WO O D S H O P S

Forest Products Laboratory. Wood Handbook: Wood as an Engineering Material. Forest Products Laboratory. Hoadley, R. Bruce. identifying Wood The Taunton Press. --Understanding Wood The Taunton Press.

Landis, Scott. The Workbench Book. The Taunton Press. The Workshop Book. The Taunton Press. Nagyszalanczy, Sandor. Setting Up Shop. The Taunton Press. --Woodshop Dust Control. The Taunton Press. Tolpin, Jim. The Toolbox Book. The Taunton Press.

DESIGN

Aronson, Joseph. The Encyclopedia ofFurniture. Crown Publishing. Editors of Fine Woodworking. Practical Design. The Taunton Press. Graves, Garth. The Woodworker's Guide to Furniture Design. Popular Woodworking Books. Morley, John. The History ofFurniture: Twenty-Five

Centuries of Style and Design in the Western Tradition. Bulfinch Press. Pye, David. The Nature and Aesthetics. Cambium Press. T O O L S A N D M A C H I N E RY

Bird, Lonnie. The Bandsaw Book. The Taunton Press. The Shaper Book. The Taunton Press. Duginske, Mark. Mastering Woodworking Machines. The Taunton Press. Hack, Garrett. Classic Hand Tools. The Taunton Press. --The Handplane Book. The Taunton Press.

---

286

I

---

---

WOOD FINISHING

Charron, Andy. Water-Based Finishes. The Taunton Press. Dresdner, Michael. The New Wood Finishing Book. The Taunton Press. Jewitt, Jeff. Great Wood Finishes. The Taunton Press. Hand-Applied Finishes. The Taunton Press.

---

Index

A

Arched light sash doors, 100-101 Arched panel doors, 93-94

Arcs

drawing, 10-1 1 , 58-60

freehand, 64

jigs for, 62, 63, 65

in molding, 1 87, 192-94 uses of, 33

Astragal profile, 155, 1 8 1

Asymmetrical compound curves, 8 8 , 1 12-16

B

Backboards, 146, 150-51

Ball-and-claw feet, 254, 269-71 Bandsaws, 13-14

blades for, 13-14, 61-63

for curves, 58, 63, 64-65, 67-70, 74

for compound curves, 104, 108-10, 1 12-16

jigs for, 41-42, 48, 62, 63

for agee bracket feet, 108-11 for ripping, 41, 45 safety for, 14

scrollsawing with, 71

stacking pieces on, 70

for tapers, 41-42, 46, 48 templates for, 120, 124

Base caps, 156 Battens, 60

Beads, 133, 145-53

cock, 146, 152-53

on molding, 168

Qyirk, 148, 155, 1 8 1 , 201

turning, 225, 23 1-32, 235, 248-49, 251

Bed posts

tapered, 42-43

turning, 227, 246-5 1

Beds, pencil-post, 40, 42-43 Bench planes, 16-17, 44

Bending wood, 223, 272-81

forms for, 274-75, 276, 278 hot pipe method, 273

kerf method, 273, 275, 281

lamination method, 273-74, 275, 278-80 selecting stock for, 29

steam method, 273, 274, 275, 276-77 tools for, 26, 29, 275, 276

Beveled edges, 77, 81 Bevels (tool), 9 , 38

Bird's mouth, 75 Blades

for bandsaws, 13-14, 61-63

pitch of, 13, 61, 63

Block planes, 17, 137 Bowed stock, 38

Bracket feet, 67-68, 108-11 Brick-stacking, 73-74

Broad sweeping, 69, 125

Built-up molding, 180-82 Butt chisels, 23

C

Cabriole legs, 18, 87, 105-6, 236

Candle stands, 134

Card scrapers, 16

Carving, 223, 252-71

applied elements, 254 dentil molding, 1 85 designs for, 253

feet, 267-71

finials, 263-66

flute ends, 213

grain and, 254, 255, 256 inside corners, 82, 129

jigs for, 254

lamb's tongues, 256

agee profiles, 256 rosettes, 262

safety for, 253-54

sanding and, 255

shells, 253, 254, 257-60

templates for, 261

tools for, 24-25, 254

volutes, 253, 261

Case hardening, 27 Chairs

arms for, 1 12-16

bent wood for, 273, 277

beveled splats for, 77 carved backs on, 253 Chippendale, 63

compound curves in, 86, 1 12-16 curved backs for, 76

ladder-backed, 277

Chair scrapers, 16 Chamfers

cutting, 15, 5 1 , 52-53 designing, 39-40

1 28 7

lIII.IIi�i " :

