tag:blogger.com,1999:blog-29514053370235061462024-03-14T05:16:10.995-04:00Combray Furniture StudioChristopherhttp://www.blogger.com/profile/03042590412023915722noreply@blogger.comBlogger83125tag:blogger.com,1999:blog-2951405337023506146.post-60243966733814230802015-09-18T07:58:00.000-04:002015-09-18T08:35:02.599-04:00New Website!My hit-or-miss approach to blogging during the past couple of years has nothing to do with lack of activity. In reality I've just become more focused on designing, building, and delivering furniture for clients and less on discussing process. (And at some point you just begin repeating yourself!)<br />
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My new website <a href="http://www.combrayfurniturestudio.com/">www.combrayfurniturestudio.com</a> reflects that change and invites potential customers to contact me for bespoke work or to look at items I've designed for retail/gallery sale.<br />
While this streamlined approach will talk less about technique, I hope that the finished pieces will be of some benefit to my friends in their own work.<br />
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Thanks again for reading -- I'll certainly keep reading your blogs -- and thanks for the support and fellowship.<br />
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ChrisChristopherhttp://www.blogger.com/profile/03042590412023915722noreply@blogger.com1tag:blogger.com,1999:blog-2951405337023506146.post-61753089914896001002014-12-08T09:54:00.000-05:002014-12-08T09:54:19.827-05:00Sunday Toolfoolery - My Ever-Evolving Router Mortise Jig<br />
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Most of the time I enjoy fully immersing my head and hands in the work of furniture building. But with when faced with a set of rote tasks, the "craftsmanship of certainty" becomes mighty appealing. So when I choose to create joinery by machine, all style points are thrown out the window - I just want accuracy, ease of set-up, and repeatability.<br />
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Over the years I've created any number of second-rate router jigs that have haunted me through various projects. Remembering where the tolerances were off, which way I had to compensate, and what moves had to be avoided, has become exhausting. So I decided to build (what I hope to be) my last router mortise jig.<br />
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In some ways this is a response to the last one-off jig I made to mortise the through tenons for the Arts and Crafts Coffee Table. This jig used a collar in a slot and encased the workpiece to ensure correct registration on every cut. Besides the fact that it was purpose-built for one cut, it's top plate reduced the router's effective depth of cut and you couldn't flip the workpiece end-to-end to come at the mortise from each side. This meant that you had to rotate the piece 180 degrees and register off the other side to cut a complete through mortise. No matter how accurate the jig, you still needed to sand the inside of each wall to get a truly square mortise. Way too much work.<br />
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The new design (cadged from a Fine Woodworking article, some other blogs, and my own experience) looks to address these shortcomings. It really comes down to two things: How do you hold all sizes of workpieces stock still in the jig, and how do you move the router across the workpiece in a smooth fashion with no slack. The body of the jig is about eight inches tall by about two feet by about 3 inches wide. The exact dimensions are not important, but make sure you can attach it to your bench via the dogs in a vice and a hold-down.<br />
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<b>Holding the Workpiece:</b><br />
The system begins by routing vertical grooves to hold two pieces of t-slot in the jig's body. This houses 1/4"-20 T-slot bolts that attach to a shelf to hold the piece to be routed. The shelf is three pieces of face glued 3/4" plywood. The T-slots allow you to place the workpiece on the ledge and move it to a position level with the top of the jig. I secure the bolts with star knobs.<br />
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The ledge takes most of the downward force from the router, but you still need to hold the workpiece against the vertical face of the jig. I rout a slot across the ledge and install another piece of T-slot track. Incra makes some nice hold-downs that you can install in the slot, but I made mine from pieces 1/8" by 3/4" steel available at a big box store. I cut a 6" length, drill a 1/4" hole and bend a 30 degree crook on the end. I have found that the pressure from a star knob hold everything in place.<br />
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<b>Installing the Router</b><br />
This was the trickier bit. I knew that I wanted to use the adjustable fence on my Dewalt 621 to guide the router across the jig. At one level this works well on its own, but I wanted to add a degree of accuracy that didn't depend on constantly applying pressure against the jig. Experience has shown me that, particularly when plunging the beginning and end of a mortise, the router can shimmy and widen the slot by some fraction. This is fine for loose tenon joinery, but less so when creating visible through tenons.<br />
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I'll spare you the prototypes that failed, but I finally settled on a piece of <a href="http://www.amazon.com/gp/product/B000KUZMOE/ref=oh_aui_detailpage_o02_s00?ie=UTF8&psc=1">sliding T-slot track</a>, routed in place so that the fence of the router guide (with the plastic doodads removed) lined up with the sliding portion of the track. I roughed up both bits and epoxied them together in situ. Once cured, I drilled holes and inserted bolts for more stability.<br />
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The last step was to install stops to define the travel of the router. This is achieved by installing (more!) T-slot track and using wooden blocks that can be moved and set via T-slot bolts and star knobs. <br />
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I've been quite happy with the jig in the short time that I've used it, and the fact that my Festool dust extractor is reverse engineered to match the port on the Dewalt, is a real plus. Please feel free to send me a message if some of these ramblings are confusing!<br />
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<br />Christopherhttp://www.blogger.com/profile/03042590412023915722noreply@blogger.com12tag:blogger.com,1999:blog-2951405337023506146.post-30543415531210297752014-11-18T16:52:00.001-05:002014-11-18T16:52:21.626-05:00Collaborating on an Arts and Crafts Coffee Table - Building the Base<div class="separator" style="clear: both; text-align: center;">
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One of the enjoyable things about building in the arts and crafts style is that you are offered a wide variety of joinery options. As I was working with a friend who was newish to furniture building and who was interested in construction techniques, I thought we'd go through the paces with both full on machine, machine-assisted, and hand-cut joints.<br />
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<b>The Back and Side Aprons</b><br />
When I bought the Domino I was afraid that I would lean on it a bit too much when I designed a piece, but this is the only place where I broke it out, Very straightforward using the largest size bit.<br />
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<b>The Bottom Stretchers</b><br />
Wedged through tenons give the table a solid look and feel. I used my newly improved mortise router jig to do the bulk of the removal and squared it with a chisel. We rough-cut the tenons on the table saw and my friend Andy used a router plane to dial in the fit. We will wedge the tenons after the initial steps of the finish are applied.<br />
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<tr><td class="tr-caption" style="text-align: center;">The slight gap at the top and bottom will be closed when we drive home the wedges</td></tr>
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<b>The Front Apron/Stretcher</b><br />
Old school dovetail joint is hand cut assures that the table stays square. It is narrower than the back apron to provide easy access to the shelf. We also decided to eliminate the drawers in order to maximize this space.<br />
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<tr><td class="tr-caption" style="text-align: center;">Double sided tape hold the tail in place to mark the mortise</td></tr>
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<b>The Lattice Shelf</b><br />
Flat-sawn white oak is cut into 1 1/2 strips and then turned ninety degrees to expose the ray pattern. Once one is marked we gang them up on the tablesaw (equipped with a dado blade) and cut the lot. These will trimmed to size and chamfered during our next work day.<br />
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<tr><td class="tr-caption" style="text-align: center;">Everything is left oversized until we look at the final proportions</td></tr>
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All that remains are a few final steps and to begin the multi-step finishing process.Christopherhttp://www.blogger.com/profile/03042590412023915722noreply@blogger.com5tag:blogger.com,1999:blog-2951405337023506146.post-48846208608618513342014-11-09T10:43:00.000-05:002014-11-09T10:43:12.344-05:00Collaborating on an Arts and Crafts Coffee Table - Gluing Up the Top with Breadbord Ends<br />
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Arranging and finishing a quarter-sawn white oak top offers a set of unique challenges. Unless you have a large inventory of stock to draw from, you will likely be flipping and switching the boards around in a way to take advantage of the signature ray fleck pattern. Once it works for you visually, chances are that the grain will be running in both directions along the top. This table was no exception.<br />
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What this means, of course, is that you won't be pulling out a plane to level the individual boards or create a final finish -- it will be scraped and sanded into submission. This is not too onerous if you take special care during the glue up.<br />
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The objective is to have the boards so straight and square that they practically guarantee a positive result. Dimensioning the stock over several days helps tame the natural wood movement and a full scale dry-run predicts the outcome. I happen to prefer pipe clamps, but<a href="http://www.rpwoodwork.com/blog/2014/11/05/clamps-and-clamping-part-1/"> Rob Porcaro over at Heartwood makes a compelling case for Jet bar clamps. </a><br />
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I spring the joints on this 2'x4' glue up and use only enough pressure to get a uniform bit of squeeze out from the two middle clamps. If I am wrestling and wrenching it, something has gone wrong in the preparation and this should have shown itself during the rehearsal. The outer clamps need very little pressure. If all goes well the greatest variation across the top will be less than 1mm.<br />
After drying overnight, it took less than an hour to scrape and sand the top flat to 180 grit. Still over sized, it was time to create and install the breadboard ends.<br />
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This top is +/- 1" thick so the tongue and groove will be cut at 3/8". This is driven as much by my tooling (I have a 3/8" spiral router bit and a 3/8" pig sticker mortise chisel) as by convention. I cut the blind groove first, dropping it down on the router bit in a series of passes (I hate this move) until I get the desired 5/8" depth. After marking, I mortise the breadboard "tails" by hand.<br />
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<a href="https://www.blogger.com/blogger.g?blogID=2951405337023506146#editor/target=post;postID=777063370467602119;onPublishedMenu=posts;onClosedMenu=posts;postNum=15;src=postname">I used my usual approach to using a router to cut the breadboard tenons</a> and cut them to within 1/16" by machine. A series of handsaws cut the profiles and rabbet and shoulder planes fine tune the thickness of the tail.<br />
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The extended length or "horns" on the end help while you are test fitting, and my goal is to have it just snug enough to slide into place with a few well-placed blows with the side of my fist.<br />
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The last step is to plane the final thickness of the ends. This is a judgement call, but I like to have them just proud of the top, ensuring that all end grain is covered, but not so high as they might get caught and chipped during normal use. I slide the end out about 1/2" and protect the top with masking tape. From this point it is just a matter of test fitting until you are happy.<br />
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I secure it in my normal way (coincidentally, <a href="http://jeffbranch.wordpress.com/">Jeff Branch just did a SketchUp version of breadboard ends </a>which is a nice demonstration of this process) and take a look at how the proportions are working out.<br />
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Next up, we work on the legs and base construction.Christopherhttp://www.blogger.com/profile/03042590412023915722noreply@blogger.com3tag:blogger.com,1999:blog-2951405337023506146.post-40942784135602911292014-11-02T16:59:00.000-05:002014-11-02T16:59:50.935-05:00Collaborating on an Arts and Crafts Coffee Table - Concept and Design<br />
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<tr><td class="tr-caption" style="text-align: center;">Drawing from a number of sources, I built this model to get us started.</td></tr>
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I have a friend who has some woodworking experience and is interested in building his first serious piece of furniture. Given that what we do is a pretty solitary business, I jumped at the chance to help him design and build a mission-style coffee table for his home. Working side-by-side, over the course of several days, the plan is to complete the piece and build a few skills along the way.<br />
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I've put a decent amount of thought into this, and it seems that I need to keep three questions in mind - questions that may be slightly different than I work alone: <br />
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<b>How do I make the experience interesting?</b><br />
Every project has its share of mind-numbing repetitive tasks. I'm cool with that, but is he ready for the fatigue that sets in during the twelfth half-lap joint or during the long process of trimming a tenon with a router plane? In conversation I tend to fill the empty space with blather, if I do that over the course of ten hours I'll be exhausted. Plus, how do I avoid pushing a bunch of useless busy work off on him?<br />
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I suspect that the answer to all of these questions is to think through every step, anticipate most hang-ups, and create a task-by-task work plan that encompasses the entire project from start to finish. This is not my usual approach - even when we went to get the stock I was just working off the model with a vague sense of what we need (about twelve board feet of 5/4 quartersawn white oak, enough 8/4 flatsawn white oak to make the legs, and something like one twelve ft long, eight inch wide board of 5/4 flatsawn oak.) Teaching, even in this very informal way, takes much more organization than doing.<br />
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<tr><td class="tr-caption" style="text-align: center;">I hope this list of tasks will make good use of our time.</td></tr>
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<b>How do I ensure that the piece lives up to our shared expectations?</b><br />
When we discussed the table, I Googled "arts and crafts coffee table image" and asked him to pick his favorites. A search like this runs the gamut from classic pieces to awkward knock-offs. He picked a couple photos and I drilled a little deeper with open questions like "What do you like about these tables?" and more focused requests such as "So you really want drawers and a shelf below?" The image that he really liked was a bit awkward and I told him I'd give it some thought.<br />
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This is where it gets tricky.<br />
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My part of the "shared expectation" is that I want to build furniture that has good lines as well as sound, attractive construction. I figured that I should spend a few hours building a model that met his technical requests and improved upon the design he selected. I was pleased that once he took a look at the altered design (replacing the heavy board on the bottom with lattice-work and adding breadboard ends with walnut handles and accents) he liked it better than his first choice. Sometimes I have to be reminded that customers are generally pretty open-minded and they trust you to bring your own ideas into play<br />
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<b>How do I keep us both safe?</b><br />
Banging on about safety is boring and condescending - but it has to be thought about. If you work in a shop your level of caution automatically adjusts to the potential danger (turned up to 11 around the table saw, slightly less at the jointer, even less at the drill press.) But if this unfamiliar ground, you have no idea about the many ways you can injure yourself in the shop. I think we will start with an adult conversation about what he feels comfortable doing, a rundown on the dangers associated with each tool, and how I will supervise until we are both comfortable. Most important, we will have an absolute rule that he will stop if it doesn't feel right. <br />
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I think he will work with hand tools for the most part. They come with their own set of risks but they are usually more rewarding. And since there will be some machines involved, this gives me an opportunity to take a hard look at my jigs and templates to make sure that they are both safe and sturdy.<br />
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This will be a fun project and a chance to share time with a good friend who is enthusiastic about woodworking. I'll post an update in a couple of weeks, and later this week I'll begin a contemporary ash bench with sculpted edges.Christopherhttp://www.blogger.com/profile/03042590412023915722noreply@blogger.com3tag:blogger.com,1999:blog-2951405337023506146.post-83549608932899525872014-10-26T14:25:00.001-04:002014-10-26T14:25:58.286-04:00Building a Lutyens Garden Bench -- Assembly and Completion<br />
