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February 2008

Volume 19 No. 3
Hand Cut Sliding Dovetails
preparing thin stock
The
E GUILD OF
TH
E WO O
HIR
DW
W HA MPS

OR K E R S
NE •

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

mock-ups
calculating board feet
sculpting a contemporary leg
Feb 2 BIG finishing for woodturners
Feb 16 Guild Meeting three phase motors
… Homestead in Newmarket, NH beginners corner
Mar 15 Guild Meeting shellac
… New Event
… Sylvania in Danvers, MA
Mar 9 Luthiers
… New Date
Mar 22 GSWT
Apr 5 BIG
Apr 19 Finishing Symposium
May 10 Period Furniture
May 18 Luthiers
May 24 GSWT
Jun 7 BIG
Jun 14 Summer Trip
Jul 26 GSWT
Aug 2-10 NH Craftsmen’s Fair

Building a Guitar
John Whiteside – lessons in lutherie and life

photo by John Whiteside


president’s message by Dave Anderson

Day Dreaming
A t times we all have an idea or two
that rattles around in our heads half
formed for months and which seems to
Do some of the following behaviors
seem familiar to you?
license, birth
certificate, or
last year’s tax return if your life
come back to us at the strangest times. 1 You spend days, weeks, or even depended on it. Every design note,
You know what I mean, you’re supposed months debating which $25 measurement, tool users manual,
to be paying attention to something else woodworking widget to buy – Yet and copy of The Old Saw is filed
but the train of thought keeps persisting. you pick out your spouse’s $500 and indexed neatly.
When it is about woodworking it’s mostly Christmas present in about half 6 You have a lot of yard work to
considered harmless day dreaming. Such an hour. do, but you’re hoping it will rain
is the case here. 2 You silently debate with yourself so you can spend the day in the
My train of thought was really a over whether you should spend shop.
series of questions about why we do the $5 per pull for the drawers or 7 Your spouse is afraid to take you
strangest things related to working with whether you should get the out looking for furniture. By
wood in relation to our everyday life. I expensive ones at $7.50 each for previous experience she knows
guess I should start out with a personal that high chest. You already spent your going to embarrass her by
example. My wife has trouble getting $400 for the wood and have about stating that “you could build it
me, and I have trouble getting myself, 200 hours in the project. better and cheaper” and then
to go shopping for clothes – even for 3 You can’t find time to take out the you’re going to get down on all
something so simple as a few pairs of trash for pickup, but you can find fours and crawl around looking at
socks where I could be in and out of the time to spend most of a day at a the underside of the piece.
store in less than half an hour. Contrast guild meeting without feeling the 8 The mailman arrives and drops off
this with the fact that I drove three hours slightest bit of guilt. the day’s mail. After you go get
up and three hours back to attend the 4 All of the chisels, plane blades, it, you ignore the bills, what you
Lie-Nielsen 25th Anniversary and spend carving tools, and saws in your know is a birthday card for you,
a whopping $100. The absurdity comes shop are razor sharp – sharp and dive immediately into the
when I know that I could have spent the enough for use in surgery. Your latest woodworking magazine.
same amount for the same tool (also a kitchen knives would have trouble 9 Your wife pointedly mentions
Lie-Nielsen) locally with a short round cutting through a marshmallow. to the folks touring your shop
trip of an hour. 5 You couldn’t find your marriage Continued on Page 3

Steering Committee
President Dave Anderson 603-887-6267 dsachester@gsinet.net
Vice President David Frechette 802-633-2561 dfrech@together.net SubGroups
Secretary Caleb Dietrich 603-556-1629 calebd356@yahoo.com BIG Bob LaCivita 603-942-1240 rlacivita@metrocast.net
Treasurer Peter James 603-435-8133 cpjvkj@metrocast.net Granite State Woodturners Jon Siegel 603-768-5882 big@proctornet.com
At Large Peter Breu 603-647-2327 peterbreu@comcast.net Luthier John Whiteside 603-679-5443 johninfremont@comcast.net
At Large Jon Siegel 603-768-5882 big@proctornet.com Period Furniture Mike Noel 603-744-3821 mnlwoods@netzero.net
At Large Bob LaCivita 603-942-1240 rlacivita@comcast.net Period Furniture John Faro 603-968-9800 jff960@metrocast.net
At Large Andy Young 603-672-9558 amy26boston@aol.com
At Large John Whiteside 603-679-5443 johninfremont@comcast.net
Volunteer Positions
At Large Ed Orecchio 603-542-0322 ejorecchio@verizon.net
Old Saw Editor Jim Seroskie 603-673-2123 jseroskie@verizon.net Books Tony Immorlica 603-673-9629 aaijr@comcast.net
Past President Roger Myers 603-773-9634 strathamwood@comcast.net Membership DJ Delorie 603-463-5996 dj@delorie.com
Programs Sal Morgani 603-772-1006 kamstamper@aol.com Old Saw Mailing Syd Lorandeau 603-542-5295 slorandeau@verizon. net
Shirts/Hats Peter James 603-435-8133 cpjvkj@metrocast.net
Scholarship Committee Small Meetings Ed Orecchio 603-542-0322 ejorecchio@verizon.net
Chairman Peter Breu 603-647-2327 peterbreu@comcast.net Sunapee Fair Coordinator Open Position
Member David Frechette 802-633-2561 dfrech@together.net Sunapee Raffle Coordinator Jim Dimick 603-228-1131 ejdimick8@gmail.com
Member Ed Bartlett 603-364-5242 erbart@metrocast.net Video Librarian John Pitrone 603-894-5893 jpitrone@verizon.net
— Please send all applications to Peter Breu, Selection Committee Chair Video Recording Peter Bloch 603-526-6152 peterbloch@adelphia.net
In addition, Peter Bloch and Bob Jarrett are non-voting members Web Master DJ Delorie 603-463-5996 dj@delorie.com

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

2 The Guild of New Hampshire Woodworkers


announcements
The meeting will begin at 9:00 am,
with the lighting presentations starting
Februrary 16th, 2008 – 10:00 am March 15th, 2008 – 9:00 am around 9:30. There is plenty of parking
available on site, and a large area where
February Guild Meeting March Guild Meeting you can eat your lunch between the
morning and afternoon session. You
at the Homestead at the Sylvania Corporate should bring your own lunch or there
School in Newmarket, NH Headquarters in Danvers, MA are several nearby places to grab a

T O
bite. Topics for the afternoon session
he next Guild n Saturday, March have not yet been determined. You are
meeting 15, the Guild will also welcome and encouraged to bring
will be held have a special meeting on samples of your recent work to display.
February 16 at the subject of lighting for There will be plenty of chairs, so there is
the Homestead the workshop and studio. no need to bring your own.
Woodworking This meeting will be held in lieu of If you have any questions or topics
School in the small group meetings that would you would like to see addressed, feel free
Newmarket, normally be scheduled in March. to contact Roger at 978-239-7654 or by
NH. The session The meeting will be hosted by osram e-mail at strathamwood@comcast.net.
will run from sylvania at their North American
10:00 am until Headquarters in Danvers, MA. The
noon, followed meeting, which will be hosted by Roger Directions to Osram
by lunch from Myers and will take place in Sylvania’s Sylvania in Danvers, MA
noon until state of the art “Lightpoint” customer
1:00 pm, then a continuation of the education and meeting center. Presenters • Interstates 93 or 95 south to Rt 128.
presentations. will include Bob Nigrello, Group Product Take Rt 128 North to the Endicott St
Please bring chairs and don’t forget Marketing Manager and Jeff Waymouth, exit.
your lunch. Do to the tremendous Senior Applications Engineer. Topics
success at the last Guild meeting, we ask will be product and technology specific
• At the end of the exit ramp, turn
you once again to bring a project to the and applicable to all brands of lighting left and Osram Sylvania is the first
meeting, either one you are working on – although Roger appreciates when you building on the right.
or one completed. It was a great way to purchase Sylvania.
• Park in the main parking area and
see what others are doing and to give us The lighting presentation will
some inspiration. focus on lighting topics of interest to enter the building through the front
Continuing our theme of workshop woodworkers. What type of lighting is (100 Endicott Street) entrance and
related lectures, our main presenter for best? How much lighting should I have in follow the signs to “Lightpoint”.
this meeting will feature Casey Hallowell, my shop or gallery? How do the different
a representative from Lie-Nielsen who types of lighting affect how colors look?
will discuss workbenches. These are subjects that seem to generate President’s Message – continued
a lot of questions from woodworkers in
discussions on on-line forums and in for the first time that your shop
Directions to Homestead magazines, and the subjects are generally cabinets are better than the ones
Woodworking School not handled very well. Here, you will she has in the kitchen. Ouch!!
in Newmarket, NH have the chance to listen to lighting 10 Then finally there’s that small
experts explain the facts about different matter of the table, or other piece
• From Rt 125 north, turn right onto types of lighting and lighting design, of furniture, you promised your
Rt 87 in Epping. After 3 miles, turn and ask questions. You will also be able wife you’d build her three years
left onto Bald Hill Road. The school to see many different types of lighting ago. The first piece of wood has
displayed in room settings and observe yet to be purchased.
is 1.1 miles on the left. the differences between different types
• From Rt 108 south, turn right onto of light sources such as incandescent, Well friends, you get the general idea
Rt 152 in Newmarket. Go past the halogen, fluorescent or led. You are I’m trying to convey. I’m sure that you
encouraged to bring samples of finished all could come up with a list of your own
high school and turn left onto Grant
woods to observe them under different which would tell tales on yourself. Isn’t it
Road. After 3.5 miles turn left onto light sources and see why sometimes amazing the kinds of things we do and
Bald Hill Road. The school is 0.5 what you saw in the shop looks different the way we have these fun foibles. Work
miles on the right. when it is in the living room. safely folks.

The Guild of New Hampshire Woodworkers 3


Write to jseroskie@verizon.net with your questions 4

Q Lathe Alignment – I have a


rotating head stock. How do
I ensure alignment when I rotate it
Marty Milkovitz replies: It will not
raise the grain when applied, basically
it’s not water based.
Q Mahogany – I understand
that mahogany is considered
an oily wood. What is the best glue

Q
back to align with the bed? – David to use for joints in mahogany and
Belser Removing Acetone Stain – is special cleaning needed before
How do I get an acetone (nail gluing? – Bob Jarrett
DJ Delorie replies: The most reliable polish remover) stain off of a cabinet?
easy way is to chuck a length of wood – David Belser Terry Moore replies: I would not
into it, and turn on the lathe at low consider mahogany an oily wood. Teak
speed. You’ll be able to see the center of Terry Moore replies: Acetone is not and rosewood, yes, but not mahogany.
rotation on the free end, and decide if it a stain, it is a solvent. Unfortunately, it For interior work such as furniture and
needs further adjustment. has not stained the cabinet in question, cabinetry, regular yellow wood glue such
However, you can also experiment it has melted the finish. The acetone is a as Titebond works well. For exterior work
with various “push here” techniques strong fast drying solvent that will attack such as boat building or say an entrance
to see if one of them just works. For any finish such as lacquer, urethane, oil door, epoxies or urethane (gorilla) glue
example, on my lathe, the back edge or varnish. If you know what the finish would work better. In either case, no
of the slot guide is properly aligned, so is, you may be able to spot sand it and special preparation is needed beyond
if I push the headstock away from me re-apply some new finish. Good luck! sanding and dusting.
while tightening, it tends to be properly
aligned. Marty Milkovitz replies: You don’t. Jon Siegel replies: Mahogany is not
You can also purchase alignment jigs, If the blemish is not too deep, you can an oily wood and requires no special
like a rod with a Morse #2 taper on both try rubbing it out with emery paper glue or methods.
ends, to help align the headstock to the progressing to smaller and smaller grits.
Marty Milkovitz replies: Mahogany

Q
tailstock. If you happen to have a pen
turning mandrel, or three-buff mandrel, Vacuum Bag – Is there a is probably the least oily of the oily woods,
those can be used as well. In that case, simple, cost effective vacuum It glues well with any glue intended
there’s often no need to turn the lathe bag process for gluing and clamping? for wood and other than making sure
on if the mandrels are accurate enough – Harvey Best the surface is dry, bare wood does not
and properly seated in the taper. require any sort of cleaning. Of more
Terry Moore replies: The question

Q
concern is selecting the right glue for
NGR Stain – Please explain is gluing what? Gluing veneer is best the job. For general indoor projects I use
NGR stain. – Bob St. Laurent accomplished using a vacuum bag. an Aliphatic Resin glue (Yellow glue);
Some curved forms can also be used in a outdoor or marine I’ll use a Resorcinol
Terry Moore replies: Non Grain vacuum bag for re-sawn lamination work. Resin or Urea Resin glue. If you are a
Raising stains use a different solvent Most of the guitar making factories use a purest period furniture maker, use Hide
for the pigment. Water based stain uses small vacuum press to glue the braces to glue. The book Gluing & Clamping by
water as the solvent for the pigment, and the top and back of the guitar. In certain Patrick Spielman is probably the best
applying water to wood raises the grain circumstances a vacuum bag is fine, laymen’s guide for the different types of
and makes it rough to the touch. Alcohol but it is not an economical alternative glue application.

Q
base stains use alcohol as a solvent, but to a pipe clamp for pulling together a
there is still a percentage of water in the mortise and tenon joint. Dividing Burl – How should
alcohol solvent, so it will also raise the I made my own first vacuum system I divide a burl into sections for
grain slightly when applied. by gluing together a vinyl bag, and using bowls. I want to maximize the burl
NGR stains use a lacquer thinner an old hospital vacuum pump. It worked especially the large circumferential
base, or similar solvents that make up ok. I finally broke down and bought burls. – Ed Orecchio
what we commonly call “lacquer thinner”, a commercial system from Vacuum
and these carry the pigments, dry faster Pressing Systems of Brunswick, Maine. Graham Oakes replies: Burls can be
and do not raise the grain because there It is an investment, but it is also a much very difficult to divide into sections. The
is no water in the solvent. better system. Continued on Page 7

4 The Guild of New Hampshire Woodworkers


Ted Blachly makes furniture in Warner, New Hampshire

Mock-ups by Ted Blachley

I have been involved with generating furniture designs


that are personal in nature for a number of years now.
The shapes and forms in the pieces appeal to me.

I notice certain elements or details that keep showing up in


the sketch papers – and maybe evolving there. The influences
at this point are sometimes hard to track. Sure I appreciate
certain styles or techniques – Japanese woodworking, Danish
furniture or New England pine furniture for example. These
things may come into play when designing and making a piece,
but there is so much more.
One quote that sticks in my mind from an early Guild
meeting on design was from my good friend Jere Osgood. He This is not, at least for me, an A B C…1 2 3 sequential
was talking about the sketch book and said “It was a place process. I work all four at the same time until I get the final
to record things that were important to you…which could be design. Typically it starts with a sketch and then a scale drawing.
anything from a Hepplewhite leg design to the Wind blowing But if I get to a point where the drawing isn’t answering a
around a corner’’ — Well there is a wide range of things question, I’ll switch to making a full scale mock-up to really let
between those two ideas! me see what’s going on. For the joinery and details I’ll go back
to the drawing board. If a complicated drawer hanging detail
What I want to talk about is the design process. There is a crops up, out comes the sketch papers to help me see it. It’s all
class that is run at the Center for Furniture Craftsmanship in about getting your questions and concerns answered as you
Rockport, ME that I have been co-teaching for a number of make your way through.
years called Design and Craftsmanship. I first taught it with Sometimes I’ll have some nice wood that I’ve paid a few
John McAlevey, then Ross Straker from Tasmania, David dollars for. If I first make a full scale mockup of a leg, section,
Upfill Brown and most recently with Jere Osgood. or even the whole piece in inexpensive spruce or pine, I can
It’s an interesting approach because the students get check the shape and scale of the piece. Mock-ups are fun and
viewpoints from two makers which sometimes makes for a go fast. Forget the joinery. Pull out the glue, screws and nails
lively discussion. For the design section, we relay our individual and render the thing in an afternoon. It’s better than building
process and help the students to develop their own from the whole project in your beautiful wood then stepping back
conception to building a piece of furniture. Generally we and saying “I wish that table apron was 1/2˝ narrower”.
highlight the sketch book, scale drawings, mockups and a full- Below is a sequence of mock-up and “real life” testing of a
scale shop drawing to get them building the piece. 5´6˝ diameter dining table.