�Coves, 203, 204- 1 1

as edge treatments, 137

hand tools for, 2 1 1

hand tools for, 137

jigs for, 5 1

jigs for, 206-207

profile of, 155

routers for, 210

for molding, 155, 168, 173, 174, 176

molding heads for, 5 5

table saw for, 203, 204-209

stopped, 52, 54, 56

turning, 225, 233, 235, 240, 248-49

on straight legs, 40

Crosscuts, 45

Checking, 27

Crown molding, 156, 165, 166-67

Chests, 36, 37, 165, 172

Chippendale chairs, 63 Chisels, 23, 24-25 . butt, 23

See also

Gouges

firmer, 23

sharpening, 225-26, 254

skew, 23, 25, 96, 226, 232

for turning, 25-26, 225-26

Chop saws.

Circles

See

Miter saws

drawing, 10-1 1 , 58-60 drilling, 109

freehand cutting of, 64

arched, 1 87, 1 92-94

compound curve, 1 87, 190, 201

elliptical, 1 87, 190

gooseneck, 1 87-9 1 , 1 95-200, 262 S curved, 187-91

Curves, 57-77.

See also

Curved molding

asymmetrical compound, 88, 1 12-16

beveling, 77

uses of, 33

compound, 86-88, 104-16, 187, 190, 201

CMT USA, 174

Colonial American furniture, 269

broad sweeping, 69, 125

cutting, 13-14, 57-58, 61-77, 104, 1 12-16 drawing, 2, 58-60

edge treatments for, 77, 13 9-40

Columns, 203, 217-19

exterior, 67-75

Compass, 10-1 1 , 35, 58

freeform, 2, 33, 60

Complex molding, 1 64-85

geometrical, 33, 60

Combination squares, 8-9

Compass planes, 16, 69

dentil, 170-71 , 183-85

fair, 60

freehand cutting of, 58, 64 interior, 76-77

flat, 1 80

jigs for, 62-63, 64-65

stacked strip, 166, 168, 169, 1 8 1-82

ogee, 59, 108-1 1

solid, I 72-79

thick stock, 168-69

Complex shapes, 78-129

Compound curves, 86-88, 104-16

bandsaws for, 104, 108-10, 1 12-16

beaded, 201

on cabriole legs, 87, 105-106 hand tools for, 88, 1 1 5

i n molding, 1 87, 190, 201 simple, 104, 107

table saw for, 1 1 1

Concave contours, 70 Convex contours, 70

Coopered panels, 102

laminated, 29

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

Cutters.