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This bench has sat around the shop, half-completed, for more than a year now. I guess there is something to be said about deadlines driving results and how you can lose inspiration in the middle of a long job. I also think the fact that it is a project built from purchased plans takes away some of the joy. I mean, you just read the instructions and you are home free, right?<br />
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Not quite.<br />
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The art nouveau lines, as elegant as they are, often point to less-than-elegant construction techniques. All those curvy bits have to be joined together and there is no way around some less-than-stable short grain appendages. That being said, the designer did the best he could with what ends up being a very nice piece.<br />
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I departed from <a href="http://www.tauntonstore.com/lutyens-garden-bench-project-plan-011203.html">Taunton's plans</a> in a couple of ways:<br />
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First, once I had the skeleton of the structure built I ignored the plans and worked off story sticks and my own actual measurements. This is sort of a given on all custom furniture, but it is easy to forget when you get in paint by number mode. Plus, nearly every set of plans I've worked with have at least one error and this was no exception. To their credit, I seem to remember Taunton sending out an email correcting the errors in the plan.<br />
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Second, I replaced some of the tedious double dowelled tenons on the intricate back with more integrated domino joints. It feels more secure and it has little effect on the glue-up choreography. As with all domino/plate joiner work the most important thing to keep in mind is not "Is this perfectly centered?, but "Am I referencing the same faces when I use the tool. I referenced the bottom (using the bottom plate on the mft table to cut the rails; placing a stop to match the bottom of that rail on the stile.) and the front of the piece using one of the stops on the domino face. With a little concentration it went quickly.<br />
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The glue-up is complicated and you may want a patient assistant to ease the pain. I used slow-setting epoxy for most of the large joints and dominoes but Titebond III for the dowels. It was just easier to squirt glue into the round holes than coax the gooey epoxy into such a small space. What can you say about a fancy glue-up? As long as your marriage survives, and you arrive at the end with an assembled piece of furniture, it is best forgotten.<br />
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I used stainless steel screws, countersunk and topped by oak dowels to secure the seat slats and it will get several coats of Epiphanes Marine Varnish before it goes out in the Spring. I hope to knock back the gloss finish with some steel wool to get a less plastic looking finish.<br />
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<br />Christopherhttp://www.blogger.com/profile/03042590412023915722noreply@blogger.com6tag:blogger.com,1999:blog-2951405337023506146.post-39838456733073702722014-10-19T20:18:00.000-04:002014-10-19T20:18:17.795-04:00Sunday ToolFoolery- My Festool Domino Work Triangle<div class="separator" style="clear: both; text-align: center;">
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I've never been one to engage in the bloodsport that is the handtool-vs-powertool debate. We each come to the craft from a different perspective, with varying objectives, and with specific limitations on our time and budget. I have as much respect for the woodworking Samurai who shapes each mortise with a chisel, as the one who creates the flowing lines of a rocking chair with a keen eye and a bandsaw.<br />
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So it was only a matter of time before I embraced the Festool Domino (btw, I get nothing from Festool; I pay their cosmically stated rate on every purchase.)<br />
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And while I have no intention of of adding to the long list of breathless reviews for the tool, I have found that it works quite well in my shop where hand and power tools work side by side. I call it my Domino Work Triangle and I think that it is a good system for repetitive tasks such as attaching aprons on small tables, inserting slats in arts and crafts pieces, and constructing rails and stiles in frame and panel construction. You may already take a similar approach for slip-tenon joinery.<br />
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1. A Mitre Saw on the Bench<br />
One of the happiest days of my woodworking life was when I exiled the chopsaw from the studio and sent it to the garage. Rough stock is cut to length with an old Disston, surfaced, and then cut to final length on my renovated Stanley mitre box. It rides in the tool tray, has an adjustable stop, and generates a tiny amount of dust. When stock is marked with a knife you can get very accurate, square cuts.<br />
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2. A Mitre Plane in a Shoot Board<br />
A truly perfect joint requires that each edge be square and true. As the Domino creates the perfect internal bits of a mortise-and-tenon joint, you are left to focus on creating a perfect fit between the shoulder and its mating piece. Never has a tool that feels like such an indulgence proved to be so necessary. It is astounding. Because it weighs in at something like eight pounds, it glides through 2"x3" white oak end grain with ease. The shoot board attaches to the other end of my handtool bench and doesn't interfere with the mitre box. A few swipes takes me to the knife line.<br />
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3. A Domino on a Festool Work Table<br />
In for a penny, in for a pound. With a couple of commissions looming and several ideas for spec pieces in my head, I just didn't feel like building anything else for the shop. I laid out the money for the mft system and I have no regrets. This third leg of the triangle sits to the right of my bench and is light, strong, and provides another dead flat worktop for the Domino. I know Fine Woodworking just did an article about jigs for the Domino, but I just clamp the work to the top and let it rip. Instead of referencing off the top plate, I often use the bottom of the tool riding on the worktop. On small pieces this provides more stability.<br />
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It goes without saying that this combination of kit comes at a price. It does save me a great deal of time and allows me to spend most of my mental energy on design and details -- and design and details are reasons why someone commissions a piece of custom furniture. But even if you are just building for yourself, there is something elegant about working with tools that do their jobs well and make your time in the shop successful and rewarding.Christopherhttp://www.blogger.com/profile/03042590412023915722noreply@blogger.com10tag:blogger.com,1999:blog-2951405337023506146.post-75533326368906915622014-10-12T14:44:00.000-04:002014-10-13T11:25:48.932-04:00Sunday Toolfoolery- Installing Threaded Brass Inserts By Hand<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOU2vFPF16dw97mApsfCu9ywlyjNIrSaBz7Lkd46KbQdegwdFYnHzTADTbr0uLbiU5hFOXOxt5yKckR8x4eoS9WRYQ74bmswtZ_ydhJR0LkhsRCRkpvqPsUeFHI1E0vC7FqRDfgTBFqhY/s1600/IMG_2885.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOU2vFPF16dw97mApsfCu9ywlyjNIrSaBz7Lkd46KbQdegwdFYnHzTADTbr0uLbiU5hFOXOxt5yKckR8x4eoS9WRYQ74bmswtZ_ydhJR0LkhsRCRkpvqPsUeFHI1E0vC7FqRDfgTBFqhY/s1600/IMG_2885.JPG" height="266" width="400" /></a></div>
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Some time ago I posted a video demonstrating <a href="https://www.blogger.com/blogger.g?blogID=2951405337023506146#editor/target=post;postID=5456858411898759309;onPublishedMenu=posts;onClosedMenu=posts;postNum=10;src=postname">how to use a drill press to install brass inserts</a> into wood. While you don't actually fire up the machine, you do take advantage of the steady, perfectly aligned down pressure provided by the tool. That system works well with pieces that can be easily brought to the machine, but larger slabs require you to install them by hand. And without the precision and heft of the drill press it is easy to get less than satisfactory results.<br />
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I also noticed, as I was ordering new hardware, that there are lots of general questions about these particular inserts. I don't claim to be a world-class expert on these things, but I have come up with a couple of tricks that take the stress out of installing brass inserts by hand.<br />
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1. Question Authority<br />
The only instructions that come with inserts is a recommended diameter for the pre-drilled hole. I don't know if it is result of sloppy manufacturing, or if there is some industrial process by which these get installed in a factory setting, but in my experience this number is often wrong. I drill a couple of test holes in similar material with gradually increasing diameters. I start with the recommended number and then another 1/32" larger and then another 1/16" larger. Test the fit in each (the first will be very tight) and drill the appropriate hole in the actual project. <br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9_SXm7xuF2BjCu36EsOi8SuUsYGtZoBv-8W24oEDN82KmykAPZJST0N_1UtwHGwZkXzFAOlhCbmNBepSkalQ4ZRAlxY5mluXpJTHZj09LHed0cje6IGyFauqKJ-FJHdxdHCzXSYZ3y-8/s1600/IMG_2887.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9_SXm7xuF2BjCu36EsOi8SuUsYGtZoBv-8W24oEDN82KmykAPZJST0N_1UtwHGwZkXzFAOlhCbmNBepSkalQ4ZRAlxY5mluXpJTHZj09LHed0cje6IGyFauqKJ-FJHdxdHCzXSYZ3y-8/s1600/IMG_2887.JPG" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">This insert was installed using the recommended 3/8" diameter hole. Even with the jig, it distorts the wood and looks botched.</td></tr>
</tbody></table>
For me, the right size is the hole that provides clearance for the body
of the insert and enough purchase for the threads. Oh, and do your self
a favor and skip the screwdriver . .<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjer0qnSwhSVGT1eoYA4JcP8v-klZDNqop6mNHzcqsQadtUC7HznyxIvSmdzf6LXM3HMQOubN0CyvBZfDKPjYUbDoZbs4-KNicO-RRIpIAYel3bXhteib8bnkQITaQSnviWQ4Xswko64Hw/s1600/IMG_2890.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjer0qnSwhSVGT1eoYA4JcP8v-klZDNqop6mNHzcqsQadtUC7HznyxIvSmdzf6LXM3HMQOubN0CyvBZfDKPjYUbDoZbs4-KNicO-RRIpIAYel3bXhteib8bnkQITaQSnviWQ4Xswko64Hw/s1600/IMG_2890.JPG" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">I increased the diameter by a full 1/16". The threads have plenty of grip and the insert does not distort the wood.</td></tr>
</tbody></table>
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2. Spend a Few Bucks on the Right Tool<br />
For <a href="http://www.woodcraft.com/Product/12K55/T-Wrench-for-14-20-Inserts.aspx">five dollars</a> you can buy a purpose-built T-handle that screws into the insert and lets you bypass the chipped tops. Again, this is just my experience, but the flat head screw grooves are better for removal - less so for insertion. Armed with the new toy, a registration block (with a hole the diameter of the T-handle, drilled at 90 degrees to the workpiece) guides the insert. I have a couple of holes drilled to deal with any tight spaces and I affixed sandpaper to the bottom to keep it still in use.<br />
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<br />
This seems like a lot of words on a simple task (akin to instructions on a bar of soap) but hopefully it will help you avoid unsightly mishaps on one of the last steps of a project.<br />
<br />Christopherhttp://www.blogger.com/profile/03042590412023915722noreply@blogger.com8tag:blogger.com,1999:blog-2951405337023506146.post-27244549011419681102014-10-06T13:20:00.001-04:002014-10-06T13:30:24.813-04:00A Contemporary Live-Edge Dining Table - Installing the Top<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP51eTRC9j9rAtS2LCy0lJUsauoo0YU_q9xX9ZnZvwftIkLtFg_fDwW0Khk4m6c8SLx0-8RGbFd9fu4xS9K3zujCilVe3UCRsbwkAEiN0fOpQAA1kscl2b2cck7WXNeAldo0570Ov6aGo/s1600/IMG_2881.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP51eTRC9j9rAtS2LCy0lJUsauoo0YU_q9xX9ZnZvwftIkLtFg_fDwW0Khk4m6c8SLx0-8RGbFd9fu4xS9K3zujCilVe3UCRsbwkAEiN0fOpQAA1kscl2b2cck7WXNeAldo0570Ov6aGo/s1600/IMG_2881.JPG" height="266" width="400" /></a></div>
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Everything about this piece revolves around supporting (both literally and aesthetically) the live-edge top. We spent nearly two hours comparing several options at the hardwood supplier, deciding whether we wanted one wide slab or a bookmatched pair of boards that would net the required width. A good rule of thumb is that a dining table should be between 30"-36" wide and allow 24" along the long dimension per person. As this table will fit a small dining room we are opting for a slightly narrower width.<br />
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The customer fell in love with a slab that runs the full gamut of the black walnut colour palette - from blonde to gray, to purple, to deep brown. The inclusion of sapwood is a personal choice that I fully support since it adds to the dramatic nature of the top. This particular board has a large, stable knot in the center that not only creates a focal point, but generates a fair bit of figured grain.<br />
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There are many great tutorials on the web about how to flatten a top, so I won't go into too much detail here. My experience is that these single slabs have a predominate concave/convex side and there may be some rationale about which should face up. Our decision, however, was based entirely on appearance. This meant that the underside (where I start the planing process) was the convex side. I start with a scraper to remove any gunk, and plane at a 90 degree angle and toward the middle from each side with a 5 1/2 plane until I am taking shavings (more like fine splinters) from about 95% of the slab. It is then generally time to resharpen, set the the plane to a finer cut, and then plane with the grain. With the use of a straight-edge and a pair of winding sticks you can trust your eye to get it very close.<br />
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While I leave a planed surface on the underside, I eventually sand the top since the juxtaposition of a very fine top surface with the rough-and-ready live edge creates some nice visual tension. I plane the top with the usual process and fill the void within the knot with dyed epoxy. After sanding through the grits to 320, the top is ready to take its finish of Danish oil and paste wax.<br />
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Affixing the top to the base is the greatest engineering challenge. I suspect that the top outweighs the base by a factor of about five to one, so any minor slack in the joinery becomes magnified. I register the top along its center line with 1/2" oak pegs set into the frame. . .<br />
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And install four brass inserts into the underside of the slab. . .<br />
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These are attached to the base in slots that allow for a significant amount of seasonal wood movement.<br />
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I also attach thin leather pads along the mating surfaces to minimize any squeaks under normal use. Hidden adjustable feet also help to stabilize the table regardless of the floor.<br />
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I'm very happy with this table, and with its semi-modular construction and easily renewable top, it should serve the customer well through the years.<br />
<br />Christopherhttp://www.blogger.com/profile/03042590412023915722noreply@blogger.com2tag:blogger.com,1999:blog-2951405337023506146.post-43525287975313896452014-09-30T12:10:00.001-04:002014-09-30T12:10:26.695-04:00A Contemporary Live-Edge Dining Table - Designing and Building the Base<div class="separator" style="clear: both; text-align: center;">
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Creating bespoke furniture often means designing a piece that fits both the tastes of a client and a specific space in their home. In this case we were looking to build a live-edge table, with the capacity to seat six, that could fit in a cozy dining room.<br />
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I really enjoy it when you can go as a team to the hardwood supplier and your customer signs off on the stock right from the start. With a spray bottle of mineral spirits in hand, you share in the excitement of finding the perfect board (particularly important with live-edge pieces), and they appreciate the complexities and costs of building a fine piece of furniture. It reminds me of why I do this in the first place. We selected a slab of walnut for the top, took it to the studio, and set it aside.<br />
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The most important design decision was how I would construct the base. After some back and forth I agreed to build a couple of models to illustrate our options. I like making models because each can be saved for future reference and everyone gets a much better idea of the scale of the piece. I also find that major joinery challenges show themselves long before you pick up a tool.<br />
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We selected the cantilevered option on the left and this led me back to the lumberyard to find a small slab for the base. I then set about inlaying three functional-yet-decorative butterfly inserts in the wide crosspiece.<br />
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Contemporary furniture often lends itself well to the unobtrusive style of joinery offered by the domino system. This piece, however, seemed to be better served by traditional western and Japanese mortise and tenon joints. I also got it into my head that I could make this table much stronger if I could make each joint self locking -- using the weight of the top to secure each connection.<br />
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The key bit of joinery is the angled support in the front -- fully bridled at the bottom and slipped in place at the top with the table support acting as a stop. It holds the weight of the top, plus the weight of the builder, with ease.<br />
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Next Up: Flattening and Surfacing the TopChristopherhttp://www.blogger.com/profile/03042590412023915722noreply@blogger.com4tag:blogger.com,1999:blog-2951405337023506146.post-20702407226321649472013-01-30T07:59:00.000-05:002013-01-30T07:59:13.988-05:00A pair of Arts and Crafts Bookcases - Design and Concept<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxwheTwDMn5_7HAg_cA5N8XT6zNAxypdrtiZsPgw7uVNybKxl-m6F0oVOshRzvBCcqU6H_ewOcVULSrWH-HNJqAoi3Xn-1br24ONuSVQYHpzFVsTaKZE8vfj2h4Y76WNI2MxB4UcI8E6A/s1600/IMG_2588.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxwheTwDMn5_7HAg_cA5N8XT6zNAxypdrtiZsPgw7uVNybKxl-m6F0oVOshRzvBCcqU6H_ewOcVULSrWH-HNJqAoi3Xn-1br24ONuSVQYHpzFVsTaKZE8vfj2h4Y76WNI2MxB4UcI8E6A/s400/IMG_2588.JPG" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A faux slip-tenon joint looks to blend an Arts and Crafts aesthetic with a more formal design</td></tr>
