Woodworker's Journal - Summer 2015 - Home Accent Projects

Enhance Your Home!
SUMMER
2015
HOME ACCENT
PROJECTS
Page
68
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Page
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Bar Stool
Page
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Page
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Flag Case
Hall Mirror
Knife Block
Picture Frame
Floor Lamp
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Summer 2015
Table of Contents
Home Accent
Projects
Hardwood Mosaic Frame,

page 64
This collection of 16 projects offers great

opportunity to add style to your home while
you expand your woodworking skills. All of
them offer good cause to build something
unique rather than limit yourself to the usual
mass-market options. Why settle for less
when you can make something special!
Southwestern Entry Bench ................6-15

A Hall Mirror for Beginners ..............16-18
Mahogany Serving Tray ....................20-24
White Oak Trivet .................................26-28
White Oak Trivet,
page 26
Fine Tool Display Case ......................30-33

Elegant Floor Lamp.............................34-40
Deco Bar Stool in a Weekend .........42-46
Scroll-Sawn Flared Bowl ..................48-51
Memorial Flag Case ...........................52-55
Bedroom Valet ....................................56-59
Slab Top Sofa Table ...........................60-63
Hardwood Mosaic Frame .................64-67
A Kitchen Workstation ......................68-71
Scroll-Sawn Picture Frame ..............72-74
Simple Knife Block .............................76-77
Tambour-Top Folding Table .............78-89
Tricks of the Trade .................................. 90
Deco Bar Stool,
page 42
Ta b l e o f C o n t e n t s
Elegant Floor Lamp,

page 34
Scroll Sawn
Flared Bowl,
page 48
Memorial Flag Case,

page 52
Southwestern
Entry Bench,
page 6
Home Accent Projects:

Summer 2015
Chris Marshall
Special Projects Editor
Rob Johnstone
Joanna Werch Takes
Jeff Jacobson
Joe Fahey
Dan Cary
Matthew Hocking
Publisher
Editor
Senior Art Director
Associate Art Director
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Internet Production
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Home Accent Projects
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Back Issues, Books & Plans

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Website:
Mahogany
Serving Tray,
page 20
2015 Rockler Press Inc., Printed in USA.
Summer 2015
Southwestern Entry Bench

Although its elements and material
are derived from the Southwestern
United States,
this rugged
mesquite entry
bench will still
be at home
in virtually
any locale.
hen I was contemplating

the design for this Entry
Bench, my inspiration was
inuenced by a building called Hopi
House. Designed by Mary Colter
in 1905, it was her rst of several
commissions that have since become
icons of American Southwestern
architecture, greatly inuenced by
the living history of the region and
the many ancient dwelling sites that
have stood for thousands of years in
the American Southwest.
Having had the privilege of walking amongst some of these places, I
found it easy to see why Ms. Colter
was so enamored. Ive had an afnity for all things Southwestern since
my earliest days as a woodworker.
Whatever your discipline, the landscape, the light, the nature and the
people of this vast area are sure to
inspire anyone with an eye and a
mind toward creative pursuits.
This chair-table style of furniture
seemed to really catch on in Spanish
Colonial times, and examples can be
seen in photographs of some of the
buildings that Mary Colter designed.
When
Woodworkers
Journals
publisher, Rob Johnstone, chose
mesquite lumber for this
bench, I couldnt have
been happier.
With a unique selection of velvet mesquite

in hand, author Frank Grant began the
challenging process of harvesting bench pieces
from this special lumber. While its not a
difcult species to work, the checks, aws and
limb incursions present challenges not found
in your run-of-the-mill lumberyard stock.
Summer 2015
Built 6ROLGO\... to Last a /LIHWLPH

Mesquite, a tree native to the
Southwest and known for its
dark, grainy and tough wood, is
perfect for this style. Mesquite
art and furniture can be found in
ne craft galleries from Santa Fe
to Scottsdale.
When the wood arrived from
the sawmill, the rst thing I did
was spread all the planks out on
the oor of the shop and carefully study what lay before me. Two
of the planks were thicker than
the rest; these would become
the post and rail components.
The rest would be divvied up for
the panels, stiles and top. I chose
some leftover longleaf pine for
the oor of the chest simply to
conserve the precious mesquite
and give the project a nice pine
aroma inside.
Mesquite is gnarly wood containing many cracks, voids,

waney bark edges with streaks
of sapwood and a distinct interlocking grain. To help map it all
out, I took some scrap 1/4" MDF
and lauan plywood, cut them to
rough component sizes and laid
them out on the planks to determine grain direction and optimal
visual interest while avoiding the
largest of the natural defects in
the wood. I then traced around
these with a black marker before
harvesting the parts. I used a
combination of circular saw,
reciprocating saw and ultimately the band saw, to break the
exceptionally heavy planks down
to a manageable size for hoisting
around in the shop.
After a quick visit to the chiropractor, I proceeded to size and
square all the components, using
the jointer and thickness planer.

I then made story sticks out
of the aforementioned templates,
for posterity, and to keep as a
reference in case I need to build
more benches in the future. (I
do this with nearly everything I
make: hey, you never know, and
they look so cool hanging in the
shop.) These story sticks are
exact proles of the components,
with markings to transfer joinery
details to the set-off components.
(Set-off means squared, sized
and cut to length.)
I laid out the joinery next,
then set the tenon components
aside to focus on the mortising. I
always do the mortising rst: its
easier to make tenons t mortises than vice versa. I bored holes
with the drill press using 118" and
3/8" Forstner bits, the latter for
getting closer into the corners.
I proceeded to
chop these roughedout mortises square
with a selection of
sharp chisels, mostly
a 1" and a 1/2" paring chisel and a 3/8"
mortising chisel for
the tougher corners.
Once the holes were
more rened, I went
in with my 1" chisel again, carefully
paring the walls and
making sure everything was nice and
straight, to help
eliminate hang-ups
during assembly.
HARVESTING THE PARTS
Determining where specic parts of a
project will be cut from a piece of wood
is known as harvesting the parts. It
is a very important task in any project
but it becomes critical when youre
working with lumber that has extreme
characteristics like mesquite.
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Bottom Long Rail
Top Support Rail
(Top and Inside Views)

93/4"
Floor Groove
1"
1
3
11
/8"
1
/16"
/8" 3/4"
21/2"
/16"
/16"
/2"
/8"
21/4"
(End and Side View)
/4"
11
/8"
1"
1" R.
7
Outside Face
/16" Dia.
21/2"
Top Face
9
1
/4"
11/8"
/2"
Panel
Groove
/16"
/4"
11/8"
9
/16"
Floor Groove
Note: Some hidden lines on the leg and stile
and rail drawings are not shown to avoid the
confusion of overlapping mortises and tenons.
11
11
Panel Edge Prole

(Section View)
11/2"
1
/4"
9
12
11/4" R.
/4"
/16"
Exploded View
/16" Dia.
Back Leg
Pivot
2 /4"
(Inside View)
5
12
10
9
115/16
6
5
7
10
9
8
10
8
6
9
Material /LVW

Top (1)
Box Lid (1)
Lid Support Cleats (2)
Box Floor (1)
Long Rails (4)
Short Rails (4)
Legs (4)
Stiles (6)
3HYNL7HULSZ
:THSS7HULSZ
Top Support Rails (2)
Pivot Pegs (2) (carve to fit)
TxWx3
11 4" x 20" x 42"
1" x 113 8" x 313 8"
1" x 1" x 111 2"
3/4" x 32" x 12"
23 16" x 21 4" x 361 2"
23 16" x 21 4" x 161 2"
21 4" x 21 4" x 18"
11 2" x 2" x 133 4"
_ 1 4" x 10"
_1 2 _ 1 4"
1" x 3" x 17"
3/8" x 3/8" x 21 2"
/4"
1
/2"
Right
Front
Leg
/8"
Box Floor
(Section View)
Short Rails
(Inside and Top Views)
1
5
/4"
1"
/8"
/4"
1"
5
/8"
Floor Groove
1"
21/2"
5
/8"
/8"
/8"
11
1"
9
/16"
/2"
/16"
/4"
13
/16"
/16"
Outside Face
10
Right
Back
Leg
Panel Groove
Right Front Leg

(Inside and Back Views)
Left front leg must be a mirror image.
5
/8"
1 /4"
11/8"
9
/16"
1"
Front Face
11/8"
23/4"
5
/8"
Outside Face
35/16"
1"
/8"
/8"
/8"
11/8"
/8"
/4"
/4"
/4" 3/8"
5
1
1 /8"
9
/4"
1"
5
3"
29/16"
/8"
/16"
/8"
11/8"
3"
1"
2"
Right Back Legs

(Inside and Front Views)
Left back leg must be a mirror image.
5
35/16"
/8"
13/4"
11/8"
9
23/4"
/16"
Now for the tenons. I occasionally

cut tenons on the band saw, especially if there are not too many of
them. I use the same setting on
the marking gauge for the tenons
and the mortises, and the same
philosophy as if I were cutting
them with a hand saw. I split the
line with the saw blade and go
nice and slow. Take your time on
this, and follow your line with as
much surgical precision as you
can muster. (Do some test cuts
in scrap.) Oh, and this may seem
odd, but I choose not to use the
fence; I do a better job freehand.
If you work nice and slow,

youll end up with accurate cuts.
Pat yourself on the back before
cutting the shoulders on the
table saw. You could also make
the shoulder cuts rst, before
revealing your samurai skills on
the band saw. Either way works
well, in my opinion.
At this point, I put a 1/4"
straight bit in the router table
and cut all the housings (dadoes)
for the box oor, as well as for
what I nd to be among the most
harrowing of woodworking operations: panel raising!
To raise the panels, I used
a large prole cutter one
Using the same methodology as he would use with hand

tools, the author turned to the band saw to cut out the
various tenons required for the entry bench.
1"
5
/8"
1"
11/8"
5
/8"
11/8"
1
/8"
/4"
Outside Face
/8"
1
/4"
Rear Face
/8"
1
/8" /4"
/4"
/8"
11/8"
1"
5
3"
/16"
3"
1"
29/16"
1 /8"
/8"
2"
Stiles
(Outside and Side Views)
21/2"
21/2"
1"
/4"
11
/16"
/2"
3
3
3
/8"
/8"
8
1"
/4"
/4"
Outside Face
Cutting Tenons,
Raising Panels
/8"
Summer 2015
11
Preparing for $VVHPEO\

that cuts above and below the
material. The smaller of the two
proles appears on the outside
faces of the panels, adding a nice
visual detail to the heavy-looking
post-and-rail assemblies.
I dont have a 7hp, 3-phase
shaper in the shop, but I do
have a 2hp router with a 1/2"
collet that will accept the large,
scary panel bit. Knowing this is
an underpowered arrangement,
I took the time to build a new
fence out of some glued-up 3/4"
MDF and screwed it to the table
in a semipermanent fashion.
This made it virtually incapable
of shifting, in the event my bit
would kick back like an ornery
mule in the desert. I then routed
a slot in the tabletop to accept
the miter gauge from my table
saw, furthering my intention to
keep all my ngers in place for
the next project. After a number
of test cuts in various woods,
including our precious mesquite, and a prayer for additional reinforcement, I started in
carefully, moving VERY slowly.
The prayers, the planning ...
ever ything worked out well.
Im using the same two ngers
to type this stor y as all the
others Ive written, and yes, I
feel grateful. Before nal tting
and surfacing, I cut the saddles
into the front legs for the rails
that will support the top in the
down position. I then formed
a radius on the back legs where
the rails and top will pivot,
which turns this entr y bench
into a chair-table.
Smoothing the Surfaces

Im luckier than I am smart,
so I was able to hand plane a
fair amount of the exposed surfaces, including all the panels,
posts and stile assemblies. The
long rails were the toughest, but
When chopping out the mortises on a drill press, the author used different diameters
of Forstner bits to hog out the waste.
12
I managed to get the machine

marks out before nishing with
ne sandpaper.
I like hand planing because its
less noisy, less hazardous (little
or no dust), and its a good upperbody workout. Mesquite works
surprisingly well with hand tools
in spite of its idiosyncrasies.
After the nish surfacing, I
whittled the edges of all the
components using a small drawknife, a technique I learned from
my days as a cabin carpenter
in the far reaches of northern
Minnesota. I think its a wonderful rustic touch that adds texture
and visual interest.
I had glued and clamped the
pine oor together a day earlier,
and at this point I broke it out.
After re-sharpening my #5 bench
plane, I hand-planed the oor
smooth (easy sailing!) before
cutting a 1/4" tongue all around
on the table saw. The tongue
allows plenty of room for wood
movement inside the chest. I left
this wood bare, hoping to coax
out some of that good pine scent
for the inside of the case.
Before nal assembly, I gave
everything a coat of wax-free
shellac, as is my style. Im a big
fan of shellac: it may be the most
beautiful natural nish out there,
and its nontoxic to boot.
A couple of humid and ultimately rainy days caused things
to swell up on me a bit, so I
had to re-t all the joints before
nal assembly. The way I gure,
bringing lumber from a place
that sees less rain in 10 years
than we might get in Minnesota
in a good month, this is to be
expected. Just dont try to force
it; mesquite isnt forgiving like
that. If you dont break the
wood, youll break your hammer
beating on it or throw out your
shoulder in the effort.
Summer 2015
13
The Final 'HWDLOV

Routing Sliding Dovetails
Nothing beats a sharp chisel when

it comes to cleaning up and paring
a mortise square. Form the mortises
rst, then the tenons.
Beginning the Assembly

First, I assembled the ends of
the case, then I drilled and
chopped the mortises to
accept the long front and back
assemblies. This way, I eliminated the tearout you could get from
drilling and chopping through
existing holes in the posts.
After all this horsing around,
I assembled the long sides,
added the oor and brought all
the assemblies together, using
customar y and prodigious
amounts of glue. After getting
it all clamped up real good, I
turned on the air conditioner to
hopefully lessen the effects of
the steamy summer humidity we
were experiencing here in tropical Minnesota. I let the project
sit overnight, to give the glue
plenty of time to set up and cure.
The next morning, I removed
the clamps, which revealed a sturdy little piece of furniture. I added
a ledge of two 1" x 3/4" x 138"
mesquite cleats to support the
box lid, which is simply a straight,
thick mesquite board, planed and
drawknifed at the edges.
14
With the carcass completed, it

was time to make the top. I set
aside two planks early on for this
component. After surfacing a
straight, square mating edge on
each, I chose two more boards
to serve as the top support rails.
These sit within the saddles cut
into the legs. They have a pivot
point at the back, drilled through
and pinned to the legs with a
couple of simple whittled pegs.
I attached the top support
boards to the top planks, 2" shy
of the leading and trailing edges
of the top, using a simple sliding
dovetail arrangement (see the
Drawings). After laying out my
system on the underside of the
top, I clamped the two planks
together nice and at before adding a straight board to use as a
fence to guide my plunge router.
Then I took three deepening
passes with a 1/2" straight bit
until I reached a depth of 5/8".
I switched to a dovetail bit to
shape both sides of the housings, taking one pass for each
cheek. To cut the mating dovetails into the top edges of the top
supports, I chucked the same
dovetail bit into a router table
(see photo at right, next page)

and made a few passes on scrap
wood to dial in the t. Once
everything was set, I routed the
two supports.
Heres how I assembled the
top: I tted the rails onto one
plank before sliding the other
plank into place. I glued only
the edge joint between the top
boards. (It should slide on the
dovetailed supports as needed
to allow for wood movement.)
Once the glue cured, I scraped
off the excess and took my drawknife to the edges. A light scuff
sanding with 220-grit cleaned up
the surfaces, followed by a topcoat of shellac.
Carving Out the Details

At this point, I decided a bit
of relief carving might be in
order. After much head-scratching and a number of studies in
scrap wood, I made up a simple
design to carve into the panels. Whenever I carve, I always
do lots of studies in scrap to
determine exactly what Im
trying to accomplish with the
design before committing to the
money wood.
I used MDF story sticks to
The chips ew during the panel-raising process. The author anchored a shop-made
fence to the router table with screws. The large-diameter panel-raising bit had a back
cutter that formed a clean shadow line around the face of the panels.
The lid supports have a dovetailed

edge, which is captured by the two
sections of the top assembly.
transfer reference marks to the

chest panels. It took just two tools
a #41 swan-neck V-gouge and
a mallet to cut the cross-grain
and then long-grain relief lines.
Mesquite carves surprisingly
well and holds nice, crisp details.
Just be careful in those crossgrain areas that are close together, to avoid a potential chip of
wood breaking free. If this happens (and you can nd the chip),
simply glue it back in place, like
a real woodcarver would do. Go
nice and slow with the gouge
and mallet; youll maintain lots of
control that way. As you go along,
make minute adjustments to the
angle of your gouge, in order
to maintain appropriate depth
without digging too deeply or
cutting so shallow that you lose
your cut. Carving simple lines
like these effectively should only
require one pass, but if you need
to make another one to rene
certain areas, read the grain and
work each side of the cut to
avoid unsightly tearout.
A few swipes of shellac in the
carving lines completed the project. And there you have it. You
wont nd a much sturdier piece
of furniture or a tougher wood
from which to build it. Its gorgeous, too, just like the great
American Southwest.
7o &DUve or Not