See

Shaper cutters

Cylinders, turning, 229

D

Decorative techniques, 203-21

Cope-and-stick joinery, 83-85, 93-94, 101

Dentil molding, 170-71, 1 83-85

Corner cabinets, 156

Desks, 127, 129

Coping saws, 58, 75, 76

Corners, inside, 2 1 , 82, 1 1 9, 122, 129

Cornice, 170-71 , 1 82

I n d ex

Curved molding, 169, 1 86-201

brick-stacking, 73-74

Cock bead drawers, 146, 152-53

I

solid, I72-74

Cupped stock, 38

jigs for, 63, 64

templates for, 11, 58, 66

288

flat, 175, 1 82

Depth gauges, 9

Dished tops, 134-35, 143-44 Dividers, 10

pad, 236

Doors

three-toed, 254, 267-68

arched light sash, 100-101 arched panel, 93-94

cope-and-stick panel, 83-84, 93-94, 101

edge treatments for, 133, 141

frame and panel construction for, 79, 93-101

j oinery for, 83-84 lipped edges, 141

mitered sticking for, 84, 95-97, 98 proportioning, 80-81

sash, 84-86, 100-101

turning, 227, 242-45

Finishing, 3 1

Flame finials, 242-45, 263-66

Flat stock moldings, 166-68, 178, 1 82

end details of, 213, 216

on pilasters, 156, 203, 214

Dovetails, half-blind, 108

proportioning, 212-19

Drawers

cock bead, 146, 152-53

edge treatments for, 133-34, 146 proportioning, 36, 37

Drawknife, 15-16

routers for, 214-15 stop, 213, 216 through, 213

Frame and panel construction, 79-8 1 , 93-101. Raised panels

Dust collectors, 144

See also

Freeform curves, 2, 38, 60

See also

Molding

bevels, 77

chamfers, 137

for curves, 77, 139-40

dished tops, 143-44

for doors, 133, 141

for drawers, 133-34, 146 of panels, 8 1

reverse ogee, 1 3 3

roundover, 133, 1 3 7

router bits for, 1 3 5

routers for, 134, 1 3 6 , 139, 143-44, 1 4 9 , 1 5 1 shapers for, 134, 138, 140

for tabletops, 143-44, 146

thumbnail profile, 127, 133, 134, 141

tools for, 1 8-23

worn edge style, 137

Ellipses

drawing, 58-59

in molding, 1 87, 190

templates for, 66

F

carving, 263-66

on columns, 203, 2 1 7-19

tombstone, 81-82

beads, 137, 145-53

Finials

Flutes, 203, 212-19

Double-sided tape, 99, 121

Edge treatments, 13 1-53.

Files, 17-18, 70

Fillets, turning, 225

Flush trimming, 1 1 9, 125-26

small tombstone, 98-99

thumbnail profile for, 133, 134

E

Fibonacci numbers, 36-37

uses of, 33

Fair curves, 60 Feet

ball-and-claw, 254, 269-71 bracket, 67-68, 108-11

French curves, 10, 1 1 Fretsaws, 5 8 , 76

G

Gauges, marking, 43, 53

Glue, plastic resin, 278, 279

Golden Rectangle, 36, 80, 35

Gooseneck molding, 187-9 1 , 195-200, 262

Gouges.

See also

Chisels

for carving, 24-25, 88, 255 roughing, 25

sharpening, 225-26

spindle, 25, 226, 231

for turning, 24-25, 225-26

Grain

carving and, 254, 255, 256 curves and, 28, 29

in legs and posts, 39

panels and, 80 short, 28, 29

straight, 28

H

Half-blind dovetails, 108

Hambidge rectangles, 36, 37

Hand tools, 2

for chamfers, 137 for curves, 58, 75

for compound curves, 88, 1 15

for molding, 158, 1 62-63

I ndex

1 2 89

lIIIIIi�i

.'3C�rcutting multiple, 63 designing, 39-40 grain for, 39 offset, 237-38 rounding, 107 selecting stock for, 28-29, 3 9 straight, 40 tapered, 40, 234 turning, 234, 236-38 Lumber. Stock

for raised panels, 9 1 for tapers, 5 3 Honeycombed lumber, 27 Hot pipe bending, 273 Humidity, 28, 79 Hydrometers, 28

I

Inside corners,

J See also

2 1 , 82, 1 1 9, 122, 129

Jigs. Templates for arcs, 62 for bandsaws, 41-42, 48, 62, 63 for carving, 254 for chamfers, 5 1 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, 1 87-89, 192-93, 1 96 pin, 198-200 for raised panels, 8 1 , 92 for routers, 43, 5 1 , 63, 135, 1 87-90, 198-200

See

M

See

See also

192-93,

for shapers, 43, 5 1 , 187, 196 for small pieces, 283 spar-marker, 43, 53 for table saws, 40-41, 49, 50, 81, 92, 206-207 for tapers, 40-43, 48 Jigsaws, 76 Joinery. Mortise-and-tenon joinery in complex designs, 88 cope-and-stick, 83-84, 93-94, 101 Jointers, 1 1-12, 45, 47

See also

K L

Kerf bending, 273, 275, 281 Kiln drying, 27, 28 Ladder-backed chairs, 277 Lamb's tongue carvings, 256 Laminated bends, 273-74, 275, 278-80 Laminated curves, 29 Laminate trimmers, 77 Lathes. Turning safety for, 226, 227, 232, 238 Layout, tools for, 8-1 1 Legs. Feet cabriole, 18, 87, 105-106, 236 Chippendale, 63 curved, 104, 107

See also See also

290

I

I n d ex

Marking gauges, 43, 54 Materials. Stock Milling, 45 Mitered sticking, 84, 95-97, 98 Miter gauge, for small pieces, 284 Mitering, molding, 190 Miter saws, 14, 15, 45 Moisture content, 28, 30, 79 Molding, 1 3 1 , 154-201. Complex molding; Curved molding attaching, 157 base, 156 built-up, 1 80-82 crown, 156, 165, 166-67, 1 72-74, 175, 1 82 dentil, 1 70-71, 1 83-85 drawing, 177 face shaped, 1 87, 192, 194 flat stock, 166-68, 178, 1 82 hand tools for, 158, 162-63 jigs for, 187-89, 192-93, 196 profiles of, 155, 165, 187 routers for, 159, 168, 1 72-74, 1 76-78, 1 87-90, 192-93, 198-200