</tbody></table>
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I'll not make too many excuses about the lack of posts during 2012 -- I'll just say that it has been a big year for landscaping and duplicate projects here at the studio. If you are interested in our equally slipshod gardening blog, feel free to check out <a href="http://heydonburyend.blogspot.com/">Heydonbury End</a>. I can't promise any consistency, but it is my second great passion.<br />
<br />
But back to the studio.<br />
<br />
Today's objective is to create a pair of bespoke bookcases in the Arts and Crafts tradition. Stickley produced several iconic pieces that are worthy of duplication (<a href="http://www.liveauctioneers.com/item/4911093">Number 719</a> or <a href="http://www.icollector.com/Good-Gustav-Stickley-bookcase700_i5209265">Number 700</a>), but as these bookcases will bridge an area between an informal family space and a more traditional office, the design should be a bit less imposing and compatible with both styles.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLW6yMR1kLb5ciRYy4z0880jUanID3W6NCNwUtzmzHiFq8Sp5XGVNnduBmdk58srqKGmtk1FzASnVjeZ9RbAw6KWP_AuIOW8oMtdZ6jwLmd380bEBbfPhG9sXogAEEyK2EgZtwZTKntjo/s1600/IMG_2580.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLW6yMR1kLb5ciRYy4z0880jUanID3W6NCNwUtzmzHiFq8Sp5XGVNnduBmdk58srqKGmtk1FzASnVjeZ9RbAw6KWP_AuIOW8oMtdZ6jwLmd380bEBbfPhG9sXogAEEyK2EgZtwZTKntjo/s400/IMG_2580.JPG" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The wider of the two bookcases in its initial form</td></tr>
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Arts and Crafts (for most of us) generally means quarter-sawn white oak and some degree of exposed joinery. Part of its appeal is an almost architectural mass -- a little oak fortress dominating a room. I'm lightening the look by using frame and panel construction and combining straight-grained rails and stiles with quarter-sawn panels.<br />
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<tr><td class="tr-caption" style="text-align: center;">Very shallow grooves are cut in the panels to accept straight-sawn battens</td></tr>
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If the figure on the panels looks suspiciously regular, it is because I'm using veneered plywood from <a href="http://www.russellplywood.com/">Russell Plywood.</a> There are a couple of reasons for this choice. As these bookcases will not have doors, the back panels will be very visible, and I'm not looking to do any sort of ship-lapping oak or painting poplar. Also, at 32" and 40" in width, the re-sawing and gluing up would drive the price out of the client's budget. It seems a practical and attractive compromise.<br />
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Coming up: A look at the light-yet-strong joinery that keeps it together, as well as the faux slip-tenon joint that I quite like. Thanks! <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNmz1ZbGI7o-i6B0O_1A-PF8Gb9RFanaV12JRfL2a1WW5boCt6KUZNyFWJm2fcmGZ8xg0xzCJoagK-7fp4NM7bRqHegntQ_OwiHdeZmctOP8u7jVdEPolk9BYfIKtAGS_pbSv1jtHeXns/s1600/IMG_2589.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNmz1ZbGI7o-i6B0O_1A-PF8Gb9RFanaV12JRfL2a1WW5boCt6KUZNyFWJm2fcmGZ8xg0xzCJoagK-7fp4NM7bRqHegntQ_OwiHdeZmctOP8u7jVdEPolk9BYfIKtAGS_pbSv1jtHeXns/s400/IMG_2589.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">In case you are interested, this is the Japanese-style garden that I designed and built throughout the year -- at the cost of much shop time!</td></tr>
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<br />Christopherhttp://www.blogger.com/profile/03042590412023915722noreply@blogger.com10tag:blogger.com,1999:blog-2951405337023506146.post-53187138692579146492012-01-23T09:00:00.001-05:002012-01-23T16:03:59.812-05:00Building A Lutyens Garden Bench -- The Base Comes Together<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGe353uFT3L880SgOo3lGNtXB3dkUn-ot1ycS2RXWoHgpXV_H8ELs4JvDwgJd35Iyevk_StbE_17ULx1REaUVOa_xVR1Z6NlbGncwPVwFknOQO8iKL8wPBUzxyGZWkmdDtzE0BMuHxsr0/s1600/IMG_2527.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGe353uFT3L880SgOo3lGNtXB3dkUn-ot1ycS2RXWoHgpXV_H8ELs4JvDwgJd35Iyevk_StbE_17ULx1REaUVOa_xVR1Z6NlbGncwPVwFknOQO8iKL8wPBUzxyGZWkmdDtzE0BMuHxsr0/s400/IMG_2527.JPG" width="400" /></a></div><br />
So far, the most difficult part of the project has been the sheer size and weight of the stock. Here in Chester County, PA I have ready access to 8 inch wide, 12 foot long, 8/4 white oak. But hauling it around the shop, cutting it to the proper dimensions, and surfacing it becomes a big issue. In order to save my back I cut each piece to +/- 6 inches (to allow for snipe) of its final length. I don't even think about using the table saw to cut to width because of the extreme internal movement of flat-sawn white oak. In fact, it wants to twist so much during sawing that even the band saw is out of the question. Out comes the rip saw and wedges, and once chilly shop seems a bit steamy.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0rYU18xpudeSoSLHJk2DFkHoTkjTze2sigOKUpuQtxuGXbht1BKDrXcIJ75spuGQV7QuiAQXGLgXxCI3ZOIS1gU1QkyQQiW10TTSjaekzEFvDJCZ8K9VFYH42W-_yG96nQVPnI7A9OFs/s1600/IMG_2451.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0rYU18xpudeSoSLHJk2DFkHoTkjTze2sigOKUpuQtxuGXbht1BKDrXcIJ75spuGQV7QuiAQXGLgXxCI3ZOIS1gU1QkyQQiW10TTSjaekzEFvDJCZ8K9VFYH42W-_yG96nQVPnI7A9OFs/s400/IMG_2451.JPG" width="266" /></a></div><br />
I cut this about 1/4" oversize, let it sit for a couple of days and pass one edge and one face on the jointer, then use the thickness planer to reach my final width and thickness.<br />
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<i><b>The Back Legs</b></i><br />
The most complicated element of the base is the back leg segment. In order to achieve the necessary heft, you must face glue two, 3 1/2" by 2" pieces of stock and band saw out the rough profile. I entertained notions of using two pieces of stock and fashioning some fancy scarf joint, but this bout of insanity passed and I went with the most straight-forward approach. The key is position your template so that you hide the glue line on the lower half of the leg.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi52c71VjrHiNMfthmxvbaqXIl-xEXZBY25nxtLxOVXpYVkngR5vtGx2B1ZEIr4dT6knjRL7SIeC3KIXtOAJ2IuAkUzf4kimuw0uY0VrhN0Ub-k1TDn9dPfZdF5FfH8gDS7estAxfLYrRg/s1600/IMG_2449.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi52c71VjrHiNMfthmxvbaqXIl-xEXZBY25nxtLxOVXpYVkngR5vtGx2B1ZEIr4dT6knjRL7SIeC3KIXtOAJ2IuAkUzf4kimuw0uY0VrhN0Ub-k1TDn9dPfZdF5FfH8gDS7estAxfLYrRg/s400/IMG_2449.JPG" width="400" /> </a></div> I trace the template and rough cut each leg on the band saw. Outside faces are smoothed easily with a hand plane.<br />
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The inside faces are worked first with the hand plane, then a spoke shave, then a quick pass on the spindle sander at the interior angle. Once the two pieces match I use the template to cut them to length with each end sporting the proper angle.<br />
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<i><b>Rails and Stiles</b></i><br />
Like it or not, the next part of the project enters into the realm of chair making -- and I always find this both fascinating and slightly complicated. I like making chairs, and it is not really difficult if you can keep all of the angles straight in your head and remain mindful of the forces at work. While I won't attempt to give a step-by-step tutorial, it is easy to keep some general notions in mind:<br />
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Looking at a side view, all rails join the front leg at a 90 degree angle. They join the angled back leg at matching obtuse/acute angles depending on whether they meet above or below the back leg bend.<br />
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<tr><td class="tr-caption" style="text-align: center;">The dry fit looks good, the gaps are because I have it pulled slightly apart.</td></tr>
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Looking at a front view, all rails join at a 90 degree angle (there is no "splay") and follow the lines of the leg to which it connects. This means that they are 90 degrees to the ground in the front, and angled along the same lines on the back.<br />
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<i><b>Joinery</b></i><br />
All joinery is done with loose tenons. Mortices that are on the faces of boards are done using the router fence . . .<br />
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. . . Or in my ugly-but-useful morticing jig.<br />
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End grain mortices can be a bit more challenging. Short pieces fit in the jig . . .<br />
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Long pieces require a bit of a high-wire act, which looks worse than it actually turned out to be . . .<br />
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I like to cut one mortice, place it against its mating piece, and then transfer the dimensions of the first mortice. This ensures that the joint will be properly aligned and that the loose tenon will have a snug fit (oxymoron alert!)<br />
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I've also found it useful in these situations ("found it useful" as in made the mistake of not remembering to) cut one piece from the plans, complete a dry-fit, and cut the remaining pieces with a story stick from the semi-assembled piece. This is important as I am prone to adjust the dimensions from the plans as I go along. Looking at the side view dry-fit above, I see that the lower side rail will need to be re-cut, as it seems to be about 1/4" shy. Working with loose tenons makes these kind of mistakes less catastrophic.<br />
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The dry-fit, with the curved seat supports in place, shows me that I am on the right track (with one exception.) Normally, I would think about a sub-assembly at point, but the complicated nature of the seat back joinery makes this impossible. And we'll tackle this next time. Cheers!Christopherhttp://www.blogger.com/profile/03042590412023915722noreply@blogger.com13tag:blogger.com,1999:blog-2951405337023506146.post-9093015070512597782012-01-14T16:03:00.000-05:002012-01-14T16:03:30.380-05:00Building A Lutyens Garden Bench -- Templates and Tricky Bits<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaZPBJ41R0WfPQchmM_LxqvJthmhUpdd5tQIVx2LMwON0D0L0iciBnc2e4ltNLieNXOEqBX95Esc1nVWNZ0wMBHVCKNtuntng-8IJ17-wBW4jEJ4E9edxLkvnCUDPCD8y9cM8vmcfb87o/s1600/IMG_2503.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaZPBJ41R0WfPQchmM_LxqvJthmhUpdd5tQIVx2LMwON0D0L0iciBnc2e4ltNLieNXOEqBX95Esc1nVWNZ0wMBHVCKNtuntng-8IJ17-wBW4jEJ4E9edxLkvnCUDPCD8y9cM8vmcfb87o/s400/IMG_2503.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A Lutyens Bench peeks out from among the yews at Sissinghurst in Kent</td><td class="tr-caption" style="text-align: center;"><br />
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</tbody></table>If I were to list the dozen or so pieces of furniture that have stopped me in my tracks over the years, high among that list would be the traditional Lutyens bench. Named after the architect and frequent Gertrude Jekyll collaborator <a href="http://en.wikipedia.org/wiki/Edwin_Lutyens">Edwin Lutyens</a>, the bench brings a rare sense of high Victorian style to outdoor furniture. His list of architectural credits is immense -- everything from the design for Jekyll's iconic house, Munstead Woods, the redesign of Lindisfarne Castle, and the complete city plan for New Delhi.<br />
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But among American gardeners and furniture-makers, we are most familiar with his eponymous bench. To me, the style seems to combine the ordered design of Thomas Chippendale's Chinese furniture with the arts and crafts cloud lifts of Greene and Greene. The challenges to building the piece are that it works best on a large scale, and that the construction process is fairly complicated -- requiring nearly every tool in my shop and taxing every muscle in my body.<br />
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Right from the start I made two decisions. As my head was wrapped around an original design that I was building, and I wanted to nail the curves without too much frustration, I purchased ready-made plans for this particular project. Available though <a href="http://store.finewoodworking.com/garden-bench-project-plan-011203.html">Taunton Press</a>, these plans turned out to be $20.00 well spent. Printed on thick glossy paper, with accurate dimensions, this is a great jumping off point. In addition, I decided to build the bench in white oak. The white oak is, in many ways a compromise, but teak was out of the question, and 8/4 cedar and cypress were not readily available. Research on finishes, and the advice of some artisans I trust, has led me to believe that I can make the oak viable over a twenty-year life.<br />
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<i><b>Building the Templates</b></i><br />
Taunton's plans include full-scale drawings of the most difficult components. I traced these onto a sheet of my over sized printer paper, and made plywood templates of the crest rail, front legs, rear legs, and seat rails. In order to get a perfect circle on the top of the front rail, (the lollipop) I drilled a hole in the center and cut a 3" radius circle on the circle-cutting jig at the bandsaw. In fact, if you can keep this set-up intact, this will be the best way to cut the actual legs.<br />
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For the angled rear legs, I cut a single 11/2" plywood strip, then cut it into two pieces in a modified scarf joint, that gave me the proper angle. As I've done in the past, I achieve straight lines by hot-gluing a thin 1/16" strip along any plywood edges that I have to cut freehand.<br />
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This design lives or dies by your ability to replicate the signature crest rail. I set aside an entire afternoon to creating this template. I started at the bandsaw and finished at my bargain-basement Grizzly portable spindle sander. As you can see, I left the template long so that I can start and end my router passes without encountering end grain.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsufg6lo9iS-ufFMNr8ENl_rGfql7zQPYy4c0CAnwAFV615yyd-e7Vw_hqzmcgL-eMrFxdyLtpHe1ObZ9CjHnlz8zffX4g2oFXlw7sWIV1oql9Ns6_065HyKpQeWtJf9ezAeeNbZfUnqM/s1600/IMG_2504.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsufg6lo9iS-ufFMNr8ENl_rGfql7zQPYy4c0CAnwAFV615yyd-e7Vw_hqzmcgL-eMrFxdyLtpHe1ObZ9CjHnlz8zffX4g2oFXlw7sWIV1oql9Ns6_065HyKpQeWtJf9ezAeeNbZfUnqM/s400/IMG_2504.JPG" width="400" /></a></div><br />
<i><b>Cutting The Crest Rail and Front Legs </b></i><br />
Once the crest rail template is complete, I trace the image on the 8" wide 8/4 oak stock. To ease the transition through the tight curves I drill 1" holes right to the line.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6BNfYCzsNmqYrYZ8RAWBWgiuQtopjQRzairVWgsOrK4uazpzJOfs-YcvQ_T42E8xgv3lI_d-rKgP8ko5guT4lDpEd0GUipDQJGidZRPkbRoxf5gr-eNq8aetKlUBjYO_F62YdcfiSYvo/s1600/IMG_2461.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6BNfYCzsNmqYrYZ8RAWBWgiuQtopjQRzairVWgsOrK4uazpzJOfs-YcvQ_T42E8xgv3lI_d-rKgP8ko5guT4lDpEd0GUipDQJGidZRPkbRoxf5gr-eNq8aetKlUBjYO_F62YdcfiSYvo/s400/IMG_2461.JPG" width="400" /></a></div><br />
I cut very close to the line on the tight exterior curves in an attempt to minimize catastrophic tear-out at the router table. Plan B was to sand and around these difficult bits at the first hint of a blow up, but things went well so I routed the entire piece.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiioz55CXvZkxZK-YIibe6P7pWTH5ZxMH0yydwhYFmrTh8t6s-HypCv8fexp2XaLQZ1d1h4B8CrCK8OFTLCjl6ubfFzQsojf6eY7IUTPxcq4vTjyZoYi750SbPZeQ_lpep4kTEY8_nuWi4/s1600/IMG_2462.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiioz55CXvZkxZK-YIibe6P7pWTH5ZxMH0yydwhYFmrTh8t6s-HypCv8fexp2XaLQZ1d1h4B8CrCK8OFTLCjl6ubfFzQsojf6eY7IUTPxcq4vTjyZoYi750SbPZeQ_lpep4kTEY8_nuWi4/s400/IMG_2462.JPG" width="400" /></a></div>As you can see, there is a trade-off around the speed at which you rout (too fast and you risk tear-out, too slow and it burns.) I generally opt for too slow as the final sanding removes any burned material. Through a combination of spokeshaving, hand-sanding, and spindle sanding, I come up with a final surface.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivQir3r1jiRHxS3jz83tr4hmqhVKY60g2oPTn41MeRcS2rcq6XMn6SfQe3tCRl8pec-3JDEvA-qZi3BiXFX2CSaM_uer-zYXjVjzmm4MOJLMGYho0WwZXsPM8Y60UoqMrfwuq6qZm0FnU/s1600/IMG_2464.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivQir3r1jiRHxS3jz83tr4hmqhVKY60g2oPTn41MeRcS2rcq6XMn6SfQe3tCRl8pec-3JDEvA-qZi3BiXFX2CSaM_uer-zYXjVjzmm4MOJLMGYho0WwZXsPM8Y60UoqMrfwuq6qZm0FnU/s400/IMG_2464.JPG" width="400" /></a></div><br />
In order to achieve a snug fit with its mirror image, I use a T-square to align the joint perpendicular with the horizontal edge of the crest rail. This is cut most easily at the miter box.<br />
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The front legs are best cut by squaring the inside long edge and then referencing this face on the bandsaw up to the "lollipop." Then attach the leg to the template on the circle-cutting jig and finish the cut. This avoids potential end grain disasters.<br />
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With the two tricky curved components complete, it's time to focus on the rear legs and the base. And we'll tackle that in the next post! <br />
Christopherhttp://www.blogger.com/profile/03042590412023915722noreply@blogger.com12tag:blogger.com,1999:blog-2951405337023506146.post-73443480344882534972012-01-06T15:10:00.000-05:002012-01-06T15:10:18.106-05:00Contemporary Shaker Style Table -- Completed and Delivered<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_1FkiajqgzrFcTnNEkK57iMFs4j80BBpb-QRRKhW2j29UGVvKt-w5s4ErW7RQcQO33MzcoJOdpEo78DnLjw23un9VOiuS0Mxqxp8GiAp5fghdPeoDI0i7FfkgMkXoMZHkLtOHhQaW83M/s1600/IMG_2501.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_1FkiajqgzrFcTnNEkK57iMFs4j80BBpb-QRRKhW2j29UGVvKt-w5s4ErW7RQcQO33MzcoJOdpEo78DnLjw23un9VOiuS0Mxqxp8GiAp5fghdPeoDI0i7FfkgMkXoMZHkLtOHhQaW83M/s400/IMG_2501.JPG" width="400" /></a></div><br />
After an intense bout of machine time on the Hammer Beam Tables, I was looking forward to completing this Shaker table with a bit more handwork. I keep a foot in both the machine and hand tool camps -- and I believe that they each require a different but complementary skill set. The bottom line is that I'll use the technique that best serves the piece. All that being said, I'd rather be planing than sanding, listening to Bach than listening to Delta.<br />
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I rough joint the edges on the jointer and then plane them, side-by-side, with my #8 Bailey to achieve perfect edges for the glue up.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrXp8PZrQR9SmHX4st6N0M7-brXsVC5V_A2zlhz978c-Y1_FkRanrcdhliBum_2W_DhTszX2ug31uGblubRB0XpDKiNeFa7CljRyU2WwhXAKwl09_nMw5ywLEX-FNqlQKrG3pOdJgpWTA/s1600/IMG_2379.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrXp8PZrQR9SmHX4st6N0M7-brXsVC5V_A2zlhz978c-Y1_FkRanrcdhliBum_2W_DhTszX2ug31uGblubRB0XpDKiNeFa7CljRyU2WwhXAKwl09_nMw5ywLEX-FNqlQKrG3pOdJgpWTA/s400/IMG_2379.JPG" width="400" /></a></div><br />