We understand that carving is not something every woodworker
would choose to do. It is, however, a traditional element in this type of
Southwestern furniture. Carving also is one of Frank Grants signature
design motifs, so it just made sense to include it in our design. But if
carving is just not your cup of tea, dont let that keep you from making
this fun and practical project. To prove the point, we asked Frank to
make a second entry bench out of mesquite, identical to the rst, but
without the carving. As you can see in the photo above, the beauty of
the wood and the construction elements
of the bench are sufcient to make
this a beautiful project without the
carving. Even so, simple relief carving
is within reach of most woodworkers.
If you try it out, it just may show up in
your work on a regular basis.
Frank Grant is a professional woodworker

and a frequent contributor to
Woodworkers Journal.
Summer 2015
15
A Hall Mirror for Beginners

A few sticks of wood,
a plate mirror and a
handful of other odds
and ends transforms
bare wall into
beautiful accent.
his mirror differs from

the usual style because
the glass is mounted on
the front of the frame instead
of being set in a groove or
rabbet in back. This means you
dont have to miter the corners
of the frame at 45 often a sore
trial for the novice woodworker.
Instead, the glass is held
in place by small, L-shaped
wooden retainers fastened to
the stiles with brass screws. As
a result, this is a great project
for beginners it looks good
and can be completed in a weekend with simple hand tools.
Choosing the Shape and Size
The author used lap-jointed corners secured with copper

nails and set off by decorative copper diamonds
materials he had on hand.
16
Follow the Material List dimensions on the facing page to build

the mirror shown here. A square
frame is one possibility, but if
you go for a rectangular frame,
we suggest making the width
about two thirds of the length.
We also strongly suggest using
1/4" plate glass, not the thinner
variety, because its dead at and
thus a more faithful reector.
Have the glass cut to size and
all four edges polished smooth.
To prevent moisture from being
absorbed and marring the reective surface, be sure to carefully
seal all four edges with clear nail
polish or lacquer.
The frame shown here is made
of 3/4" reclaimed mahogany.
Darker woods like mahogany or
walnut seem to dene the glass
better than lighter woods.
Cut the four lap joints on the
stiles and rails (pieces 1 and 2) as
shown in the Technical Drawings
(see page 18), making a 1/4" offset to match the thickness of the
glass (piece 3). If youre a new
Material /LVW
woodworker without a full shop,
you can cut these joints by hand,
but if you have access to a shop,
these lap joints are easy to cut on
a table saw.

Fastening the Corners

Fasten the four corners with
rivets copper nails peened
over saucer-shaped copper washers and cut the decorative
diamonds out of copper sheet
metal: these are nautical supplies
our author had handy. You could
come up with a different metal
motif, reinforce the lap joints with
wood pegs or simply glue the lap
joints and countersink a small
screw from the back. Shape the
gentle curve of the rails after
youve joined the frame. Next,
form the retainers (pieces 4) out
of the same wood as the frame.
Its not strictly necessary to put
a back (piece 5) on this frame,
but it makes for a more nished
job and protects the back of the
reecting surface from being
accidentally scratched. If you
do this, use 1/8" plywood held
in place with countersunk 1/2"long, #6 brass athead screws so
they wont mar the wall.
Rails (2)
Stiles (2)
Mirror (1)
Retainers (4)
Back (1)
Strap Hangers (2)
Decorative Accents (4)
TxWx3
3/4" x 212" x 14"
3/4" x 112" x 19 38"
1/4" Cut to fit
1/2" x 3/8" x 7/8"
1/8" x 1312" x 18"
Steel
Optional
Mirror
Exploded View
1
3
2
6
5
For more details,

see the Technical
Drawings on the
next page.
Finishing Up
Topcoat the project with your
favorite clear nish. Finally, having come this far, be sure to use
quality strap hangers (pieces 6),
available at hardware stores, to
properly support the weight of
the mirror. Now you have it ... a
quick project that shows off your
best woodworking side!
Simon Watts is a professional

woodworker and a frequent contributor
to Woodworkers Journal.
Summer 2015
17
Technical 'UDZLQJV
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/4"
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Summer 2015
19
Mahogany Serving Tray

Our author turns to the distant past
for a little design inspiration.
hile todays woodworkers have plenty

of 19th and 20th century motifs to look to for design
inspiration, for this project I
turned to the distant past. Curule
chairs were popular during
the medieval period, but they
actually can be traced even
further back than that, to the
dynasties of ancient Egypt.
Theyre familiar enough, with
their knuckle-jointed X shaped
bases, but the design element
doesnt seem to nd a lot of
application in todays furniture. I
wasnt particularly interested in
making a curule chair, but I did
want to incorporate the X shape
into a serving table I was making
for my mother. With design in
hand, I headed to contributing
editor Rick Whites shop, where
Brad Becker, his trusty assistant,
was waiting to help me through
the construction stage.
Brad and I settled on
mahogany for this project. Its
a great species for a beginner,
essentially knot-free and easy to
mill and nish. Its beautiful, too.
Getting Started
I built my tray rst and then
moved on to the base. An overriding concern of mine was that
the legs must be true and at
perfect right angles to the base
and oor. A slight skew in or
out would result in a spindly,
20
This tray tables simple and elegant lines

are a study in positive and negative space.
The X shaped leg joinerys history is
traceable to the ancient Egyptians.
After the tray stiles and rails are cut to width and rabbeted,
they can be mitered to length.
awkward look. If I constructed

the tray rst, I reasoned, I could
always adjust the base rails to
push the legs out or pull them in.
The rst thing to do is cut the
trays stiles and end rails (pieces 1 and 2) to width but a bit
long. These pieces get a rabbet
along their top edges, so use a
straight bit in your router table
or a dado blade in your table
saw to form them, as shown in
the Elevation Drawings on page
23. Once the rabbets are milled,
miter the parts to length and
lay out for the matching notches on the
inside of each stile
that will accept
the two sup-
port rails (pieces 3). I cut them

by hand ... setting up to make
these cuts with a router seemed
a waste of time, and I was looking for a little action with hand
tools anyway. Now grab your
biscuit joiner and cut slots to
help beef up the miter joints.
This table may be handling a
good amount of weight, so I
wanted to ensure that the joinery
would be as strong as possible.
Dry-t the frame to make sure
that youve got clean miters. At
this point, you can go ahead
and shape the support rails (see
the Drawings) and form the tenons at their ends. When theyre
ready, dry-assemble your tray
again, for a nal look. The tops of
the support rails should be perfectly ush with the bottoms of
the rabbets on the end rails and
stiles. When everything matches
up, go ahead and glue up these
pieces and set them aside.
Shaping Handles and Rim

While the glue is drying, cut
and shape the handles and form
the miters on their ends, as well
as on the ends of the back rim
(pieces 4 and 5). These pieces all
get a soft roundover and plenty
of time under the sandpaper, as
they are the showiest part of the
project and will be reected by
the mirrored top. When theyre
ready to install, drill pilot holes
from the bottom of the frame,
three for each handle and ve for
the rim. Again, you dont want
to short this piece on strength
you might be carrying some
pretty precious cargo on it! Form
the miters at the corners of the
rim and handles and glue them
up. Once the glue dries, you can
screw the assembly in place on
top of the frame just be sure
to keep the rim ush with the
back and the handles 1/2" shy
of each end.
Biscuits are a great way to strengthen

and align miter joints. They t just
under the trays rabbet.
Summer 2015
21
Leg Pattern
The turned tenons on both ends
of the stretcher need to be long
enough to engage both legs, on
each side of the table, as you
assemble the project.
Before moving on to assembling the base, I recommend creating a cardboard template for
your mirrored top. I used full
1/4" mirror for mine, and its
not cheap (and it doesnt sand or
plane well, either!). Take the template to your glass shop and let
them create the top from it rather
than from a set of measurements.
Achieving the X Factor

The legs (pieces 6) are created using a template. No method
ensures uniformity better, and
as I mentioned earlier, perfectly
even and matching legs are a real
key to the success of this project.
I spent a good deal of time
rening my template, lightly
sanding it until it was true and
smooth all around. Then, as
you can see in the sequence of
photos on page 24, its a simple
matter of transferring the shape
to your stock, cutting the stock
slightly oversized on the band
saw and then applying your template. I used one small screw
at the middle (which I knew
would later be hidden by the
stretcher tenon) and turned to
double-sided tape for the ends.
One word of caution: once you
start the nal pass with your
ush-cutting bit, stay away from
the ends. End grain will fracture
if you try to cut across it in this
manner. Brad and I agreed that
the best approach is to leave a
little stock at each end and use a
disk sander (while the template
is still attached) to bring the
stock ush to the template at
each end. Sand your legs and
lay them aside for now; youll
22
want all your base pieces ready

to go before you assemble any
of them.
Turning the Stretcher

I toyed around with using square
stock for the stretcher (piece
7), but this idea never made it
off the drawing board. Clearly,
this tray calls for a round base
stretcher and anyway, this
was a great chance to get an
hour or two in on the lathe, one
of my favorite tools!
Start by locating the centers on the ends of your turning blank. Then machine your
square stock into an octagonal prole by cutting off the
corners on your table saw. Mount
this blank between centers and
use a gouge to rough out a cylindrical shape. I used a skew to
bring the blank down to about 1"
in diameter. Now nd the center
(from end to end), and from
there lay out your tenon shoulders and relieve them down to
5/8" in diameter. (Note: Its critical that the length from shoulder
to shoulder exactly match the
length of the shorter stile (piece
9) above it, otherwise youll end
up with a pigeon-toed table.)
The stretcher tenons will end up
being 1" long, but when youre
turning, youll want to allow a little extra for paring off. Gradually
create an arc that starts with the
1" diameter in the center of the
piece and gracefully reduces to
3/4" at each shoulder. Sand the
stretcher all the way through 320
grit (not the tenons!) while its
still on the lathe, and then trim
the tenons to length.
Note: This is
a pattern for the
template. Cut
your stock a little
long so you can
sand (instead of
rout) the ends
to length.
Stretcher
Tenon
Location
Note: The legs

must mirror each
other to ensure
that you get one
pair of outside
and one pair
of inside legs.
Each square equals one inch.
Base
Subassembly
10
(Top View)
4"
43/4"
1
3
/4"
3
/4"
53/4"
Tray Stile
(Top View)
Tray Support
Mortise
Detail
11
3
3
1
Support Rail and Tray Stile

(Side View)
3
/4"
/4"
/4"
/4"
Exploded View
/4"
10
11/4"
/4"
Slight chamfer
Tray Handle
Location
(Front View)
7
1
/2"
Material /LVW
TxWx3
3/4" x 21 4" x 32"
3/4" x 21 4" x 16"
3/4" x 11 4" x 13"
3/4" x 23 8" x 155 8"
3/4" x 1" x 31"
3/4" x 6" x 35"
1" x 1" x 301 2"
3/4" x 13 4" x 291 2"
3/4" x 13 4" x 28"
3/4" x 13 4" x 101 2"
1/4" x 13" x 19"
5/8" Diameter

Tray Stiles (2)

Tray End Rails (2)
Tray Support Rails (2)
Tray Handles (2)
Back Rim (1)
Legs* (4)
Stretcher (1)
Long Base Stile (1)
Short Base Stile (1)
Base Rails (2)
Mirror (1)
Nylon Glides (4)
4
5
1
5
/8"
11/4"
3
/4"
Stretcher
(Side View)
14"
*These dimensions represent the size of the leg blank.
12
Each square equals one inch.
11/4" Dia.
4
C
L
1"
Summer 2015
23
Since there are only four mortises to chop,

lay them out and cut them by hand. The
support rails top edge must align perfectly
with the rabbet on the tray stiles and rails.
Bringing it Together
Creating the Tray Support

The next step is to mill the stock
for the tray support (pieces 8,
9 and 10). Youll notice that the
stiles are different lengths, due
to the offset created by the relative position of the legs. Cut
these pieces to size, use the
Elevation Drawings to locate
your dowel holes, and glue this
subassembly together, making
sure to stay square
as you do.
The rst assembly step is to

bring the sets of legs together.
Youll be drilling right through
two inner legs, but on the other
two youll limit your depth to
1/2". Remember, these legs mirror each other, so be sure to
lay everything out before you
start drilling. Next, locate and
drill the dowel holes (I used
a doweling jig and dowelcenters to make this task a
bit easier) at the tops of the
legs and pilot holes for the
glides at their bottoms. With
the machining done, you can
dr y-assemble the legs, the
stretcher and the base subassembly. Check to ensure that all
is square and proceed to your
nal glue-up.
Finishing Up
Test-t the mirror (piece 11)
and tap the glides (pieces 12) in
place. After sanding everything
up to 320 grit, I applied a custom
stain I concocted by mixing (half
and half) Zars Rosewood Stain
with Carbon Black Woodburst.
Next, I applied a coat of
sanding sealer and two coats
of lacquer, with a light 320
sanding between each coat. The
nal step is to drop (carefully!)
the mirror into place.
Brad was right: mahogany is a
joy to work with, and its a tting
detail to a project my mother will
enjoy for years to come.
Use the scaled drawing (page 22) to

create a fair and true template of the
tray leg. The next step (in preparation
for template routing) is to transfer
the shape to the hardwood leg blank.
Take the leg blank to your band saw

and cut within 1/16" of the line you
marked onto the blank. Dont cut
into the line; you need to leave some
material for the router bit to remove.
This will ensure uniform legs.
Lili Jackson is a professional

24
Use double-sided tape and one screw at

the tenon mortise location to attach the
template to a roughed-out leg. A ushtrimming bit shapes the legs. Note: Dont
attempt to rout across the end grain on
the legs. Use a disk sander to do the nal
shaping on the ends of the legs.
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Summer 2015
25
White Oak Trivet

This lovely oak leaf pattern is complex
enough to make the project fun, but
simple enough so that you dont have
to invest hours to complete it.
trivet is a practical, and

in this case pretty, gift
project that is always well
received. Whenever holiday
dinners are at hand, trivets are
sure to be in demand. This oak
leaf design is right in line with
fall or winter festivities, so plan
to make several. They will get
noticed and requested!
Step 2: Now select your wood. As

a matter of fact, this little project
can be made from any hardwood
species that you would like. We
chose white oak for our example here. The stock can be anywhere from 3/8" to 1/2" thick,
and it should be straight-grained.
Quartersawn lumber would be a
perfect selection.
Step 1: The rst order of

business is to photocopy the
full-size pattern found on the
next page.
Note: The circular dotted lines
on the four outside oak leaves
indicate the locations of selfadhesive felt dots, used as feet.
These are optional.
Step 3: Before you start cutting

out the various shapes, sand the
wood smooth top and bottom.
26
White Oak Trivet
Step 4: Secure the pattern to

the wood. We recommend spray
adhesive, but there are various
methods that would work very
well. Feel free to use your favorite.
Step 5: In each section of the

pattern where stock must be
removed, drill a small hole. It
must be large enough in diameter to accept the scroll saw blade.
Photo 1
Full-size SDWWHUQ
Summer 2015
27
Photo 2
Photo 3
Step 6: Using a scroll saw, carefully cut along the dark outlines
on the pattern (Photo 1). Light
directional pressure is all that is
required allow the saw to do
the work.
Step 7: Move from the
outside aspects of the trivet to
the inner sections.
Step 8: When all the cutting
is done, remove the remaining
paper pattern material (Photo 2).