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, 1 83-85 templates for, 1 9 1 , 198 thick stock, 168-69 tools for, 1 8-23 transitional, 176 waist, 165 Molding heads, 55, 1 6 1 , 168 Molding planes, 21-23, 158, 162 for coves, 2 1 1 for flat crown molding, 179 for C&irk beads, 148 Mortise-and-tenon joinery in chairs, 1 12-13 in complex designs, 88

___

-

-----------------------------------------

vs. cope-and-stick, 84 in frames, 79, 80 for mitered sticking doors, 95-97 for sash doors, 85-86, 100-101 Mullions, 85 Multiple pieces, 63, 70, 1 1 8 Muntin tenons, 85

N o

Neck molding, 156 Needle files, 70 Nicholson rasps, 106 Numbers, Fibonacci, 36-37

Octagons cutting, 42-43, 51-53 design and layout of, 37-38, 39, 42-43 tapered, 40, 42-43, 51-53, 256 uses of, 33 Ogee profile, 155 in bracket feet, 108-11 carving, 256 design and layout of, 59, 133 in molding, 174 reversed, 133, 225, 248-49 turning, 225, 248-49 Ovolo profile, 155, 156, 168

p See also

Pad feet, 236 Panels. Frame and panel construction; Raised panels coopered, 102 grain of, 80 selecting stock for, 30-31 wide, 30-31 Paraffin, 232 Parting tools, 25-26 Patterns. Templates Pedestals, vase, 239-40 Pediments, 262 Pencil-post beds, 40, 42-43 Pendulum clocks, 141 Pilasters, fluted, 156, 203, 214 Planers, 12 Planes bench, 16-17, 44 block, 1 7, 137 compass, 16, 69 molding, 21-23, 148, 158, 162, 179, 211 rabbet, 17, 91 Stanley, 22-23, 150, 158 universal, 22, 158, 163

See

w·,t_

Plywood bending, 280 forms, 274-75, 276 splines, 108 Point fence, 72 Pommels, turning, 230, 234 Posts. Bed posts compound curve, 1 12-16 designing, 39-40 grain for, 39 octagonal, 52 tapered, 40, 42-43 Pressure cookers, 26, 276 Prototypes, 87-88 Protractors, 38

See also

Q

Qyartersawn stock, 102 Qyirk bead, 148, 155, 181, 201

R

Rabbet planes, 1 7, 91 Radial-arm saws, 14, 15, 45 Rails, 79, 80, 85 Raised panels, 89-94 arched, 80, 93-94 carving, 96 curved, 30, 103 edge treatments for, 80, 81 grain of, 80 hand tools for, 91 jigs for, 81, 92 routers for, 20, 90 selecting stock for, 30-3 1 shapers for, 81, 89 table saw for, 92 tombstone, 81-82 Rasps, 1 7-18, 88, 107, 255 Nicholson, 106 Ratios of whole numbers, 35 Rectangles designing, 35-40 Golden, 35, 36, 80 Hambidge, 36 uses of, 33 Reeding, 203, 220-21 Resawing, 71-72 Reverse ogee, 133, 225, 248-49 Ripping, 41, 45 Rosettes, 241, 262 Roughing gouge, 25 Roundover edges, 133, 137

I n d ex

1

2 91

Router bits bearing-guided, 66, 1 1 8, 1 19, 125, 134 for beveling, 77 for cope-and-stick joinery, 83, 93-94 corebox, 1 73 for edge treatments, 135 flush-cutting, 1 19 roundover, 1 1 8 selecting, 128 vertical, 103 Routers, 18-21 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, 151 flush trimming with, 125 for flutes, 214-15 fulcrum for, 56 handheld, 136, 214 jigs for, 43, 51, 63, 135, 187-90, 192-93, 198-200 for molding, 159, 168, 172-74, 176-78, 187-90, 192-93, 198-200 for octagonal posts, 52 for raised panels, 20, 90 for reeding, 220 safety for, 19 vs. shapers, 1 8-21 tables for, 19, 21 for tapers, 43, 51 templates for, 66, 120 for thumbnail profiles, 127 Rub collars, 134 Rules, 10, 35

s

Safety measures, 5 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, 1 1 , 208 Sanders, spindle, 15 Sandpaper, 255 Sash doors, 84-86, 100-101 Saw marks, 43-44