Once the dark wood glue was dry, I scraped the surface and tuned my 4 1/2 hand plane. My initial idea was to add butterfly keys to the joint between dark and light woods. But after further inspection, I felt that the curl in the maple had enough panache to carry the design on its own.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdi3JWCM3aDstoxHMTexwYG_q79HguRJQjkK9isJg2rvNQ72b8K0YyGB6bjAbITxzpdXklwcvoYRD3gK-O0l6Zqk9dYe_SqH0NeqRHXGFetRuJwUi8haWx7c6zWlu269zmgKvOxXbLF8c/s1600/IMG_2380.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdi3JWCM3aDstoxHMTexwYG_q79HguRJQjkK9isJg2rvNQ72b8K0YyGB6bjAbITxzpdXklwcvoYRD3gK-O0l6Zqk9dYe_SqH0NeqRHXGFetRuJwUi8haWx7c6zWlu269zmgKvOxXbLF8c/s400/IMG_2380.JPG" width="400" /></a></div><br />
I also finished this soft-ish wood right off the blade to avoid any sanding that would spread dark walnut dust into the maple pores. The wood planed quite well, and the high angle frog was up to the task of taming the maple curl. I do, however, encounter the tell-tale lines of a smoother doing its work without a cambered blade -- or do I? A quick check with a square tells me that a camber does exist, so what gives? I take a couple of passes without the blade and find that the pesky still line exists -aha! the fault lies on the body of the plane, and sure enough, I find an almost indiscernible little ding at the back edge. I guess the recent trip from the benchtop to the hardwood floor left its mark. Some 600 grit paper does the trick, and the top is ready to finish in very short order.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-T-Jx-FPuKepD6Wy5LiZLAxESzBEOSWQx1KAHk9TcxHapncSq9fpkoEn4FFeQLAm3fqJZzy9UnYRd2FrFhnn7zT3Iu5xQo7vghw3s30sbYpfqlVBo3RWnIL0wSnomic08PBHU6IaCSwQ/s1600/IMG_2381.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-T-Jx-FPuKepD6Wy5LiZLAxESzBEOSWQx1KAHk9TcxHapncSq9fpkoEn4FFeQLAm3fqJZzy9UnYRd2FrFhnn7zT3Iu5xQo7vghw3s30sbYpfqlVBo3RWnIL0wSnomic08PBHU6IaCSwQ/s400/IMG_2381.JPG" width="400" /></a></div><br />
A good example of a mixed approach is creation of the circular top from the glued-up walnut and curly maple stock. For me, the idea of cutting this by hand never enters the picture -- I use either the bandsaw or plunge router. And it is a case of "choose your poison." The bandsaw, with the appropriate jig, will give you a uniformly rough surface, irrespective of grain. The plunge router gives a better overall surface, but can be quite rough around the end grain areas. I go with the plunge router, in its circle-cutting jig, and take light passes in different directions to approach the end grain in the most effective manner.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJNEEGTrueD0fDCq26nPPZcY-rFD4VmniIH5_BXTHTQgeY5L-xXBcfeS9zGk2nltb7KOCIhxQ1XBC4U40ecix4cGTjwq8aW_EVaYbguEzhKk2Q7tefInnNUG11Fpn0B9HQgUcZScqgXhQ/s1600/IMG_2393.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJNEEGTrueD0fDCq26nPPZcY-rFD4VmniIH5_BXTHTQgeY5L-xXBcfeS9zGk2nltb7KOCIhxQ1XBC4U40ecix4cGTjwq8aW_EVaYbguEzhKk2Q7tefInnNUG11Fpn0B9HQgUcZScqgXhQ/s400/IMG_2393.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The top, straight from the router . . .</td></tr>
</tbody></table>Now that the circle is free, I smooth the edge with a spokeshave. The mouth is quite closed and I take a very thin shavings of chocolate and vanilla wood. The best surface comes when you find ways to work "downhill" with the grain and skew the tool as needed. I take a few passes with some 400 grit paper and break the edge ever so slightly.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPEKwc1U0E61P9hwnYaAOy9ePObEXRwwTiSPqmPowvd6oHUsYBi1DRMi26g80Vq2VHRJaR8yTP8zsLXBEoC4r78Nhy9xKBW1RWQGldGP4Yl5OtrQnoiE8JHbwZ2rbkITKjeYdKp2oDkf4/s1600/IMG_2395.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPEKwc1U0E61P9hwnYaAOy9ePObEXRwwTiSPqmPowvd6oHUsYBi1DRMi26g80Vq2VHRJaR8yTP8zsLXBEoC4r78Nhy9xKBW1RWQGldGP4Yl5OtrQnoiE8JHbwZ2rbkITKjeYdKp2oDkf4/s400/IMG_2395.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">. . . And after the spokeshave</td></tr>
</tbody></table><div class="separator" style="clear: both; text-align: center;"></div>The top is secured to the base with the usual brass bolts into a threaded insert. I start by routing a 1/4" wide groove about 1/2" through the support (so the bolt can slide with wood movement), and drill a 7/8" hole about 1/2" deep to recess the head. I invert the table base and mark the underside of the top to accept the hardware. And just like that, the table is complete.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3QJ6HZEy4Gwxj5BlKX3n9yehS-ILh5LktxUPqVoKhoL2e_wbrE-0gdxmIlcd_tU4YytXx8Nynj_Nr7kQVGB34k2MIbqNCBL0qL51JP0gZ_VfOXg37WCPJ22AXc8mjo3tCWgfl-OMRhkA/s1600/IMG_2425.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3QJ6HZEy4Gwxj5BlKX3n9yehS-ILh5LktxUPqVoKhoL2e_wbrE-0gdxmIlcd_tU4YytXx8Nynj_Nr7kQVGB34k2MIbqNCBL0qL51JP0gZ_VfOXg37WCPJ22AXc8mjo3tCWgfl-OMRhkA/s400/IMG_2425.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">I used the spokeshave to create an almost propeller-like profile to the base support</td></tr>
</tbody></table>I use my go-to finish on pieces like this -- two coats of boiled linseed oil followed by two thin coats of paste wax. And I'm pretty happy with the result.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMGM5AmIvnZWMNbydjIN9OczOr-3XxtH7iYeXBwM2Iiw-ZZzHUn_nk1b82dIkLw8Rxter6U0sg0-oBewOmGE5Bd3ySK84xz1gOQt9hmjeLqMhe090Bho-CwlBE76WYAMFPot7I0qHZSIo/s1600/IMG_2422.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMGM5AmIvnZWMNbydjIN9OczOr-3XxtH7iYeXBwM2Iiw-ZZzHUn_nk1b82dIkLw8Rxter6U0sg0-oBewOmGE5Bd3ySK84xz1gOQt9hmjeLqMhe090Bho-CwlBE76WYAMFPot7I0qHZSIo/s400/IMG_2422.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The base support runs perpendicular to the grain</td></tr>
</tbody></table>I stayed consistent with my idea to keep the table "chunky." There is no taper to the thickness of the legs and the edge of the table top retains its plain, thick profile.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglTFZrF8Z8G4A_0UsjRzE4du5sNeP5TCQQnSG_lGRSA85eyXqRhUHtpn6ZGHZ0mXyCtfYviUHRpDDod_16rzSwDlycLvVb8UZSslMerS4bAqAtjacFc_Cocs67AdQU3ftiLKHHMks05VE/s1600/IMG_2427.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglTFZrF8Z8G4A_0UsjRzE4du5sNeP5TCQQnSG_lGRSA85eyXqRhUHtpn6ZGHZ0mXyCtfYviUHRpDDod_16rzSwDlycLvVb8UZSslMerS4bAqAtjacFc_Cocs67AdQU3ftiLKHHMks05VE/s400/IMG_2427.JPG" width="266" /></a></div><br />
These tables are always a little mini-woodworking class in one project -- turning, surfacing, multiple board glue-up, sliding dovetails, and finishing all in one go-- very satisfying!<br />
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Next up, a three part series of posts about the construction of a massive Lutyens Bench. Cheers!Christopherhttp://www.blogger.com/profile/03042590412023915722noreply@blogger.com3tag:blogger.com,1999:blog-2951405337023506146.post-80086948880022978162012-01-01T13:19:00.000-05:002012-01-01T13:19:03.656-05:00The Hammer Beam Low Table . . Finished! (and finished)<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-rP5V6BwbhhM/TwCNJSEKUHI/AAAAAAAAAwg/JceK064ihTA/s1600/IMG_2480.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="http://2.bp.blogspot.com/-rP5V6BwbhhM/TwCNJSEKUHI/AAAAAAAAAwg/JceK064ihTA/s400/IMG_2480.JPG" width="400" /> </a></div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">Out of the shop, the Hammer Beam tables are finished and cooling their heels in my family room. I built these as a prototype for a motif I'd like to use on several other pieces. Overall, I'm quite pleased with the end result and I feel that in my own (very) small way I've advanced the cause of arts-and-crafts furniture.</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">Once the <a href="http://combraystudio.blogspot.com/2011/11/hammer-beam-low-table-building-base.html">main construction</a> was worked out, all that was left to do was to add a few details, secure the top to the base and complete the finish. There isn't much ornamentation on this piece, but I added two little refinements. </div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-JYYqOOsghoE/TwCW8eRGH9I/AAAAAAAAAws/H0CHuga7Dsw/s1600/IMG_2469.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="http://3.bp.blogspot.com/-JYYqOOsghoE/TwCW8eRGH9I/AAAAAAAAAws/H0CHuga7Dsw/s400/IMG_2469.JPG" width="400" /></a></div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;"> The first is a chamfer on the curved beam to give a nod to the furniture of Edward Barnsley.</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-ErYzw-Q9VrE/TwCXnTmymCI/AAAAAAAAAxE/DXGnbDglTjM/s1600/IMG_2476.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="http://4.bp.blogspot.com/-ErYzw-Q9VrE/TwCXnTmymCI/AAAAAAAAAxE/DXGnbDglTjM/s400/IMG_2476.JPG" width="400" /></a></div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">The second is a small triangle of exposed dowel joinery that will affix the top support to the base. I create a template for hand drilling and then drill without the support in place. After removing the template I slide the support in place, level it, and drill through. The dowels are installed and trimmed. Once completed, it gives a nice rustic-yet-refined look.</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-HH-rCbHFzgA/TwCZNxAWC_I/AAAAAAAAAxQ/ahQW59WU0eM/s1600/IMG_2488.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="http://4.bp.blogspot.com/-HH-rCbHFzgA/TwCZNxAWC_I/AAAAAAAAAxQ/ahQW59WU0eM/s400/IMG_2488.JPG" width="400" /></a></div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">I secure the top to the base by installing threaded barrel inserts into the top and passing matching brass bolts through the support and into these inserts. My <a href="http://combraystudio.blogspot.com/2011/12/workshop-tips-you-may-already-know.html">new method for installing this hardware</a> works as well in oak as it does in walnut. As this is a cross-grain situation, I expand the slot in support piece to accommodate the bolt as it responds to seasonal movement.</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">I really like the mission oak finish techniques that Jeff Jewitt writes about at his <a href="http://www.homesteadfinishingproducts.com/index.html">Homestead Finishing</a> site. He has <a href="http://www.homesteadfinishingproducts.com/pdf/mission_oak_rev6-2010.pdf">step-by-step instructions</a> for a variety of finish colors, and all of the products are available from him online. I chose the "Fayetteville" finish which is a three-step process -- stain the overall color, glaze to bring out the grain, and seal to protect. The result is an historically accurate look without the perils of ammonia fuming.</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-SQkWKdQRx6A/TwCdZy4NQ5I/AAAAAAAAAxc/jHXzwpq8x-4/s1600/IMG_2482.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://3.bp.blogspot.com/-SQkWKdQRx6A/TwCdZy4NQ5I/AAAAAAAAAxc/jHXzwpq8x-4/s400/IMG_2482.JPG" width="266" /></a></div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">Finishes are always tricky to describe (and photograph!) Jeff's instructions are quite good, and I found the greatest success when I mixed the gel stain (glaze) at a 2:1 ratio with odorless mineral spirits. This increased open time and helped with the flow. I then followed it with a paper towel, also soaked in mineral spirits. This is really something that has to be done by feel, but once the sealer coat was in place, the tables compared favorably with several arts and crafts pieces I picked up in the UK.</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">What would I change? I like the segmented construction of the base "T-Bar", but in future I will create the corbels from one block and secure them with slip tenons. Which has led me to some serious thoughts about a dedicated machine for this purpose. The more I work with contemporary designs, the more I like this invisible, flexible joinery system. And this part of construction (basic joinery) is a bit of a grind with a plunge router. I'm not sure if I want the portability of a Festool Domino, or the cast-iron brute power of a Laguna slot mortiser -- and with my next big project, a Lutyens bench, I see a lot of slip tenons in my future.</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">But before that, I'll finish up the <a href="http://combraystudio.blogspot.com/2011/12/contemporary-shaker-style-table.html">Contemporary Shaker Table</a> I started last week. Cheers!</div><div class="separator" style="clear: both; text-align: left;"><br />
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</div>Christopherhttp://www.blogger.com/profile/03042590412023915722noreply@blogger.com7tag:blogger.com,1999:blog-2951405337023506146.post-79950205166284143262011-12-24T13:48:00.000-05:002011-12-24T13:48:11.328-05:00Contemporary Shaker Style Table -- Building a Base<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-prw5g2uzwp8/TvYJhjXbEiI/AAAAAAAAAuw/Dbz58ndaDG0/s1600/IMG_2396.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="http://1.bp.blogspot.com/-prw5g2uzwp8/TvYJhjXbEiI/AAAAAAAAAuw/Dbz58ndaDG0/s400/IMG_2396.JPG" width="400" /></a></div><br />
Happy Holidays! <br />
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While the second step of the finish on my <a href="http://combraystudio.blogspot.com/2011/12/hammer-beam-low-table-making-breadboard.html">Hammer-Beam Tables</a> is drying, I'll take the opportunity to post about another recently completed project. This table is a variation on the Shaker Candle Stand idea with a couple of contemporary updates. First, it is made primarily from black walnut -- one of my favorite woods to work with hand tools. Second, the design of the top includes includes a strip of figured maple. I suppose the unifying element is that all the stock comes directly from my scrap pile.<br />
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As I've posted about Shaker tables in the past, I'll review the highlights in two posts. And remember, I'm always up for questions or discussion about the techniques.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-yMCs9DyfCA0/TvYKnl0286I/AAAAAAAAAu8/qInmshwR_1E/s1600/IMG_2360.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="http://1.bp.blogspot.com/-yMCs9DyfCA0/TvYKnl0286I/AAAAAAAAAu8/qInmshwR_1E/s400/IMG_2360.JPG" width="400" /></a></div><br />
The base begins with a turned column. I've found that these can be glued up from leftover stock with great success. If I use Titebond II Dark Wood Glue and try to keep the grain running in the same direction on each piece, I've never been able to see any difference between this and solid stock. The design is simple, which just about matches my skills at the lathe. The only hard number that I need to hit is the diameter of the top tenon that will join with the top -- and even this just needs to match a Forstner bit in my collection. The bottom is turned with a slightly narrower diameter, the length of which matches the top of the leg. This creates a base ridge that is the stop for the leg as it sits in its sliding dovetail.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-ViOILLPioWI/TvYN3ml9yfI/AAAAAAAAAvI/yfV3c39XhEs/s1600/IMG_2372.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="http://4.bp.blogspot.com/-ViOILLPioWI/TvYN3ml9yfI/AAAAAAAAAvI/yfV3c39XhEs/s400/IMG_2372.JPG" width="400" /></a></div><br />
Without removing the column from the lathe, I set up my sliding dovetail jig on the lathe bed. I now mark the stops in the indexing head to allow me to make three cuts, dead center, at 120 degree intervals. The first step is to create a flat spot upon which the leg will rest. Structurally, this doesn't matter, but aesthetically it makes for a better join between leg and column.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-3D0tXcVXwvM/TvYYTy2I1NI/AAAAAAAAAv4/VZlQEaE7dtg/s1600/IMG_2371.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="http://4.bp.blogspot.com/-3D0tXcVXwvM/TvYYTy2I1NI/AAAAAAAAAv4/VZlQEaE7dtg/s400/IMG_2371.JPG" width="400" /></a></div><br />
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Through trial and error, I know that I should first cut a 3/8" groove to a depth of 1/2" in a series of passes in these three places. I follow this with one pass (at a depth of 1/2") with my 5/8" by 14 degree dovetail bit to achieve a perfect sliding dovetail mortise.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-VTWDG9NGKmg/TvYPzhFMgGI/AAAAAAAAAvU/wGeQXSKKdpc/s1600/IMG_2373.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="http://4.bp.blogspot.com/-VTWDG9NGKmg/TvYPzhFMgGI/AAAAAAAAAvU/wGeQXSKKdpc/s320/IMG_2373.JPG" width="320" /></a></div><br />
When this is complete, remove the column from the lathe and place the dovetail bit in the router table.<br />
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I've redesigned, slightly, the shape and size of the cyma-curved leg that is part of the beauty of the Shaker table. The top is larger on this table than on previous iterations, so I've expanded the spread of each leg and reduced a bit of the bulk from my last design. I do this by means of a pair of flexible bending sticks. An initial drawing is made on my plywood template, small blocks are hot glued to the lines at intervals, and then the sticks are clamped to these blocks and manipulated to create fair curves. I trace this and cut the template close to the lines. Finally I hot-glue thin (1/16") strips of hardwood to the template edges -- ensuring a fair, bump-free, routing template. It is important to make this template longer than the actual piece so that you can begin and end your routing without encountering end-grain.<br />
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Stock preparation for the legs has a bit of a twist as well. Once the board is planed to the desired thickness, I cut it into leg-sized lengths with a cut that is at a 30 degree angle. This allows me to line the tenon up along this cut line and keep the grain running along the long axis. I trace each leg onto the stock, but I do not cut it to shape yet. This allows me to machine the tenon at the router table with a wide bearing surface.<br />
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As usual, you use a piece of spare sock to dial in the thickness and depth of the sliding dovetail tenon. This is a very sensitive part of the build -- one or two mm can be the difference between a good fit and firewood. I like to err on the too-tight side and take a couple of passes with 220 sandpaper to get perfection. I also strike a line with a cutting gauge along this cut. At this angle, and with walnut in particular, you will get tear-out unless you take this precaution.<br />
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Only now do I take it first to the band saw, and then back to the router table to bring it to final dimension.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-bsoKTal-ABI/TvYX0zgVKTI/AAAAAAAAAvs/m-2rKQtK5Hw/s1600/IMG_2376.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="http://3.bp.blogspot.com/-bsoKTal-ABI/TvYX0zgVKTI/AAAAAAAAAvs/m-2rKQtK5Hw/s400/IMG_2376.JPG" width="400" /></a></div><br />