The Guild of New Hampshire Woodworkers 5


by Joe Barry

Calculating Board Feet


how the James Bond formula can help terminate calculation problems

C alculating board footage is one of the biggest headaches in woodworking. Many


of us have just gotten fed up with it and gone to the lumberyard and guessed at
how much we’ll need.
T he James Bond formula is an easily
remembered formula that provides a
quick and easy way to calculate board
The inevitable result is either too little or too much material. Buy too much and footage.
you can have some very pricey material collecting sawdust and representing capital
that could have been better utilized. Too little material presents issues with availability • All dimensions (thickness, width and length) are
and matching what you already have. Commercial grading of the oaks, for example, expressed in inches. This reduces the chance for
considers fourteen different species of oak as Red Oak. If the last load was mostly error and is easily remembered.
Northern Red Oak and the new load is Black Oak you may well have matching issues. • Multiplication is by 0.007 (thus, James Bond
The board foot is the measure used to sell wood. It represents 144 cubic inches formula). There is no confusion of whether
of material. The basic board foot is a piece of wood 1˝ thick, 12˝ wide and 12˝ long. division is by 12 or 144 or any other number.
A 2˝ x 6˝ x 12˝ piece is also just one board foot because it has the same volume. You Use of 0.007 is easily remembered. By the way,
calculate this by multiplying the thickness by the width and by the length. multiplication by 0.007 is the equivalent of
The headaches come from the formulas for computing board footage. They mix division by 144.
inch and foot measurements in a manner guaranteed to produce both confusion and • The calculations are easily done with a hand
error. The standard formulas are as follows: calculator with simple multiplication. The
Engineers among us would also note that an
Method #1: Board Feet = Thickness (inches) x Width (inches) x Length (feet) Excel spreadsheet could also be set up to do the
12 calculations once you put in the dimensions.

Note the use of feet in the length dimension. The following formula eliminates I like to take the next step and make
the need for that confusing mix of dimensions. my cut list to include the board footage
calculations. The table below shows an
Method #2: Board Feet = Thickness (inches) x Width (inches) x Length (inches) example of a cut list for a simple cherry
144 table.
Once the dimensions are filled in
There are a couple other formulas for computing board footage that get even more (inches only), you just need to multiply
complex with the dimensions expressed as feet. Having to use either a fraction or
decimal equivalent to express measurements of less than a foot seems to be excessive
from my point of view.

Cherry Table Example — Cut list & pricing


——— Multiply for Total BF ——>
Part Name Qty T˝ W˝ L˝ Multiplier Total BF Plus 20% 4/4 5/4 6/4 8/4
A Top 1 1.5 24 72 0.007 18.14 21.76 21.76
B Legs 4 2 2 30 0.007 3.36 4.03 4.03
C Apron, short 2 1 3 20 0.007 0.84 1.00 1.00
D Apron, long 2 1 3 68 0.007 2.85 3.42 3.42
Total Board Feet 4.42 — 21.76 4.03
Cost per Board Foot – Cherry $4.50 $4.85 $5.15 $6.50
Total Cost (Total BF x Cost per BF) $158.14 Total $19.89 — $112.06 $26.19

6 The Guild of New Hampshire Woodworkers


Calculating Board Feet – continued
across to get the board footage per piece. tallied when computing what you need cost you about $35 less and walnut will
The right hand columns allow you to to buy and bid on this job. almost double the materials cost.”
tally the total number of each thickness Some woodworkers will further use Given the go ahead, you can now go
required. this number to price the job by either to the lumberyard with your cut list in
In doing drawers and other pieces multiplying the total by a factor of 3 hand knowing that you need about 5 BF
that require less than 1˝ in thickness, ($474.42); 4 ($632.56); or 5 ($790.70). of 4/4, 22 BF of 6/4 and about 4 BF of
I usually cheat on the calculations This method is simple but fraught with 8/4. It should cost you $150-$200.
and treat it as if it were an inch. Since the possibility of under pricing. It doesn’t If this still seems to be too much work
multiplication by 1 doesn’t change take into account your overhead (heat, there is a book of tables on the market.
anything I usually will skip that step and lights, rent, etc.) or how complex the job Simply Board Feet: The Definitive Guide
only multiply width, length and 0.007. may be and the total hours required. to Lumber Calculation by Douglas E.
Of course we don’t live in a perfect In bidding a job, having these numbers Maxwell is available in paperback for
world. There will be wastage as we select does make it easier to present a bid with $9.95 at Amazon.com. It has tables for
for figure and defects. Generally, a 20% alternatives. You can easily calculate the material ranging from 1 to 25 inches
wastage is used in planning. You can add same total price using the current prices wide; 1-20 feet long; and 1-4 inches
a column to the table or just multiply for other species. That would allow you thick. That should meet the needs for
the Total BF column by 1.2 to arrive at to answer your customer’s questions with almost all woodworkers.
the total number. alternative prices for a change in species.
The above information can now be “Well, oak is currently cheaper and will

Ask This Old Saw – continued


reason for this is that no two burls are wood. Your bowls will come out much Scholarship
alike. Some burls are a lump on the side
of the tree, and others wrap all the way
better if the burl is cut lengthwise thus
eliminating the pith.
Committee Report
around the tree and these are the kind
that give the most problems. The key to
dividing a burl into sections is to keep
Another point to remember is that
burl wood is highly reactive and can
crack, split and warp in a matter of
T he scholarship committee
recently approved three
scholarships and one grant.
two things in mind. seconds. When people ask me about A $200 grant was made to
First is that you cannot have the pith turning burl, I tell them two things the Period Furniture group to
of the tree in your finished bowl, unless – don’t get discouraged and just keep defray some of the costs of a
the burl is completely dry, which takes turning. Happy turning. special guided tour of Strawbery

Q
a very long time. The second is that you Banke. Three scholarships of $400
never know what you are going to find Allergies – With specific each were made to John Keeling
on the inside of the burl. Taking apart allergies aside, are there (working with Garrett Hack at the
the burl requires a person to visualize species of wood that are known to Shelburne Art Center in VT), Phil
where the bowl is inside the burl and cause more serious acute and/or long Gamache (to study with luthier
then make cuts to extract the piece. term health issues? – Caleb Dietrich Alan Carruth) and Donna Zils
Something I have noticed about Banfield (to work with JoHannes
burls is that most have natural veins Marty Milkovitz replies: Many of Michelsen learning to turn a
running through the wood that help a the tropical exotics contain resins that wooden hat).
person decide where to cut. When I cut are irritants to the mucus membranes By the time you read this, the
a burl, I strictly follow these veins which and respiratory system. In fact OSHA scholarship information and
can usually be seen on the surface of the considers air-born wood dust above a applications should be on our
bark. certain level to be a carcinogen. Of all website. Please check it out and
One mistake many people make the ones that are commonly used, I have consider taking a class!
when trying to turn large burl bowls is found that the fine dust from cocobolo Applications are now due a week
they cut the burl directly in half sideways to be the most irritating. In fact it is the following any regular guild meeting.
and turn a large bowl that has the pith of only wood that I have any reaction too, Peter Breu – Chairman:
the tree running through it. This kind of including poison ivy. peterbreu@comcast.net or
bowl looks great but it most likely will 603-647-2327
crack badly because of the pith in the Continued on Page 13

The Guild of New Hampshire Woodworkers 7


by Bill Thomas
have about a one in six bevel, which
translates to approximately nine degrees.
This bevel is made with a dovetail plane.
When I wrote the original article in
FWW, they also published a sidebar
article on making a dovetail plane. A
dovetail plane is the essential tool to
cut this joint. I made mine from an old
skew rabbet plane. A matching angle
guide block is needed, and this is made
by transferring the bevel angle of the
dovetail plane to a bevel square and
then planing a long edge of the block to
that angle. The other side of the block
is planed square and is used as a fence
for planing the dovetail on the end of
the shelf.

Hand Cut
The original shelves in question
were about 3´ square and 6˝ deep with
the parts made from stock 9/16˝ thick.
The design was very traditional with
the widest shelves at the bottom and

Sliding Dovetails
It is faster to cut sliding dovetails by hand than with a jig and a router.
two step backs with narrower shelves
towards the top. I have since made
several sets of a reduced size – 2´ square,
4˝ deep and 1/2˝ stock. This is the size of
the shelves we will make here.

W
These shelves are the perfect use for
ay back in 1989, I wrote an article on cutting sliding dovetails by hand. It was that one highly figured board that you
published in issue #79 of Fine Woodworking Magazine. A companion article have been saving but isn’t enough for a
on making a set of hanging shelves was not published, even though it was the original larger project. In this case I had a single
genesis for the topic since the shelves were held together with sliding dovetails. board of blistered maple that was just
I had been asked by a client to copy a set of shelves. At the time there had been enough stock for the shelves. I started by
very little written about making sliding dovetails. So I felt that it was time to remedy milling everything to 1/2˝ thick. I did that
the situation.
One of my main contentions when I wrote the original
article was that it is faster to cut sliding dovetails by hand than
with a jig and a router. In over twenty years of using the joint, I
have never found any reason to change that opinion. I will be
clear that I use a router to cut the basic dados for the shelves,
but the beveled side of the dado is trimmed by hand with a
chisel and guide block. I have done it with a router and dovetail
bit, but in this case the dado is so narrow at the front that it is
impractical. There are dovetail bits made that are that small, but
they are expensive and break in a very short time. Dovetail plane and guide block
Sliding dovetails, like other types of dovetails generally

8 The Guild of New Hampshire Woodworkers


Routing dados

Smoothing front edges

Finished tapered dado Paring bevel with chiesel

Finished paring Cleaning dado with router plane

The Guild of New Hampshire Woodworkers 9


Finished ends

Difference between tapers

in several stages because removing on the end of the shelves for the
that much thickness from a 4/4 male part of the dovetail, and a
board is an invitation to bowing. cutting gauge will make that line
The stock could be re-sawn from cleanly. Next, I scribe the lines of
thicker planks, but again, giving it the top edge of the shelves across
time to settle is important. the inside faces of the ends to the
Once the pieces are milled to front. Then I carefully bring that Scribing for the dovetail
dimension, they are sorted into line across the front edges to the
shelves and upright ends. I like to 5/16˝ depth remembering that if I
match the ends if I can. The two run over the end of the line, it will
ends are ripped to final thickness show.
and the details of the decorative The angle is scribed with a
step backs are scribed onto their bevel square onto the back edge
faces. After sawing out the profiles of the stock for each dovetail. The
they are clamped together and lower bottom corner is set at 1/2˝ –
the front edges are smoothed the thickness of the shelves.
together to ensure uniformity. The next question is how much
At this stage, the inside faces of do the dovetails taper from the
the ends are scraped and sanded back to the front? In this case there
smooth because any change in the are three different shelf widths
thickness of the ends after doing which means there are three
the joinery will make the dovetails different tapers. This is actually
loose. irrelevant. As I pointed out in the First trial fit
Now it is time to lay out the original article, the advantage of
dovetail dados on the two ends. I planing the dovetail to fit is that
start by scribing a line across the different tapers are not a problem.
back edge of the ends at the top As a rule I leave the narrowest
line of each shelf. Then I decide part of the dovetail-at the root
how deep the dovetails are going of the front edge-at least half the
to be. In the case of 1/2˝ stock, 5/16˝ thickness of the shelf stock. In this
is about the right depth. I set a case that is 1/4˝. I mark out the 1/4˝
cutting gauge to this depth and width on the front edge and then
scribe a bottom line on the back of lay a straightedge across each end
the stock extending 1/2˝ down from and carefully scribe the taper line
the top line. I use a cutting gauge for each joint.
to lay out the dovetails because The dados can now be routed.
the same gauge at the same setting I have a T-square router fence
will mark out the cross grain line which I butt up against the back
Beginning cut
10 The Guild of New Hampshire Woodworkers
side of the stock to ensure good up. I carefully set the router plane
square dados. All my routers have to exactly the final depth of the
rectangular bases, so it is easy to dado and this also cleans up any
measure from the edge of the base possible depth questions left from
to the 1/4˝ bit to establish how far the original routing. The ends are
the fence needs to be from the now finished.
scribed line. I am very fussy about The shelves can now be fit to
setting the bit depth and the the end dados. The shelves must
fence position because accuracy be all exactly the same length
is essential. I rout all the dados and the ends have to be perfectly
square first, 1/4˝ wide and 5/16˝ deep. square. It is a wise idea to leave
I am very careful not to go over them about 1/8˝ wider than final Planing the dovetail
the depth. If anything I will shade dimension however. This allows
the cut to be too shallow because I for the shelves to be driven home
can deepen it later. with a bit of allowance in case any
The second stage is to rout the dovetails are slightly loose. With
taper. Again, this is a square cut the cutting gauge I scribe the
with a 1/4˝ router bit. I set the fence depth line across the underside of
the correct distance from the taper each shelf end. It is not necessary
line and rout to that line. This to scribe the top edge.
involves clamping the fence at an It is worth pointing out that
angle to the edge of the stock. I the shelves have a dovetail at
make sure the fence will not move both ends-a right and a left. One
during the cut. end will be planed going uphill
The ends are now ready to have and the other end will be planed
the actual dovetail bevel cut. I do downhill. What this means is that
this by clamping the end vertically the downhill cut will be exiting
in a vise with my dovetail block the stock at the front and there is
clamped along the taper line a danger of blowing out the front
that I just routed. With a chisel I corner. This is prevented by using
pare the bevel down until the flat a backup block.
back of the chisel is resting on I clamp the shelf I’m working
the guide block. Inevitably there on flat on the bench with the
are a few fibers left in the inside bottom side up. In the photos I
Test fitting
corner of this paring cut. I clamp had the stock on a piece of thicker
the end flat on the bench and use stock to extend it out away from
a small router plane to clean these the bench edge. The end of the

Backer clamped to shelf

Fully fit dovetail


The Guild of New Hampshire Woodworkers 11
Tearout

Setting the bevel angle


Finished dovetail

shelf needs to hang out clear of joint and one that is too loose. I
obstructions so that it can be test know the fit is correct when I can
fit. I start with the widest shelf push the shelf in by hand and it
and work on the uphill dovetail comes to rest about 1/8˝ back from
first. I clamp the square edge of being flush with the front edge of
the guide block on the scribe line the end. All this takes longer to
and then begin to plane the end write about than to do.
of the dovetail that needs the most The procedure to cut the
stock removed. The initial aim downhill dovetail on the other end
is to establish the correct taper is the same except a backer needs
angle. I take several passes with to be clamped on to protect the
the dovetail plane until it will fit front edge. I make this backer out
partway into the dado. of a cutoff from one of the shelves
I fit the end over the shelf dado so that it is the same thickness.
and push it on as far as it will go. The backer is planed right along
I then rock the end to gauge how with the rest of the dovetail. It can
the angles compare. If it is tight at be left in place almost up to the
the inner end, I need to increase end when it needs to be removed
the angle. Loose at the inner end to check the close to final fit. I put
and the angle is too steep. I then it back in place before resuming
take a few more passes until the planing and it protects the edge
dovetail is bearing evenly all along until I’m done. Otherwise the
the beveled side of the dado. process is the same as for the other
Once I have established the end.
correct taper, I continue planing Once the first shelf is fit I
the entire length of the dovetail proceed to the others. I like to start
stopping often to check the fit. As with the widest because it gives
I get closer to the final fit I check me the most leeway for getting
more often (after a pass or two) to my head into the process. The
make sure I am maintaining the narrower the shelf the shorter the
correct angle. It is important to be dovetail is and the quicker it gets
careful because one pass can mean cut down to thickness, so there Finished joint
the difference between a well fit is a need to establish the correct

12 The Guild of New Hampshire Woodworkers


Sliding Dovetails – continued
taper before getting very far. In this way protect the back edge of the shelf I drive of sawdust and glue. Then it is time for
I work until all the dovetails are fitted. the dovetails home with a mallet. I aim finishing.
Once the joints are fitted the rest of to make them perfectly flush with the This small shelf project is a good
the job follows quickly. Some method front edge of the ends. I add the shelves way to get comfortable with the use of
for hanging the shelves must be devised. one at a time until they are all installed. sliding dovetails. They are an important
I typically use a keyhole router bit to I usually have a bar clamp and some joint to understand because any shelf to
make slots in the back of each end for blocks handy in case the ends need to case end dado is a poor glue joint that
hanging on screw heads. be pushed in against the shelf shoulders. needs mechanical enhancement. Sliding
The parts are all sanded and then With care the joints all seat well and the dovetails are the best way to achieve that.
it is time for final assembly. I lay the shelves are tight. In larger projects the dovetails may be
sides front edge down on a smooth Just a bit more work is needed to longer and thicker. Often they will be
surface and insert the bottom shelf from finish the job. The shelves are planed off blind in the front which necessitates a
behind. No glue is necessary although I flush with the back of the ends. Then notch in the shelf. I use tapered dovetails
will swipe a bit on the tapered dovetail the front edges are carefully leveled to join the legs to the pedestal for tripod
just to assist in preventing the dovetail with a scraper and fine sandpaper. Any tables. Regardless of the application the
from backing out. Using a scrap block to small gaps can be filled with a mixture process is the same.