292

I

I ndex

See also

Saws, 13-15. Bandsaws; Miter saws; Radial-arm saws; Scrollsaws; Table saws Scrapers, 16 Scratch stock, 23, 146-47, 153, 158 Scribed bead drawers, 146 Scrollsawing, on bandsaws, 71 Scrollsaws, 14 for curves, 58, 76 stacking pieces on, 70 S curved molding, 187-91 Seat boards, 127 Serpentine curves, 59 Shaker furniture, 2, 131 Shaper cutters, 18, 19 bearing-guided, 119 cope-and-stick, 83 custom, 170, 196 flush-cutting, 119 insert, 181 Shapers, 20-21 for curved edges, 140 for edge treatments, 134, 138, 140 for face shaping, 142 jigs for, 43, 5 1 , 187, 196 for molding, 160, 168, 1 75, 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 Shapes, cutting, 33-129 Sharpening carving tools, 254 scrapers, 16 turning tools, 225-26 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

Steam bending, 273, 274, 275, 276-77 Steam boxes, 26, 29, 275 , 276 Stepped block dentil molding, 1 84 Sticking coped, 83-85, 93-94, 101 mitered, 84, 95-97, 98 Stiles, 79 Stock, 27-31 for bending, 29 bowed, 38 crooked, 38 cupped, 38 for curves, 28-29 drying, 27-28 for legs, 28-29 moisture content of, 28, 30, 79 for molding, 156-57 nesting, 63 for panels, 30-3 1 quartersawn, 102 rounding, 229 selecting, 7, 27-29, 30-3 1, 39, 156-57 storing, 28 twisted, 38 warped, 27, 28, 30-31, 38 wide, 30-31 Stopped cuts, 52, 54, 56 Story sticks, 228, 246-47 Straightedge (tool), 35 Straight edges, cutting, 35-55 Strip molding, 155-57, 168 stacked, 166, 168, 169, 181-82 Surface checking, 27

T See also

Tables. Tabletops skirt for, 142 tea, 134, 142 Table saws, 1 1 for chamfers, 5 4 for compound curves, 1 1 1 for coves, 203, 204-209 jigs for, 40-41, 49, 50, 81, 92, 206-207 for molding, 161, 168, 172-74, 183-85 for agee bracket feet, 1 1 1 for raised panels, 92 safety for, 11, 208 for tapers, 40-41, 49 templates for, 120, 123 Tabletops beaded, 146 dished, 134-35, 143-44 edge treatments for, 133-35, 143-44, 146

finishing, 31 worn edge, 137 Tape, double-sided, 99, 121 Tape measures, 10 Tapers for bed posts, 42-43 cutting, 40-43, 46-53 designing, 38, 39-40 eight-sided, 5 1 four-sided, 5 0 jigs for, 40-43, 48 octagonal, 40, 42-43, 51-53, 256 routers for, 43, 51 shapers for, 43, 51 table saws for, 40-41, 49 turning, 234 two-sided, 46, 49 uses of, 33, 38-39 Tea tables, 134, 142 Templates, 1 1 7-24. Jigs attaching, 1 19, 120-21 for bandsaws, 120, 124 for carving, 261 for circles, 11, 58, 66 for curves, 60-61, 66 for ellipses, 66 for layout, 9 making, 121-24 for molding, 191, 198 for routers, 66, 120 for shapers, 120 for small pieces, 282-83 for table saws, 120, 123 Tenons. Mortise-and-tenon joinery Thick stock molding, 168-69 Three-toed feet, 254, 267-68 Thumbnail profile carved, 127 on doors, 133, 134, 141 on molding, 155, 156, 165, 168, 1 74 Toggle clamps, 120-21 Tombstone doors, 81-82 Tools, 7-26. Hand tools for bending wood, 26, 29, 275, 276 for carving, 24-25, 254 for edge treatments, 1 8-23 for layout, 8-1 1 for molding, 1 8-23 for shaping, 11-23 for turning, 25-26, 225-26 Trammels, 10, 58-59 Triangles, 9 Trifid feet, 254, 267-68 Trim, 127-28