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I trim the top and bottom of the tenon and round the top portion to match the round mortise of the column. The actual stop for the mortise is the flat top of the exposed leg above the tenon. These should be trimmed to the same length, and to the thickness of the base ridge to achieve a good fit. Now all that is left to do is put together your first trial fit.<br />
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<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-7Xhyn7RdQdE/TvYcgMCPoiI/AAAAAAAAAwU/BMZ-74XvID0/s1600/IMG_2424.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://2.bp.blogspot.com/-7Xhyn7RdQdE/TvYcgMCPoiI/AAAAAAAAAwU/BMZ-74XvID0/s400/IMG_2424.JPG" width="266" /> </a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: left;">I'll wrap this up with one more post about fashioning the top and applying the finish, as well as a wrap of the Hammer-Beam Tables. Cheers </div>Christopherhttp://www.blogger.com/profile/03042590412023915722noreply@blogger.com8tag:blogger.com,1999:blog-2951405337023506146.post-54568584118987593092011-12-15T15:54:00.000-05:002011-12-15T15:54:40.484-05:00Workshop Tips You may Already Know -- Installing Metal Threaded Inserts, Correctly!<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/tIhEqoKE8Dc?feature=player_embedded' frameborder='0'></iframe></div><br />
Recently, I was searching the web for something or other, (a video of a porcupine who likes corn? a <i>Lance Link: Secret Chimp</i> lunchbox<i>?</i>) and I came across this video. At first I thought it would be about as useful as the instructions on a bar of soap. I mean, C'mon how hard is this? Sometimes the screwdriver breaks the top while you are bearing down, and they always seem a little tight, but this is intuitive, right?<br />
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I use threaded inserts when I attach table tops to their base, (this is called foreshadowing) and they look good when they don't snap in half. Which for me, is too frequently.<br />
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Well, the tagline that shouted "YOU MAY BE DOING THIS INCORRECTLY!" drew me in -- and sure enough, I had been doing it incorrectly. The video explains the correct technique much better than I could, and armed with this new knowledge, I sheepishly gave it a shot. I'm happy to report that, indeed, that is not a screwdriver slot on top and that the drill press works a treat for providing even pressure while you turn the wrench. Go figure.<br />
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So in case I'm not the last person to learn this, enjoy! If I am, well, it won't be the first time I was a bit behind the times. I'm still wounded by the experience of showing up on the first day of school with a <i>Lance Link: Secret Chimp</i> lunchbox and everybody else had switched to carrying their sandwiches in paper bags.Christopherhttp://www.blogger.com/profile/03042590412023915722noreply@blogger.com6tag:blogger.com,1999:blog-2951405337023506146.post-7770633704676021192011-12-09T21:15:00.001-05:002011-12-09T21:50:53.270-05:00The Hammer Beam Low Table . . . Making Breadboard Ends<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhknMSGwJhwoCrPlnRIvCCB8uzVC1ExWRQ0KujgzKFI4NhwRMHrJiE3iq7z4SfQBno18GliYaiYyviXf3qblbX7rZC7KfUnMDM_shw6jKUbrtfdIhlqjgy0a1HSFkVt0ybmdV-tk0THuyM/s1600/IMG_2448.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhknMSGwJhwoCrPlnRIvCCB8uzVC1ExWRQ0KujgzKFI4NhwRMHrJiE3iq7z4SfQBno18GliYaiYyviXf3qblbX7rZC7KfUnMDM_shw6jKUbrtfdIhlqjgy0a1HSFkVt0ybmdV-tk0THuyM/s400/IMG_2448.JPG" width="400" /></a></div><br />
We're on the homestretch now, with the table flat, the base built, and the scent of TransTint is in the air. I really enjoy making breadboard ends -- the process is very tactile and represents everything that is good about hand-made furniture. As with most joinery, it helps me to start with a known dimension for the "mortise" element and then dial in the fit of the "tenon" element.<br />
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The thickness of the top is approx. 7/8" so I'm going to go with a tongue thickness of 3/8". I will cut this groove, on visual center, on the breadboard end piece that is about 1/16" thicker than the top. I say visual center as I just eyeball this on the router table. Inevitably, one cheek is ever-so-slightly thicker than the other and I orient this on top to ensure that I cover the end grain of the table field. I may be over-cautious in this regard, but coming up too thin on the top is an automatic reboot in the process. I cut this to a depth of 1/2" on the router table.<br />
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Setting this aside, I begin to create the tenons on both ends of the table top. I make a rough and ready jig that sandwiches the top between two pieces of plywood that creates identical fences on both sides of the board. I measure back from the edge, with the bit in place so that it will cut a 1 1/8" tenon. I then make a spacer block of this width that will align the jig to the correct distance from the edge every time.<br />
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I measure the width of the cheek on my mortised end piece with digital calipers, reduce it by a few mm, set this as the final depth of the router, and cut to completion in several passes. I reduce it by that little bit to ensure that the end piece will stand proud of the table top. With the dual fence in place, I flip the piece and rout the other side to within a few mm of completion. Checking the actual fit with the end piece, I continue until there is a snug fit. <br />
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Now I make my story stick for the tongue. The tongue features three longer tenons that will be 1 1/8" in length -- adding the real stability to what is by nature an awkward cross-grain situation. These tenons will be pinned with a dowel through the end, and depending on the orientation, the holes for the pins will be widened to allow for wood movement. I lay out the tenons symmetrically so that if it gets accidentally rotated 180 degrees between passes on the router table, the piece will still fit.<br />
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I mark the tenons and cut them out by hand. From the tenons I mark the corresponding mortises on the end piece, adding approx. 1/4" on the two outer mortises to allow for seasonal movement. I then return to the router table and "plunge cut" these mortises against the fence (I'm not detailing this procedure because I'm not sure if it is a good practice -- proceed at your own risk.) A quick dry-fit lets me know that I am on track.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbzowklMhexoNtbl6bOrVcJ22Y_kYPZEs_c0QYFdMLxEm1-OyxC2-jvP6_PhLVvafviqTVDw0NpNqPnVqw-R2Nw_3TR7OQqnrKikd6xTUgn_oQPDtD_4f22fqSbmHa6VxlHAWCTDzgcY0/s1600/IMG_2416.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbzowklMhexoNtbl6bOrVcJ22Y_kYPZEs_c0QYFdMLxEm1-OyxC2-jvP6_PhLVvafviqTVDw0NpNqPnVqw-R2Nw_3TR7OQqnrKikd6xTUgn_oQPDtD_4f22fqSbmHa6VxlHAWCTDzgcY0/s400/IMG_2416.JPG" width="400" /></a></div><br />
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As you can see, I've cut the end boards slightly thick and overly long to allow for an exact fit. My next step is to trim these ends, along with about 1/8" from each edge of the table top, to bring to the final dimension. As my sled isn't large enough for this piece, I friction fit a spacer between the two end boards and run this edge along the table saw fence to the correct size. Once one side is cut. it can run along the fence to cut its opposite number.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Y7vrjjpUdsKIau8RBR7P5NX8A1M_GgHej8vluhLolJE4jcAsXfRwedHL7PpKyH9dGqK9fhgsJpyzT2yUXbzSC1xq6y4qjxcw_d3vS0AOuz1CYLs3AZiC-cOev1JitRwfB-ys0IoR488/s1600/IMG_2436.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Y7vrjjpUdsKIau8RBR7P5NX8A1M_GgHej8vluhLolJE4jcAsXfRwedHL7PpKyH9dGqK9fhgsJpyzT2yUXbzSC1xq6y4qjxcw_d3vS0AOuz1CYLs3AZiC-cOev1JitRwfB-ys0IoR488/s400/IMG_2436.JPG" width="400" /></a></div><br />
Using my 4 1/2 smoothing plane, complete with high-angle frog, I then plane the top of the end board to match the height of the table top. I find that if I keep the end board attached to the top, pulled away by about 1/2", I can plane without the risk of making a cross-grain gouge, and monitor the fit with a square. In practice, I leave the end board just fractionally proud.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTCwZBwh0D13DsL6u7UrlSDf6f_kqFwDfWtB1UVwv9WrxylILzkAMhsNwqPTk_8RCuUs8OaUVY2GmJepjTb1ORMh6crsGIUGjraM5JrENOZKDFia6lh1RhDKDqqz-rJUjVeYu-Kx5iEes/s1600/IMG_2441.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTCwZBwh0D13DsL6u7UrlSDf6f_kqFwDfWtB1UVwv9WrxylILzkAMhsNwqPTk_8RCuUs8OaUVY2GmJepjTb1ORMh6crsGIUGjraM5JrENOZKDFia6lh1RhDKDqqz-rJUjVeYu-Kx5iEes/s400/IMG_2441.JPG" width="400" /></a></div><br />
With the edges cut to fit and square, all that is left to do is to pin the end boards to the tenons with dowels in a manner that addresses the cross grain nature of this joint. I find that a plunge router acts as portable drill press, positioning the hole very accurately and spinning the bit at a speed that discourages tear out. While it might seem intuitive to use the edge of the end board as a reference for plunging these holes, I've found a method that I like better. If you create a fence that is attached to the table top, you can drill the holes through the end board and tenons in one go, remove the end board, widen the two holes on the outside by about 3/8", without readjusting the fence. This gives you a very clean channel for the dowel to ride in during the table top's seasonal journeys.<br />
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The best part of this is that you have already built the fence.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo1LGoEpcJsS6Gc3bQLvB5aEnqe4ekLfRbY7NjWbd8aX0jcsmVcr1FY6TcrEN15e-l2f_NPRNmpMSkCu2CveZj5pTSnDCiuQ_KKUvatjUdtoxoP6MsEGmrvpKdJSsWgJZo999lfunf98Y/s1600/IMG_2439.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo1LGoEpcJsS6Gc3bQLvB5aEnqe4ekLfRbY7NjWbd8aX0jcsmVcr1FY6TcrEN15e-l2f_NPRNmpMSkCu2CveZj5pTSnDCiuQ_KKUvatjUdtoxoP6MsEGmrvpKdJSsWgJZo999lfunf98Y/s320/IMG_2439.JPG" width="320" /></a></div>I start by marking the dead center of each tenon on my story stick and transferring this line to the end board. Using the jig I created to cut the tongue mortise, as well as the spacer block, I reset the dual fences in their original position relative to the ends of the tenons and clamp them down. I dry fit the end board in place and add a 1/4" spacer strip to the fence. Why the spacer?<br />
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Using the jig without a spacer would place the bit dead center of the 1 1/8" original width. Experience has taught me that this is too close to the short portion of the joint. Pushing it out 1/4" places the hole completely in the long tenon portion of tongue. This is better both functionally and aesthetically. Now insert a 1/4" spiral bit and plunge through the three marked holes for the dowels.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlbmzN2V6jjCX5exkZnl_7jTgutjq21ZgMUZOyku0eKVXcpnavlgEyIH6ZwXBjSD9iBGCe3YrKSqdH5EKVI1UXF-FwANMiKZzLrZ-CUK_ld3TswTiuOVz-JYlmzzjNUsbQdC4UUTSGPYk/s1600/IMG_2440.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlbmzN2V6jjCX5exkZnl_7jTgutjq21ZgMUZOyku0eKVXcpnavlgEyIH6ZwXBjSD9iBGCe3YrKSqdH5EKVI1UXF-FwANMiKZzLrZ-CUK_ld3TswTiuOVz-JYlmzzjNUsbQdC4UUTSGPYk/s320/IMG_2440.JPG" width="320" /></a></div><br />
Remove the end board, and expand the two outside holes to create a channel somewhere in the vicinity of 5/8" wide. Now, the top is free to expand with the heat and humidity of summer, and contract in the winter dry spell.<br />
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The final step is to re-install the end board and peg with the dowels. I place bit of glue only on the center tenon and reassemble. Using a cotton swab, I coat the inside of the center hole with glue, dip the peg in glue, and drive it home. The excess glue will fill any gaps created by slightly out-of-round dowels. Reaching from underneath, I place a bit of glue in the outside holes, but only deep enough to coat the bottom cheek portion. I drive a peg 3/4 of the way through, apply glue to the top of the dowel, and drive it home. My objective is to keep any glue from traveling down to the tongue portion of the joint. In all fairness, I'm not sure if excess glue would cause a problem, I just want to ensure that the joint will work properly.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPtRxZxP_fOSE4WCSzaoSCand2fVxCREbafvkpHKzN2k6ADMe-42XK2pCvcVlLsf_3xDCsAu2iHAwWYkCwhg6xbhHm_wWq3LqnZTqYpIcKZxZ5uwMjqE5bkZn8yDg00uhn4Pi9aoK9NOY/s1600/IMG_2447.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPtRxZxP_fOSE4WCSzaoSCand2fVxCREbafvkpHKzN2k6ADMe-42XK2pCvcVlLsf_3xDCsAu2iHAwWYkCwhg6xbhHm_wWq3LqnZTqYpIcKZxZ5uwMjqE5bkZn8yDg00uhn4Pi9aoK9NOY/s400/IMG_2447.JPG" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><br />
After this cures for a few hours, I trim the dowel with a Japanese flush cutting saw, take a few passes with a block plane, and finally make a couple of passes with some 220 grit paper to make sure that I've removed any excess glue and to clean up any "bench rash." be sure to take care when using the delicate flush-cutting saw on the white oak dowel. I've read that this saw is not really designed to cut tough American hardwoods, so a light touch is important.<br />
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Several times along the way I used my smoothing plane to clean up the surfaces. In a couple of spots I pulled out the shoulder plane to fine-tune the intersection of the end piece and the table top, and I finished the ends of the end board with a few passes on the shooting board. All of this is intuitive, and you won't go too far wrong if you go with your gut on these decisions.<br />
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This turned into a much longer post than anticipated, and I'm sure that I've left something out. Please feel free to shoot me a note i if you have any questions or see a better way to approach this most satisfying part of this project. Cheers.<br />
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Next up: Final construction and a bit of finish.Christopherhttp://www.blogger.com/profile/03042590412023915722noreply@blogger.com8tag:blogger.com,1999:blog-2951405337023506146.post-28754011155702442582011-12-03T14:35:00.002-05:002011-12-03T15:19:31.953-05:00The Hammer Beam Low Table . . . Flattening a Table Top with a Hybrid Approach<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7YyopkfwxdDyS4Nneuw_gJ67gmX7EsYxLjxds0Lr1UCkYmX6jZC2zlUs-hQqhTN5V4R_CPjDPpMS-dp-rHXgi23RgFyCrZABmUMemxi51ZJAMfyOb3ZO-CoCsfK8aL46O3ZHTGZDTs8Y/s1600/IMG_2417.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7YyopkfwxdDyS4Nneuw_gJ67gmX7EsYxLjxds0Lr1UCkYmX6jZC2zlUs-hQqhTN5V4R_CPjDPpMS-dp-rHXgi23RgFyCrZABmUMemxi51ZJAMfyOb3ZO-CoCsfK8aL46O3ZHTGZDTs8Y/s400/IMG_2417.JPG" width="400" /></a></div><br />
I often wonder whether my procedure for a given task is the "right" way to go about things. I suspect that I'm not alone in this feeling. Woodworking magazines make it seem very arbitrary - creating a linear approach that gives consistently good results. And that works well, up to a point. On the other end of the spectrum is an approach that says "I'll let the wood be my teacher." You experiment with a number of known techniques until the wood yields the outcome you desire -- and those techniques may vary given the wood species, your mood, the weather, and the application.<br />
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As a hybrid hand tool/machine woodworker, I'm comfortable moving forward with my preferred method (generally hand tools) but jumping ship the minute the going gets rough. This is how I approach the all-important flattening of a table top.<br />
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It starts with two things: a Number 12 Scraping Plane and an open mind.<br />
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That's not quite fair, it actually begins with a sense of what's possible and important during glue up. I always orient my boards with the grain in one direction in order to keep the option of hand planing to completion in play. This limits my design choices a bit, but I've not found that to be too onerous. Depending on the species, whether I'm re-sawing, and my deadline, I machine-surface my stock over a series of days. Hopefully I can keep any post-planing movement to a minimum. I try to bring the machined thickness to somewhere around 1/16" above my goal, but I've not been in a situation where (within reason) final thickness was visually critical.<br />
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This is a five board glue-up, and I do it in two steps. Perfection is the goal, but I've found that it is nearly impossible to fully correct any bend down the long dimension. You must keep checking the joints to see that they are even and use a straightedge across the boards ensure that they are not cupping. I use bog standard pipe clamps since I find them easier to adjust than Jorgenson clamps. My experience is that in spite of your best efforts, the wood will want to move to its own stasis point. Forcing joints closed with too much pressure can result in instability down the road. If things really start to go pear-shaped, I stop, scrape off the glue, and think about resurfacing/rejointing the boards.<br />
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My finished glue up (I'm doing two tables at once) looks like this. It is not perfect, but it is within my own personal tolerances for quarter-sawn white oak. For the record, I find QSWO to be prone to movement after cutting and surfacing, and sometimes balky to finish with a hand plane.<br />
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Once out of the clamps, I have a go at all the glue lines with a card scraper -- doing this while in the clamps and the glue is gelatinous is even better.<br />
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It has taken me a long time to understand fully the real difference between Flattening and Surfacing. The first, Flattening, has much more to do with geometry (is it level, across all the boards, with no variations between each board.) It is a prerequisite for Surfacing which has to do with the texture of the flat surface. In this case there are ridges on the boards, and in some places the variation is around 1/64" of an inch. I began flattening with my Number 12 scraper, equipped with a Hock blade. The blade is honed to a 45 degree angle (with no hook), and I lean it well forward. Moving diagonally, but with the grain, I come from two directions -- creating a crosshatch pattern and removing stock at a pretty good rate.<br />