Ask This Old Saw – continued

Q Scraper Plane – What angles


work best with a scraper
plane? Where do I start? – Joe Barry
Jon Siegel replies: The most accurate
way is with a dial indicator. No
woodworker should be without one
of the outfeed table correctly. If it snipes
at the end, the table is too low, if the
wood rides up, the table is too high. A
because they have countless uses in few Craftsman and other small jointers
Terry Moore replies: The common the woodshop for setting up machines. do not have adjustable outfeed tables.
practice for sharpening a scraper plane Thanks to global trade, the price of dial On these machines, set the height of
is to file the blade at approximately 45 indicators has gone down to a starting the knives about 0.003 inch above the
degrees, hone the file marks off, and point of under $20 for an indicator and height of the outfeed table.
turn a hook on the edge by using a magnetic base combination. If you don’t Planer knives are set parallel to the
burnisher. This works well and produces have one, stop procrastinating! head, that is, each knife projects the
an aggressive cutting hook. Set your indicator base on the outfeed same amount. This is measured with a
However, you can also refine the table of your jointer, and rotate the head dial indicator in radial orientation, and
cutting edge and make a less aggressive until the edge is at the top. This gives the measurement should be written with
cutting edge by filing and honing it the maximum reading on the indicator, black marker on the head itself. Each
like you would a regular scraper, at a and all knives must be measured in time you replace the blades, use this
90 degree angle, or slightly less, at an this orientation. Now set the first knife same measurement for the projection of
80 degree angle, or indeed, any angle parallel to the outfeed table. Set the the edge above the surface of the head.
between 45 and 90 degrees. Experiment remaining knives so they have the same This way you will not have to readjust
around until you achieve the right reading as the first knife. If you can get any other part of the machine when you
cutting edge for the job. them to within 0.002 inches of the same change blades.

Q
reading, this is close enough. If not, then If the head and the bed are parallel,
Setting Jointer Knives – possibly only one knife will be doing all then this gives good results. If not, then
What is the easiest way to the cutting, depending of course on how the work may have uneven thickness from
set jointer or planer knives? – Roger fast you feed the wood. Anyway, minor left to right. It is usually recommended
Bradley adjustments of one or two thousandths to correct this by adjusting the bed, but
can be made later by hand honing. This if this not possible, it can be corrected
Marty Milkovitz replies: I use should be accomplished upon subsequent by installing the knives at an angle to
the magnetic jig that came with my hand sharpenings: only sharpen the compensate.
Powermatic planer. For the jointer I use knives which measure high. Fine tuning of this type can only be
a height micrometer which will measure After you are satisfied with the accomplished with a dial indicator.
to 10,000, set in on the outfeed table placement of the knives, whether you
and rotate the knife under the feeler, set have hand-honed or not, you now need
to a tolerance of +/- 3/10,000. to take some trial cuts, and set the height
Figure 5 – Plan B is best for beginners
The Guild of New Hampshire Woodworkers 13
1

lessons from the luthier’s shop


By Paul Miller

Preparing Thin Stock


W hen you make cabinets, furniture
or other larger items from wood,
you generally use wood that is 3/4˝ or
to be very thin and is most often made
from quartersawn softwoods such as
spruce. For the same reason but also to
its final thickness. Very often highly
figured hardwoods are used for the backs
and sides, and a jointer or thickness
more in thickness. Because the wood is reduce the weight of the instrument, the planer would cause unacceptable tearout.
relatively thick, glue joints are seldom back and sides also need to be thin, but A well-tuned thickness sander is an
a problem as they are nearly always for strength reasons, are usually made acceptable substitute for the thickness
stronger than the wood itself when from strong and dense hardwoods. The planer and is used by some individual
properly executed. soundboard and the back are often also luthiers and probably all guitar factories.
After selecting the wood and cutting called the top plate and the bottom plate, It is important to realize that for
it to rough length, you usually surface respectively. many people, a hand-made guitar is
one side flat on a jointer, thickness Thicknesses vary depending on many a precious possession. Anything less
the material with a thickness planer, factors. The species of the wood and than perfection is unacceptable for a
clean up the edges with a jointer and the acoustical properties, which relates musical instrument which is held and
tablesaw, and glue up your panels. Then to the stiffness, of the particular piece examined closely every time it is played.
it is off to making your joints, gluing being used are important. The kind A huge effort was made to build it and a
up subassemblies, cleaning up surfaces of instrument and the tonal qualities customer likely paid a large price for it.
with planes, scrapers or sandpaper and desired are also factors. For example, a
applying finishes. small classical guitar is substantially Selecting the Stock
With musical instruments, such as different from a large steel-string Any of several varieties of
guitars, the basic flow of the work is the dreadnought guitar. A general range quartersawn spruce are used for the vast
same but the techniques used can be would be from 2 to 3.5 mm (0.08 to majority of guitar soundboards but cedar,
very different. There are several reasons 0.14 inches) in thickness. redwood, mahogany and other woods
for this. Because the material is so thin, and are sometimes used. The soundboard
flexible softwoods are being used, it is is quartersawn for added stiffness and
Why Guitars are Different impractical to use a jointer and thickness strength which allows the soundboard to
Because the acoustical properties of planer to process the material all the be made thinner, enhancing the acoustic
the wood are paramount to making a way down to its final thickness. The quality of the guitar. Soundboards are
fine instrument, the wood for the top of thickness planer, in particular, would most often purchased from a supplier
the guitar, known as the soundboard, has likely destroy the piece before it reached who specializes in musical instrument

14 The Guild of New Hampshire Woodworkers


woods because the quality of the you with more thicknessing to do than The bookmatched halves are placed
instrument is so dependant on the a purchased set but at a huge savings in on the shooting board as they were
quality of the soundboard material. It is cost. situated in the tree. After jointing they
usually not practical to find your local After resawing the back halves, it are “unfolded” into the bookmatched
spruce tree in the woods and harvest it is best if some preliminary flattening orientation they will assume in the
for making a quality guitar. is done with a handplane prior to guitar. Because they are jointed by the
Backs and sides are made from a jointing and gluing up. The ends of the plane in this way, the angle of the plane
large variety of hardwoods, from local backs should be marked so they can blade does not have to be at a perfect
woods such as figured maple and cherry be placed in the correct orientation as 90 degrees to the surface of the shooting
to almost any of the exotic tropical bookmatched halves after the surfaces board since the two halves will be cut
hardwoods you could name. Rosewoods have been planed. at complementary angles. The shooting
are predominant as is mahogany but board ensures a consistent angle, close
blackwood, bloodwood, bocote, bubinga, Jointing the Bookmatched Halves to 90 degrees, along the entire length of
jarrah, lacewood and ebony are just a few Photo 1 shows the shooting the joint.
of the other varieties available. These board setup used for jointing the two It is difficult to make even a large
woods are available from the same luthier bookmatched halves of the soundboard. plane cut a perfectly straight joint over
suppliers that provide the soundboard The identical setup would be used for the a 22˝ length. The shooting board does
material. Prices for a set of the two sides back. Initially, a couple of passes over a not attempt to provide a straightedge
and a bookmatched two-pieced for the plane to ride against.
back range from less than $50 The edges of the panels being
for a common species to almost jointed actually float in space as
$600 for a highly figured set in the plane runs along it. We rely
koa wood. on an iterative process of cutting
Backs and sides are also often the joint and testing the fit and
quartersawn but sometimes are then refining the joint until we
not. The sides are bent using heat have it right. As we approach
and moisture and care must be perfection, we lower the plane
taken with the exotic hardwoods blade so it is taking only the
as many of them are not well finest of shavings.
suited to being bent. Woods Photo 2 shows a setup that
that are good for bending tend makes testing the fit predictable
to have straighter grain with less if not easy. It is substantially
figuring and no defects on the better than trying to hold the
surfaces. For aesthetic reasons two pieces in your hands up
this if often contrary to making to a light. A sheet of plastic is
attractive guitars. Our local
hardwoods such as maple and
2 set up over saw horses with a
bright light underneath to act
cherry are often better suited for as a makeshift light-table. Any
this purpose. deviations in the joint will show
up readily so we can concentrate
Making Your Own on correcting them. Photo 2
Backs and Sides shows a joint that has not yet
It is practical and far less been prepared but is only roughly
costly to create your own backs and jointer would be done to straighten the straight. As we repeatedly test the joint
sides from thicker boards as long as you joint, but this is not sufficient for joining and then replace the panels in the
have access to a well-tuned bandsaw the pieces as it would be for a furniture shooting board for further refinement,
with at least an 8˝ resaw capability. It is panel. The rotating nature of the jointer we make sure that the panels remain in
more difficult to find wide quartersawn knives leaves a rippled effect at the joint, the same alignment.
boards so you may have to use flatsawn reducing its strength.
or riftsawn boards for the sides and back Because the pieces are so thin the Gluing Up
of your guitar. That is less of a problem joint must be perfect. Anything less Photo 3 shows a setup for gluing the
than it would be for the soundboard, will result in a weak joint. If these joints two bookmatched halves together. A
which should be accurately quartersawn. came apart in a finished guitar it would sheet of waxed paper would be placed
Depending on the accuracy you can be very difficult to repair. A very sharp under the joint to prevent gluing the
achieve, you might resaw the stock to well-tuned plane will leave a very clean surfaces to the jig. Wedges provide
1/4˝ or less in thickness, which will leave surface for a stronger joint. pressure to the glue joint while cauls

The Guild of New Hampshire Woodworkers 15


clamp the joint down flat to the table.
There are many other ways of doing this;
the important thing is to be able to glue
the joint solidly and to keep the joint
flat. We have had mixed results using
hot hide glue for this joinery and, since
there is little reason to be able to undo
this joint on a finished guitar, I will
continue to use Titebond III glue for
this purpose.

Surfacing the Plates


Once the glue is sufficiently dry we
can start hand planing the surface of
the plates. It is important that the joints
be completely dry before starting both 3
for strength and to ensure that the joint
will not shrink from further drying and
create a depression after the plates are
surfaced. Photo 4 shows a soundboard
ready to be surfaced. It is being clamped
to a very flat table. We use a sheet of
MDF for this purpose and clamp it at
one end, generally with two clamps so it
can not rotate as we are planing.
Because the plates are so thin the
weight of the plane and the pressure
applied to planing will flex the underside
of the plate and flatten it to the MDF
table. It is necessary to be aware of this
and be very sensitive to the movement.
Using a straightedge, find the high spots
on the surface and mark them with a soft
pencil. Concentrate your planing only
on the high spots, at first. To flatten the
panel, we plane the surface at a 45 degree
angle diagonal to the grain followed by
reversing and planing orthogonal to the
4
first pattern from the other edge of the
plate.
We are very sensitive to the grain
direction and take care that we don’t the one that will show on the outside grain runs in opposite directions on each
cause any tearout. A very sharp plane is of the guitar. Once the side opposite to half of the plate. Also, especially with
set to take as fine a cut as necessary to the best surface is flat, so it will rest on figured woods, there may be areas where
ensure this. Occasionally, we will even the MDF table without flexing, we then the grain reverses and you have to plane
plane totally across the grain or reverse concentrate on making the best surface that area from a different direction.
the planing direction in one area when perfectly flat without tearout.
we find especially difficult grain. After Using a straightedge, we continually Thicknessing the Plates
planing for a short time we reclamp the test the surface in all directions, Once you are satisfied with the quality
plate at the other end to plane the area lengthwise, across the grain and diagonal of the surface, it is time to thickness
where the clamps were initially. to the grain, looking for any high spots. the plate. There are several possible
We then turn the plate over and Once satisfied, we then make a few very techniques for doing this. As mentioned
repeat the process on the other side, light passes along the length on the grain before, you could use a thickness sander
especially trying to lower the high spots. looking to make an absolutely smooth if available. You can also continue with
We have decided by this time which of surface. It is important to realize that, planing the back side and complete
the two sides will be the best surface, because the plates are bookmatched, the the task strictly by hand. This would be

16 The Guild of New Hampshire Woodworkers


appropriate if you are already close to but that is a less accurate and more time
the final dimension. consuming technique.
What we have generally done is to
use a Wagner Safe-T-Planer mounted in Final Cleanup
a drill press to thickness to near the final We stop planing when the thickness
dimension. It is a somewhat fearsome over the whole panel is just slightly larger
tool to use and some experience is than our desired finished dimension.
necessary before using it on a guitar We then use a hand-held cabinet scraper
plate on which you have already spent to do the final cleanup, trying to make
considerable time. You need to know as fine a surface finish as possible. No
how close to final dimension you dare sandpaper is used at this stage. Once
to go with this tool as the surface is the guitar is assembled and ready for
fairly rough and it is possible to have finishing a final light scraping is done
the plate raise up off the drill press table where needed. Finally, just before the
and gouge the surface if you are not very finish is applied, we sand the guitar with
attentive. fine grit sandpapers.
Once roughly dimensioned, final If you have read this far, you realize
planing is done, being very careful to that there is considerable work done
constantly check the thickness over and time spent to reach this stage. All
the whole surface with calipers. We use we have done, so far, is make a few
a special dial caliper for this purpose thin flat boards in preparing to do the appears to be a simple task. It is also one
which has a throat large enough to reach more difficult tasks of making the guitar. of the most satisfying and rewarding
everywhere on the panel. You could use Much time, patience and attention to woodworking experiences you may ever
a regular dial caliper and straightedge detail was required to accomplish what have.