Wiping the piece with mineral
spirits will help to remove any
leftover spray adhesive.
Step 9: Using various sanding
methods (Photo 3), remove any
visible saw marks that remain.
Step 10: When the sanding
is complete, wipe on a coat of
polyurethane,
thinned
to
about 50 percent of its regular
viscosity. Be sure to work

the nish into all the various
nooks and crannies in the trivet.
Allow the nish to cure and then
apply a second coat.
Step 11: After the second coat
of poly has cured, attach the selfadhesive felt dots as indicated.
Your trivet is now ready for the
countertop or table!
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White Oak Trivet
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Summer 2015
29
Fine Tool Display Case

Display your
prized tools in
this easy-tobuild weekend
project.
30
y dad was a woodworker,

so I guess you could say
he was my rst real shop
teacher. Well, when he decided
to hang up his tool apron for
good, he passed along his prized
collection of Clifton shoulder
planes to me. I love them dearly,
and I built this little display cabinet to keep them in sight as a
constant reminder of those good
times with Dad in his shop.
Whether you build your cabinet for tools, collectibles or even
spices, youll have it wrapped
up with less than a days effort,
easy. The joinery is simple
mostly butt joints and screws
but youll need cope-and-stick
bits to build the door. So, grab a
few boards of your prettiest walnut and lets get to work!
Starting with the Case

Joint and plane your stock for
the case sides (pieces 1), top and
bottom (pieces 2), and cut these

parts to the sizes in the Material
List on the next page. Notice
that I used full 1"-thick stock for
the sides (and for the door, too).
It gives this cabinet some nice
stature and the door a real solid
feeling when you open it up.
Set up your router table with
a 1/4" straight bit, and mill
the back panel grooves along
the inside faces of all four case
parts, as shown in the photo at
right. Theyre 1/4" in from the
back edges.
Youll need to drill some shelf
pin holes in the case sides next.
I used my Jig-It shelving jig
from Rockler for this job, but you
could use a piece of pegboard
as a drilling template instead, if
you like. Just make sure your
shelf pin diameters match the
drill bit you use.
Choose a nice piece of
walnut veneer plywood for the
Rout the back panel grooves along the

four case parts at the router table with a
1/4" straight bit chucked in your router.
back panel (piece 3), and cut it

to size. Then t the back panel
into its grooves in the case
parts to check that everything
will go together as it should.
The top and bottom are narrower than the sides, so the door
will t inset style. Give the
Rout the door rails and stiles on overly

wide stock for safetys VDNH
Mill the cope and stick joints for the

door frame starting with the rails. First
mill the cope prole across the ends of
a 6"- to 8"-wide workpiece, using a
guard to shroud the bit.
The rails and stiles receive sticking cuts

next along the edges (stiles are shown
here). Wide stock keeps your hands
safer and allows you to mill both stiles at
once on one workpiece.
Once the cope and stick joints are

routed, turn to your table saw to rip the
rails and stiles free. The combined rail
workpiece is shown here.
Summer 2015
31
Case Side
Cope-and-Stick
Detail
(Inside View)
1
/4"
Tool Cabinet
Exploded View
5
2
2"
/4"
21/2"
Hinge
location
Bore holes
for the shelf
supports
10
9
1
Locate the holes
for the shelf
supports to suit
your display
cabinets specic
needs.
Material /LVW
TxWx3
Case Sides (2)
1" x 6" x 23"
Case Top and Bottom (2) 3/4" x 47 8" x 187 8"
Back Panel (1)
1/4" x 193 8" x 22"
Door Rails (2)
1" x 13 4" x 161 8"
Door Stiles (2)
1" x 13 4" x 227 8"
Glass (1)
Cut to fit
Hinges (2)
21 2" Brass
Cap/base (2)
3/4" x 71 2" x 23"
Shelves (2)
1/2" x 4" x 183 4"
Porcelain Knob (1)
White, 1" Dia.
parts a good sanding up to 180grit its always easier to sand

before assembly! Use glue and
pairs of 2" screws to fasten the
corner joints, as shown at right.
Drill counterbored holes so you
can cover the heads with plugs.
Building the Door

Heres where things can get
tricky. Cope-and-stick bits are the
right choice for the door joints,
32
but theyre fussy to set up and

easy to confuse if youre not careful. Take my advice and make up
some test pieces so you can tame
these rascals before you shape
your workpieces.
Joint and plane a couple of
6"- to 8"-wide pieces of stock for
the rails and stiles (pieces 4 and
5). Keep them wide this way
you can rout both edges of each
piece to produce the rails and
stiles, as shown in the photos on

the previous page. This method
is efcient and keeps your ngers a safe distance from those
big cutters. A couple of rip cuts
will separate the rails and stiles
later and bring them to nal
width. You can crosscut the rail
and stile workpieces to nal
length now.
The best order for milling the
rail and stile joints is to start
with the rails, then do the stiles.
Install your cope bit in the
router table and set the bit
depth properly. Make sure the
bit will create a sturdy lip on
the back of the rails to support
the glass. Rout the cope cuts on
the ends of the rail workpiece,
backing up the wood with your
miter gauge. Since these cope
Theres no fancy nery to the cases corner joints (left); theyre just screwed and plugged butt joints at all four corners. The author
even chose to use screws to secure the cope and stick joints on the door (right). The rails and stiles are machined and test-tted
prior to assembly.
cuts run across the grain, the

sticking cuts that follow will
remove any corner tearout.
Now that the cope cuts are
done, switch to your sticking bit.
Use the coped prole on the rails
to help you dial in the height of
the sticking bit carefully. I used a
one-piece cope-and-stick bit, and
let me just say, these bits can still
be brain teasers even after building hundreds of doors like I have.
Mill the sticking prole along
both edges of the wide rail
and stile workpieces. Once the
dust clears, take these parts to
your table saw and rip the rails
and stiles to nal width.
For the glass, I recommend
1/8"-thick tempered safety glass.
You may need to ll the rest
of the groove with a couple of
dabs of clear caulk to keep the
glass from rattling.
Dry-t the door parts together,
then drill a pair of counterbored
holes through each stile for 2"
wood screws to lock these joints,
as shown above (right). Youll
hide them with wood plugs, too.
Some folks might squawk about
using screws here, but theyll
make rock-solid joints in the end.
Hanging the Door

Mount the door on the case with
a pair of 2" brass butt hinges.
Chisel the hinge mortises carefully by hand; youll want to keep
your mallet as far away as possible from that glass when cutting
the door mortises. Add a button
catch and a porcelain knob, and
check the doors swing in the
case opening.
Adding the Cap, Base

and Shelves
The last construction step is to
make the cap, base and shelves
(pieces 8 and 9). I routed a double-ute prole around the front
and ends on one face of my cap
and base to dress these parts
up. Fasten the cap and base to
the case with a few 1" athead
wood screws driven into counterbored holes from inside. Plug the
screw heads.
Pull off and disassemble the

door, and apply a few coats of
Danish oil to the whole project.
Mask off the glue joint areas on
the ends of the stiles and rails
before you nish. Then glue up
the door joints, rehang it and add
your shelving. Now, nd a good
spot on the shop wall to hang this
project and start searching for
those prized hand tools!
Keep making sawdust!
Scott Phillips is a television
woodworking host.
Hang the door

with a pair
of 2" brass
butt hinges. A
bullet catch and
porcelain knob
nish it up.
Summer 2015
33
Elegant Floor Lamp

Heres a stylish, solid and
affordable accent light
thats also easy to make.
The owing shape of the lamps feet provides

an elegant base for this oor lamp. The
author shaped the feet on a band saw and
then created the details with a spokeshave.
34
Elegant Floor Lamp
needed a oor lamp for an

old house in Nova Scotia
one that would not wobble on
100-year-old oors. The result is
about as simple as you can get
three feet (to accommodate
a oor that might be sagging
from age) rmly attached to a
hexagonal stem with 3/8" dowel
pins. And while my lamp is truly
simple in every regard, it is also
attractive and very useful.
Since its impractical to drill
48"-long holes, I made the stem
in two halves, after cutting a
shallow groove down the center
of each piece. Ideally, if you have
the stock on hand, you should
cut a 2"-thick section in half,
rout or saw the slot for the wiring, then glue it back together.
This makes an almost invisible
joint, and youll have the added
benet that it is much easier
to plane if the two halves have
a consistent grain pattern.
Any reasonably stable hardwood will do for this project, as
strength and durability are not
crucial considerations. Id suggest matching the wood to the
environment that the lamp will
be used in its one of the benets of building your own furniture. In this case, I used mahogany since I had some narrow 1"
boards that could be ripped in
half and then glued up. Its also a
reasonably affable wood to plane
by hand my preferred method
of machining wood.
Getting Started
It may be hard for some woodworkers to believe, but I dont
have a router nor a dado blade
for the table saw in my Nova
Scotia workshop, so I just made
three or four adjacent cuts with
a regular rip blade to form the
matching grooves in the stem.
How you form the long channel
is up to you, but it needs to be
sized to take a six-inch length of
3/8" threaded tubing which
is a standard size for most bulb
sockets. I recommend getting
your hardware before you begin
the project; it will avoid unpleasant surprises down the road if
you can test-t the parts as you
make them.
Put the tube in place when
you clamp up the stem, but its
important to leave enough of
the tube projecting so you can
secure the shade support (called
a harp) with a second nut as well
as the bulb socket. If you look
closely at the photos (center
left), it is clear that I used epoxy
to glue the two pieces together. The reason is that I mostly
build boats in my Nova Scotia
shop, and that is the adhesive
I had on hand. You could use
any good quality woodworking
glue to make the stem. To glue
the metal tube in place, technically epoxy or polyurethane
glue would be best, but even
white glue will likely hold the
tube well enough. To avoid glue
The author formed the opening for the threaded tube and lamp wire by making
multiple cuts on his table saw (top photos). A dado set would work well, as
would a router he had neither. Lay the threaded tubing in place before gluing
up the stem. Leave enough of the tube projecting so there is room for the shade
support (or harp), a second retaining nut and the bulb holder. The author
used epoxy as his adhesive, but any good quality wood glue would work as well.
Glue up the stem

halves at on the
workbench. It will
take multiple clamps
to get good pressure
along the length of
the stem to create
a tight seam. Keep
the faces of the joint
aligned, too.
Summer 2015
35
2
1
1
1
Foot Location
(Side View)
The lamps feet are attached to the
stem using glue and 3/8"-diameter
dowels. Dowel points are useful to
transfer the locations of the dowel
holes to the stem.
Stem Detail
3
Material /LVW
3
1 /4"

81/2"
squeeze-out from blocking the

internal passage, lay a piece of
thick string in the channel, work
it back and forth to pick up the
glue, then pull it clear.
Stem Blanks (2)

Threaded Rod (1)
Foot Blanks (3)
Dowels (6)
TxWx3
13/16" x 15 8" x 48"
3/8" x 6"
5/8" x 458" x 11"
3/8" x 112"
Stem Layout
(End View)
15/8"
3
Six Sides from Four

After the stem is glued up,
machine or plane it to an exact
square and drive temporary
plugs in the square hole at one
end. Lay out an accurate hexagon by rst drawing a circle and
then, using the same compass
setting, divide the circumference
into six equal segments. Join
the segments with straight lines,
making the hexagon symmetrical about the glue line. Youll
nd this faint line a convenient
guide when planing the stem to
its nished size. Set a marking
gauge and scribe lines along the
length of the stem to indicate the
four ats.
I recommend making a
half-template in thin cardboard
so you can check the shape of
the stem at various points while
shaping it to a hexagon. Plane
these ats by hand, but if youre
using some spiteful wood
(such as red oak), set a table saw
36
Elegant Floor Lamp
13
/8"
/16"
1
3
Exploded View
B
/16"
B
A
30
3
3
4
3
3/8" hole
for wire
To form this hexagon, rst draw

a 158"-diameter circle on your
stock or template from point A.
Next, strike two more arcs from
points B, to establish your other
four corners. Connect the
corners with a straightedge
to create your hexagon.
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Summer 2015
37
blade to 30 degrees and rough

them out that way (see bottom
left photo, this page).
Finish with a low-angle block
plane and scraper or, if the grain
is really difcult, a disc sander
will do a quick job.
Cutting the Feet
It is an easy process to use a compass to strike lines that will give you the hexagon.
Bisect the square exactly in half and draw one full circle and then two half circles as
shown. Where the lines intersect, youll have the corners of the hexagon.
If you are using a hand plane to form the hexagon, youll need to mark the sides of
the stem with a marking gauge (photo at right). If you choose to cut the 30-degree
faces on the table saw, you will need to rip the two opposing surfaces at as shown in
the photo at left.
When cutting the hexagon on the table saw, you will need to
cut the four remaining angles from the two faces that were
ripped previously. That means ipping the stem end for end.
38
Elegant Floor Lamp
Cut out the three feet on the

band saw, making sure that the
grain runs parallel to the long
axis, not across it see the
Drawings on page 36 and the
photo, below, for details. After
cleaning up the curved edges
with a spokeshave and sandpaper block, mark the position
of the 3/8" dowels, a pair for
each foot. Use a doweling jig
so you can be sure the holes
are centered. A quick, accurate
way to transfer the centers of
each hole to alternate faces of
the stem is to use 3/8" doweling points. Clearly mark which
foot goes where with a letter
or number, as they are unlikely
to be interchangeable.
Form the lamps feet using a band saw. Orient the grain so that
it runs the length of the foot. This will add strength and avoid
short-grain failure. Rene the shape of the foot later with a
spokeshave and sander.
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Foot Pattern
45/8"
11"
ain
Gr
Each square = 1
It is important to test-t all the parts.

The author located the dowel holes on
the stem by pre-drilling holes in the feet
and then using dowel points to transfer
their positions.
To clamp the feet securely, place one

in the vise, apply glue to the dowels
and the stem, then clamp the stem
down against the foot. This makes an
otherwise awkward process much easier.
40
Before gluing on the feet, try

running the electric wire up the
channel inside the stem to see
that it is clear. If its blocked
by glue squeeze-out (and you
dont have a super-long drill bit),
straighten a heavy-duty wire
clothes hanger, beat one end at
and grind it to a spade-shaped
point. Chuck it in an electric drill
and run it down the hole, working from both ends alternately,
until clear. Drill a 3/8" hole diagonally for the wire to exit at the
base of the lamp. The closer to
the oor, the less chance of people tripping over it.
Clamping up the feet is awkward because of the shape. I
found it best to clamp a foot rmly in a bench vise with the dowel
pins facing up, as shown in the
photo at bottom left. I then used
a small bar clamp to force the
stem down until it was a snug t.
I left it clamped long enough for
the glue to set, then did the same
with the next one. When done,
youll need to clear the channel
of glue and projecting dowels
with a 3/8" bit. With that done, I
used three coats of Danish oil to
nish the piece.
The shade in the photo measures 13" from top to bottom,
9" in diameter tapering to 13",
and came from IKEA. It cost less
than $15. Youll nd 12 feet of
Elegant Floor Lamp
#12 lamp cord about right.