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I prefer scraping to planing with a jack plane. In my experience a scraper will only dig as deep as the blade is set (in this case, the thickness of a paper towel) without any real risk of tear-out. I'm sure that there could be a long discussion here about "type 1" or type 2" chips, toothing planes, and scrub planes -- I'd I'd like to explore that -- but this is what I know and it works for me. I'm looking to create a uniform cross hatch pattern that touches all surfaces of the wood.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4ngzpLVPiqoD_DV2Qv2O4KUifw1Dhxgmhap5DD_xdGKh9mfBDMNO6kYi6ixbTvL4nO3ugVCcSQkxtGrP5v6l5_1zuMgzmmg_RiyfRxb453ynaS0rNCsl3Afb6ktHDqNTDWx-iJX_qz-U/s1600/IMG_2401.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4ngzpLVPiqoD_DV2Qv2O4KUifw1Dhxgmhap5DD_xdGKh9mfBDMNO6kYi6ixbTvL4nO3ugVCcSQkxtGrP5v6l5_1zuMgzmmg_RiyfRxb453ynaS0rNCsl3Afb6ktHDqNTDWx-iJX_qz-U/s400/IMG_2401.JPG" width="400" /></a></div><br />
I also look at the quality of the scraping to make sure that it is fluffy and long (not chunky or just dust) and adjust the scraper accordingly.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTLw3gxPde9z74YphhBonuz2eu_Dm743YXp_jGp-H7brmN1K8hUzfelAFHZPrTetddQb9lDH6rwA1wyHyQ11WKhoFy4Eiduo8LLkmBq9rrGKPqtuimNOY_ZCuZ1Ows0pl2jcBH5aZqpok/s1600/IMG_2400.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTLw3gxPde9z74YphhBonuz2eu_Dm743YXp_jGp-H7brmN1K8hUzfelAFHZPrTetddQb9lDH6rwA1wyHyQ11WKhoFy4Eiduo8LLkmBq9rrGKPqtuimNOY_ZCuZ1Ows0pl2jcBH5aZqpok/s400/IMG_2400.JPG" width="400" /></a></div>Once I'm pretty sure that the high spots have been brought to the level of the low spots I remove the blade, hone it, and set it for a very light cut. I now go with the grain and remove any ridges left by the diagonal scraping. I have found that this is an important step, and can save a great deal of time when I begin surfacing. Finally, I break out my 5 1/2 bench plane, set for a light cut, and begin first diagonal then straight passes with the grain. I'm hoping that with this light cut I can plane with no tearout.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4pT_7cLwbeBxIsbTpFutqMQzaBLrNSwyWXzgepDpk7PbXHKjhyphenhypheny8wj3M7v2w9QZ_ww3BJs2HiAJ41aFyr0YkglsYjuLNl4eQTLCEp_m68v33U6dumdHZNJPBVSv2wNM73NcyjkjxwyiI/s1600/IMG_2402.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4pT_7cLwbeBxIsbTpFutqMQzaBLrNSwyWXzgepDpk7PbXHKjhyphenhypheny8wj3M7v2w9QZ_ww3BJs2HiAJ41aFyr0YkglsYjuLNl4eQTLCEp_m68v33U6dumdHZNJPBVSv2wNM73NcyjkjxwyiI/s400/IMG_2402.JPG" width="400" /></a></div><br />
. . . And right away tear-out begins to appear on one board. I quickly switch to my high angle 4 1/2, and though it is better, tear-out continues. I even give my low-angle jack a try, but it is no better. For the record, I have found that this light-colored, slightly stringy oak can be difficult to work. Using a card scraper, I surface the wood to a depth below the tear-out. I suspect that with ultra light cuts I could get the rest of the surface down to this level, but I'm not up for the task.<br />
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Breaking out the RO sander, I begin with 120 grit paper and in about 15 minutes have the surface completely finished to 220. It could have been done more quickly if I could have found any 80 or 100 grit paper in my mare's nest of a sanding cabinet. Was this my first choice? No. Would I have preferred to finish this with my 4 1/2 plane? Absolutely. But I'm long past the idea of pursuing a course of action simply because I want to prove to myself (or the hand tool orthodoxy gods) that I can complete the task with style points intact. I'm interested in making furniture, not making a point. Now all that is left to complete are the breadboard ends.<br />
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I'm curious to hear about your procedure for table tops and results and style points. Cheers!Christopherhttp://www.blogger.com/profile/03042590412023915722noreply@blogger.com6tag:blogger.com,1999:blog-2951405337023506146.post-38995114703152684282011-11-27T15:25:00.000-05:002011-11-27T15:25:04.928-05:00The Hammer Beam Low Table . . . Creating Corbels and Making Sliding Dovetails<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl-wXgtTYA029pEY8BJEsmdCQOxcoNbpfqcOm1m3Efu0rJEubwpRAX_wqT9qnUOFywX9SxYuoER3LTBwK_oi9883AAXe4KlliXrcvhyphenhyphenlKSjid51u8d8K30q-KA60lem1BzUwkHvFNLnUA/s1600/IMG_2389.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl-wXgtTYA029pEY8BJEsmdCQOxcoNbpfqcOm1m3Efu0rJEubwpRAX_wqT9qnUOFywX9SxYuoER3LTBwK_oi9883AAXe4KlliXrcvhyphenhyphenlKSjid51u8d8K30q-KA60lem1BzUwkHvFNLnUA/s400/IMG_2389.JPG" width="266" /> </a></div>With the greater part of the base complete, it is time to tackle the decorative corbels that adorn each foot of the table. I began with the idea that a stacked and constructed piece, incorporating a large tenon, would add visual flair and lock the curved beams in place.<br />
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I construct each corbel with five small pieces of stock -- a tenon, an upper internal piece, a lower internal piece, and two external cheeks.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKCvslb8q728hozolJ3XNMSZq0n2j23l8jATBo25Y2CjeexSA2Z4CVMBxdHT3Y7s5-Q8dnKrWvHFmawCHET99vNRZZ-xCwN7stSsVnNYvEpDoCz9WneyvEcyEceOQa0G-DRC3T-eSP5eQ/s1600/IMG_2382.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKCvslb8q728hozolJ3XNMSZq0n2j23l8jATBo25Y2CjeexSA2Z4CVMBxdHT3Y7s5-Q8dnKrWvHFmawCHET99vNRZZ-xCwN7stSsVnNYvEpDoCz9WneyvEcyEceOQa0G-DRC3T-eSP5eQ/s400/IMG_2382.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The tenon and the internal pieces ready for glue up.</td><td class="tr-caption" style="text-align: center;"><br />
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</tbody></table>As the individual components are all small, I use "rub joints" and line up the pieces by eye. I start with a sub assembly of the internal pieces and add the external cheeks once these are dry.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdk7QS7JjWtE0hkqU3aryLP8rv4UIOi1K0ljM_Z5EBClXcnSooKpgzvgc07vqclndEOE3dwC0pa92iW5H8g-e_5t1KGCwt103BQWOlGbXPhfD83kZpAlu5lgOjsOmPp2I8Kc6U5sTq-UM/s1600/IMG_2384.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdk7QS7JjWtE0hkqU3aryLP8rv4UIOi1K0ljM_Z5EBClXcnSooKpgzvgc07vqclndEOE3dwC0pa92iW5H8g-e_5t1KGCwt103BQWOlGbXPhfD83kZpAlu5lgOjsOmPp2I8Kc6U5sTq-UM/s400/IMG_2384.JPG" width="400" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"></div>Using my initial drawing as a guide, I place an arm on my bandsaw's circle cutting jig and set the it for an 8 3/8" radius cut. Aligning the drawn piece against the curve, I'm able to hot-glue two stops on the jig to transfer this curve on the glued blocks. A bit of carpet tape holds the block in place and they pop out of the jig nearly complete. A quick chamfer on the front edge and a bit of sanding results in a finished corbel.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLyvh_xiaZaGGjR31UH6od5_ccfdDNsbtpyh_R0uUBYc1Ko6c_0FGkMQai7HWIeGOnAwjF3yajKMMr2ff9Onj_m8BqSsPtiZ8SHeAbZz9XCfrdhlhW6-7QIzshD-F8E8n1Z3azmtkqElI/s1600/IMG_2391.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLyvh_xiaZaGGjR31UH6od5_ccfdDNsbtpyh_R0uUBYc1Ko6c_0FGkMQai7HWIeGOnAwjF3yajKMMr2ff9Onj_m8BqSsPtiZ8SHeAbZz9XCfrdhlhW6-7QIzshD-F8E8n1Z3azmtkqElI/s400/IMG_2391.JPG" width="400" /></a></div>The end grain was sanded quite easily with the pneumatic sanding attachment on the drill press, and as I'd already checked the fit of the tenon in the base unit, everything came together with just a bit of work with the shoulder plane.<br />
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I'm joining the two base assemblies together with a stretcher that attaches with sliding dovetails. I always enjoy making sliding dovetails. There is a great deal of instant gratification as the pieces come together in a perfectly fitting joint. It also helps that I have a method, and a pair of bits, that make it very easy.<br />
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The stretcher is 3" wide and will attach dead center at the top of each base assembly. Because I want this to be a stopped mortise, I will only cut the groove about 2 1/2". I start by finding center on the mortise stock and begin to make a 3/8" groove on the router table. I bring the depth to 1/2" in a number of passes. Experience has taught that if I create this groove, and follow it with a single pass with my<a href="http://www.leevalley.com/US/wood/page.aspx?p=30172&cat=1,46168,46172&ap=1"> Lee Valley 5/8" x 14 degree dovetail bit (#16J1755)</a>, set to a depth of 1/2", I get a perfect sliding dovetail mortise without stressing the bit with too much stock removal. The only challenge with this technique on the router table is that you must make the bit change in a way that allows you to keep the fence in the same place.<br />
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The advantage to the router table is that once you have made the pass with the dovetail bit in the mortise, you have automatically set the right height for the bit to cut the tenon. All adjustments to the width of the tenon will be made with the fence. I like to start by marking a deep mark in the tenon stock with a gauge to help eliminate tear-out.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuhtU1JvYoLa29PSOtQpbRhLllp5e2dmYpaItZ9ltAQ4fCCjW8-YBQD3kOOcViHO5toTtwNUzy24P_I7fHqXJS6QXzRcQn3OMfG_iIOVfT-wNCiDU38cphwqzRgzL69rUHMzRyEIWSp8w/s1600/IMG_2386.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuhtU1JvYoLa29PSOtQpbRhLllp5e2dmYpaItZ9ltAQ4fCCjW8-YBQD3kOOcViHO5toTtwNUzy24P_I7fHqXJS6QXzRcQn3OMfG_iIOVfT-wNCiDU38cphwqzRgzL69rUHMzRyEIWSp8w/s400/IMG_2386.JPG" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"></div>I adjust the fence, using test stock of the same thickness and with passes on each side, until I have a snug fit. Patience is key here as you dial this in -- one overly-ambitious cut and you will need to start over. Using a jig, or your own steady hand, cut the tenons to size.<br />
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As these are stopped joints, you will need to remove some stock from the tenon to complete the joint. I start by sliding the tenon into the mortise until it stops. I set my gauge to this depth, mark the tenon on the bottom of the stretcher, and remove with excess with a hand saw.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzDLjFNLy9RflGurEiBsWc2UiUOERV6f7uml2C4YH1XqzCLZt8oz2-FCf880i5Mpcy6BJFsHII3ZYnQI9HzmBimLZv6ZPVX2JuI7jsto3pn1FxmDYpPr_VFhTDMkYQYYxL4TdiNnYKotg/s1600/IMG_2387.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzDLjFNLy9RflGurEiBsWc2UiUOERV6f7uml2C4YH1XqzCLZt8oz2-FCf880i5Mpcy6BJFsHII3ZYnQI9HzmBimLZv6ZPVX2JuI7jsto3pn1FxmDYpPr_VFhTDMkYQYYxL4TdiNnYKotg/s400/IMG_2387.JPG" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"> </div>Although this joint will never be seen, I do get some weird kind of satisfaction as it comes together without a hitch.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_V4amcPOALrft4zIQwS5zH7EFO56bkL5HVtirE4ESe7KRQ46T972J9lSBjQ-d6w7G3Qj3D5TPivsk4TcffSVp4GJW7wew8bq3wLoriPp004SZDh21rNz9glbWl5F6rwcFobE8ZoU-4R0/s1600/IMG_2392.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_V4amcPOALrft4zIQwS5zH7EFO56bkL5HVtirE4ESe7KRQ46T972J9lSBjQ-d6w7G3Qj3D5TPivsk4TcffSVp4GJW7wew8bq3wLoriPp004SZDh21rNz9glbWl5F6rwcFobE8ZoU-4R0/s400/IMG_2392.JPG" width="400" /></a></div><br />
In order not to bore you (too much!) I did gloss over some of the specifics of how I went about these parts of the project -- but I'd be happy to go into more detail if you have any questions. I'm also open to being shouted down if you see some glaring error, or know of a better technique.<br />
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Next up -- the breadboard top. Cheers!<br />
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<span id="goog_643550728"></span><span id="goog_643550729"></span>Christopherhttp://www.blogger.com/profile/03042590412023915722noreply@blogger.com6tag:blogger.com,1999:blog-2951405337023506146.post-80659722431178230812011-11-21T09:03:00.000-05:002011-11-21T09:03:26.620-05:00Workshop Tips You may Already Know -- Drilling Perfectly Centered Holes<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1o5MT6AclfmK03isFnE-k2ae3EWGrVJj8kaa_rVZWT4lDAKv7McpLpCyvyNu-4sYwdb75TX6JC8NNTUalJHpkUuLlC2TIVeyQDSketpwcksVtFtcguxVvihfOEM89-IlcTMlcjJeYddc/s1600/IMG_2367.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1o5MT6AclfmK03isFnE-k2ae3EWGrVJj8kaa_rVZWT4lDAKv7McpLpCyvyNu-4sYwdb75TX6JC8NNTUalJHpkUuLlC2TIVeyQDSketpwcksVtFtcguxVvihfOEM89-IlcTMlcjJeYddc/s400/IMG_2367.JPG" width="400" /></a></div><br />
I'm often the last to discover a brilliantly simple method for overcoming some devilish workshop problem. So, in case this little technique isn't in your bag of tricks, I thought I'd pass it along.<br />
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Say you have to drill a hole through stock that is one diameter on the entry side and a second diameter on the exit side. To make matters worse, there is no square reference surface to place against a fence, and you cannot tolerate any tear-out on either face. This situation presents itself when making an electric guitar with a string-through bridge -- the strings come through the metal bridge, enter a 1/8" hole, pass through the body, and exit a 5/16" hole that contains a ferrule.<br />
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There are many ways that you could attempt this, but this method is foolproof. Start with template with holes that match either the entry or exit hole dimension. In the case of a guitar, the metal bridge works a treat. Position the template on the correct side and affix using carpet tape. Using a drill press, and allowing the bit to find its way into the template hole, drill most of the way through the piece.<br />
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The key to this technique is a purpose built jig with a post that matches this first hole. In this case I use a small length of 1/8" steel rod and allow it to protrude from a piece of MDF by about 1/2". Now, making sure that you have enough clearance between the bit and the jig (to allow sliding in the workpiece before plunging for the hole), center the bit on the post. Insert the bit for the second diameter and double-check that the bit is still centered.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGuCiZ44o3gXcC4VrtoakLCJJghFgQoiYwrSFfL4YPRQosD4iwpnUGWQNz5wPOsb6YiqYRfyV_c37q0cQJpiYh7Vbf35NSYA-M0IyJRhorvp11dXC5uXxfgm0f9EPvQtVc0y2TKRuPKXo/s1600/IMG_2368.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGuCiZ44o3gXcC4VrtoakLCJJghFgQoiYwrSFfL4YPRQosD4iwpnUGWQNz5wPOsb6YiqYRfyV_c37q0cQJpiYh7Vbf35NSYA-M0IyJRhorvp11dXC5uXxfgm0f9EPvQtVc0y2TKRuPKXo/s400/IMG_2368.JPG" width="400" /></a></div><br />
Now it is just a case of placing each hole over the post and drilling to the proper depth. The resulting holes will be centered over the smaller holes, and keep the perfect alignment of the template. One caveat -- place a thin piece of waste board on top of your stock when removing it from the post. The snug fit can (will) make you pull hard enough to recoil the piece right into the bit above.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTsvh1O57kH8luvC6Y1M-fgCDooVD_YQ5AclCYcuRrj4jyvtSzd5yrwWpoUT4axrWq7kZrIPtFwkF6a2M1CwcybCvyl1FWvVfxp1pVIFDnDZl-jNct7FVdRfx214EAEeZEbqbc8gqBt1Q/s1600/IMG_2370.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTsvh1O57kH8luvC6Y1M-fgCDooVD_YQ5AclCYcuRrj4jyvtSzd5yrwWpoUT4axrWq7kZrIPtFwkF6a2M1CwcybCvyl1FWvVfxp1pVIFDnDZl-jNct7FVdRfx214EAEeZEbqbc8gqBt1Q/s400/IMG_2370.JPG" width="400" /></a></div><br />
This technique comes from the archives of <a href="http://www.tdpri.com/">TDPRI</a> -- a great source of information for building Telecaster-style guitars. BTW, I'm finding loads of tips from the guitar-building world that have broad application in making custom furniture. So I'll pass them along from time-to-time.<br />
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Cheers!Christopherhttp://www.blogger.com/profile/03042590412023915722noreply@blogger.com5tag:blogger.com,1999:blog-2951405337023506146.post-41884179007875261762011-11-15T20:03:00.000-05:002011-11-15T20:03:59.944-05:00The Hammer Beam Low Table . . . Building the Base<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZYXzzbixX9wu9ZuxKOXNSZGO0HmFYnUS79pIClgoTYF0S1L95fLMWXrVJjVjClmdrx6YTDHGMk4OKbJ50UWA6e7lqKjwrx2Rm44XnP68QWRkL65iuwD552yBmttvYYEuxxpem-2KiKUQ/s1600/IMG_2366.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZYXzzbixX9wu9ZuxKOXNSZGO0HmFYnUS79pIClgoTYF0S1L95fLMWXrVJjVjClmdrx6YTDHGMk4OKbJ50UWA6e7lqKjwrx2Rm44XnP68QWRkL65iuwD552yBmttvYYEuxxpem-2KiKUQ/s400/IMG_2366.JPG" width="400" /></a></div><br />
There are many reasons to avoid designing and building simultaneously. Materials and time may be wasted, and there's no guarantee that the whole thing will hang together -- visually. But it does give you the maximum degree of flexibility for the greatest amount of time. After fiddling with the design on paper, I decided to flip the entire piece and and place greater visual weight along the floor. I wasn't exactly sure, as I started to saw the white oak, how the joinery would come together -- but once underway, it became pretty straight forward.<br />
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Given that I'm looking to give the appearance of post and beam construction, I knew that each piece would be fairly thick, and given that I didn't want to invest in 12/4" timber, I knew that I'd be gluing up for thickness. This gave me the chance to "build" more complex joinery in pieces, simulating large mortise and tenon joints without all the chiseling.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnhTgk8Citl1AqDL8WiV4-wa4I6h70xgG8ad605u_2bORd5ngELpxB7u9DMo6GZtG3BH2TJzreE_p6_5yW-eOsmH5oaFQ81fcmDhlofBIf9kz4MS7eI92rI5IzUmGbTBtWaauVmt6Wx_8/s1600/IMG_2357.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnhTgk8Citl1AqDL8WiV4-wa4I6h70xgG8ad605u_2bORd5ngELpxB7u9DMo6GZtG3BH2TJzreE_p6_5yW-eOsmH5oaFQ81fcmDhlofBIf9kz4MS7eI92rI5IzUmGbTBtWaauVmt6Wx_8/s400/IMG_2357.JPG" width="400" /></a></div><br />
I start by gluing up three pieces to make the vertical post. Because I want to create a shadow line against the bottom support rail, I sandwich a 3/4" thick piece between two 7/8" pieces. I take care to keep the grain running in the same direction to facilitate the hand planing that blends them into one visual post.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5ohwlqqVGawB1q_ErcJ7LrQRHrBPIkPnLJkCnnmEcqUAtiAQQb7119JAaTNIEuSmNjPRSfmIeyxvFltN35wVOH-fT30IlqKKSPgIFaPQ6ge_PoEK8eB4ELaILTOnM4SXFKo4ExtEt9nQ/s1600/IMG_2358.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5ohwlqqVGawB1q_ErcJ7LrQRHrBPIkPnLJkCnnmEcqUAtiAQQb7119JAaTNIEuSmNjPRSfmIeyxvFltN35wVOH-fT30IlqKKSPgIFaPQ6ge_PoEK8eB4ELaILTOnM4SXFKo4ExtEt9nQ/s400/IMG_2358.JPG" width="400" /></a></div><br />
This support rail is an odd-looking little construction (3/4" thick), that will slide into the post's bottom. creating a bridle joint of sorts.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6VNXH_9bZRe9IloVXNNOp7vwSLGICG0DuZSQ5vJVYXJ61y9M7obfNDE3E60P3UGcS6fc6Of5uC3v1qLP8PmOOh5Vkz0qBvkR7smpi4WX_WRJpmpoTgEFQT7N9SIE2aRqdJwfEEYTYzes/s1600/IMG_2359.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6VNXH_9bZRe9IloVXNNOp7vwSLGICG0DuZSQ5vJVYXJ61y9M7obfNDE3E60P3UGcS6fc6Of5uC3v1qLP8PmOOh5Vkz0qBvkR7smpi4WX_WRJpmpoTgEFQT7N9SIE2aRqdJwfEEYTYzes/s400/IMG_2359.JPG" width="400" /></a></div><br />
I then attach a series of 3"x7"x 3/4" "cheeks" that make the rail look to be one solid piece. As long as every cut is square, you create a perfect 90 degree angle. As all glue surfaces are long grain-to-long grain, I'm not worried about the strength -- but they will be reinforced later. Once dry, I'm ready to move on to the curved "supports."<br />