Reprinted with permission – Gallery M in Half Moon Bay, CA – www.gallerym.net

Protect Furniture From Ultraviolet Rays


Bright summer sunlight slanting in through to filter out ultraviolet rays. Marine finishes Heat, humidity and light are all enemies of
your windows can damage furniture just and spar varnishes are made to withstand fine finishes. In the summer, open windows
as a sunburn can damage your skin. It is weather but often are unsuitable for formal or fans used for breezes which put moisture
a good idea to take protective measures, furniture. The way furniture stands up in the air that can swell wood and contract
especially for valuable or heirloom pieces. to sunlight also depends on factors like it as it dries. Polish will peel, crack or become
the position of the house, orientation of opaque and dull under such conditions.
The only real solution is to place furniture windows, wood types and construction
away from direct sunlight. Many polishes methods. Fragile pieces should be away from
say they have ultraviolet protection but entrances and exits. Opening and
any layer of polish applied is so sheer that A solid wood piece may be able to closing doors twenty times every day has
it will not have that much effect. It is like withstand some temperature and humidity temperature and humidity fluctuating
wearing sunglasses that are 3% darker than fluctuations, but the goal is to make the effects.
your regular glasses and assuming you have range of changes less broad and not as
protected your eyes from the sun glare. abrupt. A piece with a veneer surface or Do not put a console table under a window
delicate mother-of-pearl inlay and metal exposing it to light because it will degrade
If moving the pieces is not an option, put pieces that expand and contract at different over time. Try to plan ahead.
a protective layer of film on the windows rates make things more problematic.

The Guild of New Hampshire Woodworkers 17


by Brian Sargent
sculpting a

Contemporary Leg
T his article will show how you can
make a contemporary sculptured leg
by using some of the methods used to
stock and keeping the pairs of each leg
together. I mill the two halves to 17/16˝
thick x 31/4˝ wide x 29˝ long.
mortise for the stainless steel stretcher
that connects the four legs together at
the base.
make a cabriole leg. I then glue up the two halves as I use a machine called a multi-router
The process starts by designing accurately as possible. I’m already at my that uses templates to cut the round
the leg itself. This leg evolved from an finished thickness after the gluing up. tenon. The placement of tenons on the
elliptical leg that I used on a chest of So now I only have to joint one edge top of the leg is determined by using the
drawers in 2003. The sculptural element square with the top surface and rip the leg profile template.
was inspired by a client that wanted me width to 3˝ wide, square one end, and The round mortise is done on the
to design a pair of night stands for him. cut the leg to the finished length of the drill press using the bottom of the leg
This client had some very free as a reference. The depth of this
form sculptures throughout his mortise is critical. So again by
home. So for the night stands to using the leg profile template
work in his home, I felt the need we can see how deep to drill the
to have a sculptured element in mortise in the 27/8˝ wide surface
them. using the glue seam as a center
I use ¼˝ thick and ¾˝ wide line.
wood of varying length to come Now comes the fun part. We
up with shapes that I design in need to trace the profile of the
my furniture. All we need to leg on to the 3˝ wide face of our
get started is a one dimension leg blocks. The reference points
shape or the profile of the leg in for the profile template are the
this case. The profile shape will backside of the leg at the bottom
be used to make jigs and as a and the top. We are going to
template to bandsaw out the legs. bandsaw off the inside of the leg.
This leg basically tapers in two We need to bandsaw to within a
plans, both from top to bottom. 1/16˝ of the line.
The leg has an inside and outside. Next we have to make a
The inside is concaved and the template that will help clean-
outside is convexed. up the bandsaw marks and be
Now that we have the basic used as a guide for making the
design, we have to plan out how concave inside of the leg. This
to make the leg. Just as with the is done by cutting two pieces of
cabriole leg, there is a sequence scrap MDF or plywood ¾˝ thick
to cutting this sculptured leg out, by 3˝ wide by 27˝ long.
so one must think through the Now trace the inside leg
tentative process of making the profile only onto the two jig
leg. This is not always completed boards using the same reference
in one sitting. Sometimes one point as you did on the leg
has to sleep on it. blocks. Bandsaw out the inside
The leg will come out of a 27/8˝ leg profile. Then screw the leg
thick by 3˝ wide by 27˝ long block. template onto one of the jig
The legs for the night stands are blocks. Use a router and a bit
Marado, which is only available in 4/4 leg template using a stop so all the legs with a bearing to give you a jig that
and 8/4, so I had to glue up two pieces are the same length. At this point, we matches your template exactly.
of 8/4 to get my 27/8˝ thickness. It is very are ready to machine any joinery into You will then use this jig to clean up
important to select the wood for color the leg while everything is square. the bandsaw cut on our leg blocks. You
and grain as this seam runs down the On this leg we need a round tenon for will need a router bit with a bearing that
center of the leg. After the selection of attaching the leg to the top and a round has at least 2˝ of cutter length and a

18 The Guild of New Hampshire Woodworkers


router table. You must screw one of the inside of the leg must be tapered from a little getting use to having the front of
templates that you just made to the leg top to bottom. The finish width of the the router base in contact with the jig. I
block referencing the back side of the leg is 2¾˝ at the bottom and 13/8˝ at always make up one extra leg usually out
block. Place the screws near the edge the top. So we need to lay this out on of poplar to make sure the taper depth
of the backside of the leg, so the screw the inside face of the leg so we can see is right and to get comfortable with the
holes don’t end up showing in the finish this taper. You will need a router and a jig.
leg. You should only be taking off the fence that mounts to your router and a After all of the legs are roughed out
1/16˝ that you left when you bandsawed 1½˝ diameter cove bit. The depth of the on the inside, it is time to shape the back
out the inside of the leg. It will take two concave is ¼˝ at the bottom and a 1/8˝ at side of the leg. I used a French curve to
passes to clean up one leg because your the top of the leg. make the template for the shape of the
leg is 27/8˝ thick and you only have a 2˝ This translates into a 4¾˝ radius that back of the leg. By tracing the template
cutter. needs to be drawn on the bottom and onto the bottom and top of the legs, I
Now we are ready to set up our jig top of the leg so you can line up your have a guide to remove the material
for convexing the inside of the leg. Take router and fence to know the depth of with my spoke shave.
the two jig pieces you made and a leg the concave radius across the width of The next step is to bandsaw the taper
block and make a sandwich with the leg the leg. on the leg. By placing the back side of
block in the middle. Line up the back The trick to getting the concave the leg on the bandsaw, the inside curve
and the bottom of the leg just like you taper is elevating the top ends of both will be face up. The line that was used
did when you routered the inside of the of the jig pieces 13/64˝. This set up is for for the tapered concave jig should still
leg. Lay the back side of the leg and jigs roughing out the inside of the leg. You be visible. Just leave the line when you
on a ¾˝ piece of plywood and clamp only need to reset your router fence bandsaw the taper.
your sandwich together at the bottom three times and make a total of five Next flip the leg on its side and trace
only. At the top drill a small hole large passes per leg – one down the middle the curve of the back of the leg onto the
enough to get a #6 screw through the and two passes down each side. You will leg and bandsaw it out.
round tenon and screw the top of the also have to adjust the depth three times. Now for the hand work. To hold the
leg block to the ¾˝ piece of plywood and When you run the router on top of the leg for the hand work, I use a bar clamp
clamp the plywood to your bench. jig, the fence runs on the outside of the and a hand screw clamp. The bar clamp
Now as we said earlier, the leg is jig and you press the front of the router holds the leg and the hand screw clamp
tapered in two planes so the concaved base down as you push forward. It takes holds the bar clamp. I then clamp the
hand screw to the bench.
I like to start with the inside of the
leg. First, I grind a scraper to 4½˝ radius.
Just a little smaller than what I roughed
out the leg to. I do this because when
you tip the scraper to cut it matches the
finished radius.
The secret to shaping the inside of
the leg is to stay focused and keep your
awareness on the outside of the leg
because this is your guide.
I use a spoke shave to do the back of
the leg. The key to this is remembering
that the leg is tapered and there is more
stock to remove from the bottom than
the top. Keep looking at the bottom of
the leg where you traced the template.
This will keep your mind focused on the
shape of the leg. You will find that you
can easily get lost in the process. When
you get close to your desired shape with
the spoke shave, I use 80 grit sandpaper
wrapped around a ¼ “ thick piece of
cork to smooth everything together. My
final sand is 220 grit.
Free-form inlay jig (left) & jig detail (right) Now you have a sculptured leg. Just
remember to enjoy the process.

The Guild of New Hampshire Woodworkers 19


lessons in lutherie and life by John Whiteside

part one of a two part series

W ith wood you can build a house to live in, a chair


to sit in, a bed to sleep on or, as a departure, an
instrument to play. That’s versatility. Does any other
The day we arrived at Alan’s shop,
everyone was very friendly except
for one student, a grim middle
material even come close? aged man who did not say hello.
A couple of years ago, my wife bought me a music He had glued the two halves of
stand, some guitar lessons, and a capo (a device for his soundboard together, inlaid
raising the pitch of guitar strings). I have played guitar his mail order rosette, and was
since childhood but had lost interest in recent years hand planing the back of his
and her thoughtful gift reawakened that interest. So glued soundboard to make
the thought occurs to build a guitar. I place an ad in the finished thickness
The Old Saw asking if anyone is interested in joining about 2.5 mm thick.
the adventure. Two Guild members respond – Franz To get to that
Summers and Paul Miller. So we find a teacher, Alan point, it is necessary
Carruth in Newport, NH and start classes in August, to edge glue two
2006. The Guild awards us a scholarship to help with thin but rough
some of the expenses. surfaced, book
In December, 2007, I put strings on my first matched pieces.
guitar and hear its first notes. You can hear a sound The edges have
clip of it on the Guild web site at www.gnhw.org. A to be absolutely
rough estimate of the total building time to date is straight, which can
around 1000 hours. Now that is a little misleading be done with a really
because I decided to build two guitars at once. The good hand plane. I
idea was to perform a series of operations on one, ended up making a simple
noting the difficulties and mistakes, and then to redo planing jig and also a light table
the operations better on the second one in order to to view any gaps in the seam As unfortunate as this incident
reinforce the newly acquired skills. This has worked between the two boards. Once was, it taught me three valuable
very well and is to be recommended for anyone the boards are glued together, it lessons – stay lighthearted, think
learning something complex and new. Also, the 1000 is necessary to smooth plane one through what you are doing, and be
hours includes the time to research and build or side and then rout out a circular very patient.
purchase all the tools and jigs needed to make more channel for the rosette. Next the
guitars. Bear in mind also that I spent 200 of those rosette is glued into the channel Plates and Braces
hours making the twenty jigs necessary to make a and then the soundboard is turned The top of a guitar (the
side-grain inlay rosette. over and planed to thickness. soundboard) and the back are
The instrument, to my ear, sounds beautiful, far In any event, this individual collectively called plates. Each
exceeding my expectations. The appearance, while was planing away with grim plate is typically made of two
it has imperfections, is far above what I would have determination not checking what (sometimes three for backs)
thought it possible to achieve. And the 1000 hours he was doing. Alan, who had thin edge-joined book-matched
have been among the most enjoyable I have ever given him explicit instructions, boards. The soundboard joint is
spent in my life doing anything. got to him to follow up quickly obviously an especially critical
In this article I will share some of the high and but not quite quickly enough. The one – two boards joined along a
low points of the process, emphasizing things that sound board was now less than 2 2.5 mm edge. What glue to use?
might be especially startling to woodworkers or that mm and had to be redone from Some authors advise yellow glue,
particularly caught my imagination. This is mainly scratch! The grim man left sullenly but traditionally the choice is hide
about my building experience but I also talk a bit and never returned. glue, because it is reversible when
about Franz’s and Paul’s guitars. repairs are needed. Hide glue also

20 The Guild of New Hampshire Woodworkers


has the advantage of drawing the fairly stiff nylon bristles proved to
components of a joint together as be the ideal way to apply it evenly
it dries. to surfaces. A warning though – 3
Our experience with hide glue mixed hide glue has limited shelf
was mixed. First, one has to find life and weakens if repeatedly
a high quality glue of the correct reheated. The three of us had some
strength. Then it must be dissolved joint failures and this may have
in water and heated to the correct been the cause.
temperature of 140 degrees. It is Once the top plates are glued
possible to buy an expensive glue up, the rosette is applied. My
pot but I had good results with a hand-made rosette is described
heating plate, a cheap saucepan, a in a previous article (Old Saw,
candy thermometer, and a glass Feb ‘07). Very nice pre-made
jelly jar in a sort of double boiler rosettes are readily available or one
configuration. The instructions call can make them of materials other
for careful measuring of the glue than wood. Photo 1 shows Paul’s
crystals and water but it turns out rosette which contains mother of
that after a short time in the glue pearl.
pot, water evaporates and the glue The next step is to glue the
becomes too thick so you have to braces onto the back of the top
add more water. What I ended up plate. The design of these structural
doing was ignoring the suggested elements varies greatly from maker
measurements and simply making to maker and they must perform a
and maintaining the mixture to real feat of engineering. They must
about the consistency of molasses. simultaneously prevent the guitar
Artist’s brushes with short, from collapsing under the several
hundred pounds of pressure
from the strings on a steel string
1 guitar and also must be as light as on that particular piece of Engleman spruce. I should
possible to allow the top plate to mention that Alan keeps a meticulous log book of the
resonate. physical properties of every piece of wood that goes
Photo 2 shows my braces. They into every one of his and his students’ guitars.
form a Double X pattern designed Franz is building a flamenco guitar which uses
by Alan Carruth. The upper X is nylon stings that exert much less force than steel
set at 90 degrees but the lower X is strings. Photo 3 shows his bracing pattern which is
splayed out an additional 5 degrees. completely different.
That was Alan’s suggestion due to The face of each brace that is glued onto the plates
his measurements of the ratio of is not flat. This is because the top and back plates of
transverse to longitudinal stiffness a guitar are not flat. Instead they are slightly domed.
The extent of this doming can be varied, but on our
three guitars the top dome is a section of a sphere
2 with a 25 foot radius, whereas the back dome has a 15
foot radius. So the brace faces must be slightly curved
where they glue onto the plates. Alan makes curved
braces by hand but I make a simple jig for use on a
router table that greatly speeds up the process.
Once the braces are shaped, they must be glued
onto the plates. But remember, the plates are domed.
To achieve this, one needs to construct a dish that is
hollowed out according to the correct radius. Photo
4 shows Franz and Paul making a dish out of 2 foot
diameter pieces of MDF.
They are using an ingenious jig loaned to us by
Alan. A router is mounted on a carriage over the dish.
The carriage is on wheels that ride along two tracks
curved to the correct radius. The MDF dish blank