When youve got the wiring
done, set it up near a comfortable
chair and nd a good book or
woodworking magazine and
enjoy the light and the read!
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Summer 2015
41
Deco Bar Stool in a Weekend

The juxtaposition of black lacquered
pine and stunning birds-eye maple
adds contrast and elegance to this
sturdy bar Stool.
uriously, I dont actually

have a bar in my house,
but I am planning to add
one soon. So when a really nice
stash of birds-eye maple caught
my eye, I knew that I needed
to buy it and use it to make my
stools. In addition to the maple, I
used clear pine for the seat sections and foot rails, lacquering
them black for a dramatic look.
Kicking it Off
I chose to use Domino loose tenons for the majority of the joinery on these stools. But if you
dont own that tool, any loose
tenon process (except dowels)
will serve you very well.
Because I was designing
the bar stools essentially from
scratch, my rst work in the shop
was building a full-sized mock-up
from my rough sketches. From
there, I picked through my pile
of birds-eye to nd lumber with
the best gure and color. Once
youve surfaced it at and square
(and be careful it is prone to
tearout), rip stock for the leg
sections to width.
I cant overemphasize how
important it is to properly prepare the leg stock. When you
start to cut the miters that create
the shape of the legs, if your
stock is at all wonky, it will make
the rest of your work much harder. And speaking of the miter
cuts that are to come they, too,
have to be dead-on accurate.
42
Loose Tenon 2SWLRQV

Tremendously useful and structurally sound when done well, the technique of using a loose
tenon is not a new one. But in recent years, making the loose tenon joints has gotten even
easier, albeit in some cases more expensive. This project is made using the Domino XL loose
tenon system. It is on the expensive end of the spectrum, but it is also super easy to use.
Other less expensive systems include the examples below. All of these alternatives will
produce sturdy joints for your bar stool, so choose the option that suits you best.
Dowels
beadLOCK
Building the Leg Assemblies

With the stock properly prepared, I headed to my miter
saw to cut the leg sections to
length. Because I had a full-size
mock-up, I was able to set up the
saw from those measurements
you can look to the Material
List on page 44 for those details.
Cut and miter pieces 1 through 3
to length.
Next, mark the locations of
the loose tenons at the mitered
joints between the lower and
center leg components. Form
the mortises and test the t.
(If you are making your own
loose tenons, there are a couple
of extra steps to take here.) If
the joints t properly, glue and
clamp them together. Wet both
surfaces of the miter joint with a
thin coat of glue, and be sure to
get glue in the mortises. I found
I only needed one clamp to close
the joint completely.
While the glue cures, go ahead
and make the crossover (pieces
4) pieces. These short lengths
of wood not only join each separate leg subassembly together,
but they also form the joint that
secures them both into a single
unit; see the Drawings for details.
When youve cut the crossover
pieces to length, mark a center
line and cut the through mortise
as shown in the Drawings. Then
drill a 1/4"-diameter hole for a
dowel, centered, on one edge of
each piece.
Dominos
Shop-made
loose tenons
You can now go back and take

the lower leg subassemblies out
of their clamps and mark and cut
the joints that will allow you to
glue the upper leg pieces to the
these assemblies (see photos at
right). When thats done, glue the
upper leg sections in place and
set them aside to dry.
When those components are
ready, take them out of their
clamps and mark the radii on
the mitered corners as shown
in the Drawings. Cut the curved
shapes I used a handheld jigsaw, but a band saw would work
well and then sand the saw
marks smooth. The pieces are
now ready for the next step in
the assembly process.
As Ive already mentioned, the
crossover pieces are key to joining the leg subassemblies and
this leads to a moderately complicated glue-up process. Start out
by locating the crossover pieces
between two of the glued-up leg
subassemblies, as shown in the
Elevation Drawings on the next
page. Mark the mortise locations
for the loose tenons in the legs
off of the center lines on the
crossover pieces, and cut the
mortises. When that is done and
youve tested the t of the joinery, glue and clamp the pieces
together. (Take note of the dowel
hole orientation!) For our purposes, well call this the primary
leg assembly glue-up.
Lay the loose leg pieces at
The mitered legs are made and glued up in

sections. Here, the lower leg and crosspiece
have been glued together. The author is
marking the loose tenon location for the
upper leg and lower section subassembly joint.
Cutting the mortise for the thick and strong

Domino loose tenons is a matter of lining
up the machine to a line. The adjustable
horizontal fence on the machine locates the
mortise in the center of the stock.
Summer 2015
43
8
8
5
8
4
6
After the leg subassembly has been glued up, the loose tenon
mortises are cut into the ends of the legs. Transfer their locations
to the seat subassembly and cut the matching openings.
4
3
Primary Leg
Subassembly
6
5
2"
3"
(Front View)
3"
9
1
The location of the

crossover pieces
shown here is
for the primary
subassembly glue-up.
The placement of
the crossover piece
on the secondary
glue-up is marked
out by using the
primary subassembly
to establish the
secondary crossover
block locations.
Exploded View
1
3
Footrest
1"
(End View)
/8" R.
The top of
the upper
secondary
crossover
block must 11"
align here.
The bottom
of the lower
secondary
crossover
block must
align here.
1"
91/2"
3"
Material /LVW
Lower Legs (4)
TxWx3
1" x 3" x 9"
Center Legs (4)
1" x 3" x 912"
Upper Legs (4)
1" x 3" x 20"
1" x 3" x 2"

8mm x 80mm
Long Dominos (4)
8mm x 120mm
Footrests (4)
1" x 1" x 1234"
Dowels (2)
Lazy Susan (1)
44
9"
1 4" x 13 2" x 13 2"

1
/4"
1" R.
Short Dominos (10)
/4"
Crossover Pieces (4)
Seats (3)
1"
1/4" diameter x 1"

4" (optional)
3"
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The author used a 1/2"-thick MDF template and a handheld router

outtted with a pattern-routing bit to make identical seat components.
Later, the edges of the appropriate pieces were rounded over.
on a work surface in their correct orientation with the crossover blocks between the upper
leg segments (these pieces
will become the secondary leg
assembly). Square up the top
ends of the legs to each other
and then grab the primary leg
assembly and place it right on
top of the parts on the work surface. Now, here is the important
part: slide the crossover pieces
of the secondary leg assembly so
that their edges (the ones with
the dowel holes) align perfectly
to the crossover pieces on the
primary leg assembly. Carefully
remove the primary leg assembly and mark the locations of
the crossover pieces of the secondary assembly using the center lines you scribed on them
earlier. At this point, its time to
cut the mortises and dry-t the
secondary leg assembly to be
sure that it ts together properly.
Putting the Legs Together

One small oddity of this project
is that the completed leg assembly needs to be put together
with the parts standing upright
(see photo at right). Gather the
remaining parts together for a
test t (pieces 5, 6 and 9) and
practice assembling and clamping the pieces together without
glue. The order of assembly is
this: put the dowels into their
holes in the primary assembly.
Push the crossover blocks of the
secondary assembly onto those
dowels. Slide the loose tenons
into one of the secondary leg
46
The authors coworkers thought that the seat should swivel and spin,
so he added a lazy Susan to the last layer of the seat sandwich. The
recess needs to be slightly less deep than the bearings thickness.
assembly leg segments and then

through their crossover blocks.
Push the remaining leg segments
onto the loose tenons, and clamp
them together. Once youve done
this a time or two without glue,
do it for real. When the glue
dries, sand the assembly, break
the edges with sandpaper and cut
the mortises at the ends of the
legs (see photo, page 44). Now
you are ready to make the seat.
Sitting Pretty
I made the seat components
(pieces 8) out of clear pine, but
any paintable lumber would
work. To make three identical
pieces for each stool, I used a
template and a pattern-routing
bit as shown in the left photo
above. Next, the appropriate
edges were rounded over, and
then the parts were glued and
screwed together. I spray-primed
the seats, then used gloss black
lacquer for the nal nish.
When it was dry, I transfered
the mortise location from the
leg assembly, and cut the matching mortises. Then I glued the
seat in place and applied a few
protective coats of Watco
Danish Oil, Natural,
to the legs.
The last step was
to make a long length
of the footrest stock
Gluing the two leg subassemblies
together is not hard, but it must
be done in a specic order. A
no-glue test run is a must.
(pieces 7), priming and lacquering it black like the seats. After
mitering each footrest to t, I
nailed it in place. A little black
lacquer over the nail holes made
them disappear.
When I brought my rst stool
to the ofce to show my staff,
they all agreed that I should
have made the seat spin like the
stools at a lunch counter. So I
made the second one with a lazy
Susan between the uppermost
seat layers. I have to admit it
works pretty well, but my rear
end still prefers the solid seat
concept. Thats a design choice
you can decide for yourself.
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Summer 2015
47
How to Make a Scroll-Sawn, Flared Bowl

Most folks think of the lathe when
considering a wooden bowl...
Not this author!
This unnished scroll-sawn bowl (above)

evokes segmented turning, but its not
round. Once sanded and nished (below
left) it looks as if it was formed from a
large piece of wood.
aminated bowls are usually round, lathe-turned and

made from large blanks. This
rectangular bowl, with colorful
stripes, is made on a scroll saw
from a blank that is only 3/4"
thick. The wood is cut into rings
at a steep angle. When stacked
and glued, the rings create the
illusion that the bowl was made
from a single, heavy blank. The
technique, from start to nish,
is actually simpler than it seems.
Cutting the Rings

Start by gluing up the strips
of wood in the following order:
walnut, padauk, maple, padauk
and walnut. Once the glue-up is
dry, sand it just until smooth and
then draw a line down the center
of the maple strip.
Attach the pattern (page 51)
with repositionable adhesive,
aligning the center of the pat48
tern with the line on your wood.

Designate one face of the blank
as the top and label each ring
as you cut it so you can reassemble the rings properly as you
glue them up.
To cut the rst ring, I tilted
the saw table to a 35 angle, left
side down. Using a #9 saw blade,
I cut along the outer line of the
pattern in a clockwise direction,
which means I fed the wood in a
counterclockwise direction.
Next, I used an awl to mark the
entry hole where shown on the
pattern, and I drilled the hole at
a 25 angle using a #54 drill bit, a
25 angle guide and a rotary tool.
The hole must be drilled toward
the blanks center or the wood
will not sit at on the saw table.
To complete the rst ring, I tilted the saw table to 25, left side
down, inserted the blade into the
entry hole, and cut clockwise on
the inner line. Using different
cutting angles created the outward are and reduced the ring
width to 3/8" an ideal thickness for bowls of this type.
After cutting the ring, I
removed the pattern and placed
the cut ring on the blank, aligning the stripes and tops. Holding
the ring in place, I traced around
its inner edge on the blank to
create the cutting line for the
second ring.
I drilled the next entry hole
at 28, facing the center of the
blank, on a straight section of
the line I just drew, tilted the
saw table to 28, left side down,
and cut out the second ring in a
clockwise direction.
I placed the second ring on
the blank, aligning the tops, and
traced the inner edge, to create
the cutting line for the third ring.
After gluing up the blank from which the bowl will be made, the rst step is to
accurately mark a line down the center of the middle lamination.
For each angle needed, cut a small piece of hardwood at that angle. Smooth it on a
sander with a tilting table set to the same angle. Write the size of the angle on the
guide (middle left photo). In the middle right photo, the author is drilling the rst entry
hole using a guide. Bottom photo, shes making the rst scroll saw cut.
Summer 2015
49
The third ring was cut at a 28

angle, the same way as the second. The remaining piece the
base was set aside until later.
Gluing the Rings

The best gluing sequence
is to glue the rings rst, sand
their inside faces, then glue on
the base. If you try to glue up
everything at once, youll nd
it impossible to sand the lower
ring without gouging the base.
Its also important to be sure
that there are no spaces between
Back-to-back drill marks can make sanding difcult by

exaggerating the amount of wood removed. To easily
avoid this problem, stagger your entry holes along the
length of the cuts (inset at left).
The second cut advances in the same manner as the rst,
cutting counterclockwise (photo, below). The author uses
a #9 saw blade for this work. Using clear packing tape
(inset, left) on the surface, seen on the left side of the
piece of wood, lubricates the blade, preventing burning.
Note the burned edge where the tape stops.
Flatten the rings as shown above.

Checking their t with a ashlight is
a quick and easy way to determine if
they are ready for glue-up.
Using melamine clamping cauls (properly

sized pieces of sheetstock) helped apply
uniform and sufcient pressure during
glue-up.
50
The author used different methods to

speed the sanding process: a 1" drum
sander (above), an inatable ball sander,
and more.
It is far easier to sand the glued-up

ring subassembly before the bottom is
glued in place. Here, the author uses a
sanding spindle.
When shaping the lower edge, inverting

the bowl gives better visibility and helps
prevent sanding away too much wood.
the rings, since that will result

in unattractive gaps and dark
lines. The easiest way to locate
those spaces is to shine a light
behind them, and the best way
to remove them is to sand the
rings with 120-grit sandpaper,
attached by temporary adhesive
to a perfectly at surface, like a
granite tile.
I used clamps and two boards
to glue the rings together, making sure to keep the stripes
aligned. If youre concerned
about slippage, glue up two rings
rst, then add the third after the
rst two are dry.
damp paper towel, I cleaned up

the squeeze-out, re-clamped the
bowl and let it dry.
lowed by increasingly ner grits

until the outside was smooth and
passed the nger test.
To nish, I used several coats
of shellac, rubbed down well
with 0000 steel wool. It produces
a bowl that is attractive, food-safe
and ready to use, give as a gift
or sell with pride.
Completing the Bowl

The creative part nal sanding
the outside of the bowl came
next. I used a detail sander for
leveling the at areas and a exible pad sander for shaping the
upper and lower edges. Coarser
grits were used for shaping, fol-
Carole Rothman is the author of Wooden

Bowls from the Scroll Saw (Fox Chapel).
Pattern for the First Cuts
11/2"
Sanding Inside the Rings

When the rings were ready, I
sanded the inner surface, starting with a coarse (60-grit) paper.
This rough sanding removed
blade and drill marks, smoothed
the ridges between the rings,
and accentuated the are on the
upper rim. Once completed, I
sanded progressively to 320 grit
to create a smooth inner surface.
I used a detail sander and long
inatable drum for the at surfaces, and an inatable ball for
the corners and upper edges.
Gluing on the Base

I applied glue and clamped the
rings and base for about ve
minutes. Then, since its difcult
to remove dried glue at the interior joint line without gouging the
base and sides, I removed the
clamps. Using a toothpick and a
11/2"
1
53/4"
/2"
81/4"
/2"
Material /LVW
_ _ ^HSU\[
_ _ WHKH\R
_ _ THWSL
HUKZOVWTHKL
HUNSLN\PKLZ
First Ring
Blank
The Key to Making <our Own 'HVLJQV

The trick employed to make this type of
bowl is that the angle at which the rings are
cut allows for sequential layers to be formed
from a single glued-up blank. This works well
because various species of wood laminated
together in the blank will align nicely as
each layer is added. You can make bowls of
various shapes and sizes with this technique.
The initial cut on your glued-up

bowl blank. Note the inside
and outside edge relationship.
Because of the angle of the

cuts, the remaining stock
will match the cut-out ring.
Summer 2015
51
Memorial Flag Case

Those bottom corners may look
impossible, but a simple tenoning jig
a n d t a b l e s a w s e t u p m a k e t h e w o r k e a s y.
52
Memorial Flag Case
ts tradition to drape an
American ag over the casket
of a deceased U.S. forces veteran. Prior to burial, the ag is
removed, folded into a triangle
and presented, on behalf of a
grateful Nation, to the deceased
veterans next of kin. I know
this rsthand because my father
recently passed away, and our
family was given his burial ag.
My mother asked me to make
her a really nice case for Dads
ag. I responded without hesitation: Id be honored. And
even though this is an easy thing
to build, I still put my heart
into making it perfect, knowing
how proud my father would have
been with the results.
When my brother got wind of
my making Dads ag case, he
asked if I would make one for
his father-in-laws ag as well. So
I made two out of walnut, and I
used one board for each case. I
ended up with one case having all
dark and gured wood, and the
other having all lighter, straightgrained wood. Both are beautiful!
Getting the Fit Right

I did a little research and found
out that these ags are called
burial or internment ags. When
open, they measure 5' x 9'.
When folded, the height from
the bottom center to the peak
is approximately 10", and the
length across the bottom is twice
the height, thus 21" long. Those
were also the inside dimensions
given for store-bought cases.