See also

See

See also

Index

1 293

IIII.'#{ III�I

�See also

Turning, 223, 224-5 1. Lathes beads, 225, 23 1-32, 235, 248-49, 251 bed posts, 227, 246-5 1 chatter and, 227 complex designs, 246-5 1 coves, 225, 233, 235, 240, 248-49 cylinders, 229 dished tops, 135 fillets, 225 finials, 227, 242-45 legs, 234, 236-38 multiple copies, 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 tapered legs, 234 tools for, 25-26, 225-26 vase shapes, 225, 239-40 Twisted stock, 38

u v

Universal planes, 22, 158, 163

Vacuum press, 26, 279 Vase shapes, 225, 239-40 Veneer for bent plywood, 280 for curved pieces, 73, 74 edge treatments and, 133 Volute carvings, 253, 261

w

Waist molding, 156, 165 Warpage, 27, 28, 30-3 1 , 38 Wooden molding planes. Molding planes Woodturners tape, 99, 121 Worn table edge treatment, 137

See

294

I

Index

The Complete Illustrated Guide To Shaping Wood

Taunton's Complete Illustrated Guide to Finishing (Complete Illustrated Guide)

The complete illustrated guide to joinery

Taunton's complete illustrated guide to turning

Taunton's Complete Illustrated Guide to Finishing

Taunton's Complete Illustrated Guide to Finishing

The Joint Book: Complete Guide to Wood Joinery

The complete illustrated guide to furniture & cabinet construction

The Complete Idiot's Guide to Astronomy (Complete Idiot's Guide To...)

The Complete Idiot's Guide to Astronomy (Complete Idiot's Guide To...)

The Complete Guide to Michigan Fossils (Complete Guide To...)

The Complete Idiot's Guide to Astronomy (Complete Idiot's Guide To...)

Period Furniture Details - Complete Illustrated Guide

Shaping and bonding wood, bone, horn, steel

The Complete Guide to Asterix

Taunton's complete illustrated guide to using woodworking tools

Taunton's Complete Illustrated Guide to Jigs & Fixtures

Complete Guide to Sharpening

The Complete Illustrated Stitch Encyclopedia

The Complete Metalsmith: Illustrated Handbook

An Illustrated Guide to Relativity

An Illustrated Guide to Relativity

Illustrated Guide to Python 3

Nelson’s Illustrated Guide to Religions

Illustrated Guide to Combat Weapons

Complete Idiot's Guide to Buying Computer (The Complete Idiot's Guide)

Complete Illustrated Novels

Complete Idiot's Guide to Online Shopping (The Complete Idiot's Guide)

Complete Idiot's Guide To Adoption (the Complete Idiot's Guide)

Complete Illustrated Stitch Encyclopedia

The Complete Illustrated Guide To Shaping Wood

Taunton's Complete Illustrated Guide to Finishing (Complete Illustrated Guide)

The complete illustrated guide to joinery

Taunton's complete illustrated guide to turning

Taunton's Complete Illustrated Guide to Finishing

Taunton's Complete Illustrated Guide to Finishing

The Joint Book: Complete Guide to Wood Joinery

The complete illustrated guide to furniture & cabinet construction

The Complete Idiot's Guide to Astronomy (Complete Idiot's Guide To...)

The Complete Idiot's Guide to Astronomy (Complete Idiot's Guide To...)

The Complete Guide to Michigan Fossils (Complete Guide To...)

The Complete Idiot's Guide to Astronomy (Complete Idiot's Guide To...)

Period Furniture Details - Complete Illustrated Guide

Shaping and bonding wood, bone, horn, steel

The Complete Guide to Asterix

Taunton's complete illustrated guide to using woodworking tools

Taunton's Complete Illustrated Guide to Jigs & Fixtures

Complete Guide to Sharpening

The Complete Illustrated Stitch Encyclopedia

The Complete Metalsmith: Illustrated Handbook

An Illustrated Guide to Relativity

An Illustrated Guide to Relativity

Illustrated Guide to Python 3

Nelson’s Illustrated Guide to Religions

Illustrated Guide to Combat Weapons

Complete Idiot's Guide to Buying Computer (The Complete Idiot's Guide)

Complete Illustrated Novels

Complete Idiot's Guide to Online Shopping (The Complete Idiot's Guide)

Complete Idiot's Guide To Adoption (the Complete Idiot's Guide)

Complete Illustrated Stitch Encyclopedia

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