The Guild of New Hampshire Woodworkers 21


small diameter ones. The best shape which will provide the
advice I can give is that if you least possible mass, sufficient
use gobars, use a lot of them. strength, and just the right
Redoing the braces is tonal qualities.
almost a disaster. In theory How is this achieved?
the hide glue braces can be Beats me. All the sources
removed by heat. When we say different things. One
try this, they come off all right, (controversial) source even
but the center seam sound recommends evaluating the
board joint (also held by resonant frequency of each
4 hide glue) also starts to come brace using an expensive
apart, threatening the hand- piece of equipment called a
made rosette on which I have strobe tuner. Instead, I carve
is fastened to a Lazy Susan not vary with the degree to spent 200 hours! In despair the braces until they look
mount underneath so it can which they are bent! I ask Alan to make it right, good and seem right. I also
rotate. In the photo Paul is I can’t believe this which, bless him, he does by hold the plate up with two
pushing the router back and when I hear it, so I make planing off all the braces and fingers lightly near the edge
forth whilst Franz is rotating measurements with a postal repairing the center seam. So and rap on it. It actually
the blank slightly after each scale and it turns out to be as a consequence, I now use rings and the quality and
pass that Paul makes. It takes true. At the same time, as yellow glue for the center pitch of the ring changes a
them about half an hour to mentioned above, they seam joint. In theory, next bit with each shaving I take
complete a dish. We made exert more force the shorter time I have to take off braces, off a brace. I even try to get
six – two for each of us. they are. For the life of me heat will loosen their hide the pitch of each plate close
Photo 3 shows how the I cannot understand this. It glue bond before it affects to notes that appear in the
curved braces are glued onto would suggest that a given the center seam yellow glue musical scale. But I know
the plates. The plate rests bow shoots an arrow the bond. enough about acoustics to
on the newly manufactured same distance regardless of The back of the guitar is know that the resonances
dish and the braces are held the degree to which is it bent, built in similar manner to the will change drastically once
down by devices known as and that short bows should top, except there is no rosette the plates are glued down to
“gobars”. These are simply shoot further. But Franz, and there is the possibility of the sides.
dowels under tension – one who knows about such including a decorative stripe
end of each dowel rests on things, assures me this is not down the center. Photo 5 Sides
the brace to be clamped, the the case. Paul, an engineer, shows the back of my second In parallel with the top
other end on the ceiling, or makes an effort to explain guitar (photographed much and back, the sides need to be
rather, a “gobar deck” which but it turns out that physics later in the process) with made. For these there is need
is a surface dropped from the was one of my worst subjects the center stripe made of a of specialized equipment and
ceiling. The photo shows my in school. One thing that strip of ebony flanked by two jigs. My particular guitar has
gobar deck and Franz’ top. does make intuitive sense is strips of holly. Indian rosewood backs and
The deck could be that larger diameter gobars Once in place, the braces sides which come from the
improved. The downward exert much more force than are hand-carved to just that supplier as slightly oversized
force is inversely proportional blanks, rough finished to
to the length of the gobar, so about 4.5 mm thickness and
by lowering my deck I can bookmatched. My particular
achieve greater clamping 5 design calls for the finished
force. Indeed, my first
attempt at brace gluing was
a failure. There were parts of
the braces under which one
could slip a piece of paper. So
it needed to be redone.
Gobars, which are
nothing but long dowels,
have nonetheless the
most astonishing physical
properties. For example, 6
their downward force does

22 The Guild of New Hampshire Woodworkers


sides to be about 2.5 mm thick. Removing 2 mm I decide to make a jig based on easily. Once in place, I let it cook
thickness may not sound like much but it takes the kind Alan Carruth uses. Of for a few minutes and then turn
an astonishing amount of time using a hand plane. course, I could use his, but part of off the heat, only removing the
The ideal solution for thinning the sides to rough the exercise for me is to acquire clamps when the whole apparatus
dimension would be a thickness sanding planer, but everything I need to make guitars has completely cooled.
such a tool is beyond my budget at the moment. There in my own shop. There are many The kraft paper is an example
exists a poor man’s alternative, somewhat dangerous models of guitars. I chose what is of an interesting general lesson.
to use, which is a rotary planer head that fits on a drill called a 12-fret 000. These models There is no single source that
press, shown in photo 6. have more or less a standard shape. contains all the information that
This device has teeth on its surface so that by sliding I copy my shape from Alan’s is needed or even helpful. None
the wood underneath it (and keeping it absolutely template. The resulting jig, shown of my sources mention wrapping
flat), one can reduce its thickness much faster than in photo 7, is heavily constructed the sides in kraft paper. I find that
with a hand plane. The finished surface is rough, so from layers of 3/4˝ baltic ply on top tip on an excellent series of videos
hand planing is necessary anyway, but that is needed of which I have fastened a stainless on the Taylor Guitar Company
to give a really smooth surface regardless. The danger steel sheet. website (www.taylorguitars.com).
lies in getting your fingers too close to the spinning head. To use it, I lightly spray the side The advantage comes from the
Franz does this and suffers a nasty cut. Consequently, I with water, wrap it in clean kraft fact that heated wood (especially
cannot recommend this device though I admit to using paper, place a thermostatically exotics) gives off oils. When dry,
it myself. controlled rubber heating blanket these oils stick to the surface of
One of the most the interesting and challenging over it, and then a stainless steel the wood and are quite difficult to
aspects of guitar making to me is the need to think sheet on top. The pad is very scrape or sand off. The kraft paper
many steps ahead. There are a lot of operations that powerful, capable of reaching soaks up most of these oils and
cannot be done in sequence and that nonetheless 500 degrees, though such a also keeps the jig clean.
are dependent on each other. Consequently, I temperature would scorch the OK, so the sides are bent. Now
find it impossible to make a simple ordered list of wood. Naturally, this operation another jig is needed – the female
tasks. A flow chart might work but it would be very is done with heavy gloves. I use version of the bending jig. This is
complicated. You have more or less to keep the whole my leather motorcycling gloves. shown in photo 8. It is made of
thing straight in your mind. Indeed, prior to each Within minutes the wood softens. two layers of 3/4˝ baltic ply with
work session, I find myself spending thirty minutes I use the dowel that you see in spacers in between the layers. Its
to an hour just thinking things through and double the photo to press and clamp the shape, naturally, corresponds to
checking them. waist down. Then I use clamps to the shape of the side bending jig,
The next step with the sides is a case in point. fasten the ends to the form. I find plus an allowance for the thickness
Once they are bent, it will be more difficult to saw that if you press the wood too hard, of the sides. Its purpose is to hold
them and so it is helpful to saw them to approximate too quickly, it splits. Its a question the sides in the proper shape until
dimension whilst they are still flat. The top and back of waiting until it gives relatively the back and top are glued on.
of a guitar, when viewed from the side, do not lie on
the same plane in most models. So the side widths
taper from bottom to top. To saw the blanks to even
approximate dimension (leaving plenty of extra) it is
necessary to make a geometric projection of the bent
side onto a flat surface.
Bending the sides is fun. Basically they are
moistened, heated, forced into shape, and allowed to
cool. Studying how to do this teaches me what turns
out to be a general rule. There is no standard method
of guitar making. All the teachers use different
methods, as do all the factories, and all the books are
different.
Some authorities have you do the bending freehand,
bending the wood around a heated pipe, with a blow
torch as the heat source. Others recommend building
a form. It is also possible to buy pre-bent sides as part
of a kit. At the high end, it is possible to buy or make a
form that is adjustable. Professional violin maker Jim 7
Robinson has made one of these in his shop which he
uses for bending violin sides.

The Guild of New Hampshire Woodworkers 23


Notice that it is necessary to know what the correct angle
have different jigs for every is for your guitar until it is
different model of guitar you completely assembled and
intend to make. strung.
Photo 8 was taken after Now imagine hand
a number of additional cutting a tapered dovetail
steps. First, the bent sides joint so that sits absolutely
are joined together by the solidly in its tapered mortise,
headblock and tail block. to within a fraction of a
These have to be carefully degree of an unknown angle.
designed and planned out The so-called “bible” of
beforehand. More on this guitar building (Cumpiano
later when I discuss the neck and Natalson, Guitar Making:
joint. To join the curved sides Tradition and Technology)
together into the shape of a recommends a different,
8 guitar, they need to be cut to but equally difficult pinned
length so that they meet at mortise joint.
the ends of the body. So I was cruising the
I think at first that these web for an alternative and
joints have to be absolutely discovered that Cumpiano
seamless. Not so. Where the himself came up with a
sides join at the head gets better solution after he
completely cut away to make published the book (www.
room for the neck joint. cumpiano.com/Home/Articles/
At the bottom of the Special%20interest/headblock.
guitar, there is generally html). The solution is a
an inlaid decorative stripe straight-sided mortise and
which similarly covers that tenon joint where the neck
joint. Photo 5 shows this is held in place by barrel
tail inlay on my second bolts where the barrels are
guitar (obviously this photo embedded in the tenon and
is taken much later in the secured with bolts that enter
construction process). It through the neck block and
should be pointed out, are accessible inside the
9 though, that Paul Miller’s guitar.
bottom joint is so perfect How this works is
that he can dispense with a shown in photos 9 and 10
tail inlay if he chooses. How (photo 10 taken later in the
he accomplishes that, I have building process). Alan is
no idea. so impressed with this joint
that he is considering using
Neck Joint I it, as is Terry Moore.
Now I need to jump This joint simplifies life
out of sequence and discuss enormously. The straight
the neck joint. This is mortise in the headblock
traditionally a tapered can be cut with a router and
dovetail. Now it turns out template and the tenon on
that the ultimate playability the neck can be cut to match
of a guitar is crucially exactly on a table saw using
dependent on the angle the a tenoning jig. Not only that,
neck makes with the body but it is a breeze to attach and
(see www.buildyourguitar. remove the neck to measure
com/resources/tips/aangle.htm). and adjust right up to the
10 It needs to be accurate to point where the fingerboard
within a fraction of a degree! gets glued down to the body.
Not only that, but you don’t Even after that, assuming

24 The Guild of New Hampshire Woodworkers


one has used hide or fish glue floor whilst the pencil point, leave just a couple of 64ths of having glued any part of the
on the fingerboard, removing which rides a bit higher, an inch of material left to kerfing below the sides, as
the neck on the finished transcribes the line onto the allow the kerfing to remain that would leave a gap.
guitar is relatively easy in baseboard. in a continuous piece. Photo 8 shows one other
the likely event that the neck The only difference here The exact amount of wrinkle Alan has us do before
needs to be reset down the is that pencil lines cannot be material to leave depends on applying the kerfing. He has
road. And barrel bolts are seen on dark Indian rosewood, the wood and on the shape us glue strips of sewing tape
available at Ace hardware! so I have to use a white pencil. of the guitar. Too little left on the inside of the sides, as a
Once these lines are scribed I and the pieces break off. Too precaution against splits.
Gluing the Body work around the edges with much left and they do not Later, I will address the
Headstock digressions a small plane, cutting the bend without splitting. Franz complex topic of guitar
aside, back to the sides sides down to the line. To get Summers makes us a simple acoustics. As a preview, it
in their form as shown in the final fit, I place a piece of jig that allows the kerfing to occurs to me that the fabric
photo 8. Recall that the back sandpaper right on the dish be made using repetitive cuts strips inside the guitar
and top are not flat – each and rub the whole frame- on the bandsaw. Notice also probably have a diffusing
forms a section of a sphere. and-side assembly over the that a large number of closely effect on how the sound
The edges of the sides need sandpaper until the fit to the spaced clamps are used to reflects and resonates inside
to be shaped to match so that dish is as perfect as I can get. hold each section in place the body chamber. On
they intersect this sphere. To Returning to photo 8, it whilst the hide glue dries. a future guitar I intend
achieve this, I get out the shows the shaped sides in The purpose of the kerfing to experiment with thin
MDF dishes I made with their jig. The next step, shown is to provide a gluing surface wooden strips in place of the
Paul and Franz and place the in progress in the photo, is to for the top and bottom. So its cloth. Whether or not it will
sides in their form on a dish apply kerfing around both the contour has to match exactly make any difference to the
– the 25´ radius dish for the top and bottom perimeters. the finished contour of the sound I will probably never
top and the 15´ radius dish In my case, the kerfing is sides. The final fit is achieved know, since any two guitars
for the bottom. I find myself made from mahogany with by planing and sanding. A differ by an astonishing
becoming very confused cuts in it about every 1/4˝ that good fit also depends on not Continued on Page 27
because the larger number
(25´) actually corresponds
to the shallower curve. So
I label the forms top and
bottom. 11
The general rule here is to
label everything! The whole
guitar-making process has
a number of irrecoverable
mistakes that can be made.
Using the wrong jig or
measurement can ruin
hundreds of hours of work
and hundreds of dollars of
materials.
Putting, for example, the
top of the sides face down
on the top dish, I can draw
right around the perimeter of
the sides a line whose height
corresponds to the surface
of the dish. You have used
a similar procedure if you
have scribed a cut line onto
a piece of baseboard that
you wanted to sit flush on an
irregular floor, using a pencil
in a compass. The bottom of
the compass rides along the

The Guild of New Hampshire Woodworkers 25


Frank Wooley is a member of the Eastern Massachusetts Guild
of Woodworkers (www.emgw.org). Although first appearing in
the EMGW guild newsletter, Frank has revised and expanded
upon his original article for inclusion in The Old Saw.

by
Frank Wooley
(rings). Natural shellac solutions have
a fairly short shelf life – a few years at
most if stored where cool, only months
if warm. Dry flakes can be stored
indefinitely if kept cool, and at least a
few years at room temperature. Zinsser
sells a dewaxed premixed shellac called
SealCoat™, which eliminates the

Shellac
preparation chore. I have been told that
SealCoat™ has a shelf life of over five
years, although Zinsser does not claim
that much. Zinsser clear shellac in spray
cans also is dewaxed. Amber and clear
Zinsser Bulls Eye shellac carried by
many local stores is not. If you are not
certain whether a shellac solution is
dewaxed, simply stir it up and observe

S
the opacity. Natural shellac solutions
hellac is a very convenient furniture is unaffected by oils and hydrocarbon have a milky appearance, since the wax is
finish for a small shop. It is easier to solvents (paint thinner, naphtha), so not very soluble in alcohol and is left in
apply by hand than any other finish, and hydrocarbon-based glazes can be suspension. Dewaxed shellac solutions
is extremely easy to repair. applied, worked, and even completely are clear, with no hint of haziness.
removed. Its water resistance allows
Shellac has some weaknesses. It is less shellacked furniture to be safely cleaned Dissolving Flakes
resistant to abrasion than varnishes. with mild soap and water. A worn or Until recently I mixed all my shellac
It softens at high temperatures, so a lightly scratched surface is immediately from flakes because I use shellac at
shellacked tabletop can be marked if restored by simply wiping with a pad irregular intervals, and because dewaxed
unprotected from hot dishes. Shellac is dampened with thinned shellac. Deeper shellacs were only available as flake.
readily attacked by alcohols (drinking, repairs are easier than varnishes, because Freshly dissolved shellac dries very
patent medicine, rubbing, some it bonds well to any original finish rapidly (it can be sanded in less than
cosmetics) and by alkalies (ammonia (except wax) and is easy to color. 30 minutes) and is a real joy to use. To
and strong cleaners). speed up the dissolution process, I chop
Grades the flakes into a coarse powder in a small
These disadvantages are easily outweighed Natural shellac contains 4-5% wax, coffee bean mill, and then agitate the
by its ease of application and repair for which has a strong effect on the physical flake-alcohol slurry frequently while it
finishes that will be treated with care. High properties of the coating but little effect is dissolving. It takes about a day to get
quality finishes can be produced by on the method or ease of application. all the flake into solution, and there is
brushing, padding, French polishing or Nearly all the wax can be removed, and usually some insoluble matter that must
spraying. The finishing area does not the resulting product is sold as dewaxed be filtered out. I have had occasional
need to be dust-free because it dries so shellac. Natural shellacs are available in problems with the flakes caking
fast. Ventilation of the finishing area is a range of colors, obtained by removing (sticking together in one large clump),
less critical than with all other finishes or bleaching part or all of the colorants but they dissolved satisfactorily once
(except water-borne), because the in the natural lac resin. broken up. The darker natural grades of
solvent is less toxic and the fumes are I have a strong preference for shellac often contain pieces of bugs and
less flammable. Shellac is easy to sand dewaxed shellac over natural (waxy) bark, but those are filtered out with the
and polish with abrasives to any sheen. shellac, since varnishes and all water- undissolved resin.
Dewaxed shellac is very resistant to borne finishes adhere better to it, and it I have started using SealCoat™
water, so it can be wet-sanded. Shellac is more resistant to white water stains for most of my applications because