My ags seemed a bit larger
than that, so I made a quick
hot-glued-together
mockup to assure myself of the t.
I didnt bother with the 22
mitered ends yet; instead,
I just mitered the bottom ends of
the sides at 45 and set them at
on a square-cut bottom.
My ags t really snug in the
mockup, so I made another, this
time 1/2" taller. To my surprise,
that was too big! One more mockup, this time just 1/4" taller than
the rst, and t was perfect. The
nal inside dimensions of my
ag case became 21" across the
bottom, with a 10" peak.
Cutting the Steep

22 Miters
In the meantime, while I was
making my mock-ups, Im thinking to myself How the heck
am I going to cut those steep bottom miters? After much experimentation, the solution hit me. If
I set my table saw blade to 22,
and hold the workpieces upright,
I can cut the angle I need. Now,
what better tool is there to hold
the pieces upright other than a
tenoning jig! I tested the setup,
and it worked great. The only
drawback was that with my saw
blade raised to its maximum
of 3", the widest front molding
I could cut was 118". Youll need
to check your maximum blade
height and shrink the width of
your front moldings as needed.
Using a band saw (top photo), trim away

most of the 22 mitered joint waste.
Then make the nal cuts using a table
saw and tenoning jig. Rough-cutting the
joints rst eliminates the risk of creating
nasty ying projectiles.
Summer 2015
53
Side and Molding

Subassembly
(Section View)
/2"
/4" Chamfer
/4"
/4"
/4" Chamfer
4
6
Material /LVW

Side
(Front View)
2
22.5
45
15 /16"
Bottom
(Front View)
TxWx3
Bottom (1)
3/4" x 3" x 251 8"
Sides (2)
3/4" x 3" x 17 3 4"
Front Bottom Molding (1) 1/2" x 11 8" x 251 8"
Front Side Moldings (2)
1/2" x 11 8" x 17 3 4"
Back (1)
1/4" x 1115 16" x 2315 16"
Glass (1)
Cut to fit the case
Flathead Screws (10) #6 x 3/4" Steel or brass
211/2"
22.5
Building the Main Case

The main case consists of the bottom (piece 1) and the sides (pieces 2). Cut the sides to the dimensions given in the Materials List,
adding one inch to the length.
Using a miter saw, cut the top
corner 45 mitered ends, then
cut the sides to their nished
lengths. Cut the bottom to its
nished size. Set a bevel gauge
to 22 and mark the bottom-toside joints. Remove most of the
waste with your band saw.
Now for the tenoning jig and
table saw setup. Make sure your
tenoning jig table and fence are
aligned 90 to your saws table,
and that the saws blade is tilted to
22. As you can see in the photo
on the previous page, I placed
a 3/4"-thick spacer between
54
22.5
the workpiece and the tenoning jigs table to keep the saw
blade far away from the jig, and
I screwed a backer board to the
tenoning jigs fence to reduce
tearout at the rear of the cuts.
I used a 1/8"-thick riser board,
which rests on the saws table
behind the blade and to the side of
the tenoning jig. When you clamp
your workpieces in the tenoning
jig, you do so with them on top of
the riser board, so the jig holds
everything 1/8" off of the saws
table, and the wood cant bind
against the table as you saw.
Use scrap wood to test your
table saw setup. Adjust the
blade-to-tenoning jig distance
so the cut makes a point on
the end of the workpiece without reducing its length. Cut the
Memorial Flag Case
Rout the back rabbets on the sides and

bottom. Do this procedure by making
several passes, increasing the depth of
cut after each pass. This will reduce the
chance of tearout.
Rout the front outside chamfers using a

chamfer bit and router table. Do this after
the front molding frame is attached and
sanded ush with the case.
Band clamps are a fast and sure way to clamp together the
bottom and sides of this complex shape. Place pieces of
cardboard under the bands at the corner joints to keep the
glue from smearing and the bands from binding.
ends of two scraps and check the

combined angle to verify that its
exactly 45. Make any necessary
adjustments, then nish-cut the
22 miters.
Rout the rabbets for the back
on the rear edges of the sides
and bottom and then clamp the
main case pieces together using
band clamps. Make sure the top
edges are ush at the corners.
Use a router table

and chamfer bit
to rout the molding inside chamfers.
Finish-sand
the chamfers and
inside edges. Glue and
band-clamp the moldings
together to make the frame.
After that cures, glue and clamp
the frame to the main case.
Making the Front

Molding Frame
Finishing Up
Make the front moldings (pieces 3 and 4) the same way you
made the case sides and bottom.
Cut the moldings 1/32" longer,
so when attached to the main
case, their edges will overhang
slightly. Covering the molding
end faces with masking tape
prior to cutting the 22 miters
greatly reduces tearout.
Youre just about done ... but

there are a few more steps. Start
by sanding the frame edges ush
with the main case. Next, rout
the frame outside chamfers and
complete your nish sanding of
the whole case. The nal construction step is to make the
back (piece 5), testing the t
as you go, to ensure a nice,
tight t. Finally, nish the case
with three coats

of clear stain spray
lacquer. Take the case
to your local glass supplier and
have them t the glass (piece 6).
Set the glass in the case and afx
it with a few dollops of clear silicon or hot glue. Add protective
felt dots to the bottom, insert
your ag, and attach the back. I
can tell you right now, once you
build one, there are probably a
couple more in your future!
Bruce Kieffer is a professional
(KQ\Z[PUNKPTLUZPVUZMVYIODJ VL]HV
While its true that internment ags are all the same size,
there are plenty of folks out there with a ag that
isnt ying anymore, but still has some special
meaning to a family. Rather than fold it up in a
This simple
box, a ag case like the one built here can
formula will
become the perfect honored resting place
X help you build a
case to t your
for a treasured family heirloom. The
special ag.
Elevation Drawing at right shows
you the formula to use to decide on
your box dimensions. Remember,
2X
start with scrap wood and test the
The inside measurements are X and 2X
t of your folded ag.
(e.g., if X =10", then 2X = 20")
Summer 2015
55
Bedroom Valet
Even this simply
made piece of
furniture required
significant design
work.
ou can see from the layout drawing below

that the room this piece was designed for is
small. It was once my library and drafting
studio. Its now a sitting room and guest bedroom.
As a sitting room, its a quiet getaway in which to sit
and read or watch a television program in which no
one else has any interest. As a bedroom, its small
but quite accommodating. The settee folds out to
a comfortable bed; the cupboard will take care of
hanging clothes and the folding things which go on
shelves. The small white open shelves will hold a
host of small stuff. OK as far as it goes, but imagine
yourself arriving at a friends house or a hotel for
a few days with typical luggage: a carry-on case
and a couple of bags. What you need is someplace
to set it all down and start unpacking. Later on, at
shower time or bedtime, where do you put fresh
and discarded clothes? So there is the kernel of
the design problem. Hotels have those fold-out
luggage stands, but that solves only part of the
problem. Two other factors gure in the design
Cupboard
Settee
Shelves
Valet
Entry
Television
Making efcient use of a small space is most likely to happen
with intention. Here, the valet helps to make a small bedroom
more functional.
56
B e d r o o m Va l e t
parameters. The rst one, space,

is fairly self-evident. The second
was a personal consideration it
had to be a quick make, as I
didnt have a lot of time to build it.
You can see the outcome. It
ts into a small footprint and it
goes vertical from there. The
platform is the height of a chair
seat, and it looks chunky and
utilitarian enough so that its an
invitation to dump a case on it
without doing any damage.
The rst shelf is high enough
and narrow so that, with a bit of
care, your head wont connect
with it as you sit to put on your
socks. The middle shelf has a
hanging rail, and the top shelf
is wide enough to get anything
you dont immediately need out
of the way. On a personal note,
I must admit to putting socks
on whilst seated. With two new
knees, its easier that way. A
seat height of 16" is good for
me, but after I had cut the legs, I
realized that its a bit too low for
taller people; hence, the 1"-tall
white feet. They are a quarter
of an inch smaller in width and
length than the leg, so they sit
back an eighth of an inch all
around. Two screws and a dab of
glue hold them in place.
Even if I hadnt had a change of
mind and added them to change
the seat height, those rectangular legs meeting the oor with no
accommodating detail to form a
foot would, generally, look very

primitive. The block extensions
would have looked perfectly well
without paint, or I could have run
a shallow saw kerf or two around
them. You need something that
says, Im a foot that terminates
this leg. Nature does it in all
sorts of ways.
Making the Piece

Even though the wood is called
soft maple, its plenty hard enough
to absorb knocks, so that was my
wood of choice. You may recall
one of the design parameters was
that it had to be a quick make.
Machine-made all the way! I used
a jointer, thicknesser and miter
saw to achieve accurate dimensions of the parts. A radiussing
bit on a router table took care of
all the edges. Lamello biscuits
join the shelves to shelf supports,
and Domino loose tenons take
care of major joinery. All the surfaces were cleaned up with a
hand plane and then nished with
Rubio Monocote oil nish prior
to assembly.
The white parts were handbrushed with a white gloss
paint. Its a matter of choice
which parts you paint.
The Way It Is
In the last section of this article,
Im going to take a step back to
examine what went on in making
this piece, because I believe its
Starting with a back of a napkin

concept sketch, the author began
exploring ideas that would answer the
design questions established by the size
of the room and functionality required.
Summer 2015
57
Upper Back
Upright
Lower Front
Assembly
(Front View)
(Front View)
5"
6
5
6
8
15
11
18"
5
13
231/8"
12
(Top View)
/16"
Top Shelf
/16"
Front Leg
(Front View)
5
/16"
2 /8"
11
10
11
1
/4"
/16"
Exploded View
30"
2
157/16"
8
5
7
14
15
13
16
13
4
15
3
15
Front Leg
Assembly
(Section View)
15
Flush
25/8"
16
the beginning of a radical change in small

shop woodworking.
The expression I used was, machine-made
all the way, and so the preparation of the parts
was done using machines, found in most every
workshop. However, the joinery I used is not
common, and the machine I used is not found
in every workshop. That said, history tells
us that it is just a matter of time before a
58
B e d r o o m Va l e t
1"
Material /LVW

Back Uprights (2)

Front Legs (2)
Seat Cross Rails (2)
Seat Cleats (2)
Middle Cross Pieces (3)
Top Shelf Supports (4)
Bottom Shelf Supports (2)
Top Shelf (1)
Middle Shelf (1)
Bottom Shelf (1)
Shelf Lipping (2)
Hanging Rail (2)
Seat Slats (6)
Center Seat Slat (1)
Outer Seat Slats (4)
Feet (4)
TxWx3
112" x 25 8" x 82"
112" x 25 8" x 1618"
114" x 3" x 2134"
118" x 11 8" x 2134"
1116" x 23 16" x 2134"
1116" x 23 16" x 1314"
1116" x 23 16" x 6"
3/4" x 1618" x 2214"
3/4" x 1358" x 2214"
3/4" x 858" x 2214"
3/4" x 1" x 2358"
7/8" x 7/8" x 23"
1116" x 23 16" x 17"
1116" x 23 16" x 18"
1116" x 19 16" x 18"
114" x 23 8" x 1"
16
The collection of hand tools at the far left have been replaced in this project with the
tools in the far right photo ... could this presage a sea change in furniture making?
Festool Domino type machine

is in common use, and then we
will be at a watershed in small
shop woodworking.
Experience tells me that most
ever yone wanting to learn
woodworking believes that if
they can learn to make joints,
especially dovetails, then they
have the keys to the craft. Their
premise is not entirely true, of
course, but understandable. Ill
develop the point with a quick
roundup of joinery.
The three joints we use in
making solid wood furniture are
butt joints, with which we make
wide boards from narrow boards;
dovetails, which are used to join
wide boards at the corners to
form boxes; and mortise-and-tenons, used to join stiles and rails
to make frames for panels, as in
doors or frame-and-panel case
goods, and to join legs to rails to
make chairs and tables.
The mortise-and-tenon, simply
described, is a square peg in a
square hole. It is the most complex joint to design, as well as the
most used of the three joints. Its
marking, cutting and chopping
take time and skill to execute. To
mark it out, you need a marking
knife, a try square, a marking
gauge and a mortise gauge.
For years, tool makers who
have tried to mechanize most
things have put the mortise-and-tenon joint off machine
limits for the most part. While

such machines have long been
in use in industry, an affordable, dedicated mortise-andtenon machine has not been
successfully reduced for use in
the small shop.
An alternative to the mortise-and-tenon joint is the loose
tenon joint. In this joint, a mortise is made in both pieces. The
mortises are exactly the same
size, and into them goes a third
piece made to t the mortises:
hence the name loose tenon.
The joint has to be made by
machine, and a machine system
has been used by industry for
many years with a tool called a
slot mortiser. But no tool maker
had come out with an affordable
slot mortiser for the small shop.
Recently, Festool came out with
the Domino machine. Its a handheld machine which comes in
two sizes, with a variety of cutters, meaning the system can be
used in typical mortise-and-tenon
joint situations. Its versatile, its
simple, and its accurate. It, arguably, undoes the case for making
the mortise and tenon by hand
using traditional tools. In short,
this tool changes the face of furniture making in the small shop.
Lets see how that plays out
in the case of this valet, rst by
hand and then by Domino. Once
the parts are prepared and we
are ready to make the joints, the
time it would take to mark and
make the 12 mortises and the
12 tenons would be measured
in hours, if you had the skill to
do so. Now, using the Domino,

there is no doubt in my mind
that you can make the piece
perfectly well; as well as I can,
in fact. Marking out requires a
pencil and a plastic square.
Cutting the 24 slots takes at
most a half hour done.
Having offered my opinion
that this machine will change
your furniture making, the
supposition hangs on the
courage and the creativity of
woodworkers in small shops to
realize its potential.
Ian Kirby is a master woodworker and a
regular contributor to Woodworkers Journal.
Summer 2015
59
Slab Top Sofa Table

At just over 3" thick, this lumber
provided our author with a workout
and a hefty piece of furniture at
the end of the process.
orking with thick waney

stock was a treat that I
had never experienced
before. So, when some 3"-thick
ash came my way from a local
sawyer, I jumped at the chance to
build this sofa table.
Preparing the Stock

I selected the best-looking section of the lumber to be the
tabletop and cut it roughly to
length. Because this table has
waney edges and is made with
60
extra-thick stock, the width and

thickness of your top may vary
a bit from the dimensions found
in the Material List on page 62.
I decided that if I left the bark
on the edges of the tabletop, my
dusting time would increase signicantly, so instead, I chose to
remove most of the bark, leaving
behind the underbark. That remnant provided a color change on
the edges that helped to dene
the top. Using a drawknife, I was
able to slice the bark away in
S l a b To p S o f a Ta b l e
very short order. Then I moved

on to attening and smoothing
the top and bottom faces of the
tabletop. As you might expect,
the ash lumber was sold to me
in a rough state, right off the
saw. At 17" wide, the width of the
piece exceeded the capabilities
of my planer and jointer. This left
me in a bit of a pickle, but after
a moments thought, I picked up
my #07 hand plane and got busy
attening the tabletop. I planed
at a diagonal to the grain, and
found this method to be quite

effective at getting a at, smooth
surface quickly. The faces were
not mirror smooth, but they
were suitable for sanding when
I got done planing.
Next, I moved on to the legs.
These pieces were narrow
enough that I could rip them
roughly to width and put them
across my jointer, then through
the planer, to get them ready
to be cut to exact size. I used a
template to mark out the legs.
They have a taper that gives the
table a sense of style. I thought of
the look as Eastern as in Japan
or China; my staff identied it
as Western as in Montana or
Wyoming ... such it is with beauty and the beholder.
Despite the fact that the legs
are less massive than the top,
they are indeed some big chunks
of wood, so I joined them to the
table using loose tenons. And
because I own a Festool Domino
XL, I used it for this project. That
said, you could use any loose-tenon method to attach the legs
to the top. Or you could use a
more traditional mortise-and-tenon technique: chop mortises into
the underside of the tabletop,
and raise tenons on the tops of
the legs. Youd just need to add
the length of the tenons to the
overall length of the legs.
Dealing with Defects

One challenge came to the fore
as I was making the legs. There
were several large knots that I
could not avoid, and they had
material in them that I needed to
remove. (The knot bers were
loose and the void looked bad.)
To address the knotholes, I decided to ll them with Bondo, colored to match other solid knots
in the wood. I used universal
colorant to mix the exact shade
that I needed. One important
point: if you look at the photo on
The rst step in

making this table was
to take the bark off
the waney edges with
a drawknife, as shown
above.
Then, the author chose

to atten and smooth
the top and bottom
faces with a #07 hand
plane, as shown at
left. The wood was
rough-cut lumber right
off the saw.
To get identical leg sizes

and shapes (above, left),
the author used a template
to mark them out.
Some knotholes were
unavoidable, so Bondo
dyed with universal
colorant (above, right) was
used to ll the voids.
The author chose Festools
Domino XL loose tenon
system (right) to
create his mortises.
Summer 2015
61
Table
Leg
(Side View)
(Side View)
61/2"
1"
41/2"
Exploded View
2
27"
27"
12"
93/8"
Table
(Bottom View)
1"
The Dominos used

on pieces 3 and 4
are cut in half.
95/8"
Center Line
1
1 /8"
54"
Material /LVW
Top (1)*
TxWx3
3" x 17" x 54"
Legs (4)
212" x 938" x 27"
Stretchers (2)
134" x 3" x 371 2"
Faux Stretcher Ends (4)

Dominos (12)
134" x 3" x 334"

