Searchable online archive of every issue how to videos complete illustrated guide to woodworking digital series print magazine e newsletter and fine woodworking pdf 2020. Note also the spline set into the end grain of the apron. The top is the next concern. At the base of the apron, these two faces measure the full 1" X 1". This can be done on the band saw, but because of the length of the top, it is probably easier to cut this, at least, with a handheld jigsaw.

Next, cut the edge cross lap joints that will fasten the stretcher to the legs. Two notches are required at each leg. Cut the other, 1" deep, into the bottom edge of the stretcher. Then cut the notches in the ends of the through tenons using a fine-toothed backsaw.

This will prevent the tenon from splitting when the wedge is driven into the notch. After the parts have been dry-fit, glue the joints and assemble the bench.

Then, dress down the glued-up panel to a flat surface and a consistent thickness. In a shop with a big planer, this involves nothing more than feeding the stock into the machine; but in a small shop, like mine, this 15" panel must be flattened and smoothed with hand planes.

If the boards used to create the panel were all flat and all aligned correctly at glue-up, you may not need to do more than scrape away the glue squeeze-out and make a couple of token passes with a jack plane.

However, boards are rarely flat, often undulating along their lengths like bacon. In such cases, more substantial plane work may be needed. I begin by exchanging the regular iron in my jack plane for one that's been crowned across its width. This shape eliminates the sharp corners on either side of the iron's width, corners that can dig too deeply into the planed surface when the craftsman is attempting to remove material quickly.

With this crowned iron, it's relatively easy to re- move significant amounts of thickness. It does, however, leave a rippled, rather than smooth, surface, so it must be followed by a plane fit with a conventional iron. Next, cut the grooves into which the scrollwork will be inset. But the grooves in the two end panels must be handled differently. Because the scrollwork is only two inches high, stopped grooves are necessary. You can cut these freehand with a mallet and chisel or start them on the table saw and finish them by hand.

The scroll is then thicknessed, ripped to width, and profiled on the band saw. Following the procedure discussed in chapter twenty- five, cut the through dovetails joining the end and top panels. Then, glue-up the riser around the strip of scroll- work, and plug the holes in the ends of the grooves.

Due to the circular shape of the dado cutters, a bit of material will remain in the end of the groove. This is removed with a chisel. Matching figure and color is the first step. Here, two walnut boards with sapwood edges are being matched. These two pieces of cherry were both cut from the same board, assuring a consistent color.

Also, making the joint at the edges of the board where the lines of figure cluster close together helps to pro- duce an invisible glue line. Once you have matched or, as in this case, contrasted color and grain, form glue joints the lowly butt joints on the edges of each board.

You can create the joint by hand, using a jack or jointing plane. However, this is fussy work requiring experience and a steady hand. You can also create the joint on the jointer, a stationary power tool designed to perform this very task. After cutting the joints, coat each edge with glue and align them in pipe or bar clamps. These are necessary in order to bring the joints tightly together. Clamp arrangement should follow the pattern shown above. Position them no more than 12"" apart on alternate sides of the panel.

After a couple of hours, you can remove them; within eight hours, you can work the panel. This rabbet will ultimately receive the glass and the glass backing. Form a radius on the two front edges of the frame stock.

Then miter the frame parts. You can do this on a miter box or a table saw or radial arm saw using a very fine- toothed blade. At this point, cut the slots for the feathers that will later join the frame parts. You can cut these by hand with a tenon saw or on a table saw fit with a hollow- ground planer blade, using a Universal Jig to control the stock as it is passed over the blade.

Precision is important in the cutting of both the miters and the feather slots as these joints comprise the entire inventory of joinery in the mirror frame. Any error in these processes is very difficult to hide.

The feather stock is then thicknessed and slid into the slots, marked, and cut. The frame is assembled with glue. The hanger consists of only three parts: the blade, the shelf and the shelf front. Fashion the blade first. After cutting its shape on the band saw, facet the top edges.

Do this by hand, guided by a marking system similar to that used in the hand manufac- ture of the raised panel in chapter one. First, draw a line down the center of each edge to be faceted.

Then draw lines on the front and back faces of the blade adjacent to these edges. Then, by using a wood file to create planes, join the lines down the center of the edges and the lines The walnut wedges in the mirror frame corners are not only beautiful, they also add structural support.

You could create these planes freehand, but the reference lines make it much easier to produce regular shapes. Then profile the shelf front on the band saw and facet all except the top edges in the same manner as that used for the top edges of the blade.

Glue this to the front edge of the shelf. After sanding and finishing the wood parts, place the mirror glass and a matt board backing inside the rabbet cut in the back side of the mirror frame. Hold both in place with the protruding heads of a half-dozen wood screws turned into the sides of the frame rabbet. The same faceting is used on all but the top edges of the shelf front. Several of those—for example, hot melt glues—are available in different formulas for different applications.

These different formulas increase the actual number of choices to sixteen. Sixteen kinds of glue? Without devoting significant time to study and exper- imentation, no woodworker is likely to make the perfect adhesive choice for any particular application. And who wants to spend hours studying adhesives?

In my shop, except for specialized applications for example bonding Formica-like products to wood , I've reduced the adhesive inventory to three choices: white glue plain old Elmer's , yellow glue, and hide glue, all of which are more or less appropriate for any wood-to- wood joint. Each of these three types forms a bond that is stronger than necessary for wood furniture. The primary differ- ences are the amount of working time they allow, the ease with which joints they've bonded can be disassem- bled, and the convenience of their application.

Hide glue allows for relatively easy disassembly when making repairs and also offers the woodworker the long- est working time. It's available in two forms, each of which, unfortunately, has its own set of drawbacks. Then, after a few days, it must be thrown out and a new batch mixed because, once mixed and heated, it quickly loses its strength. All of this is a signifi- cant inconvenience for the owner of a small shop. The other form comes premixed in squeeze bottles just like white and yellow glues.

Unfortunately, however, its shelf life is shorter than white or yellow glue and much shorter than the dry form of hide glue. In terms of convenience, both white and yellow glue are clearly superior to hide glue.

They come premixed in easy-to-use squeeze bottles. They have long shelf life if kept from freezing, and they form an all-but-unbreak- able bond between two pieces of joined wood. There are, however, drawbacks to their use. First, because the bond they form is all-but-unbreakable, a piece assembled with these glues is very difficult to repair. If a yellow- or white-glue-assembled chair comes into my shop needing a new rung, I have to explain to the customer that I can't predict the cost of the repair.

Whereas a chair assembled with hide glue can be disas- sembled by applying warm water to a tight joint, thus allowing a fairly predictable repair time, the same chair assembled with white or yellow glue may resist my best efforts at disassembly. On more than one occasion, I've broken the slab seat on an old Windsor trying to break loose parts that have been joined with white or yellow glue. The second problem associated with the use of white and yellow glues is short assembly time.

When using these products, a woodworker may have only ten or fifteen minutes to get parts aligned and clamped before the glue grabs and adjustments become all but impossible to make.

The time constraints applied to the assembly process by white and yellow glues add stress to an already stressful procedure. In my shop, I follow these guidelines when choosing an adhesive: 1. For large, complex pieces with a high dollar value pieces for which one could justify the cost of making repairs , I use hide glue.

For pieces requiring lengthy assembly time, I use hide glue. For all other applications, I turn to the ease and convenience of white and yellow glues. Vicky Jarrett has worked with various furniture industry publications — including Furniture … One thing every home needs is an outdoor folding table. Whether you need to … Tabletop: The tabletop can be made of fiberboard, wood, bamboo,.

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