26 The Guild of New Hampshire Woodworkers


Shellac – continued covered in books, not short articles. Three Sources of Shellac
it eliminates the process of chopping, books are suggested below. The method I have had satisfactory results with
dissolving and filtering flake. It does I use depends on the trade off between unbranded flake from www.shellac.net,
not dry quite as fast as freshly dissolved drying time and my time. Drying time JT Moser Super Blonde flake ordered
shellac, but usually that is a minor for finishes generally increases with the from Woodworkers’ Supply and Zinsser
disadvantage. It only comes in one square of the finish thickness, but my Bulls Eye liquid shellac from Home
color (light amber) but it can easily be time is proportional to the number of Depot and other local stores. For dry
colored. layers it takes to build an adequate finish flake, www.shellac.net offers a wide
thickness. For example, twice as many variety of grades and has very good
Coloring Shellac half-thickness layers can be completed prices. Jeff Jewitt’s Homestead Finishing
Shellac solutions are colored by in half the total elapsed time, but with Products (www.homesteadfinishing.com)
intermixing the variously colored natural twice as much of my time. also has a good variety of grades of flake,
shellac resins or by adding dyes and I generally apply shellac with a fine- and I have found him to be a reliable
pigments. Dyes may be added as liquid bristle brush when I am trying to save supplier of good quality products.
dyes in glycol (like TransTint™ or other my time but can afford to wait the
NGR dyes) or as dry alcohol-soluble dye longer time that thicker layers need Sources of information
powders (after dissolving in alcohol and for the alcohol to evaporate. Sanding The best book I have found on
filtering). Pigments may be added as dry between coats removes the dust and finishing is Bob Flexner’s Understanding
powders (after dispersing in alcohol) or brush marks. For a quicker finish (but Wood Finishing, Readers’ Digest
as powders predispersed in a glycol base with more of my time) I apply shellac in Assn, 2005. Flexner gives very clear
(like Universal Tinting Colors). thinner layers with a pad. Some sanding explanations for the nature and behavior
Shellac lightly colored by these is necessary to remove dust and streaks. of finishing materials. He gives you a
methods is very useful for subtly A final coat of very thin shellac leaves a real understanding of the materials and
changing the color of wood, since the gloss surface, and duller sheens are then finishing processes, rather than just a
color can be added and corrected layer obtained with abrasives or steel wool. collection of recipes and techniques to
by layer. It is only a partial substitute For a fine high-gloss finish in a short be blindly followed.
for staining before finishing because of time (but with even more of my time) Jeff Jewett’s Hand Applied Finishes,
the difficulty of obtaining a finish coat I use the French polishing technique, Taunton Press, Newtown, CT, 1997, has
of perfectly uniform thickness. Shellac in which very thin layers are applied excellent instructions for application
deeply colored by these methods is to produce a high-gloss finish without of shellac and most other small-shop
excellent for touching up dings and abrasives. finishes.
deep scratches and for blending in wood I shellac all surfaces of fine furniture Sam Allen’s Classic Finishing
patches in colored finishes. except tops of tables and case pieces. To Techniques, Sterling Publishing, 1994,
improve heat and solvent resistance, I has excellent detailed instructions for
Applying Shellac finish these with varnishes which I color French polishing. Although out of print,
This is a very large subject, best and rub out to match the shellac. used copies are readily available.

Building A Guitar – continued making uses both metric and imperial Good old Alan has been experimenting
number of sound-influencing variables. measurements, so I need two complete with a solution ­– fish glue! In fact, one
Existentially, this groping about in the sets of dial gauges, feeler gauges, and of his students has recently completed
unknown and unknowable is part of rulers of varying lengths. With careful an entire guitar using nothing but fish
what gives lutherie its great fascination and iterative measuring and trimming, I glue as the adhesive. The great advantage
and charm. get the top and back to the point where of fish glue is its working time of 40
Once the kerfing is all in place, I they, as it were, snap into place. Now it is minutes! It does not have to be heated
cut rabbits into it that accept the ends time to glue the body together. or mixed, comes in squeeze bottles from
of the braces on the top and back. This Photo 11 shows this part of the Lee Valley, and does not smell. I make
has to be done very precisely with no operation. It uses a lot of specialized some test glue joints on scrap wood
gaps. The end of each brace has to be spool clamps, which take a fair amount using yellow glue, hide glue, and fish
precisely supported by the bottom of of time to put into place, far longer than glue. All make joints stronger than the
the gap in the kerfing. A loose joint the 10 minutes open time for yellow wood itself. The big disadvantage of fish
means structural weakness and possible glue, to say nothing of hide glue. What glue is that it readily dissolves in water,
buzz or rattle in the finished instrument. to do? Well I could practice to become so a fish-glued guitar will rapidly come
I find I need a dial gauge to measure very fast. But I don’t like to hurry and apart if submerged. — to be continued in
the cut depths. Parenthetically, guitar don’t like to work under pressure. the April, 2008 issue of The Old Saw.

The Guild of New Hampshire Woodworkers 27


beginner’s corner
fast & clean by Bob Oswald

Half Lap
T hirty two half lap cuts to
make. The typical tool in
many shops will be the tablesaw
First, with the bandsaw, rip
a cut slightly shallower than the
final dimension cut in from the
Make the first pass
forward near the end of the
piece with a miter gauge.
with a dado blade. I don’t like the end. Stop short slightly before the The final pass is a backwards
rough surface left by the dado final length of the cut. Use a stop climb cut to prevent tear
blade. It’s a fine choice in many board clamped to the fence to get out on the back side of the
applications but for this joint, a consistent depth of cut. And drift shoulder.
smooth flat surface was necessary. angle, while small on this short cut,
So the router table makes that needs to be considered.
possible and makes a beautiful, Then to the tablesaw for a
square finish to the shoulder and crosscut to trim off and release
flat. However, it’s a slow process to the little piece. Use a spacer block
hog out all the material, and prone on the fence (not shown here) to
to tear out, requiring diligent use prevent the off cut from rocketing
of a backing board. out of the saw.
The shortcut is not rocket Finally, make the cleanup pass
science. Use the bandsaw and on the router table. Here a 1˝
table saw to eliminate the bulk of router bit makes quick work with
the material. minimum passes and swirl marks.

Saw Blade Solutions by Bob Oswald

I had a chance to learn a few


tidbits about saw blades
from the Freud rep recently.
and burning. The blade will appear
to be dull. How many dull blades
have been sharpened by cleaning?
less waste. It’s less mass, less wear on the motor at
startup, more power cutting rather than overcoming
inertia. For 1/32˝ narrower cut, the body of the blade is
Thought I’d pass them on to you. Change blades for the even thinner. A thin kerf blade will weigh almost half
In answer to questions about application. It’s easy to be lazy as much. It increases the sweet spot, the trade off in
what blade to choose, what and run a combo all the time. feed rate between going slow and causing burn, and
diameter, best use of dado blades, You’ll get cleaner cuts and better pushing to fast and causing a stall.
a lengthy discussion about these performance on a small saw by An 8˝ dado is often too big for a smaller saw. Drop
and many subjects ensued. Here using a ripping blade to rip. This to a 6˝ blade. You’re typically only cutting a half inch
are some interesting high points, summer I observed OCAC folks deep or so. You don’t need a monster blade. Low
especially for people with smaller changing blades all the time. It horsepower will handle the smaller blade better.
tablesaws such as the table top gets easier as you do it. On that What’s the difference between a 10˝ 50T Industrial
variety. note, tightening the new blade is Blade and a less expensive Home Depot version? The
For stalling or burning not a contest of strength. OCAC industrial blades have more steel, bigger carbide teeth,
problems, go to a smaller diameter technique is to put the wrench better stabilization with more complex tuning cuts,
blade. It takes less horsepower to on the nut and rest it against the and therefore more cost. Use what’s appropriate for
spin it up and keep it moving. You table. Then with two fingers, pull your application.
don’t have to be driven to maintain the blade tight. It works, it doesn’t Use an out feed table to take stress off the saw
a 10˝ blade. slip, it’s safe and it’s much easier system. A roller drifting sideways against the blade
Clean your blade often. Resin to get off. increases the torque required and puts a greater load
buildup will cause overheating Thin kerf blades are not about on a small saw.

28 The Guild of New Hampshire Woodworkers


by Norm Brewer
Using
Three Phase Motors

Three Phase Power


I have recently been looking at
purchasing some older commercial
woodworking equipment. A major
Static phase converters do not have
any moving parts as the name implies,
but contain phase shifting capacitors
Three phase motor stator has three windings

impediment to using this type of and switching circuits. These devices about 1500 watts with no load. Keeping
equipment is that it often comes produce an artificial third phase for it on all the time could be expensive in
equipped with three phase electric starting the motor and supply two of the a small shop.
motors. I’ve been investigating options motor’s windings with the two separate A one HP rotary phase converter
for dealing with this problem and found 117 volt sides of a single phase 220 volt costs less than $200. One good place to
that there are several good solutions. circuit. The net result is that the motor start investigating rotary converters is
First of all, most residential electric develops 1/2 to 2/3 of its rated horsepower, www.phaseconverter.com.
service is 117/234 volt single phase. but the unbalanced power can cause Variable Frequency Drives (VFDs) are a
The two separate 117 volt lines are in overheating if the motor is heavily loaded. third class of converters. These devices
phase with each other which makes the Static converters are cheap, small and convert incoming single or 3-phase power
voltage of the two lines additive. Three lightweight, and a separate converter is into DC, and then synthesize 3 separate
phase power is usually only available often used for each piece of equipment. AC phases from the DC. Motors run
to commercial or industrial users and Static converters work only for motors from VFDs will develop full power. This
getting three phase power is not an and not other 3-phase equipment. A 3/4 type of drive can create power at varying
option for most homeowners. to 11/2 HP converter costs $147 from frequencies, which allows motor speed
Conceptually, you can think of a www.phase-a-matic.com. to be varied. The Powermatic lathe used
three phase motor as having three Rotary phase converters are special at a recent Robert Sorby demo had
separate stator windings. Each winding three phase motors that have additional a 2 HP three phase motor controlled
is connected to one of the three phases circuitry added to start and run the by a VFD. It provided soft-start and
supplied by the electric utility. These motor on single phase power. Rotary speed control. One source I found
three windings produce a rotating converters act as rotating transformers is www.driveswarehouse.com/Drives/
magnetic field, and the motor’s rotor and create true 3-phase output power AC+Drives/Phase+Converter+VFD/
chases the rotating field providing for use by 3-phase equipment. Motors L200-015NFU2.html. A 2 HP Hitachi
rotating power. running from a rotary phase converter VFD drive costs $216 from these folks.
Three phase motors have several develop full power and there should Call them to discuss various design
advantages over single phase motors. be no overheating problems. Multiple options available.
They can be simpler since they don’t need pieces of equipment can be run
capacitors for starting, or centrifugal simultaneously from a single converter Norm Brewer is a member of the
Washington Woodworker’s Guild
switches to disconnect starting windings if it is properly sized. Rotary converters
(www.washingtonwoodworkersguild.org)
once they start. They also can provide will also power non-rotating three phase
located in the Washington DC area. This
dynamic braking to stop rotation quickly. equipment like welders. article is reprinted with permission from the
The rotation of a 3-phase motor can be Large rotary phase converters can guild newsletter – The Wooden Word.
reversed without stopping the motor. consume a significant amount of power
This is important in some applications. while idling. A typical 10
Finally, 3-phase motors produce a more HP converter consumes
even torque than single phase motors, so
devices using them run smoother.
In many cases the simplest option may
be to replace the three phase motor with a
single phase one of equivalent power
and speed. Whether this is feasible will
depend on how the motor is mounted
and whether or not the equipment uses
any of the special capabilities of 3-phase
motors. Also, replacement cost for larger
motors may be prohibitive.
Rotary Converter Static Converter Variable Frequency Drive

The Guild of New Hampshire Woodworkers 29


Our Video by John Pitrone

Lending Library
H istorically, the Guild has always
made the video library available to
members and had loosely kept track of
members. We are also able to do a better
job of replenishing missing videos. In
the very near future, we will provide you
I sometimes
w h a t
wonder
happened
to those that I no longer see
who had videos. This was done using the with a list of videos sorted several ways, at the meetings. I am sure
honor system by leaving a notebook for i.e. by category, by date, and alphabetical. that some have chosen to move on, or
members to sign out videos on their own. These lists should be available in the to pursue other interests. This brings to
Since I have taken responsibility for the form of PDF files downloadable from mind that the videos are an important
library, I have made a number of changes the new Guild web site. Having the list legacy of the Guild. They are a good
to how the videos are signed out and allows members to plan their borrowing method of capturing and sharing the
tracked. Initially, I made some of these or purchase ahead of time. This reminds knowledge and techniques of the
changes because I had difficulty reading me to mention that the videos are also demonstrators, members and non-
the member names in the notebook. I available for purchase for just $10. members alike.
also wanted to keep better track of the Good statistics require a high degree It is important to capture that
videos. Of course, the growth of the of data accuracy. So, if the following list knowledge before it is lost. Time and
Guild membership has also necessitated doesn’t look right, it may be because again, I read articles in woodworking
the changes to the procedures. magazines talking about
Now, when members techniques that were used
borrow from the library, I hundreds of years ago that have
write down the member name Current 10 Most Popular Videos been lost due to the fact that the
and stock number of the video. knowledge was never passed on.
While my writing is also pretty Title Code# Times Out Just recently, I was watching
poor, I can read it! So, please a program on TV about NASA
Inlay 99-I 7
be sure to see me to sign out engineers combing the rocketry
your videos, so that I can keep Christmas Ornament (project) 00TS3-4 5 junk yards for parts from the
better track. I try to make the Natural Edges from Green Wood 03TS4-4 5 rocket that was used to land
videos available at all Guild men on the moon. Apparently,
Hand Cut Dovetails 05-JS10 5
meetings as well as all the the information for that rocket
GSWT meetings. Sharpening Day 95-SD 5 had been lost, or was never fully
Sometimes videos are kept Bowl Turning 00TS3-6 4 documented. Now that there
out for an extended period of are plans to go to Mars, the new
Bowl Turning (2 disk set) 00TS3-7 4
time. Some have been out for engineers need that information,
the better part of a year. I know Intro to Veneering 01-IV 4 and they are looking for
that it is occasionally difficult Planing Wood by Hand 03-PWH 4 parts so that they can reverse
to get the videos returned, but engineer them! The videos are
Sharpening for Turning 04-ST 4
perhaps a friend could return our (the Guild’s) method of
them for you if you can’t make fully documenting our rockets
the meetings, or maybe they (or tables and chairs, etc.)! As I
could be mailed back. I am open to videos were not signed out properly. remember it, passing on information is
suggestions on how we could get these Please help us to maintain the needed one of the Guild’s basic goals. I think it’s
videos back and into circulation sooner. accuracy by signing out all videos. This a great goal. We wouldn’t want to have
Now that we have more members, it is is especially true for those that are more to reinvent the wheel!
becoming more important to return the popular. I look forward to continuing to
videos in a timelier manner. As I occasionally view a video, I am provide you, the members, with access
Now that we keep better track, reminded of how important they are for to the Guild’s legacy of knowledge in
we can identify which videos are the passing on information. In many of the the form of the video library.
most popular and can make additional videos, the audience is panned and I like Thanks to all for sharing that
copies, so that they are available to more to see who I recognize and who I don’t. knowledge.