14 x 100mm
62
Leg Placement
To
accurately
locate the legs on
the underside of
the tabletop, I rst
struck a line down the center of
the table. I worked from a center
line because the tabletops edges
were not straight and I couldnt
accurately measure from them. I
used a simple shop-made layout
tool for the next steps. It is just a
rectangular piece of 1/2" MDF
that has an accurately formed
45-degree cut on it. As shown
in the photo sequence on the
top of the next page, align the
mitered edge of the jig to the
*The width and thickness of the top may ]HYy a bit due
to the material that you will MPUK available to `V\
the previous page, you can clearly see that I applied some shellac
around the holes that were to
be lled. That shellac sealed the
grain so that I did not get an
unwanted halo of black Bondo
squeezed into the open-grained
ash. After I applied the Bondo,
it cured quickly and I sanded it
smooth. Sanding also removed
the shellac. With that done, I
was able to lay out the mortise
locations on the ends of the legs
and then cut them

as shown in the
bottom photo, previous page.
S l a b To p S o f a Ta b l e
center line and strike lines for

the outside edge of the legs. (See
the Drawings above for details.)
Then measure the offset from
the center line and use the jig to
mark parallel lines to the center
line. The intersection of those
lines locates the exact corner of
the leg. Trace around the leg,
take off the mortise locations,
and you can chop the mortises
into the bottom of the table.
There is an intentional quirk to
the design of this table: while the
legs are connected to each other
by the lower stretchers, they
are not joined to one another
by aprons under the top. This is
because the tabletop is so thick;
it is more than strong enough to
resist the forces that may have
cupped a top of less hefty dimensions. (And seasonal expansion
17"
After striking a center line down the length of the tabletop, the author made a layout jig with a 45 angle formed on one end.
Using the center line, he located the positions for the table legs as shown in the photo sequence above. After tracing around
the legs and taking off the mortise locations, our editor cut the mortises for the Domino loose tenons. Any loose-tenon system
(or even traditional mortise-and-tenon joints) would work well for attaching these legs.
and contraction will not be hindered.)With the legs and tabletop

prepared, put the tabletop
upside down on a work surface
and test-t the legs to the top.
The stretchers, which come
next, t between the legs and are
joined to the inner faces of the
legs with loose tenons. (See the
Drawings for details.) Located on
the outer face of the legs are faux
tenon ends. They are attached so
it looks as if the stretchers pierce
the legs. As a way to further this
illusion, cut the material for the
stretchers long enough so that
you can cut the faux tenon ends
off of either end of the prepared
stock. That way, the grain pattern and colors will look as if
they ow right through the legs.
While I used the Domino tool
to attach the stretchers to the
legs, a pair of dowels on the
joining faces of the pieces would
work just ne, too. After you
have machined the joinery on
the stretchers, dry-t and clamp
everything together. I used a
band clamp around the stretchers and faux tenon ends, but I
did not clamp the legs down to
the tabletop. Their weight and
gravity were sufcient to form a
solid glue joint.
Theres one more trick you may
still need to pull out of your sleeve
before you start sanding. If you,
like me, used wood that is a bit
thicker than 3" for your tabletop,
chances are you did not have a
circular saw blade that was wide
enough to cut through the top
in one pass. So you cut off the
ends in two passes, and likely the
cuts were not perfectly aligned.
If that is the case, grab a router

and chuck a long ush-trimming
bit into the machine. Then use
the bit to trim ush ends on your
tabletop. With that done, youre
ready to start sanding. Start
coarse and work up through the
grits, stopping at 180.
Assembly and Finishing

Because I had taken the time to
dry-t the pieces earlier, there
were no surprises during the
glue-up. I will say this, however:
if I was going to make another
of these tables, I would have a
friend with me in the shop for
the glue-up process. (Did I mention, this table is heavy? Really
heavy!) An extra set of hands
would have made this task much
smoother and easier. The ends
of the legs and the stretcher are
end grain that is being glued
to face grain. Be sure to apply
enough glue to those end-grain
areas to achieve good results. (A
little glue squeeze-out here is not
a bad thing it will not easily
be seen and youll know that you
have enough glue coverage.)
After the glue had cured, I
used a chisel to remove the
glue squeeze-out. A bit more
hand-sanding preceded a shellac
nish. I blended amber shellac
and clear shellac, mixed half
and half right out of the cans.
I applied it with a soft brush,
denibbing between coats.
Now nd a couple of strong
teenagers to help you put the
table right where you want it!
Rob Johnstone is publisher of
The faux stretcher ends are cut off the

stretchers as they are tted between the
legs of the table. Keep the ends with
their stretchers.
Before the nal glue-up, it is always a

prudent step to dry-t and clamp the project
together. Glue-up is hard to reverse!
The sheer weight of the legs was a

sufcient clamping force to form a
solid glue joint between the legs and
the tabletop. Here, the author tightens
a band clamp, pulling the faux stretcher
ends, stretchers and legs together rmly.
A shop helper sure would have been
useful during the glue-up process.
Summer 2015
63
Hardwood Mosaic Frame

A unique technique brings beauty
and thriftiness together in a great
home shop project.
rofessionally made picture

frames come in two types:
the chintzy-looking cheap
ones, or the really great-looking
expensive ones. I decided that I
would like to build my own and
come up with a really great-looking frame that was inexpensive
(but denitely not cheap!).
This picture frame makes use
of small tiles of hardwood that
are glued to a plywood substrate
underframe. The beauty of this
idea is that the various tiles each
have their own grain pattern contained within their border. The
accumulation of all those tiles and
their differing grain patterns creates a frame that is geometrically
regular, but texturally diverse.
The effect is quite attractive. As
I place my tiles on the frame, I
take time to enhance that feature
by looking for subtle changes in
hue and gure, and placing them
to create interesting patterns.
You can think of this frame as a
mosaic, with Mother Nature as
the artist.
If the prep work of slicing
many little pieces from other
small blocks of wood is a degree
of activity that you might want to
cut down on, you can buy 1/4"thick hardwood stock in bigger
pieces, which will make the prep
work go a bit faster. Either method works ne on this frame.
Early Design Decisions:

The frame that is built by the
dimensions found on the
Material List on page 67 creates a
64
photos within frames courtesy of Keith D. Rickabaugh
10" x 16" opening a standard

size. Proportionally, I decided on
a 3"-wide frame, which allowed
me to use three rows of 1"-wide
tiles. The typical 2" length of the
tiles evolved from the corner
detail. I wanted the tiles on one
row to be bisected by the tile
butting in from the next row over
(this visual effect is sometimes
called bonding). In practice, the
tiles are placed from all four corners, working inward. When I
got to the middle tile position(s)
of each row, the length of those
tiles had to be slightly adjusted
to t the opening.
The plywood frame is made of
3/8" Baltic birch overlaid with
1/4" Baltic birch. The combination of butt joints, lap joints, glue
and screws makes it bulletproof.
The walnut frame shown here

is the size of the picture frame
you will get using the Material
List provided with this project.
The frame on the opposite page
is made with cherry stock and is
a bit larger overall.
Begin with the

Underframe
To begin this project,
use your table saw to rip
the plywood stiles and
rails to width and length
(pieces 1 through 4). I
am sure that any good
quality saw blade will
work for you, but I use a
Freud 80-tooth crosscut
blade for all of this work
(even the ripping steps). I nd
that it provides a silky-smooth
edge, and that means less sanding for me!
Now grab a 1/4"-thick piece of
hardwood (I used walnut in this
case) and rip enough stock to
create the stile and rail edging
(pieces 5 and 6). Next, glue and
clamp the edging to the front
rails and stiles youll nd that
theyre the same length. While
you are waiting for the glue to
dry, head to the table saw to
rip sufcient material to make
the perimeter trim (pieces 7 and
8). The following construction
process is stone simple, but I
recommend that you take a bit of
time to look at the Drawings and
to check out the photos its
very important that you follow
the right sequence.
Once the glue has completely cured on the front stiles
and rails, take them out of the
clamps, scrape away any excess
glue, and sand them smooth.
Now it is time to put the plywood frame pieces together
with the hardwood edging lin-
ing the opening in the frame.

The back stiles and rails simply
butt together as do the front
stiles and rails. But the front
stiles and rails overlap the
butt joints in the lower layer,
essentially making a built-up
lap joint. If you are confused
by this, check out the Lap Joint
Detail Drawing on page 67.
I used screws and glue to secure
the plywood pieces one to another. Lay out and pre-drill the
through holes in the front stiles
and rails, adding a countersink
to each location. I used 1/2" x #6
screws and I prefer Titebond
glue. I also used short 23-gauge
pin nails to tack the rails and
stiles together. Then you can
drive the screws home, being
certain that the heads are seated
just a hair below the surface of
the front stiles and rails.
Even though I took exceptional care to line everything up
accurately, the outside edges did
not align perfectly. So, after the
glue had cured, I trimmed the
long edges just a tiny bit.
The only thing left to do to
the plywood frame subassembly is to glue

a 1/4"-thick border
of hardwood all around
the perimeter, using the
trim that you cut earlier.
Glue and clamp the trim
in place and allow the glue
to cure. Wrap up by sanding the face at.
Im betting youll notice
early on that one of the
nicer features of this construction plan is that, because the
front and back stiles and rails
are different widths, when they
are put together, this size difference creates a perfect rabbet just
behind the front stiles and rails.
It is into this rabbet that your
picture will eventually be placed.
Thin-sliced hardwood lumber overlays

and surrounds a plywood frame. Easy to
build and extremely durable, this method
of building avoids large miter joints,
which can be a challenge to t perfectly.
Summer 2015
65
<ou can think of this frame

as a mosaic, with Mother
Nature as the DUWLVW
Set up a straightedge, as shown above,
to help keep your tiles well aligned. Use
just a dab of glue and clamp the tile
in place, working from the corners in
to the center. A couple of minutes of
clamping is sufcient.
Because any minute error will be

multiplied in this assembly process,
you will need to adjust the size of the
center tile(s) in each row. The space in
the photo above was exaggerated to
demonstrate the challenge.
The tiles are offset so that each one bisects

the one next to it. This pattern is called
bonding and is often seen in masonry
and ooring. The offset is created by the
corner placement of the tiles.
66
Tiling Time
However you decide to make your
tiles, you need to make a whole
bunch of them. The number of
tiles indicated in the Material List
(pieces 9) is an approximate number. It is actually a few more than
you will need of that specic size,
but in this project making those
few extra pieces just makes sense.
It gives you a better choice of
tiles as you select them for placement. The center tiles (pieces 10)
will need to be adjusted to their
proper length after you have
put all the tiles of that row in
place ... then you will need to
measure the opening. (See the
Note on page 67.)
You may ask: Why cant I just
divide up the space of a row and
cut all the tiles perfectly sized
so there is no variation? Heres
the answer: even if you wanted
to work that hard, its extremely difcult to machine pieces
that accurately. The detail that
will come around to devil you is
called accumulated error. Lets
say that you make your tiles very
uniform, but they are off of their
length measurement by 1/64th
of an inch. While its a minute
amount, on the 12 tiles that form
the outside row, that error will
add up to 3/16" in a big hurry!
OK, try even harder and get to
within 1/128th of an inch ... and
you will still miss your mark by
almost 1/8" so you can see
why it is better to adjust the middle tiles in each row to t.
Make certain that your stock
is of uniform thickness before
you start cutting the tiles this
will save you a major headache
later on. Then cut your tiles to
size. When working with stock

this thin, make every effort to be
extremely safe in all of your cuts.
Use a zero-clearance throatplate,
featherboard and push stick
when appropriate. Despite trying very hard to avoid it, some
of the edges of my tiles became
burned during the cutting process. Take note of this discoloration: you can deal with it in the
glue-up stage, but you need to be
aware of the burned sections.
These next steps are going to
take a bit of time. First, sand the
show face of each tile. I simply
turned a 1/4 sheet sander upside
down and held each piece to the
platen. Then chamfer the edges
of the tiles. I used a 1/8" roundover bit in my router table. I made
a special zero-clearance fence for
this task, to keep it a safe operation. Use a small push stick, too;
I came up with two pencils taped
together and used the eraser end
to move the tiles.
Youre ready to start gluing
your tiles in place. Start by care-
Adding the back panel (piece 11) and

the hangers (pieces 12) are the last steps
to making this multi-piece picture frame.
Exploded View
10
8
3
9
5
Note: On the
frames top and
bottom tiling, the
inner and outer
rows have one
custom-sized tile
(pieces 10) and
the center row
has two.
On the frames
sides, the inner
and outer rows
have two customsized tiles and
the center row
has one.
10
7
7
4
4
10
5
10
2
1
Lap Joint Detail
3
7
1
8
The plywood layers overlap to

form built-up lap joints at
the corners. The joints are
secured with glue and screws.
fully gluing the rst few tiles in position, as shown

in the top left photo, previous page. Keep lling in,
hiding the burned edges as you place them. The
exposed inside frame edge should be burn-free. Do
some nal hand-sanding to smooth all tile surfaces.
The Big Finish

I used a can of spray lacquer to nish the picture
frame be sure to spray from each side to get coverage on the tiny chamfers. I used light coats and
de-nibbed with steel wool between applications.
When that is done, cut the back panel (piece 11)
to t, and then mount the hangers (pieces 12). Now
choose a good spot for your tiled masterpiece!
Robert Rockler is a frequent contributor to Woodworkers Journal.
Material List

Back Stiles (2)

Back Rails (2)
Front Rails (2)
Front Stiles (2)
Rail Edging (2)
Stile Edging (2)
Long Perimeter Trim (2)
Short Perimeter Trim (2)
Tiles (102)
Custom-sized Tiles (18)
Back Panel (1)
Hangers (2)
ZDOQXW
TxWx3
3/8" x 21 2" x 22"
3/8" x 21 2" x 113 4"
1/4" x 21 2" x 163 4"
1/4" x 21 2" x 16"
1/4" x 1/2" x 163 4"
1/4" x 1/2" x 16"
5/8" x 1/4" x 22"
5/8" x 1/4" x 171 4"
1/4" x 1" x 2"
1/4" x 1" x 21 2"*
1/4" x 113 4" x 17"
Steel
* The custom tiles are cut to length after measuring their

respective openings.
Tile chamfers are formed with a 1/8" roundover bit.
Summer 2015
67
A Kitchen Workstation
This compact butlers workstation
with hardwood top will facilitate
many kitchen food prep tasks.
utler is a gment of my
imagination when it comes
to who will use this workstation in my home. There
are no hired servants here.
Nevertheless, a project of this
sort, if space allows for it in your
kitchen, is most useful for many
culinary tasks.
This little kitchen workstation
is easy to build but still rich in
details that make it easy to look
at as well. Start off by making
the glued-up tabletop, frequently
and incorrectly called a butcher block, laminated from native
hardwoods of any thickness.
(Butcher blocks are made with
the end grain as the work surface.) In this case, because the
edges of atsawn material show
as quartersawn when they are
glued up this way, it is a nice
opportunity to put to use all that
material that you kept because it
was too good to burn or throw
away. Even short pieces can be
bonded in, like bricks in a wall.
Glue the ve center pieces rst.
Once cured, add two pieces to
each side. I used Titebond III
rolled lightly onto each surface.
Continue to build outward in this
fashion to create the top blank.
Machine and/or hand plane the
top to its dimension. Finish it with
several coats of salad bowl oil.
Building the Legs

The next process to undertake
is constructing the legs. To
get started, heres the order of
68
When making the legs, clamp the two glued pieces together
to form an L shape. My preference is clamping to the bench.
If necessary, leave a small overhang in the glue-up to avoid
mill-made shortcomings.
After the glue has cured, plane the two outer faces square
one to the other. This operation not only cleans up any
mill marks and possible excess glue, but it ensures that the
assembly will be square.
march: First plane the stock to

thickness but saw it wider than
its nished dimension. Follow
up by planing one edge square
on the narrow pieces. Now you
will glue and clamp the two pieces the narrow and the wide
together to form one piece for
each leg. Go ahead and plane the
outer faces square to one another. With that done, step to your
table saw and cut the two arms of
the L to the exact same width.
Before you shape the rail sockets, all that is left is to square
one end of each leg and then cut
it to length.
On the top of the legs, youll
need to form a socket (see the
photos below) to accept the top
rail. I used a Forstner bit in my
drill press to remove most of the
waste, and completed the shape
with a variety of chisels.
Making the Leg and Rail Joints
Assembling the Workstation
The ends of the top rails are

machined to t the sockets you
chopped into the legs. The distance between shoulders of the
simple joint are cut to the length
of the bottom rail. Each top rail is
held in place with 2" #8 screws.
Before you move on, set up fences on a drill press to position the
5/16"-diameter clearance holes
in the legs for the lag screws that
will hold the bottom rails.
The legs are shaped with a

chamfer all around except
for the top edge, which links
visually with the collar.
The bottom rails have the
same raised detail, formed on
the table saw, on both sides.
The panels will be emphasized
with color by painting them.
Assemble a pair of legs with

the top rail screwed in place.
Next, lag-screw the bottom rail
in place. Once you have two
subassemblies of this kind, join
them with the top rails screwed
in place, then add the bottom
rails. When attaching the top
rails, there is no dovetail effect
on the top joint that would pull
the shoulders tight, so take the
trouble to clamp across the rail.
Place a bottom rail between the
legs to help keep the top joint
properly aligned.
Youll have to devise a way
of holding the bottom rails so
they can be correctly positioned
and clamped while the pilot holes
for the lag screws are drilled
and the screws inserted. The
solution is a pair of saddles
(photos, page 71): youll need a
Drill out the majority of the socket

waste using a 3/4" Forstner bit in a
drill press.
Finish forming the sockets by cleaning

up the shoulder with various widths of
chisel. Check your accuracy (inset).
The shoulders of the top rails must

match the length of the bottom rails.
Test the t.
Continue Shaping the Parts
Summer 2015
69
Collar and Gusset
The rabbeted
aspect of the
collars are mitered
back at 45.
(Section View)
13
/32"
/8"
Collar and Gusset