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I drew the curves using the method outlined in the <a href="http://combraystudio.blogspot.com/2011/01/pair-of-contemporary-chairs-layout-and.html">contemporary chair project</a> -- attaching flexible bending sticks to a block the width of the leg, and moving it until I had the curve I liked. It's then into pattern-making mode to cut and refine a template that reproduces that pattern. I remember to make the template longer on both ends to facilitate the entry of the router bit without encountering end grain.<br />
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As I want the final thickness of each support to be approx. 2", I select some chunky 8/4" white oak stock. I Surface, bandsaw, and template each piece, arranging the stock in such a way to avoid routing against the grain. I do not cut the straight sides with the router, rather I plane to the line on the long straight side, and cut the bottom of the support with a newly-sharpened saw.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilFCgqXKJcDzdw7Jo2yAkfPVbdzV0CuSl1qbtGnPJXYznDQD3JOi08mU7VilIKkWi1WvvEy_xHJk17hP7aet4dJtMrClptyyVW4pW5wCs3Okt16QxQN7tCw0x8GFo08BzRNSBGaSUdGhc/s1600/IMG_2361.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilFCgqXKJcDzdw7Jo2yAkfPVbdzV0CuSl1qbtGnPJXYznDQD3JOi08mU7VilIKkWi1WvvEy_xHJk17hP7aet4dJtMrClptyyVW4pW5wCs3Okt16QxQN7tCw0x8GFo08BzRNSBGaSUdGhc/s400/IMG_2361.JPG" width="400" /></a></div><br />
A quick pass with a my 4 1/2 plane over this very straight-grained oak results in a glass-like finish. I've found that adding a high-angle frog to the mix improves almost all of my smoothing jobs,<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1jY3xOk3Hsdms3t6q2LuOomecyxl-qcFX2iyHxjnLMVt5ddANl2OuI_tldBB9hysiOmmfV8TZRDvO_wP_O-kbmVWDLgHLlZBTaZLXLm6ZyQAEtNvalFqn2Ik2n5qvDO5IAgkOXfKMkzk/s1600/IMG_2363.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1jY3xOk3Hsdms3t6q2LuOomecyxl-qcFX2iyHxjnLMVt5ddANl2OuI_tldBB9hysiOmmfV8TZRDvO_wP_O-kbmVWDLgHLlZBTaZLXLm6ZyQAEtNvalFqn2Ik2n5qvDO5IAgkOXfKMkzk/s400/IMG_2363.JPG" width="400" /></a></div><br />
The support is joined to the post and rail by a joint (that must have a name), that slides along a loose tenon on the post, and is fixed to the rail by means of a dowel. There will be a corbel that attaches in a very robust fashion that will also secure this piece.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHry48r5rjk3QzlpT1Ok7JX7ErmvDVeYGtj5ymeQTMPVTTEu454EZR7CinQpT_p4fqeYSSR9ObBh9UQaquWZO_LyuRSnnOgy4KX4JacUSwyP4JQ4vjJJrvOdeEf3bOFyoJgrWpMkIZ8Fk/s1600/IMG_2364.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHry48r5rjk3QzlpT1Ok7JX7ErmvDVeYGtj5ymeQTMPVTTEu454EZR7CinQpT_p4fqeYSSR9ObBh9UQaquWZO_LyuRSnnOgy4KX4JacUSwyP4JQ4vjJJrvOdeEf3bOFyoJgrWpMkIZ8Fk/s400/IMG_2364.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The support on the right will slide along the tenon, cut to provide a long grain-to-long grain strength . . .</td><td class="tr-caption" style="text-align: center;"> </td><td class="tr-caption" style="text-align: center;"> </td><td class="tr-caption" style="text-align: center;"><br />
</td><td class="tr-caption" style="text-align: center;"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfIiWlxmA_9hEBQsprIcKZShkWCdeN-ob_L0Gbs8fHqUg_IeSOZ0bxxpzL8Bj0x4NqGISs7gdC7Gv2iHx81H-fJDh6lKZKczyZZiZYXtdo40-yLIRuJA0bEQqHMTc2pwcBx0hyphenhyphensnvYNjs/s1600/IMG_2365.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfIiWlxmA_9hEBQsprIcKZShkWCdeN-ob_L0Gbs8fHqUg_IeSOZ0bxxpzL8Bj0x4NqGISs7gdC7Gv2iHx81H-fJDh6lKZKczyZZiZYXtdo40-yLIRuJA0bEQqHMTc2pwcBx0hyphenhyphensnvYNjs/s400/IMG_2365.JPG" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">. . . and the dowel pops into place</td></tr>
</tbody></table>The next step is to create the corbels that will act as feet on the table, provide visual interest, and secure the supports.<br />
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Cheers!Christopherhttp://www.blogger.com/profile/03042590412023915722noreply@blogger.com3tag:blogger.com,1999:blog-2951405337023506146.post-47234804744222696442011-11-08T17:43:00.000-05:002011-11-08T17:43:02.609-05:00Shopmade Cam Clamps -- Revisited and Refined<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_tI4irJlmHLUzhFoO2YxB3n1f1dTR4zW7r9KDtynDqb9SOrOEQdO8kf09yw2tnOAH83YbDTUKQ8sSllpvuFm9Z91d7WCfAL6aOK6Ek8PqHX9jqpD56NSj7Q-Uz8rUwetp_ZKfBa1loHc/s1600/IMG_2350.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_tI4irJlmHLUzhFoO2YxB3n1f1dTR4zW7r9KDtynDqb9SOrOEQdO8kf09yw2tnOAH83YbDTUKQ8sSllpvuFm9Z91d7WCfAL6aOK6Ek8PqHX9jqpD56NSj7Q-Uz8rUwetp_ZKfBa1loHc/s400/IMG_2350.JPG" width="400" /></a></div><br />
Last year, I made a pair of cam clamps to secure workpieces in my <a href="http://combraystudio.blogspot.com/2010/12/sunday-toolfoolery-hot-rodding-stanley.html">Hot Rodded Stanley Mitre Box</a>. They were long on function but short on form, and it set me to thinking about my own personal criteria for the make-or-buy decisions on jigs, tools and shop furniture.<br />
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I realized that shop-made tools only end up in my hands if they a) are cheaper than the store-bought version, b) perform better or at least as well as the store-bought version, and c) look better than the store-bought version. In spite of my workman-like attitude towards tools, I'm surprised to find that their aesthetics are as important to me as the look of my shop or the view out my window.<br />
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As I've had my nose in several acoustic guitar-building books, it has become clear to me that I will need cam clamps in quantity if I am to proceed. I wanted to see if I could come up with a consistent method-of-work, and quantify the key elements that I've found to be critical in building cam clamps that move smoothly and lock securely. I also wanted to use only materials that were readily available at my local home center or found on the internet.<br />
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It seems that jaws that are 7 1/2" long, with each jaw being 1 1/2" wide and 3/4" thick result in a useful size for luthiery work. For the purposes of this test, I'm making some jaws from hard maple and some from white oak. I'm placing the oak on hot rolled steel bar (1/8" x 3/4") and the maple on aluminum bar (1/8" x 3/4".)<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj18l26WRkHWRtgBJU2Uwp_lF7F1wpK9OltgVTwXbi8zAHRaPlBvgv_2Q7XOwtZmPx6BX98lORgLqqSLY8vNgMoDLirKJ5nGsDPzXlDDXsdNWkxALgT8ysUNIzESZ2JG7xTmB_5m283tkw/s1600/IMG_2351.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj18l26WRkHWRtgBJU2Uwp_lF7F1wpK9OltgVTwXbi8zAHRaPlBvgv_2Q7XOwtZmPx6BX98lORgLqqSLY8vNgMoDLirKJ5nGsDPzXlDDXsdNWkxALgT8ysUNIzESZ2JG7xTmB_5m283tkw/s400/IMG_2351.JPG" width="400" /></a></div><br />
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In general terms, the clamp consists of two jaws that ride on the bar. A top jaw is fixed to the bar and the bottom slides freely up and down. Pressure is applied by engaging a cam lever that, because of the placement of its fulcrum, pushes a lower arm out and pinches the workpiece against the top jaw. I use <a href="http://www.amazon.com/gp/product/B001P1B0GQ/ref=oh_o01_s00_i00_details">roll pins</a> to secure the top jaw to the bar, to create a friction fit for the sliding bottom jaw, and as a fulcrum for the cam arm.<br />
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While I'm giving exact dimensions for every step, the most critical geometry comes into play around the sliding mechanism of the lower jaw and the placement and pinning of the cam lever. I'll deal with these in the step-by-step instructions and I hope that my experience (and mistakes!) will take some of the mystery out of creating a really useful tool.<br />
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<span style="font-size: large;"><b>Making the Parts </b></span><br />
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1. I start by milling all stock to the correct dimensions and I create identical sets of top and bottom jaws. Using the tenoning jig on the tablesaw, I cut a 1 1/2" kerf on the back end of each jaw set. As the bar stock is 1/8" thick, it fits nicely in this channel. I also cut 12" lengths of the bar stock with a pair of bolt cutters (far superior to sawing in my opinion.)<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp_xhk8c808DCXTsK8nMck76v-EQcyWe3YWoSxTDvY6JMtwpJCxmAm2vc7G4pUXuMRJqvUUB1_TiYNIkrKymz4eqZ61aNZMPiRjRwAKDd19JXsHfXrn8tlDthi7IAm2WFNtlJfX5aL2Nk/s1600/IMG_2327.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp_xhk8c808DCXTsK8nMck76v-EQcyWe3YWoSxTDvY6JMtwpJCxmAm2vc7G4pUXuMRJqvUUB1_TiYNIkrKymz4eqZ61aNZMPiRjRwAKDd19JXsHfXrn8tlDthi7IAm2WFNtlJfX5aL2Nk/s400/IMG_2327.JPG" width="400" /></a></div><br />
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2. Next, a quick trip to the router table (with a 1" straight cutting bit) to place a relief on the inside of all the jaws. Right away, the oak gives me more trouble, chattering, and requiring three incremental passes in order to avoid tearout. The maple responds well to one deep pass. I built a cradle to hold each jaw tight to the fence and keep my fingers well away from the bit.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHJgxOwYqQCvI96hdnivaEpe5CUORtcmWMHghS1q-Xtq9q96G4wv6HkbYODSQ_CDDQwVRjfXvOuTY6XBN050qPCDvH2sk0pRU_eJsr81Nl5LI0uTL9doulOOfHNbJQYIOPFlCxht4kOso/s1600/IMG_2328.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHJgxOwYqQCvI96hdnivaEpe5CUORtcmWMHghS1q-Xtq9q96G4wv6HkbYODSQ_CDDQwVRjfXvOuTY6XBN050qPCDvH2sk0pRU_eJsr81Nl5LI0uTL9doulOOfHNbJQYIOPFlCxht4kOso/s400/IMG_2328.JPG" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlhTUZXXTJlsBKJxYKmZE_70AYBM_NJGMIYIl-w506kgndUaBWnWAeebDZwJiTZnU43qrP69Kmlkb13DiUwCAhI3pnFakcE8hufEJluMqLwI-WixBma1Vsl54ELpEyDeFpzu7idpHw9p4/s1600/IMG_2329.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlhTUZXXTJlsBKJxYKmZE_70AYBM_NJGMIYIl-w506kgndUaBWnWAeebDZwJiTZnU43qrP69Kmlkb13DiUwCAhI3pnFakcE8hufEJluMqLwI-WixBma1Vsl54ELpEyDeFpzu7idpHw9p4/s400/IMG_2329.JPG" width="400" /><span id="goog_912457828"></span><span id="goog_912457829"></span></a></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><br />
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3. With the relief cut, I then take the <i>lower jaw</i> to the bandsaw to cut the section that will flex under the pressure of the cam. I leave 3/16" between the relief cut and the cut line and cut back to within 2 7/8" of the back. I drill a hole at the terminus to prevent the piece from splitting.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvjBF9l0_r3dShkZiO2IQVGCce_yQtUAq61JeMik2lxdj4c54ZI16tzMht7u2aywo9sMhyJ3RcxLq33tDO-Xk44Zf-AUNqLZ59g6HlqZVbbif5AwGIDXgB5BTp7b1gOA0cL9JHUAPDk8M/s1600/IMG_2353.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvjBF9l0_r3dShkZiO2IQVGCce_yQtUAq61JeMik2lxdj4c54ZI16tzMht7u2aywo9sMhyJ3RcxLq33tDO-Xk44Zf-AUNqLZ59g6HlqZVbbif5AwGIDXgB5BTp7b1gOA0cL9JHUAPDk8M/s400/IMG_2353.JPG" width="400" /></a></div><br />
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4. Switching to a 5/16" dado blade in the tablesaw, I prepare to cut the curved channel into which the cam lever will ride. I flip the lower jaw upside down and set the height of the blade to just brush against the flexible arm, I want to cut the channel 2 1/2" along the top of this lower jaw. I do this by aligning the overhead fence with the back of the jaw as it just touches the blade. I then mark on my notched push stick a line 2 1/2" back from the edge. I now know that when the mark on the back of the push stick meets the overhead fence I've advanced the jaw the proper distance onto the dado blade. Turn off the saw, wait for the blade to stop and remove the jaw. Repeat this for all of the lower jaws. I also extend the distance that the cam contacts the arm by removing some material with a mortise chisel. This increases the length of throw on the cam arm.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUFc8rekk7_aGUfoImczN9q6b2lTZHvDCtFJgkU7iA5iMlPOHFJLnz1nBmrp4oYrBhGhJcFUsz0AwkHKz4qn2FOA0ejQcM0Iou5_Gccy0cOPUQE0An8eZ-A8a7DWmFLVF29pQdU-WJ98g/s1600/IMG_2333.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUFc8rekk7_aGUfoImczN9q6b2lTZHvDCtFJgkU7iA5iMlPOHFJLnz1nBmrp4oYrBhGhJcFUsz0AwkHKz4qn2FOA0ejQcM0Iou5_Gccy0cOPUQE0An8eZ-A8a7DWmFLVF29pQdU-WJ98g/s400/IMG_2333.JPG" width="400" /></a></div><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMs_P9sD7G3tZMzJ3rd7ecpBmJxqtWufTQB4cFBVRzcKxNYUsrnlsgwvUuF4vaRuWCt6AokCfwhf67Mo1sk-EJgll3p1Qt8j4watmSsaa-E8wJ2lemuBPMWbdBVdDVrppoejimsxFAg4Y/s1600/IMG_2346.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMs_P9sD7G3tZMzJ3rd7ecpBmJxqtWufTQB4cFBVRzcKxNYUsrnlsgwvUuF4vaRuWCt6AokCfwhf67Mo1sk-EJgll3p1Qt8j4watmSsaa-E8wJ2lemuBPMWbdBVdDVrppoejimsxFAg4Y/s400/IMG_2346.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The mortise chisel removes material the cam lever has access to nearly 1" of the flexible arm </td></tr>
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5. I used white oak to create the cam levers. I start with a blank that is 4" x 13/16" x 1/4". I use a 13/16" Forstner bit to scribe a circle at one end. Using a saw, or a file, or a disk sander, remove material until a half circle remains. I then taper the cam arm to a narrower radius at the back end, but this is primarily for aesthetic reasons.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvY_jXLH-2ws81kMpatTdznq1nITiKFuoaI7AsD8e5TNd8ylllTCfFAsRGXKiI3XWa3mU82BwOiIXygbmwQ2RjT33tyM5KXLvk8Zslny12I-vB9NHt7gjwR7wheKQAt1jT0UXh6Yf18JI/s1600/IMG_2342.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvY_jXLH-2ws81kMpatTdznq1nITiKFuoaI7AsD8e5TNd8ylllTCfFAsRGXKiI3XWa3mU82BwOiIXygbmwQ2RjT33tyM5KXLvk8Zslny12I-vB9NHt7gjwR7wheKQAt1jT0UXh6Yf18JI/s400/IMG_2342.JPG" width="400" /></a></div><br />
<span style="font-size: large;"><b>Assembly</b></span><br />
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<span style="font-size: large;"><span style="font-size: small;">6. I start by securing the upper jaw to the bar stock in a little jig that holds the bar at a 90 degree angle. I snug the bar tightly into the kerf</span></span><br />
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<span style="font-size: large;"><span style="font-size: small;">Now, drill the holes at the drill press and drive in the roll pins. It is important, particularly with the steel bar stock, to drill at a medium high speed with little pressure, to keep from bending the bit. This last piece of advice comes from experience.</span></span><br />
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<span style="font-size: large;"><span style="font-size: small;">Attaching the sliding lower jaw to the bar is one of the more crucial tasks in this build. If it is too tight, it will not move up and down freely; if it is too loose, it will require a great deal of throw in the cam arm to get enough pressure to secure the workpiece. Like most tutorials, I use roll pins, placed in a staggered fashion with just enough play in them to allow the jaw to slide. However, my method is a bit different as I secure one pin, check the fit, and then decide whether the friction of the bar against the end grain of the jaw is sufficient for the clamp to operate. If it is too loose, I Install the second pin, protruding only slightly into the kerf to dial in a fit. Here's how I do it.</span></span><br />
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<span style="font-size: large;"><span style="font-size: small;">7. Slide the lower jaw onto the bar and align it so that it is tight to the back of the kerf. Using a small square, mark the back of the bar on the face of the jaw.</span></span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgepLjxmQGxirJoGo1pNqgYJlCoamUgsicv_D55G9Pj3U2_l3UShhaBQ80xKCRhBZnhVISpnXxtuHh_3s5OYQWePSbK3wnxfHKn1KUNMZx7QPGEeWeATUywobJM2JN5PrpGLUvvZrsIAFg/s1600/IMG_2352.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgepLjxmQGxirJoGo1pNqgYJlCoamUgsicv_D55G9Pj3U2_l3UShhaBQ80xKCRhBZnhVISpnXxtuHh_3s5OYQWePSbK3wnxfHKn1KUNMZx7QPGEeWeATUywobJM2JN5PrpGLUvvZrsIAFg/s400/IMG_2352.JPG" width="400" /></a></div><br />
<span style="font-size: large;"><span style="font-size: small;">Drill and install a roll pin so that the edge is against this line (see the photo above.) It is crucial that it is behind the bar and aligned as above. If the clamp gods are on your side, you can slide this on the bar and it will move with the smallest amount of effort. Ideally it will hold its place on the bar when you slide it up and down vertically. If it is too tight, you can remove the jaw from the bar and file or chisel the inside of the kerf until it moves freely. If it is too loose, don't worry, we'll address that in a minute.</span></span><br />
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<span style="font-size: large;"><span style="font-size: small;">8. Installing the cam lever in the slot is best done in one operation (match drilling I think this is called.) It is important that you drill the hole for the cam so that it creates an eccentric circle -- meaning that as you turn the cam lever up, the effective radius becomes larger and it flexes the cam arm toward the opposing jaw. Here's an example of how it looks when completed.</span></span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib6OXKwUZk7lzeSn6g0_FGIhLsj1haLkjf6fG29JrZzcH-hnyHUuhLt-MeuIG6VAKoo9MDZN5-1mXyFmIwk3ZOc-7X3c82WZAJwAhbEtAUYzadS85wYlsOSMftxonkflvTIuMoMTq14W0/s1600/IMG_2344.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib6OXKwUZk7lzeSn6g0_FGIhLsj1haLkjf6fG29JrZzcH-hnyHUuhLt-MeuIG6VAKoo9MDZN5-1mXyFmIwk3ZOc-7X3c82WZAJwAhbEtAUYzadS85wYlsOSMftxonkflvTIuMoMTq14W0/s400/IMG_2344.JPG" width="400" /></a></div><br />
<span style="font-size: large;"><span style="font-size: small;">This is achieved by placing the cam in the slot, with the front of the cam arm even with the front of the jaw. Drill through a spot 3/4" down from the top of the jaw and 5/8" from the front of the jaw. I have my two <a href="http://combraystudio.blogspot.com/2010/12/sunday-toolfoolery-pair-of-japanese.html">shop made marking gauges</a> (kebiki) set to these dimensions for quick marking. Tape it in place and drill on the drill press.</span></span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpQMd073Zz_z3pXaaiMihr7EN_N3ShB0zK9U7WgxPl3gMLwZAUC0wJXcvfsBj8elqj9Nw57Jl0_1zvtWFNnOJJXMgiOt40JTQjVBnT5QjL72L5AkkOqBYP0I3yrIsrBiZLrGYhLxUU988/s1600/IMG_2343.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpQMd073Zz_z3pXaaiMihr7EN_N3ShB0zK9U7WgxPl3gMLwZAUC0wJXcvfsBj8elqj9Nw57Jl0_1zvtWFNnOJJXMgiOt40JTQjVBnT5QjL72L5AkkOqBYP0I3yrIsrBiZLrGYhLxUU988/s400/IMG_2343.JPG" width="400" /></a></div><br />
<span style="font-size: large;"><span style="font-size: small;">Drive through a roll pin, slide it back on the bar, and give it a test run. If everything has worked out, when you slide it together, push a bit on the back, and lift the cam lever, it will push the arm out enough to pinch the workpiece between the jaws with a great deal of force. If it it doesn't, you can trouble-shoot these pretty effectively.</span></span><br />