30 The Guild of New Hampshire Woodworkers


Nov 17th, 2007
at St. Paul’s School
in Concord, NH

Guild Meeting by Sal Morgani

T he November general
meeting was held in the
Captains room in Coit Hall
The other projects ranged
from turning pieces such
as candlesticks, to checker
on the campus of St. Paul’s boards, benches, windsor
School. chairs and a tea table. There
Dave Anderson started was such a great interest in
with the Guild’s business seeing what others are doing
report. Then in a departure that we will continue this
from our normal format we feature in future meetings.
had some of the members The main presenter
discuss the projects which of the meeting was Web
they brought to the meeting. Andersen. He is an engineer
John Whiteside brought his and has been working with photos by Jim Seroskie
guitar which is a work in dust collection systems
progress. He shared with us in various size shops. He
the various aspects of guitar discussed and had drawings
making with emphasis on of dust collection solutions
the rosette and the dozens for dealing with today’s
of jigs required. DJ Delorie vast array of power tools. A
brought in a completed table general question and answer
clock which he discussed and period followed.
answered members questions. After lunch this author
This beautiful piece will be gave a lecture on debunking
entered in a contest (we hope finishing myths. Topics
you win DJ). discussed were linseed oil,
varnish and shellac finishes
and ranged from “replacing
the natural oils in wood” to
“wax build up”.
Between the great location,
the large member turnout,
the questions and enthusiasm
of the attendees, we had a
wonderful meeting.
Web Anderson

The Guild of New Hampshire Woodworkers 31


November 24th, 2007

by Jon Siegel

Granite State Woodturners regular turning. Things must be planned


out ahead of time. Starting with a round
turned object, the decoration is made
at Fred Armbruster’s shop in York, ME
on the surface with cutting frames
(attachments which hold a rotating
cutter) secured on a slide rest.
The process relies on the spinning
tools to produce the finished surface
(no sanding) so sharp tools, and good
materials are necessary for success. In

T
Victorian times, the material of choice
he November meeting of the Granite lathes that he produces in his extensive was elephant ivory. Now African
State Woodturners was held at the machine shop. blackwood is preferred and probably the
workshop of Fred Armbruster in York, Fred told us that he was initially most popular. But any kind of very hard
Maine. Fred is an eye surgeon who has exposed to OT by the series of articles wood can be used, or even plastic, such
been intensely involved in the art of by Frank Knox that appeared in the as Corian, etc.
ornamental turning (OT) since the late first four issues of Fine Woodworking Fred’s antique Ornamental Lathe
1980s. magazine. Fred was not inspired by the was made by the machinery designer
He not only restores old ornamental objects, but he was very excited by the George Birch, who manufactured
lathes and collects original tools and tools. engine lathes, planers, and shapers in
accessories for them, but also has Fred gave us a capsulated history of Manchester, England in the period 1880
designed and built dozens of ornamental OT. He said that embellished decoration to 1900. Birch also made and patented
produced by complex mechanical means many devices for OT. Fred obtained his
first appeared in Germany in the 1500s. antique OT lathe after it had been in a
John Jacob Holtzapffel is best known for fire. He had to make many new parts,
the many books he wrote on OT and the and he modernized his machine with
lathes he manufactured which were very variable speed motors, to avoid relying
complex. Holtzapffel’s books are still the on treadle power only.
best reference on the subject, especially Next, Fred demonstrated the Rose
volumes 4 and 5. Engine of the type he makes and sells.
The Victorian tastes required complex While there is a lot of tedium in OT,
embellishment,
and these lathes fit
in with the times
while the Industrial
Revolution
b r o u g h t
advancements
in production so
that the machines
became available
to more people.
As Fred started
his demonstration
of the Ornamental
Lathe, he explained
that OT is not as
“spontaneous” as

32 The Guild of New Hampshire Woodworkers


photos by DJ Delorie unless otherwise noted

Rose Engines produce work much


more quickly, which Fred compared to
“putting up wallpaper”. On this lathe
the entire headstock rocks back and
forth as the spindle rotates. This motion
is controlled by a series of built-in
cams. Fred’s lathes have a lever on the
cam follower (a special feature which
he invented) that allows you to adjust
the amplitude of motion, both above
and below 100%. This invention vastly
increases the versatility of the cams.
Fred explained a little of how he got
involved in manufacturing the lathes.
At the American Ornamental Turners
Symposium in Portsmouth last year, “I
hoped to sell ten lathes but I sold twenty-
four”. Clearly Fred has been hard at work
for the last year, making all the parts for
these machines. He now has about 80%
of the parts made, but all the assembly
still lies ahead. Before we left, we toured
the huge machine shop where this
project is in progress. Since each lathe
comes with a complete compliment of
about ten cams, we observed stacks of
brass cams all over the place. The quality
of the brass turning was amazing and
reminded me of Victorian microscopes
and telescopes.
This was a fascinating meeting for
anyone interested in mechanism, lathes,
antique tools, or machine shop methods.
Fred’s knowledge of machinery design,
his ingenious creations, and his
industrious pursuit were impressive and
inspiring. A DVD of this meeting will
soon be available from the Guild video
library.
photo by James Forbes

bottom three photos by Ed Bartlett


The Guild of New Hampshire Woodworkers 33
Jan 12th, 2008

Period Furniture by John Faro

at Jim Seroskie’s shop in Amherst, NH

piece of furniture is going the draw slides. He finishes the piece


to be restored to museum putting the proper original hardware

T
quality and just admired back on the drawers.
his month’s meeting started the or if it is going to be an Harvey brought in some pictures
new year off in spectacular fashion. every day functional piece of furniture of the 1800s Georgian oak table that
Harvey Best was our guest speaker with to be used daily. Then the process begins he restored. He talked about how he
the topic of antique furniture repair and either keeping all parts and repairs went about that project and how happy
restoration. The meeting was hosted by and finishes as authentic as possible or the customer was when he delivered it.
Jim Seroskie in his beautiful shop in reproducing parts with new materials Details of the table restoration are in the
Amherst, NH. About twenty members and using new finishes. April, 2007 issue of The Old Saw.
were in attendance. He showed us how he approaches The following list details the purchase
The meeting started out with John taking apart chair stretchers and information for the supplies Harvey
Whiteside giving a brief safety topic on spindles using a spreader clamp to apply uses when restoring furniture. This is far
router table and shaper safety. Then our slight out ward pressure to the piece. If from a complete list:
host Jim Seroskie, talked about his new it doesn’t come apart easily, he will drill
shop and some of his projects he was a small hole then inject vinegar with a • Scalpel, for surgical cuts in veneer – Van
working on making custom molding small syringe into the joint to loosen Dyke’s Restorer Catalog
for his home on the Williams & Hussy up the glue inside the joint. It usually • Syringe – for injecting glue, vinegar
molding machine. comes apart. If the spindle is broken, he • NGR Stain (non grain raising) – Woodcraft
Then the meeting took off with will drill out the stuck piece of wood in • Spray bottle, disposable Preval – spray
Harvey Best, sharing some of his trade the hole, thread in a small screw then small quantities of shellac or lacquer on
secrets he has used over the years. He pull it out using the screw as a puller. He small areas of woodwork
explained to us that before he starts any also showed us a tool that he made by • Shellac flakes, super blonde – Woodcraft
restoration or repair, he or his customer cutting a “V” notch in a block of wood • Thin bladed spatula – Lee Valley
has to make the decision as to if the and inserting a small piece of hack saw Continued on Page 35
blade on each side of the “V”, then using
it as a rasp to rub back and forth to clean
the glue off the end of the spindle.
Harvey then talked about repairing
veneer tops. By using small pieces of
veneer that match the top as close as
possible, he will align the patch to
match the grain and cut it into place
using a surgeons scalpel. He then glues
it in. Once glued in place and sanded he
finally applies his finish.
Harvey talked about the shellac he
uses mixed with grain alcohol to get a
one pound mix which he puts into a
spray bottle then applied as many coats
photos by Jim Seroskie

as needed to make his finish match.


Harvey also brought in a chest of
draws that needed repair and refinishing.
He talked about how he strips the finish
Harvey Best off and how he repairs the drawers by re-
gluing the dovetail joints and replacing

34 The Guild of New Hampshire Woodworkers


Nov 18th, 2007

Luthiers by John Whiteside

at Jim Robinson’s shop in Nottingham, NH

O ur new Lutherie group held


its third meeting on Sunday,
November 18, 2007 at master violin,
violins to look old. If you are interested
in violin making, Jim offers individual
instruction (www.renstrings.com).
made. Members of the New England
Luthier’s Guild (based in Southern
New England) have been invited to
viola, and cello maker Jim Robinson’s The meeting provided an opportunity participate in what I hope will be a long
shop. Our group is growing rapidly with for Roger Myers to get some advice on and fruitful exchange and collaboration.
25 members, about half of whom were repairing some violins he inherited and That meeting, scheduled for late January
at this meeting. also for Ed Bartlett to get some feedback is, not surprisingly, “sold out”. For the
Jim gave an interesting presentation on the sound qualities of a violin he March 16 meeting,
about how he builds instruments and built. In the photo you can see Jim test- Steve Connor
emphasized, at our request, some of playing Ed’s violin. maker of the
the business aspects. One difference At these meeting we play our renowned Connor
between violin making versus guitar instruments as well as discuss building line of classical
making is that the market expects them. Paul Miller, Steve Marcq, Phil guitars (www.
Gamache, and Ray Sanville all played for connorguitars.com)
us. I got to fulfill the dream of a lifetime, will demonstrate
which was to do a duet with a really jigs and fixtures his
good violin player. The photo shows company uses.
Keri-Ann Price and myself performing. To get on the
Everyone agreed that is was a really email list for times
fun meeting. Our next planned meeting and directions,
should be astonishing. We have invited contact John
Emmy-Award winning, master steel Whiteside at
string guitarist Ed Gerhard to attend j o h n i n f re m o n t @
for the purpose of test playing and comcast.net or call
photos by John Whiteside Jim Robinson
giving feedback on guitars we have 603-679-5443.

Period Furniture – continued


Mike Noel and myself John Faro. John
• Paint stripper, Zip-Strip – hardware store has done an excellent job with the group
• Denatured alcohol – dissolves shellac making it what it is today and also with
• Lacquer thinner – dissolves lacquer the help of its members. John has a large
• Wood glue – Titebond Type III pair of shoes to fill but with the support
• Lemon oil furniture polish – lubricate of the group and John as a mentor, I think
wet-dry 400 paper to rub-out finish we will do just fine. On behalf of myself
• Reference Books: and the Guild – Thankyou John for all
The Furniture Doctor by George Grotz the hard work you have done and the
Understanding Wood Finishing dedication you have given to the Period
by Bob Flexner Furniture Group and to The Guild of
New Hampshire Woodworkers.
We would all like to thank, To get on the contact list for the
John Whiteside, Jim Seroskie Period Furniture Group, or if you have
and Harvey Best for making this any ideas on a interesting topic or a shop
meeting another success. where we can meet, please contact one
As some of you have heard through of us.
e-mail or from being at the meeting • John F Faro: jff960@metrocast.net or
Saturday, John Whiteside is stepping 603-968-9800
down as chairman of the Period Furniture • Mike Noel: mnlwoods@netzero.net or
Group. He has turned the group over to 603-744-3821

The Guild of New Hampshire Woodworkers 35


bulletin board

Wood Days space for demonstrators will members know that Wood 9:00 am to noon. The location
I am reviving Wood be limited – first come first Days is back. and topic is TBA.
Days the last weekend in served. I rent one 20 x 30 tent Dave Emerson: 603-783-4403 Contact DJ Delorie
June at my place, Old Ways and there’s room for another or efurnitr@comcast.net to be added to the e-mail
Traditions in Canterbury if donated. I have several 10 notification list.
(www.oldwaystraditions.net). x 20 tents available. Beginner & Intermediate DJ Delorie: dj@delorie.com
Shaker village didn’t want it. Pre-registration is not Group
It will be as much like it was required but necessary BIG, the Beginner and Granite State Woodcarvers
as I can make it, depending if you want to be sure of Intermediate Group, meets This small group of
on who wants to participate space. Any volume of Guild the first Saturday of the even dedicated woodcarvers meets
and how much help I get. participation would need a numbered months from Thursday nights at Rundlett
Old Ways Days, the Guild coordinator to help October to June. Feb. 2nd at Middle School in Concord,
third weekend of October find tentage and parking 9:30 am is the next meeting. NH. Meetings are 6-9 pm
last year, went well and will help especially. At the very I will continue to make during the school year. For
be repeated at the same date. least, I want to let Guild the apple wall hung cabinet. info or directions contact…
(350 people came.) Covered Starting in April, I will Lou Barchey: 603-753-2708 or
begin a series on drawer barchey@comcast.net
construction and hanging
drawers. We will explore a Luthiers
Discounted Taunton If you wish to number of ways to build and Our next meeting
Magazine Subscriptions take advantage of this hang drawers. This will take will feature Chris and
Once again, we are opportunity, send your place over a year or so. Stephen Connor, makers
making subscriptions name and address, the This year will be a little of fine classical guitars
to Taunton magazines magazine(s) and term(s) different. BIG will be (www.connorguitars.com). To
available at special group you want. Specify if meeting at Steve Colello’s accommodate our invited
rates. Discounts are this is a new or renewal shop at 119 Flynn Road, speakers the date has been
available on any magazine subscription – I do not Sanbornville, NH for the changed to Sunday, March 9,
Taunton offers, and are need your current label for short term. 2008, 1-4 pm. (ordinarily we
applicable to both new renewals – Taunton will would meet on March 16).
and renewal subscriptions.
Since we do this only
once a year (right after the
search their database using
your name. Send a check
made out to the Guild for
D irections – Flynn Rd. is in
North Wakefield off of
route 16. It is 6.0 miles north
Our speakers will be
demonstrating the jigs and
fixtures they use in guitar
February Guild Meeting), the appropriate amount, of the intersection of route making. Since the date
you may wish to renew to: 16 and 109 and 5.7 miles conflicts with our sister
now, even if your magazine south of the intersection of group, the New England
expires mid year – Taunton Tony Immorlica route 16 and route 28. Going Luthiers, we have invited
will simple add to your 6 Purgatory Road north, it is a right hand turn them to attend the meeting,
current term. Mont Vernon, NH 03057 and going south, it is a left which will be at Ric Miller’s
hand turn. shop in Eliot, Maine.
The table below shows Orders will be accepted Once on Flynn Rd, go Our meetings are open
the group rates offered to up to the February Guild 0.25 mile and the shop is to anyone interested in
the Guild. meeting. on the right. The name and making stringed instruments,
number are on the board. regardless of level of expertise.
Please contact me if you Besides presentations and
Magazine Subscriptions 1 year 2 years 3 years
plan to attend. discussions, we like to play
Fine Woodworking $27.96 $47.96 $67.16 Bob LaCivita: 603-942-1240 or our instruments at each
rlacivita@metrocast.net meeting, so bring them
Fine Homebuilding $30.36 $52.76 $75.16 along.
Fine Cooking $23.96 $39.96 $55.96 Granite State Woodturners To sign up for the meeting
Fine Gardening $23.96 $39.96 $55.96 The next meeting of the and receive directions,
Granite State Woodturners contact:
Threads $26.36 $43.96 $63.16 will be March 22nd from John Whiteside: 603-679-5443 or
johninfremont@comcast.net