Subassembly
(Top View)
(Top View)
Top Rails and

Leg Detail
11/2"
/4"
Rabbet
19/16"
25/8"
3
7
/32"
Pieces 2 and 3 are
assembled prior to
forming the sockets.
Exploded View
Workstation Elevation
(Front View)
1
6
6
4
4
2
2
Leg Joint
Detail
5
5
5
2
3
/4"
(End View)
113/16"

Tabletop* (1)
Wide Leg Blanks (4)
Narrow Leg Blanks (4)
Top Rails (4)
Bottom Rails (4)
Collars (4)
Corner Gussets (4)
TxWx3
2 58" x 22" x 22"
1316" x 3" x 32"
3
1 16" x 11316" x 32"
3/4" x 258" x 1712"
1316" x 4" x 16"
3
1 16" x 214" x 1758"
3/8" x 6" x 6"
*Laminated of any thickness and any hardwood species

to make up desired dimension.
70
/32"
Because the author envisioned

painting the legs and rails of the
project from the beginning of the
design process, they were made
from yellow poplar lumber.
Material /LVW
Leg
2
3"
Bottom Rail (Front and End Views)

5
/32"
/16"
/32"
/32"
Top Rail (Top View)

16"
When attaching the top rails, close the shoulders tight with a
clamp across the rail. Put a bottom rail between the legs for a
square assembly.
left and a right version. When

making these jigs, the top bar
of the saddle remains across
the gap until the three plywood
pieces that form the U-shape
are secured in place. Then you
can simply cut the top bar scrap
away, as shown in the middle
left photo above.
Making the Collar

There is just one component
left to build. The collar holds
the tabletop above the terminus of the legs while presenting
interesting shapes and shadows
Drill pilot holes for the lag screws. Holding the drill upside down
makes it easier to align the bit with the clearance hole in the leg.
Cut the parts

accurately to
length, then
assemble with
glue and a nail
gun. Make the
saddle about
1/16" wider than
the rail for easy
removal.
Tighten the lag

screws until you
see the washer
beginning
to compress
the wood. This
ultra-simple
joint is
incredibly strong.
Clamp the
saddles to the
leg. Hold the
shoulders tight
with a bar clamp.
Make sure the
bottom edge of
the rail contacts
the saddle on
each side.
To join together
the collar pieces,
glue and nail the
plywood gussets
into the rabbets.
The collar
subassembly is
key to holding
the tabletop to
the leg assembly.
under the natural wood top. Cut

parts to length, miter the inside
corners, and cut the rebates
(rabbets to you Yanks) for the
plywood gussets.
The collar is held in place by
2" #8 screws run up through the
top rails. The top is held in place
by 5/16" x 2" lag screws in oversize clearance holes fastened
up through the gusset.
el paint, applied in two coats

and sanded lightly after the
rst coat to smooth it. To paint
the panels on the bottom rail,
brush from the middle out to
get a clean corner. All the parts
were painted separately prior
to assembly.
When the finish cures
completely, youre ready to put
this sturdy workstation into
dutiful service!
Finishing Up with Paint

You could oil, wax or
paint the finished frame.
I used a water-based gloss enam-
Ian Kirby is a professional

Summer 2015
71
Scroll-Sawn Picture Frame

Surround your favorite 5 x 7
photograph with a unique floral
pattern and catch a few scroll
sawing tips while youre at it.
72
ven though this photo frame

is just one piece of material,
it features over 260 individual entry points for a scroll saw
blade! It will take six to eight
hours to complete. We recommend that you use 3/8" Baltic
birch plywood for this elaborate
pattern because its far less likely
to chip than regular plywood or
solid wood during cutting.
Step 1: Start the project

by photocopying two copies of
the full-size pattern on page 74,
then mount the patterns on a
piece of 3/8"-thick Baltic birch
plywood using spray adhesive
(Photo 1). Youll need to trim
the patterns on the marked
centerline to join them together.
Photo 1
Photo 2
Step 3: A #2 scroll saw blade

with about 20 teeth per inch
is ideal for cutting the frame
pattern (Photo 3). This blade
is so ne that it can make the
smallest turns and never require
you to back out of any cuts. It
also leaves a very smooth edge
that doesnt need sanding. An old
hand at the scroll saw might only
use one blade for the whole project, but its always a good idea
to have a few extra blades at the
ready, just in case! After the sawing is completed, soak the frame
in mineral spirits for a few
minutes to loosen the paper pattern, and carefully peel it off.
Wipe away any glue residue.
Step 5: Once the glue dries,
Step 4: Now rip 1/4" x 1/4"
sand the faces and outside edges

of the frame to 220-grit. This
frame was stained with a fruitwood color to give it an older,
antique look. Since brushing on
the stain and nish is challenging
with all of these nooks and crannies, ood the stain on literally
with a sponge and blot away the
excess. When it dries, topcoat
the frame with aerosol lacquer or
shellac. In a well-ventilated area,
apply three coats, making sure to
cover all the surfaces and spraying from many different angles to
reach all the sawn surfaces.
Step 6: Now you can add the

turn buttons (Photo 5) and
picture hanging hardware.
These items, along with glass
and matboard, are available at
local hardware or craft stores.
When the hardware is in place,
complete the frame with your
favorite photograph.
in all the cutouts (Photo 2).

An old scroll-sawing tip is to
drill tiny holes using a #20
nishing brad held in a small
chuck in a drill press. This will
help you avoid the tearout you
might get using regular drill bits.
birch strips to make the rear

framework and sand them
smooth (Photo 4). Miter the ends
of the strips to t on the back of
the fret-sawn frame, leaving a
5" x 7" opening for mounting
your picture. Spread a little yellow glue on each strip and hold
them in place until the glue sets.
For more details, see the pattern

drawing on the next page.
Photo 3
Photo 4
Photo 5
Step 2: Now drill entry holes
Summer 2015
73
full-size SDWWHUQ
Center Line
Note: the pocket for the

photo and glass is formed
by installing the rear
framework pieces.
Rear Framework
(1/4" x 1/4")
5"
31/2"
74
presents
The Way To Woodwork:
Getting Started in Woodturning

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oodturning is growing in popularity as

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Simple Knife Block

Use up some
leftover wood
and save the
edges on your
kitchen knives!
f your excuse for not owning a

knife block is this: Why should
I buy one of those, when I
could make one in a snap? then
this version will only take you a
day to make (even with breaks
for glue-up), and it works like
a charm. No more need for
procrastination! The steps and
Drawings here will teach you
how to make it, but you will
have to adjust the slot sizes and
placements to accommodate the
knives and accessories you own.
This unit is made of four pieces of solid wood. Cut them to
76
Simple Knife Block
length and width and get ready

to cut some slots, using a standard full-kerf saw blade. This
will leave you with openings
that will t the vast majority of
knife blades. As you can see in
the Drawings, by matching up
the slots cut into piece 1 with
the slots cut into the thicker
piece 2, you can adjust the size
of the knife openings. Align the
openings by laying out and cutting all of the slots in piece 1
rst and then using that piece
to set up the rip fence for each
matching cut in piece 2.
Totally Table Saw

Make piece 3 in the same manner
as piece 1. It holds a set of steak
knives and is an optional feature.
Piece 4 (which is glued together
to make the nal roughly triangular chunk that forms the
base) is made from three pieces
of 1"-thick lumber. To be safe,
use a sled with fences attached on
your table saw (see photo, center
right) to secure them as you cut.
Once you have these three
pieces together, you can add a
notch here for kitchen scissors.
Now its time to glue the
Piece 1 (End View) 3/4" x 918" x 9 34"

1
23/8"
/2"
/8"
1"
1"
/4"
91/8"
Piece 2 (End View) 134" x 918" x 9 34"

3
/8"
1"
3
/8"
/2"
/8"
/8"
13/8"
/8"
13/8"
13/4"
Piece 3 (End View) 112" x 718" x 6 34"

1"
1"
/8"
11/2"
Here, the author is cutting the slots into

piece 1. This piece can then be used
to set up the rip fence spacing for the
matching cuts in piece 2.
71/8"
Piece 4 (Top and Side Views) 514" x 418" x 418"
Note: The knife slot dimensions and placements

are suggestions only. Their size and location
will depend on the knife set that you own.
1 /4"
13/8"
The outer corners have a

3/16" wide, 45 chamfer.
This 5/8"-deep
scissors notch is
formed after the three
pieces are assembled.
51/4"
First cut
These two cuts are
made before the
three pieces are
assembled.
Second
cut
41/8"
33/4"
41/8"
knife-holding pieces together.

Careful application of your glue
is important; you dont want
globs of it getting into your knife
slots. Alignment is important as
well. As you can see in the photo
(bottom right), we used small
slats of 1/8"-thick plywood, well
oiled so glue would not stick to

them, to help keep pieces 1 and 2
properly aligned during the glueup. Once the clamps are tight,
pull the strips out. (Even when
theyre oiled, they might want
to stay stuck!) Now, cut the 45
angle onto the bottom ends of the
knife-holding pieces. The gluedup subassembly of pieces 1 and
2 will need to be cut in a two-step
process on the table saw because
a 10" table saw blade will not slice
through the whole piece on a 45
cut. Cut halfway through it, then
ip it to the opposite face to nish
the cut. With the blade still set
at 45, cut the chamfers onto the
edges of the knife-holding pieces
as shown on the Drawings. Then,
sand your parts smooth, but be
careful not to burn the end grain
as you are doing so.
With that done, glue piece 3 to
the subassembly (pieces 1 and 2)
with their mitered ends aligned.
Once the glue dries, do the same
thing with piece 4. Scrape off any
excess glue and then apply three
coats of a wipe-on nish. Now,
load it up, and you can nally
check knife block off your longrange project list.
Make yourself a sled, like the one shown

above, to safely cut pieces 4. A second
cut is then made on each piece, as
illustrated at left.
To help keep pieces 1 and 2 aligned

during the glue-up process, use oiled
1/8"-thick pieces of plywood placed
into the knife slots.
Summer 2015
77
Tambour-Top Folding Table

Attractive enough to be used in your
home, but mobile and tough enough to
travel almost anywhere with you, this
multi-use table makes a great gift project.
78
Ta m b o u r - To p F o l d i n g Ta b l e
New York friend of mine,

who was clever but cashpoor, once moved to a
new apartment by transporting her belongings in a taxi
cab! The method worked, but
it required her to leave all her
lovely furniture behind. This
sparked my woodworkers brain
into creating a table designed
for the modern nomad: it folds
and rolls up into a compact bundle thats easily transported
even in a taxi.
The trick is a exible top thats
built like a rolltop desk tambour.
Its canvas backing creates a
smooth and solid surface thats
exible enough to roll up like a
carpet. The sidebar on page 80
shows how the knockdown
process works. This solid wood
table doesnt look like a cheap
fold-up unit either, so its attractive enough to use anywhere
around the home ... as a coffee
table, a bedroom side table or
a printer stand in the home
ofce. Its modest proportions
and small rolled-up size only
7" x 4" x 24" makes it
practical for taking along on
camping trips and picnics.
A Note About
Material Selection
Build the project from a stable, dried wood with clear, even
grain. Ive had good results with
Honduras mahogany, white oak,
alder and vertical-grain Douglas
r. The stability of the canvas-backed top depends on the
straightness of the slats, so avoid
woods with fancy grain that are
prone to warping.
legs. Mirror opposites are the

key here.
Next, mark a 1"-radius quarter-circle on the wide end of
each leg, at the edge opposite
the rabbeted lip. Also mark the
center point of the radius, which
is used to drill the legs pivot
hole later. Band-saw the leg tops
to shape, and use a 3/8"-radius
roundover bit in a router table
to soften the long edges and
Starting with the Legs

Make the tables legs (pieces 1)
rst, by cutting four blanks to
size. Adjust your joiner to cut
a 1/8"-deep rabbet and leave a
lip 1/4" wide along one edge of
each leg (photo at right). This
lip locks into the corner of the
apron skirt, to keep the table
from buckling when the legs are
screwed in place.
After rabbeting, taper each leg
blank on the table saw using
a tapering jig. The taper cuts
should reduce the leg bottoms to
5/8" wide. Orient each leg blank
rabbet-side up in the jig, and
dont forget to reverse your jig
for two cuts, so you end up with
two right-hand and two left-hand
With the jointer set to take a 1/8"deep cut, get started by rabbeting
a 1/4"-wide lip on the edge of each
table leg blank.
Summer 2015
79
Breakdown 6WHSV
wide end of the legs. Rout only
the legs non-rabbeted sides.
Making the Aprons
First, loosen the bolts that attach the legs

to the apron and fold them down.
Next, remove two hinge screws and

fold the short aprons at against the
long aprons.
Now, spin the table around 90, and

youre ready to roll everything together.
Grasp the folded apron/legs of the

table and fold them inward, so the
top starts rolling up.
To make the tables apron skirt,

start by cutting a pair of long
and short aprons (pieces 2 and
3) from 5/8"-thick stock. Next,
use a 3/4"-wide dado stack in
your table saw to cut a 1" wide,
5/8" deep socket in both ends
of each apron. These sockets
will create a hinge between the
apron members so the table can
fold up. To make these socket
cuts accurately, build a jig like
the one shown on page 81 and
attach it to your miter gauge.
Locate the edge of the jigs fence
exactly 3/4" from the near-edge
of the blade.
Cut each socket in two
passes: Set an apron against the
jig fence and mill half of the
socket. Then, set the other edge
against the fence and complete
the socket cut. Try these cuts on
a test piece, rst, to check your
jigs accuracy. Dado both ends
of all four aprons. Mark one
edge of each apron as the top
edge, to help orient subsequent
machining operations.
Adding the Screwdriver
Continue rolling the top in from each

side toward the middle.
80
Youll end up with a compact folded

bundle (use a fabric tie to keep it
from unrolling).
A neat feature of this table is a

screwdriver stored in a recess
on the underside of the apron,
which is held in place by a magnet. An offset screwdriver (available from most hardware stores
or home centers), is inexpensive,
compact and just right for tightening and loosening the tables
screws when setting or rolling it
Shape the
Legs and the
Aprons on
<our 7able 6DZ
up. First, mark the outline of the
screwdriver on the inside face of
one of the long aprons. At one
end of the zigzag outline, add a
1/2"-diameter circle for a nger
recess. At the center of the outline, drill a hole 7/16" deep for
a 1/2" rare-earth magnet (piece
4). Use a trim router tted with
a 1/4"-diameter straight bit to
rout a 5/16"-deep screwdriver
recess. Install the magnet in its
pocket with cyanoacrylate glue
or epoxy.
Use a simple jig cut from a piece of plywood to taper each leg on your table saw.
Forming the Hinge Knuckles

Wooden hinge knuckles (pieces
5) glued into the sockets in the
long aprons will allow the apron
skirt to fold up. The sockets in
the short aprons t over these
knuckles. Cut the knuckles from
hardwood for wear-resistance,
even if the rest of the table is
made of softwood. Size them so
they t tightly in the sockets.
Round over one edge across
the width of each knuckle
using a 1/4"-radius roundover
bit. Nows a good time to also
round over one edge of the two
ngers (astride the socket) on
both ends of the short aprons.
These rounded corners provide
needed clearance when the skirt
is folded.
Next, glue the knuckles into
the sockets on the long aprons.
Use a bar clamp to seat the
knuckles. They must remain
square to the aprons.
Scrape off any glue squeezeout, then t the short aprons
onto the knuckles, to bring the
skirt together for the rst time.
Turn to a shop-made high-rise jig to dado the hinge sockets in the ends
of the aprons.
To keep the assembly screwdriver handy, the author routed a recess on the inside of
an apron and then drilled a small hole for a button magnet to keep it in place.
Summer 2015
81
If the knuckle-to-socket t is too

tight at any corner, lightly pare
the socket with a sharp chisel.
Mark the parts of each corner
joint clearly so you can assemble
it the same way later.
Forming the Leg/Apron

Pivot Joints
See the photo series below for
making the leg pivot joints. Set
a legs lip rmly against the end
of the apron, with its end 1/8"
below the aprons top edge.
Clamp the assembly to the drill
press table, and drill a pilot hole
through both parts with a 9/64"
bit. After drilling all four legs and
aprons, countersink the hole on
the outer face of each leg for a
1/4" athead screw (pieces 6),
then switch to a 17/64" bit and
enlarge the pilot holes through
all four legs to create a clearance
After gluing each hinge knuckle into

a socket on the end of a long apron,
use a small try square to make sure
its 90 to the apron.
hole for the pivoting action.