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<span style="font-size: large;"><span style="font-size: small;"><b>If it fails to clamp:</b> Either the fit on the bar is too loose or the cam lever is not pushing the arm away from the clamp. Check the fit and look at how the bar moves. The easiest fix is to add another roll pin, diagonally and on the other side of the bar on the lower jaw. </span></span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuCkXSFf60stJWWjSAdyMir-brItjUPfmFs9Pxapz9IZdjHlo8gP5Je7Qjy4qkhnJFsMDVM7oJGLGsXQ1CcCReOZKDdlG1vZN_uywi6OPavY-QMywe_PPCUxsCwyoywGH-88eUKuw8qoI/s1600/IMG_2354.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuCkXSFf60stJWWjSAdyMir-brItjUPfmFs9Pxapz9IZdjHlo8gP5Je7Qjy4qkhnJFsMDVM7oJGLGsXQ1CcCReOZKDdlG1vZN_uywi6OPavY-QMywe_PPCUxsCwyoywGH-88eUKuw8qoI/s400/IMG_2354.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The pen points to the second roll pin installed to create a tighter fit on the bar. My roll pins have a funky look because they are 1" long and then ground down at the grinder. It sort of "peens" them.</td></tr>
</tbody></table><span style="font-size: large;"><span style="font-size: small;">The pin should be visible from inside the kerf, reducing its effective width. If it protrudes too far, you can file down the pin from inside the kerf.</span></span><br />
<span style="font-size: large;"><span style="font-size: small;"><br />
</span></span><br />
<span style="font-size: large;"><span style="font-size: small;">If the cam lever isn't moving the arm far enough, tap out the roll pin, remove the cam lever, make another, and reinstall, allowing it to protrude from the front of the clamp when you drill.</span></span><br />
<span style="font-size: large;"><span style="font-size: small;"><br />
</span></span><br />
<span style="font-size: large;"><span style="font-size: small;"><b>If cam lever won't lift far enough to hold its position:</b> It is probably too big or it is making contact with the jaw before it can fully engage. Remove the cam lever and sand a flat spot on the top of the circle. While it is out, remove more material with the mortise chisel to allow it to swing freely.</span></span><br />
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</span></span><br />
<span style="font-size: large;"><span style="font-size: small;">9. Using carpet tape and whatever leather you have sitting around, fashion and attach pads to the business ends of the clamps. I found it easier to attach the tape, then a slightly oversized piece of leather, and then trim with a razor blade to fit, using the sides of the jaw as a template. It's also a good idea to run a file over the edges of the steel or aluminum bar.</span></span><br />
<span style="font-size: large;"><span style="font-size: small;"><br />
</span></span><br />
<span style="font-size: large;"><span style="font-size: small;">The clamps are now complete!</span></span><br />
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</span></span><br />
<span style="font-size: large;"><span style="font-size: small;">So what's the verdict on the make-or-buy decision? First off, I used nearly every one of my stationary power tools to make these clamps, so if you don't have a fully-equipped shop, I'd think twice. Also, it took more time than I thought, but I wanted to get this right, document it and have a zero percent failure rate -- and that I accomplished.</span></span><br />
<span style="font-size: large;"><span style="font-size: small;"><br />
</span></span><br />
<span style="font-size: large;"><span style="font-size: small;">On the plus side, you can't argue with the economics. I spent approx $2.00 apiece for clamps that would have cost around $15.00 each (with shipping) and I've heard some real gripes about quality on the clamps at this price point. I made 20 clamps, so that's around $300 worth of tools. And if you told me I could build my own Lie-Nielsen plane in this time, and improve upon its quality, I'd do it in a heartbeat. </span></span><br />
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<span style="font-size: large;"><span style="font-size: small;">Oh, as I expected, I much prefer the aluminum bar and the maple over the oak and the steel. The maple works more easily and the aluminum is cleaner -- but because it is slick the tolerances on the lower jaw must be tighter in order to grip. Thanks for hanging in there on this long post, and please feel free to contact me if I can answer any questions or if you have any corrections. </span></span><br />
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</span></span><br />
<span style="font-size: large;"><span style="font-size: small;">Cheers!</span></span><br />
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<span style="font-size: large;"><span style="font-size: small;">Next up, the Hammer-Beam Tables begin to take shape.</span></span><br />
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<span style="font-size: large;"><span style="font-size: small;"> </span></span>Christopherhttp://www.blogger.com/profile/03042590412023915722noreply@blogger.com7tag:blogger.com,1999:blog-2951405337023506146.post-77037831414299780742011-11-03T19:01:00.000-04:002011-11-03T19:01:23.178-04:00The Hammer Beam Low Table . . . and Stumbling Through the Design Process<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr7ucRM1uCy3pCaWyAZO4xWmhOI6KGW_RbpoE2-p3w954csEQ6XzD2l6g-NvuFOZAvgwock66h2o2BecoZuACtr4w2KQ2_kBN6umlNZM3rXVTp8B3RnNGbYIcndzFfpNYnSnH-QJKjcpM/s1600/Hammerbeam+Drawing.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr7ucRM1uCy3pCaWyAZO4xWmhOI6KGW_RbpoE2-p3w954csEQ6XzD2l6g-NvuFOZAvgwock66h2o2BecoZuACtr4w2KQ2_kBN6umlNZM3rXVTp8B3RnNGbYIcndzFfpNYnSnH-QJKjcpM/s400/Hammerbeam+Drawing.jpg" width="287" /></a> </div><br />
I would never have become a custom furniture builder had it not been for my time living in the UK. My mind was open, I was surrounded by thousands of years of history, and I was exposed to rich palate of art, design and architecture. And although there were some disappointments (Stonehenge, Marmite, Stoke-on-Trent), there were several things that just blew me away -- The Devonshire Hunting Tapestries in the V&A, Supermarine Spitfires . . . and the Hammer-Beams in Westminster Hall. Built in 1393, this ingenious system of timbers changed the architectural world forever, and made a statement about where England ranked in the medieval world.<br />
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This image has been bouncing around my head for awhile, and as I start to apply this style to a piece I'm working on, it made me think a bit about how I go about designing a new piece of furniture. I'd be interested in hearing how you go about this process as well.<br />
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For me, I think I start by asking myself a series of questions -- not always in this order -- and not usually in quite such an organized way. <br />
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<b>What is the function of the piece?</b> Is it a table, a chair or a desk. Regardless of how creative I want to be, there are conventions that I feel comfortable working within. If I stray too far outside the norm, I move from working furniture, to studio furniture, to contemporary art -- and I don't have the design chops to hang with that crowd. <i>(In this case, it is a low table that can be shipped, flat, and may become part of a "line" of furniture that I debut in September.)</i><br />
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<b>For whom am I making this piece?</b> Is it a custom one-off, or will I want to replicate it. Is it built on spec, for a specific individual, or for myself. This will determine whether I deviate from standard dimensions, keep a build diary, or alter my method of work for replication. <i>(I hope to build again, and it should be robust and appeal to people who prefer arts and crafts style custom furniture.)</i><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4XdAY9hG_5cDnU57Zql9AF1COhyphenhyphen_X4vQOW-7pCdar5rVw7oIKNgzI71Ym5Tk8tz_fi2e9bzFMTuuApP-zcbINrpTHl4H1aHtTX89HFOXzx16Cr8m_Dd3bNoy2-2iJX-lzGjLPCZM3nVY/s1600/IMG_2335.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4XdAY9hG_5cDnU57Zql9AF1COhyphenhyphen_X4vQOW-7pCdar5rVw7oIKNgzI71Ym5Tk8tz_fi2e9bzFMTuuApP-zcbINrpTHl4H1aHtTX89HFOXzx16Cr8m_Dd3bNoy2-2iJX-lzGjLPCZM3nVY/s400/IMG_2335.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">I start with a big piece of paper, a T-square, a ruler, and some idea of what I want to build. This is the base of the table.</td></tr>
</tbody></table><br />
<b>What is the major design element?</b> Whether it stays within a particular genre, or pushes forward a single visual element, it needs (for me) to have a "plot" to it. "This is my interpretation of a Morris chair", or "I'm going for a Usonian credenza look," is enough. I like designs that are fairly singular and can be articulated. <i>(English arts and crafts, Gothic/Gothick, Cotswold's style.)</i><br />
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<b>What kind joinery will be used, and is that joinery part of the design (dovetails) or merely functional?</b> This generally raises other questions about cross grain situations and mechanical fasteners. <i>(modified mortise and tenon, both for function and show, and the design provides some efficiencies.)</i><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1eoTu0h8-oqsFV-GtBxPKNciHylpNFPzi03qcWOg5z0I6HNG-aCGjgDMaHiWKpTjkQNS-p7un1vnXuepSqJbcW_ubbnsJFw6A-xnsLepCpl3DuNRSC1dBSpAhJ4AE0lwQbjvwL684Xpw/s1600/IMG_2337.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1eoTu0h8-oqsFV-GtBxPKNciHylpNFPzi03qcWOg5z0I6HNG-aCGjgDMaHiWKpTjkQNS-p7un1vnXuepSqJbcW_ubbnsJFw6A-xnsLepCpl3DuNRSC1dBSpAhJ4AE0lwQbjvwL684Xpw/s400/IMG_2337.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The bending strip allows me to play with the curve using nails to adjust and hold the bend in place.</td></tr>
</tbody></table> <b>Is this a machine project or a hand tool project?</b> My work seems to be primarily one or the other (with obvious exceptions.) Before I start, I want to make sure that I have the proper tools on hand. (Alas, it is another machine project, but there is some hand work.)<br />
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<b>Can I visualize the order of operation?</b> I always get into trouble if I don't thickness all relevant stock at the same time. Also, if there is a fussy machine set-up or cobbled together jig, I want to do it once and move on. (It's pretty straight-forward.)<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdKPv9ybKFxJZrJiwXRqiBPuFv0G2brFYLGdj1jVUSm8U4UFjjGUG7ZyBURIyPR6yg7mprD_eMozZntoahazHF6JoVY-cxSAGnGI2oMNLZN4lxymwUbfsPMU9vUbg0QrRuKmAikOwNj18/s1600/IMG_2338.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdKPv9ybKFxJZrJiwXRqiBPuFv0G2brFYLGdj1jVUSm8U4UFjjGUG7ZyBURIyPR6yg7mprD_eMozZntoahazHF6JoVY-cxSAGnGI2oMNLZN4lxymwUbfsPMU9vUbg0QrRuKmAikOwNj18/s400/IMG_2338.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Once I like the bend, I create a 2 3/4" radius circle out of fibreboard that allows me to trace a line 2 3/4" away from the curve to create a design element.</td></tr>
</tbody></table><br />
<b>Do I need to create a drawing (probably), make some templates (usually) or build a mock-up?</b> (not that often) <i>(Absolutely jigs for the curved bits, and a drawing from which to make templates.)</i><br />
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<b>What wood will I use?</b> Which prompts the question, "How will I finish this piece?" If the wood is particularly pricey, I may actually opt to do the mock-up. <i>(Oak, with QS Oak or Pippy oak on the top.)</i><br />
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</b><br />
<b>What will be the biggest challenge?</b> There is usually one part of the gig that wakes you up in the middle of the night. If I'm in game-shape, and in my stride I may start with this to ensure that I can do it properly -- then everything is downhill sledding. Or, I may want to refresh those skills on another part of the project and "work myself into shape" before I tackle the line of dovetails or that turned leg. <i>(Bread board top. It's not too difficult, just time consuming.)</i><br />
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<b>Is this piece "The One"?</b> Every artisan that I admire must have made his or her first signature piece without knowing that it would define their career. Can I see the potential for something important in the midst of the inevitable frustrations of a first build. <i>(Who knows, but I do think there is a theme upon which I can expand.)</i><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilTRL3dCI6d-wVqQebASex7ocksnEVun6cL7wo_xHArtn3RXGp7ZgM0b0IuzCqwyPMSiQMPF5E4aEVoRkmDYTIDLPFXV-snDz1pO-gmOXE7d8KUIj9K-PfK1LFbqUe06QC05HBpTfMS_k/s1600/IMG_2339.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilTRL3dCI6d-wVqQebASex7ocksnEVun6cL7wo_xHArtn3RXGp7ZgM0b0IuzCqwyPMSiQMPF5E4aEVoRkmDYTIDLPFXV-snDz1pO-gmOXE7d8KUIj9K-PfK1LFbqUe06QC05HBpTfMS_k/s400/IMG_2339.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A sneak preview of the bottom portion of the table leg. This is the only part of the design that I feel is complete.</td></tr>
</tbody></table><br />
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Cheers! - And let me know about your design process!<i><br />
</i>Christopherhttp://www.blogger.com/profile/03042590412023915722noreply@blogger.com4tag:blogger.com,1999:blog-2951405337023506146.post-60538968501734360122011-10-29T16:23:00.000-04:002011-10-29T16:23:55.575-04:00Tele Style Guitars from Scratch -- The Double Bound Tiger Sycamore Version<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYS1Zep9nCM1L6DjYTKOglSViQZNFTYAdbk5-UZop5y-vP07VW3Ha_qZMyXYBR5KTF1pst8COuL5lcaheQp7FhiVTEaG4XVv7b9cbzsqyMCNFC_JgOPJzgO0Ep9Xrb9ZIeWF_G3XoiDLA/s1600/IMG_2319.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYS1Zep9nCM1L6DjYTKOglSViQZNFTYAdbk5-UZop5y-vP07VW3Ha_qZMyXYBR5KTF1pst8COuL5lcaheQp7FhiVTEaG4XVv7b9cbzsqyMCNFC_JgOPJzgO0Ep9Xrb9ZIeWF_G3XoiDLA/s400/IMG_2319.JPG" width="400" /></a></div><br />
I know that autumn has arrived when I pick up the guitar. It starts with playing through my journeyman renditions of Beatles, Roy Orbison, and Van Morrison tunes, and ends with me trudging through several pages of various jazz guitar books. "Now is the time to get that band together, start playing out. If I really push, I'll be stage ready in less than a year, I'll only be XX, and who knows what will happen." The fantasy generally ends when the daffodils come up in the spring.<br />
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But along the way, I always entertain thoughts of becoming something of a luthier -- and it seems that this road starts with solid body electric guitars. A couple of years ago I made a Telecaster style guitar for my daughter from a <a href="http://www.grizzly.com/products/Telecaster-Guitar-Kit/H8068">Grizzly kit</a>. It turned out well, and somewhere along the line I made a few neck-building jigs. But alas, something shiny caught my attention and I moved on to another obsession.<br />
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So now, at least for a while, I'm tilting at the luthier windmill once again. First, let me say that everything I'll talk about, and much, much, more is available in detail on the excellent <a href="http://www.tdpri.com/">TDPRI</a><a href="http://www.tdpri.com/"> </a> site. It includes a robust and active forum on all things Tele-building, and the members are quite eager to share their expertise.<br />
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My project starts with some walnut that I had gathering dust, and a short piece of figured sycamore that I picked up at my supplier. I'm building two bodies simultaneously since the first may end up being sacrificed to the learning-curve gods. After downloading the acknowledged best <a href="http://terrydownsmusic.com/Archive/tele_body_drawing_revD.pdf">template</a> (quite generously developed/drawn/posted by Terry Downs and used by nearly everyone) I set about building the templates that will allow me create the finished product, <br />
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I first glue the paper printout to posterboard, cut this out, trace to and cut 1/4" plywood. This is sanded and adjusted and finished until you are happy with the pattern. From this you trace and roughly cut a 3/4" plywood version. Finally, using a 1/2" bearing bit, use the 1/4" version to make your exact body replica that is 3/4" thick. For me, this chunky template is the easiest from which to work.<br />
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You will also need a second template from which to rout the cavities for the pick-ups, controls, and neck mount. You really must make this second template since it must be over-sized to accommodate the router to cut the neck pocket. I also made a third template from which to cut and f-hole for a <a href="http://www.tdpri.com/forum/tele-home-depot/213518-tele-templates-standard-thinline-double-f-hole.html">thinline version</a>.<br />
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I start by drawing the outline onto my stock and cutting on the bandsaw. I then attach the template to the stock, via screws that attach in areas that will later be routed out for neck and pick-up cavities, and rout to final shape. BEWARE . . . even with the very big 1/2" template bit, you must follow proper downhill routing techniques around corners to avoid catastrophic tear-out. There are spots where climb-cutting is appropriate, but hold on as this bit is a monster and can throw your piece across the room. Once complete, I set this aside.<br />
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I then resaw, bookmatch, and glue up the sycamore caps. These just fit in my drum sander and it makes short work of truing the 1/4" "veneers." I did hit one detour, however. A standard Telecaster is approx. 1.75" thick, and I only took into account one 1/4" cap in the thickness. This meant that the body needed to go back into the planer to remove another 1/4". By placing the body on a sled, and attaching blocks at the front and back to stop any snipe, I was able to run it back through the machine. I don't, however, recommend this "out of sequence" plan unless you are feeling lucky.<br />
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Once dry, the sycamore is rough cut and glued to the faces of the walnut body. <br />
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Out of the clamps, it starts to look like a guitar. I'm now at a fork in the road. I could (1) rout the edges and install a cream colored binding, or I could (2) mask the lighter sycamore edges and finish creating a "faux" binding, As my brain hurts from all this research and thinking, I'm going to sleep on it for a couple of days.<br />
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BTW, I'm also looking to begin studying, in earnest, the steps for building an acoustic guitar. In order not to post too many things about guitars, I'll chronicle these projects in fits and starts -- mixed in with a couple of commissions I have on the boil.<br />
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Next up, routing cavities and building a thinline body.<br />
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Cheers!Christopherhttp://www.blogger.com/profile/03042590412023915722noreply@blogger.com8