36 The Guild of New Hampshire Woodworkers


bulletin board
included handouts covering day we were all treated to
his topics of discussion and home made muffins and
how to tune each tool. coffee supplied by his lovely
Period Furniture In addition to a very and gracious wife Verna. –
In case you didn’t make informative, enjoyable Fall Ned Gelinas
our excellent January, 2008 Peter James hosted a Small
meeting, there is news. I Meeting on Saturday y
Bu t
have decided to step down October 20, 2007 on Tuning a
Ne ff
as chair of the Period Woodworking Machinery. Tools & Lumber… set available u
St
for extra cost.
Furniture Group. In the past Needless to say, the five Jet (HTC) mobile machine base
JMB-JTAS excellent condition, Excellent
three years, our membership of us Guild Members in
never used, main base will beginner lathe.
has doubled to almost 50 attendance enjoyed the “done
accept a machine base as large Old but loved. – Let’s Talk
people and we routinely right Yankee ingenuity” Peter
attract almost half of these staged for three plus hours at as 24˝ x 52 3/4˝ also has 36˝ T Rockwell/Delta Super 10
to our meetings. Thanks to his workshop in Barnstead. extension – $125 tablesaw – $100
great participation, we have Peter discussed Porter Cable biscuit cutter Model 22˝ by 24˝ cast iron top with
consistently high quality everything from cleaning # 555 excellent condition – $40 extension on factory stand.
events and presentations, of and conditioning to the Kuntz scraper plane – $50 Original documentation. Great
which Harvey Best’s talk on importance of true alignment for job site or small space. –
All wood has been air dried and Let’s Talk
furniture restoration is but of motorized woodworking
stored indoors min of 5 yrs…
one example. tools. Included was the Guy Senneville: gsenn@
Many generous members tablesaw, utilizing Peter’s 4/4 Black Walnut rgh – $4.50 BF comcast.net or 978-423-7827
are willing to host meetings custom made alignment tool 4/4 Red oak – $2.50 BF
4/4 #2 common cherry rgh – TableSaws…
and have shops large enough for checking the accuracy of
$2.50 BF Pinkerton Academy has
to hold 20 or more. And the blade, the miter slot and
4/4 soft maple 8´x10˝ – $2.00 BF replaced the tablesaws in our
we have established a new fence. Also included was
1/2” aromatic red cedar – $1.00 SF woodworking and building
precedent, with the Guild the jointer and thickness
Marty Milkovitz: construction programs with
being willing to pay for us planers as well as various
603-878-3591 or SawStops. Two of the old saws
to visit the Strawbery Banke belt and thickness sanders.
marty@mjfurniture.com are for sale.
museum. We all enjoyed his attributes
So, on a high note, I am applied to the sharpening TableSaw… Delta UNISAW, 3 hp(?), three
happy to turn the leadership and setting of jointer and phase with uniguard and Delta
Craftsman 10” Tablesaw – extension table and fence. $250.
over to Mike Noel and John thickness planer blades. Model 113.298032 in excellent Although this a three phase saw
Faro. They will be contacting In general, Peter’s condition. Has a cast iron table, it might be worth investing in
you shortly with their contact well equipped workshop a 1 HP motor, and casters – a new motor or a converter at
information and their plans consisted of any “wish list” $195/BO this price.
for the future. Please give tool sought by all of us. Of Tony Immorlica 603-673-9629
them the same excellent course in Peter’s process of Delta Tablesaw (1¾ hp?), single
or aaijr@comcast.net. phase with uniguard and delta
support and enthusiasm you acquiring many of his “used
have given me over the years. tools” (that look new) we
Share End Coating… extension table and fence. $750.
To sign up for the meeting, were given the in-sight of Looking for a couple people to Jack Grube: jgrube@
contact: his 40% rule philosophy. share a 5 gallon pail of the white pinkertonacademy.org
John Whiteside: 603-679-5443 or Although it appears he End Coating (has anti-freeze). or 603-437-5200 x1176
johninfremont@comcast.net slipped when a noticable Jerry Burt in Plainfield: ShopSmith…
new 17˝ floor drill press with 675-6141 or Real Old ShopSmith – Seems
laser and a mustard colored jerryaburt@yahoo.com to have all the attachments & a
lathe were seen. Peter also Tools… wooden base it sets on. Runs OK.
Small Meeting with Peter James
Craftsman Lathe – $100 Make offer. Local pickup.
9˝ Swing 30 inch between Real old Craftsman bandsaw –
centers. 1/4 hp Century motor. Runs fine. Comes with six extra
Extras include multiple spur blades. – Make offer. Local
centers and drill chuck. Bench pickup in Claremont.
top model but mounted Syd Lorandeau:
on sturdy cast iron legs. slorandeau@verizon.net
Documentation included. Chisel or 603-542-5295

The Guild of New Hampshire Woodworkers 37


Finishing Symposium … April 19th, 2008 Steering Committee Meetings

W e will be holding an all day


finishing symposium at Pinkerton
Academy with some of the best finishers
Contact Peter Breu with questions
or suggestions. Volunteers are always
greatly appreciated!
T he Steering Committee usually meets
six times per year about two to three
weeks before each major guild meeting.
around. There will be four rotations Meetings are open to any members.
with several choices on each rotation Gary Wood – Different ways to use shellac Current scheduled meeting dates are:
and a trade show with many important Tom McLaughlin – Traditional varnishing
March 19, 2008
vendors. Guilds from throughout New Jim Morris – Waterborne finishes
May 21, 2008
England will be invited and we can Terry Moore – Spray lacquer
August 20, 2008
expect a great turnout. Admission is Marty Milkovits – Staining and dying
free. Some of the scheduled presenters Bruce Hamilton – Repairing finishes Meetings are held at The League of
and their topics will give you a sense of NH Craftsman’s offices in Concord from
the day – put it on your calendar and Peter Breu: peterbreu@comcast.net or 6-8 pm. League offices are located at 205
come learn from the best! 603-647-2327 North Main Street,
Concord, NH.

Supplier Discounts – Each supplier offers a minimum 10% discount to current GNHW members – some restrictions may apply.
This is a direct benefit to your Guild membership. Please support these advertisers when you can.

10% Discount to Guild Members Serving NH for Over 30 years


Rich Burnett – Owner Highest Level of Customer Service
mtoolrepair@comcast.net Dave Anderson Quality Stationary & Powered Hand Tools
603-622-0207 • www.tool-repair.com
CTW dave@chestertoolworks.com

Complete Repair Service CHESTER TOOLWORKS LLC


www.chestertoolworks.com
MANCHESTER TOOL REPAIR *MRIXVEHMXMSREPLERHXSSPWQEHIJVSQJMKYVIH
I\SXMGLEVH[SSHW
1EVOMRKORMZIWE[PWGYXXMRKKEKIWFS[WE[W
TPERILEQQIVW
10% Discount to Guild Members
722 East Industrial Park Dr Unit 3 • Manchester, NH Except machinery, power tools & already discounted items
603-887-6267 313 Route 125 • Brentwood, NH
10% Discount When You Present Your Card 146 Jennifer Drive • Chester, NH 03036 TEL 800-582-7229 • www.brentwoodmachine.com

MAINE COAST LUMBER, INC


Discount to Guild Members
17 WHITE BIRCH LANE Sharpening System – $315
YORK, ME 03909 Side Grind Adaptor – $75
(207) 363-7426 • (800) 899-1664
The Millwork Shop
HARDWOOD PLYWOODS - HARDWOOD LUMBER Big Tree Tools, Inc. at Trumbull-Nelson Construction Co., Inc.
SOFTWOOD LUMBER - MELAMINE
MARINE PLYWOODS
www.bigtreetools.com Rt. 120 - Hanover, New Hampshire
EDGE BANDING - VENEER - MDO - MDF
PARTICLE BOARD - CUSTOM MOULDINGS Belt and Buff Sharpening System for Woodturners Milling Services, Hardwoods & Plywoods
DOVETAILED DRAWERS - TARGET COATINGS Set-up, grind, and deburr in 10 seconds total! Contact Nate Carey – 603/643-3658
www.mainecoastlumber.com 1-888-TURNING Fax 603-643-2924 • nrcarey@t-n.com • www.t-n.com
258 Breezy Hill Rd • Wilmot, NH 03287 10% discount to GNHW Members
All guild members receive a 10% discount

NAVIS
®

Gary R. Wood & Co. 10% Discount to


Select Finishing Supplies PACK&SHIP CENTERS Guild Members

Reliable No-Hassle Shipping Partner for Your


Shellacs, waxes, stains,
Fine Furniture, Arts & Antiques
varnishes & tools for an elegant finish.
One-Stop White Glove Packaging & Shipping
Your questions are always welcome! In-State, Out-of-State & International Delivery
Local Pickup & Warehousing
24 Gristmill Hill Rd • Canaan, NH 25 yrs Experience Specializing in FLAV
www.garyrwood.com 603-523-4337
www.gonavis.com/nh1063 • 603-424-1035
10% discount to Guild members 180 Locations in US – 5 Miles from Manchester Airport

38 The Guild of New Hampshire Woodworkers


MILL OUTLET STORE • 10% DISCOUNT FOR GUILD MEMBERS Furniture Making Classes
The Wood Finishing School
Enjoy a mini
Northern and Appalachian Hardwoods apprenticeship
978-363-2638
Ash • Basswood • Birch • Cherry • Maple • Mahogany • Oak • Poplar • Walnut www.patinarestoration.net with some of
America’s best
4/4 - 16/4 Rough or Surfaced Kiln Dried Lumber Learn wood finishing woodworkers!
Fixed and Special widths • FSC-certified wood from well-managed forests
individually or as part of a group
Twenty-seven years experience Come into the woods...
www.experiencewoodworking.com
10% Discount for Guild Members
336 Baptist Road
visit www.northlandforest.com for stocking info
Teaching & Class Instruction Only Canterbury, NH
603-783-9700
36 Depot Road,Kingston,NH • 603.642.8275 Bruce Hamilton Antique Restoration
10% annual discount for GNHW

Williams & Hussey Machine Co., Inc.


We Care!
Straight, Round, and Elliptical www.ghevarts.com
Molding TEL (603) 763-4525
Simple, Easy, Safe
10% discount for Guild members 10% Discount
Quality Construction to Guild Members
Seven Year Warranty Non-Sale Lumber Items Only
45 Goslin Rd 313 Montvale Ave
Newington, NH 03801 Woburn, MA 01801 MADE IN THE USA GH Evarts & Co., Inc.
Kiln Dried Hardwood Lumber
800-234-3818 781-935-6414 10% Discount to GNHW Members
From Our Sawmill Near Lebanon, NH
OFFER EXCLUDES CUSTOM KNIVES AND OTHER PROMOTIONS

Except machinery, power tools & already discounted items 800.258.1380 • www.williamsnhussey.com
Route 4A • West Springfield, NH

10% Discount on Stock Items to Guild Members


Read Mike Dunbar’s Weekly Blog
www.thewindsorinstitute.com
CLASSIC DESIGNS
by MATTHEW BURAK
The
Windsor
SOLUTIONS FOR THE PROFESSIONAL WOODWORKER
Table Legs, Columns, Cabinet Feet
Institute Windsor Chair Kits & Parts

– HARDWOOD DISTRIBUTION CENTER – 10% Discount to


10% Discount for Sack Back Class &
Supplies Purchased During that Class Route 125 • Brentwood, NH GNHW Members
P.O. BOX 426, KINGSTON, NH 03848 1.800.843.7405
44 Timber Swamp Rd • Hampton, NH 03842 • 603-929-9801 TEL 1-800-442-1812 • 603-679-1230 • FAX 603-679-1960 www.tablelegs.com

The

ROCKLER ® Contractor’s
Choice!™
Tim Corcoran
Store Manager Wolfgang’s Wood
WOODWORKING AND HARDWARE 10% Discount
to Guild Members Specialty Native Woods
373 S Broadway (Rt 28) on Non-Powered Tools
Salem, NH 03079 10% Discount Manchester, NH store only
603-898-5941 to Guild Members
Low Prices – Guaranteed Strafford, NH
2154 Massachusetts Ave 29 Andover St
Cambridge, MA 02140 Danvers, MA 01923 603-664-7691
100 Cahill Ave • Manchester, NH
617-497-1136 978-774-0241 Off South Willow St. in front of Home Depot
10% Off to GNHW Members
Class schedules on rockler.com • Instructor inquires welcome www.westerntool.com • 603-627-4957

10% discount to members! The Breed School 52 BALD HILL ROAD


NEWMARKET, NH 03857
603-798-5135 American 18th Century Furniture
Sawmill & Lumber www.goosebaylumber.com
By Hand
HOMESTEAD
83 Dover Rd (US Route 4) WOODWORKING SCHOOL
Chichester, New Hampshire 13 Liberty Street, South Berwick, ME 03908 Alan S. Mitchell
(10 Minutes from I-93 Concord • Take exit 15 east) 15% Discount to GNHW Members! Director
Specializing in Bird’s Eye & Curly Maple 10% Discount to GNHW Members
Green & Kiln Dried Bowl Blanks & Turning Squares www.allanbreed.com • 603-749-6231
email: breeds@comcast.net PHONE: 603-659-2345 Email: woodschool@comcast.net
Rare & Hard to Find Domestic & Imported Hardwoods TOLL FREE: 1-888-659-2345 Web: www.woodschoolnh.com

The Guild of New Hampshire Woodworkers 39


by Ernie Grimes

W e all have seen it. A table, a


grandfather’s clock, a bureau, etc.,
all made out of wood that probably has a
craft items, you have more leeway. These
items can use a finish that contain oil
and varnish. For years, most turners used
We all know that sharp tools are the
best way to a great turning. Then the use
of sanding up to maybe a 400 grit will
nice grain and was carefully constructed a combination of linseed oil, varnish and be the frosting on the cake. But many
with good joints. But when it came to thinner in one third proportions of us forget to dampen (wet) the wood
applying a finish, it was rushed through each. This can be applied with between grits. Do that and sand with
and ended up looking like the maker a cloth or paper towel. A major the grain where possible.
used dirty water or something similar. drawback will be the fact that Bill Frost of the CNEW
Woodturners can fall into the same trap. depending on the conditions in group demonstrated to
It is not difficult if the proper your shop, several days of drying some of us years ago.
preparation and sensible choice is made. are required between each He finished platters
The first question is, does the turning coat, followed by a light some of which were
need protection and from what. sanding before the next sanded with the
If it is going to be used outside, it will is applied. In spite of grain and some without.
need protection from the elements. In this, most turners He held the turning on his
this case, paint or maybe a finish that is producing items lap with a lamp shining across the
used on boats will be a good choice. for sale in gift shops work and dampened the turning
If it is used to hold food, then you prefer this finish as it is the between grits. The difference was
will want to have a finish that is food most durable because it soaks into the obvious.
safe. Even though most manufacturers fibers of the wood. When given a coat of Buffing the finish using what
will claim that their finish is safe once wax and then buffed, you have a finish most of us call the Beall system will
it has dried or cured, some of us prefer that is hard to beat. pay dividends. You start with Tropoli
to use something different. What finish For some of us, a shellac based finish compound and linen buff, the White
is the most popular around the world is the way to go because it can be applied Diamond compound with a linen and
where bowls and plates are made of while the turning is still on the lathe. cotton buff and lastly with Carnauba
wood? Believe it or not, it is no finish When a paper towel is held against the wax and a cotton buff. This will provide
at all. It is not only the easiest but the turning as it spins around, the friction a final sheen. If you have ever held a
safest as tests on wooden cutting boards heats the finish drying it and the process turning that used this three step system,
have proved time and time again. is complete. Simple and easy. The only you will caress the piece and will find
But if you want some finish, a safe drawback is that shellac has a limited yourself touching it over and over. There
bet will be to use Butcher Block Oil shelf life. But in most cases, because it is nothing like it.
such as sold by Craft Supplies USA. is so convenient, most turners will use What is the best finish for you? The
Another way is to use a wax but one that up the bottle before that happens. This one you feel most comfortable using
contains no contaminates. If you cannot finish is popular with many turners and the one that gives you the result you
determine what the ingredients are as because it is so easy to repair if the want. For me, I use the one that suits
when you order from a catalog, a good previous finish needs a touchup. what I have turned and what it will be
clue will be if it contains citrus oils like While all these ready mix and ready used for. Some will be complicated and
lemon or orange. to use finishes do a good job, for a some will be as simple as a rubbing of
When what you turn is to be used for perfect finish, good preparation before it walnut or maybe peanut oil and a coat
non-food use like small boxes, pens and is applied and buffing after is necessary. of wax.

MINUTEMAN
40 PRESS
The Guild“The
®
of Old
New Saw” is printed by MinuteMan
Hampshire Press • 88 Main St, Nashua, NH • 603-883-4890 • www.nashuaminuteman.com
Woodworkers

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