Next, enlarge the holes in the
aprons for the 1/4" threaded
inserts (pieces 7) that attach the
legs. Use a 25/64" pilot-tipped
bit, which centers perfectly in
the pilot holes. To ensure that
the inserts are driven straight
and true, follow this simple
method. First, cut off the head
of a 2"-long 1/4" bolt, then drive
and lock two nuts (separated by a

washer) together on the threads
about 1/2" from the end. Slip a
9/16" box wrench over the bolts
unthreaded end, then chuck that
end into an unplugged drill press.
Slide a washer onto the threaded
end of the bolt and screw on a
threaded insert. Center the pivot
hole under the insert, clamp the
apron, and use the wrench to
twist the insert into the wood
while pressing down with the
drill press quill.
Drilling the Apron

Hinge Holes
Drill the holes for the hinge
screws that join the aprons with
the aprons temporarily assembled. First, mark the location of
the hinge hole, centered on the
bottom edge of each short apron
nger. Set the parts top down
Make <our Drill Press do Double 'XW\
With the leg set in place at the end of

the long apron member, drill a 9/64"
pilot hole through both parts.
82
Remove the leg, and re-drill the apron

hole with a 25/64" bit to enlarge it for
installing a threaded insert.
Use a socket wrench on a cut-off 1/4" bolt

in the (unplugged) drill press to drive the
1/4" threaded insert into the apron hole.
NEW!
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The Way To Woodwork:
Mastering the Table Saw

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basics of ripping and crosscutting,
working up to more advanced
techniques. Youll also discover
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3UHFLVLRQ
Machining LV
the Key to WKH
Hinged $SURQ
Drill hinge pin holes through the short aprons and join the folding apron assembly
with 8-32 athead screws threaded into T-nuts.
Use a dado blade to cut a 1/32 recess in the T-nut area at both ends of
each short apron.
on the drill press table. Chuck

up a long 5/32" twist drill bit and
center it on the hole mark. Align
and square up the joint parts,
clamp the assembly down and
drill the through hole. Repeat
on all four corners, then countersink each hole for a 8-32 athead screw (pieces 9). Finally,
ip each short apron over and
re-drill its top-edge nger (the
one thats closest to the canvas)
with a 7/32" bit, to enlarge it for
an 8-32 T-nut (pieces 8).
Before driving the T-nuts,
joint 1/32" of stock from the
top edge of each short apron
piece NOT the long ones.
This enables the short members
to clear the canvas when theyre
pivoted. Next, on a table saw
tted with a dado blade, trim
an area 5/8" wide and 1/32"
deep across the knuckles you
redrilled for T-nuts. This shallow
recess provides clearance for the
T-nut heads.
Now, youre ready to insert
the T-nuts into their holes with
a small vise or clamp theres
no way to do this with a hammer here. Press them in slowly
and rmly. File any overhanging metal edges ush. Sand the
aprons before assembling them
with screws.
Cutting the Tambour Slats
Use a small vise to slowly drive the T-nut home into its hole in the apron.
84
The rst step in making the

tables unique roll-up tambour
top is to cut your slat stock to
24" long. Cut a few more slats
than youll need to make the tops
full 18" width, just in case some
of the slats warp after machining.

Surface the stock down to 1/2"
thick with a planer. To minimize warping, ip each board
over between passes, rather than
removing all the excess from just
one side.
Next, square up the edges of
the 1/2"-thick boards on the
jointer, then rip the slats to nal
width. The top requires 10 slats:
two outer slats 3" wide (pieces
10) and eight inner 1"-wide
slats (pieces 11). If your boards
are wide and youd like a consistent grain pattern on your tabletop, mark each board with a
cabinetmakers triangle before
ripping, so you can keep the slats
in order. If any slats warp signicantly, dont use them. Even

if this ruins a matched grain
pattern on the top, youll end up
with a tighter, more stable top.
Thats the more important goal
here for this portable design.
Jigging the Slats for Glue-Up

In preparation for assembling
the tambour top, youll need
an alignment and clamping jig.
First, cut a 18" x 26" base
from some scrap plywood. Then,
cut a couple of 1" x 20" holddown strips from 3/4" stock,
each with a 1/2"-high, 3/8"-wide
rabbeted lip on one edge. The
lip secures the ends of the tam-
Accurate
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bour slats atop the xture. Nail

or screw a strip at one end of
the board; the other strip will
be clamped on later. Finally, cut
two clamping strips, each 1/2" x
3/4" x 23".
Set the slats into the jig in
order, sliding one end of each
under the lip of the xed holddown strip. When all the slats are
in place, lightly clamp the loose
hold-down strip. Set the clamping strips against the long edges
of the outer slats and clamp
the top together. Dont overtighten these three clamps
and light pressure should be
enough. Check for gaps between
the slats. Unclamp the slats and
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Summer 2015
85
10
11
10
12
4
3
2
6
5
6
3
1
Exploded View
1
1
1
9
/4"
/8"
1" R.
Material /LVW
Leg
(Side,Top
and Bottom
Views)
TxWx3
Legs (4)
3/4" x 2" x 151 2"
Long Aprons (2)
5/8" x 3" x 21"
Short Aprons (2)
5/8" x 3" x 141 4"
Rare-Earth Magnet (1)
1/2" Dia.
Hinge Knuckles (4)
5/8" x 11 2" x 11 4"
Leg/Apron Pivot Screws (4) 1/4" x 11 4" Flathead
Threaded Inserts (4)
1/4"
T-Nuts (4)
8-32
Apron Hinge Pivot Screws (4) 8-32 x 3" Flathead
Outer Top Slats (2)
1/2" x 3" x 24"
Inner Top Slats (8)
1/2" x 11 2" x 24"
Canvas Backing (1)
15" x 24"

151/2"
Editors Note: This project

is precisely engineered.
Changes to the design will
likely lead to a table that
does not work right. While I
understand our projects are
often improved ... I must
caution that in this case,
you should stay with our
dimensions!
Rob Johnstone
/8"
5
/8"
/4"
2"
Long Apron (Top and Side Views)
Tambour Top Assembly
(Top and End Views)

3
10
3"
11/2"
3
11
/4"
/8"
3"
/4"
21"
11/2"
Knuckle
Short Apron (Top and Side Views)
(Top and Side Views)

3
/4"
/8"
Slight recess
1 /2"
10
3"
/4"
24"
86
141/4"
3"
5
/8"
5
11/4"
11/2"
plane their edges as necessary

to improve the t.
After any gaps are corrected,
unclamp and ip the strips over
in order so their other sides
face up. Lightly clamp the assembly once more and recheck for
gaps. At this point, you can
judge which side of the top has
tighter-fitting seams. Orient
the better side down in the jig,
and check for nal squareness
before clamping the top for the
next step (resist the urge to glue
those slats together!).
Applying the Canvas Backer

Next comes the canvas backing (piece 12). Cut the canvas
slightly oversize, according to

the Material List, previous page;
youll trim it to nal size later.
Before gluing, heat up an ordinary household iron to medium-high heat (no steam). Use
a narrow 1/4"-nap foam roller
to apply a thin layer of yellow
carpenters glue to both the canvas and the slats. After centering the canvas over the slats,
press it down at one end, then
lay it down gradually across the
surface. Use the iron to press
out any wrinkles, starting in the
center and working out toward
the edges. Keep the iron moving
dont leave it in a single spot
for very long.
Once the canvas is at, use the

tip of the iron to heat-set the glue
around the edges. You can now
trim the two long edges of the
canvas: Set the assembled apron
on top, centering it side to side.
Clamp down both long apron
members and cut through the
canvas with a razor knife, using
the inner edge of the apron as
a guide. Remove the apron base
and extend the cuts along each
side of the canvas with a knife
and straightedge. Use a chisel
or small putty knife to scrape
off the strips of excess canvas.
Leave the top in the clamping
xture for a few hours, to allow
the glue to set fully.
Web Addresses for Companies in this Issue

(K]LY[PZLY
7HNL
5V
>LI(KKYLZZ

(K]LY[PZLY
7HNL
5V
>LI(KKYLZZ
1-800-BunkBed
25
www.1800bunkbed.com/wj
Grizzly Industrial, Inc.
37
www.grizzly.com
3M
19
www.3M.com
Grobet USA
25
www.grobetusa.com
Accurate Technology, Inc.
39
www.proscale.com
Howard Products, Inc.
37
www.howardproducts.com
American Fabric Filter Co.
25
www.americanfabriclter.com
Lee Valley Tools
41
www.leevalley.com
American Steel Span
37
www.steelspan.com
Lignomat
25
Aqua Coat
45
www.aquacoat.com
www.lignomat.com
www.moistureproblems.info
Armor Crafts
45
www.armorplans.com
Mirka Abrasives, Inc.
91
www.mirkaderos.us
Badger Hardwoods of
Wisconsin, Ltd.
19
www.badgerwood.com
Preval
13
www.preval.com
BLOKKZ, Inc.
39
www.blokkz.com
Quick Screws
29
www.quickscrews.com
C.F. Struck Corporation
85
www.struckcorp.com/?wj615
Cherry Tree Toys
28
www.cherrytreetoys.com
Rockler Woodworking
and Hardware
Osborne Wood Products, Inc.
Christian J Hummul Co.
41
www.hummul.com
Rojek
Cooks Saw MFG, L.L.C.
41
www.cookssaw.com
3, 13, 19 www.woodencomponents.com
9, 85 www.rockler.com
13
www.rojekusa.com
Sandits
www.sandits.com
SATA Spray Equipment
29
www.satausa.com
The Craftsman Gallery
41
www.chipsy.com
CU Woodshop Supply &

School of Woodworking
SENCO
www.senco.com
39
www.cuwoodshop.com
Southeast Tool, Inc.
39
www.southeasttool.com
Easy Wood Tools
37
www.easywoodtools.com
SuperMax Tools
92
www.supermaxtools.com
Tormek
47
www.tormek.com
Fuji Spray Equipment
19
www.fujispray.com
West Penn Hardwoods
19
www.westpennhardwoods.com
Furniture Medic
29
www.furnituremedicfranchise.com
Woodworkers Source
19
www.101woods.com
Epilog Laser
3, 25 www.epiloglaser.com/wwj
Summer 2015
87
8 Easy Steps to a 7ambour 7DEOHWRS

All it takes is 10 slats of wood, a piece of canvas and a little glue to make the folding tables ingenious tambour top.
First, cut the tops 10 slats to size (see Drawing, page 86). After building the tambour clamping jig and trimming the slats
for a tight t, youre ready to make the top and mount the apron assembly:
Set all the slats into the jig in the correct order, clamp on the
end hold-down strip, and clamp the slats lightly together.
Carefully set the canvas onto the slats at one end, then lay it
down gradually, to avoid trapping any air bubbles.
Press the canvas in place using a household iron, set to

medium-high heat. Keep the iron moving as you work.
Center the apron assembly on the tabletop in the jig and score
through the canvas along the inside of the long aprons.
Scrape and pull off the excess canvas along the long edges of the top.
Trim the canvass other edges after trimming the top to nal length.
Take the top out of the jig and trim both edges on the table
saw, rst using the miter gauge, then the rip fence.
88
Cut out the canvas, then brush or roll a thin coat of yellow glue
on the slats and one side of the canvas.
With the apron assembled, glue and clamp the long aprons to
the underside of the completed tambour top.
Once the glue dries, remove

the top from the clamping xture, and youre ready to trim its
ends on the table saw. If necessary, square up one end using
a miter gauge or crosscut sled
to guide the cut. Then, rip the
top to its nal 24" length. Use
the straightedge and razor knife
to trim the canvas back about
1/8" to 1/4" from the ends of
the slats. If the canvas unravels a
bit, smear the edge with a dab of
yellow glue to seal in the bers.
Attaching the Apron

to the Top
Youre nally ready to attach the
apron to the top. With the aprons
assembled, glue only the two

long aprons to the outermost
slats. Use the cut edges of the
canvas to position the assembled apron side to side; center
it lengthwise on the top. Apply
glue to the top-facing edges of
the long aprons before clamping
the aprons down.
When the glue dries, scrape
off any squeeze-out. Now, ip
the assembly over, secure it to
the benchtop, and belt-sand the
top until its at and smooth.
For quickest results, hold the
belt sander at about a 30 angle
relative to the grain until the top
is at and even. Then, sand with
the grain until all the cross-grain
scratches are gone. Do a little

nal sanding, and youre ready
to nish the wood: I recommend
applying a wipe-on polyurethane,
which is easy to control to keep
the canvas clean.
Have Table, Can Travel

Once the nish dries, screw
the legs on, and youre ready
to put your new table to use.
Or, roll it up and store it where
you can grab it quickly, the next
time you need a handy little
knockdown table. Hopefully,
youll need it often!
Sandor Nagyszalanczy is a contributing
editor to Woodworkers Journal.
25 JIGS & FIXTURES CD

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Jigs & Fixtures

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Summer 2015
89
Tricks of the Trade
.45 caliber
cartridge tray
makes a great
1/2" shank
bit holder.
From Bullets to Bit Storage
Nail Returns Clamp to Service
Plastic bullet divider trays make excellent router bit holders, says one
of our readers. He uses them both to store his bits and to keep similar
bit styles or sets together. He nds .45 caliber holders perfect for storing 1/2"-shank bits; .38 caliber carriers are just right for 3/8" shanks,
and either .17 or .22 caliber sizes work well for holding 1/4" bits. If
youre not a shooter, inquire with a local gun club, gun supplies store
or at a shooting range. Most throw them away, so they could be free.
The sliding jaw on a readers

small bar clamp lost the ability to
engage the bar and became unusable. To salvage the clamp, he
drilled a hole all the way through
the jaw and several evenly spaced
holes along the bar. The clamp
could then be used through its
full range again by inserting a
nail through the sliding jaw and
into any of the holes in the bar
that offered the needed capacity.
Kitchen Accessory Makes

for a Quick Finish Mixer
After your kitchen mixer runs its course,
save the beaters. When chucked in a drill,
a beater works well for mixing gel stains,
water- and oil-based paints. Youll save lots of
time and effort over mixing these liquids by
hand with a stir stick just make sure you
dont remove the mixer while the motor is
still running!
Label Your Lumber
Cork Your Glue Bottle

Even though we try to be careful, its easy to lose the little caps that
come on some carpenters glue bottles. If you do happen to lose one,
heres a readers simple trick for replacing it. She drills holes in both
ends of a synthetic wine bottle cork about 1/2" deep. Then, cut the
cork in half to make two glue bottle caps. Drill the holes slightly
smaller in diameter than your glue bottles nozzle, so the new cap will
t tightly. The synthetic material is pliable and seals the nozzle well.
90
Tricks of the Trade
Some exotic lumber and even

domestics can be difcult to distinguish on the shelf from other
lumber, especially if you store
your inventory in a poorly lit
area. If youve ever run into this
identication problem, use a felttip marker to label your lumber
on the board edges where the
names are easy to see. This way,
youll never be in doubt about
what you have on hand, no matter how the boards darken or get
dusty over time.
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Enhance Your Home!

Build a Slab-top Table

FOR WHEN SMALL DETAILS MATTER

Delivers the holding power of a brad nailer.

ENGRAVE IT. CUT IT. MARK IT.

reating your own custom cabinet and wood finishing

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To request a brochure, DVD, and samples, contact us at:

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This collection of 16 projects offers great

Southwestern Entry Bench ................6-15

Fine Tool Display Case ......................30-33

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Home Accent Projects:

Special Projects Editor

Ann Rockler Jackson

Back Issues, Books & Plans

2015 Rockler Press Inc., Printed in USA.

Southwestern Entry Bench

Southwestern Entry Bench

hen I was contemplating

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Bottom Long Rail

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Southwestern Entry Bench

Right Front Leg

Right Back Legs

Now for the tenons. I occasionally

If you work nice and slow,

Using the same methodology as he would use with hand

Preparing for $VVHPEO\

Smoothing the Surfaces

Southwestern Entry Bench

I managed to get the machine

The Final 'HWDLOV

Nothing beats a sharp chisel when

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Carving Out the Details

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The lid supports have a dovetailed

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7o &DUve or Not 

Frank Grant is a professional woodworker

A Hall Mirror for Beginners

his mirror differs from

Choosing the Shape and Size

The author used lap-jointed corners secured with copper

A Hall Mirror for Beginners

Follow the Material List dimensions on the facing page to build

Woodworker's Journal - Summer 2015 - Home Accent Projects

Woodworker's Journal - Summer 2015 - Home Accent Projects

7o &DUve or Not