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Shellac
Guide to Finishing
11 Common Woods
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 WOOD FINISHING SPECl L

.American~
Woodworker #150, October/November 201 0

WhereWeShare.com
Features
35 Eye-Catching Finishes for Small Projects
Take a walk on the wild side of finishing.

45 Guide to Finishing 11 Common Woods

Improve your results by understanding
wood characteristics.

49 Not-50-French Polishing
A new twist on an old method of
applying shellac.

52 Sanding for a Stained Finish

10 tips to make stain look great.

6 Coloring Figured Wood

T 0 dyes and a glaze create a
stunning effect.

59 Make Poplar look Pretty

Give this useful but unattractive wood
a makeover.

62 Chemical Ebonizing
A sure-fire recipe for turning any wood
deep black.

Green Wall Shelf

Add a touch of color to your hallway.

6 Little Table
Arts & Crafts style and knockdown design
team up for a winning combination.

Departments
12 Workshop Tips
18 Tool Nut
20 My Shop
22 Great
American
Woodworker
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Is.... 0150.
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7 Oops! 22

4 Ameri_Wooclwodtel'.com OCTOBER / NOVEMIU 2010

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Am.erican~
Woodworker
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 Moisture Meters
2 Vear Warranty

#1 SO, October/November 2010

EDITORIAL

Ed,tor In Chief Randy Johnson

EdItor Tomuspar
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8 ~Woodworb% OCTOBU / NOVEMIER 2010

 rom he E itor's Des
Finely Finished
WE CALL OURSELVES WOODWORKERS because
we're good at working wood. But sometimes the
other details can prove a little more challenging;
that's probably why I hear so many "OopSW
stories from woodworkers about finishing. It
often involves a project that took many hours
to build. The builder wants the finish to be
special-and decides that it might be a good
time to tryout a new finish. So try he does and
that's when I get the S.O.5. phone call Or e-maiL
One of my most memorable calls came from
a very sincere fellow who started out with a simple question about how
to remove stain from wood. I queried him: What kind of stain? How fresh?
Since it was oil-based and only a couple days old, I suggested rubbing it
with mineral spirits or lacquer thinner. But I cautioned him that it's tough to
remove most stains and that if he really wanted to get down to bare wood
he might have to sand it away. Even that's no guarantee.
After a bit more conversation he somewhat sheepishly admitted that
he'd used a combination stain-varnish product and it had turned out
blotchy. I told him that's a common problem with that type of finish. He also
admitted he should've practiced first. Then I asked about the type of wood.
"Mahogany; he replied. ELIMINATE HIGH
"Ouch,WI thought.
The project? A restored antique wooden boat.
HEATING BILLS!
"Double ouch!WI thought.
I had probably asked enough questions, but my curiosity was piqued,
so I asked, "How much of the boat did you finish ?" His response was a triple
ouch! Yes, he'd finished the entire boat. I never heard from him again, but
he seemed like the persistent type, so I suspect he managed to rescue the
finish and his boat.
As a teenager, one of my first jobs was helping my dad stain and varnish
neighbor who owns
the trim work in new homes. I got pretty good at wiping the stain on a Central Boiler
and off without getting much on the walls or the floors, but it took me a outdoor wood
long time to match my dad's speed with the varnish brush. He was a good furnace. They can
teacher, I learned a lot, and I still enjoy finishing. But as the story of the tell you the benefits
Central Boiler outdoor wood furnace.
boat guy illustrates, perhaps the single most important thing to remember
about finishing is printed right on the can: Test on a scrap board or in an
inconspicuous location. Remember that, and you'll greatly improve your
SAVE
UPTO
$5 ' 000
or morp ANNUAllY
chances at being able to claim that your project is finely finished.
- -- - -
Happy woodworking and finishing,

[email protected]

OCTO I U / NOVIM 1111 2010 Arlwrtc. . Woodworker 9

 More o.~ the Web at AmericanWoodworker.com

Tips for Using Shellac Treasured Board Table

Learn more about shellac at Get free plans for the table featured in "Chemical Ebonizing"
AmericanWoodworker.com/WebExtras (p.62) at AmericanWoodworker.com/WebExtras

[
~
Little Table (p.68) Master Your Brad Nailer
Get full-size patterns at See useful tips at
AmericanWoodworker.com/WebExtras AmericanWoodworker.com/WebExtras

,,,,,,,,,.,,,,,,,, , """"""""
Brushing Shellac Video Sanding Tips Video
Learn how to handle a brush at See how sanding affects stain absorption at

,,,, ,
ArnericanWoodwolter.com/WebExtras AmericanWoodworker.com/WebExtras

" ""'"
Find us on: faCeDC:IOIK.
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10 a-IcaaWoodwo4ea._ OCTOBER / NOVEMBER 2010
 WhereWeShare.com

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 Worltshop Tips Clever Ideas From Our Readers

c
Miter Gauge Grip ~

oz
TO KEEP STOCK FROM SLIPPING when using my miter gauge, I rely '"
'"
~

z
on this simple jig. Screw a 3/4" x 2" fence to your miter gauge. :>
a:
Make it whatever length you need. Use a continuous hinge to ...o:>
fasten a section of 2x4 to the fence. Glue a piece of sandpaper
'"...a:
to the inside bottom edge of the 2x4 where it contacts the z
workpiece. This fence height works for stock from 1/2" to 1-1/2" ov
thick. For thicker stock. just unscrew the hinge and make a taller o
>-
fence. The jig holds the workpiece firmly against the table and
the miter gauge.
...'"a:
~

:>
Serge Duclos o
v
>-
:%:
'"0(
a:

"oo
Terrific Tips Win Terrific Tools! I
'"
. a:
...
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We'll give you $100 for every original workshop
'"
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tip we publish. One TerrifiC Tip is featured in v
:Ii
each issue. The Terrific Tip winner receives a ...o
$250 gift card. ~
Z
o...J
E-mail your tip to workshoptlp .merlanwoodworker .com or send It to American
o
:%:
Woodworker Workshop TIps, 128S Corporate Center Drive. Suite 180, Eagan, MN 55121 . o0(
Submissions can't be returned and become our property upon acceptance and payment. a:

We may edit submissions and use them in all print and electronic media. '"a:
eo
12 .lmedcaaWooclworker,com OCTOIER / NOVEMIER 2010
 Adjustable Push Shoe
A PUSH STICK IS A FAMILIAR DEVICE to prevent kickback
while ripping a board, but I prefer to use a ·push shoe."
It's shaped like a shoe with a handle, and has a heel,
just like a boot. The heel pushes the work through the
saw. I'm more comfortable using a push shoe because
the entire sole of the shoe is in contact with the board,
unlike a push stick.
I've modified my push shoe's heel to accommodate
boards of different thicknesses. Rather than cut a simple
notch to form the heel, I added a 3/S" dowel to do the
pushing. The dowel fits quite snug through a hole near
the shoe's back end. I just adjust the dowel's protrusion
to match the stock's thickness.
CharlesMak

•••••••••••••••••••••••••••••••••••••••
Improved Push Pad
ORDINARY PUSH PADSTENDTO SLIP, I've found, when
face-jointing a board. I modified one of mine by cutting
1/2" of the rubber padding off its back end and then
screwing on a 1/2" x 1/ 2" cleat. Now the rear push pad
hooks the back end of the board. No more slipping!
MikeCyr
 or shop Tips contmued

Corner-Clamping Jigs Drill Press

TO AID IN GLUING SMALL BOXES, I made a set of 90° corner- Sharpening System
clamping jigs from scrap MDF and flat corner braces.
((orner braces are available at hardware stores and home HERE'S A FAST, INEXPENSIVE WAY to keep your edge
centers.) Each jig costs about $4. tools razor sharp. First, cut out a few 5" x 3/4" MDF
I use Bessey TK6 fence clamps to fasten the jigs to the discs. Drill a 1/4" hole in the center of each disc. Next,
inside faces of the box. These clamps keep one hand free for glue different grits of sandpaper to each side of the
positioning the joints. Small (-clamps would work OK, but discs, ranging from 50 to 2000 grit. While 50 grit
of course you need two hands to tighten a (-clamp. makes quick work of re-grinding a bevel, 2000 grit
To make each jig, I glued together two L-shaped brings the tool to a mirror finish.
pieces of 3/4" MDF and cut the assembly perfectly square. Next, make an arbor using a 1/4" x 3" bolt, a
I sandwiched the assembly between two corner braces, fender washer and a 1/4" coupler nut. You'll need a jig
using epoxy. I drilled holes through the jig to accommodate to hold your tools at the proper angle-I built a ramp
the clamps. that creates a 30° bevel.
Bob Enderle Set your drill press to its slowest speed to prevent
SOURCE your tool from overheating, but keep a cup of water
McFeely's, www.mdeelys.com.(800)443-7937. BesseyTK6 fence handy to quench the tool in case it gets too hot.
clamps, 'WS-l003. $7/ pr. David W Bartemes
WhereWeShare.com

14 AmencanWoodworker. com OCTO. ER / NOV EM. ER 20 1 0

 Loc-Block ™ make woodworking easy again by gripping both your work urfa e
as weIl a your proje t \ ith ut the use of any clamp . Perfect for anding. driIling.
routing, finishing and a whole lot more. Loc-Block TN alo fun tion a a project
upport by elevating your \ ork. \ hi h provide easyacce to every edge . What
make them work? Anti- ibration, n n- lip rubber pad on both th top and bottom
of the block . Our unique de ign allm s the block to be placed at each of the comers
of your material or they can be c nne ted together by their interlocking dovetail .
Cu tomize the layout of th block. for your proje t - connect them together to reate
a traight, turdy ba for \ orking narrm . t k. or you can configure them to form a
full 6Xi" x 6 '~" bl k for smaller project. . A must have for any ize worhhop.

~p..

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 Workshop Tips continued

Mag-jig
switch

Board with attached steel plate ~

Quick-Change Vises
I USE TWO VISES mounted to separate boards when I drill
pen blanks. I frequently switch the vises, but clamping
and re-c1amping the vise boards to the drill press table Adjustable Support
was a pain. Now I use Mag-Jigs, powerful magnets that
can be switched on or off with the twist of a knob. I I FREQUENTLY NEED AN OUTFEED TABLE or work support
mounted two Mag-Jigs on each board. for long pieces, so I built this T-shaped assembly to use in
If you use a standard cast-iron drill press table, you're conjunction with my Black & Decker Workmate.
all set. The Mag-Jigs will stick dire~tly to it. My drill press The table is just a horizontal board that's dadoed,
setup is a bit fancier, though, as I've installed a large glued and screwed to a vertical board. Not all my tools are
melamine table equipped with a fence. So, I mounted the same height, though, so I devised an adjustment to
a steel plate on a third board. I clamp that board to the the support that's quick and easy to use. Just drill different
table and place the vise board on top of the steel plate. pairs of ' " holes for each tool in the vertical board. Set
Doug Green the height by inserting ' " dowels into the holes. Slide the
table into the Workmate'sjaws and clamp.
SOURCE: LeeValleyTools, www.leevalley.com.(BOO) 871 -8158. James E. Rohen
20mm Mag-Jig, #03J75.95, $27.

16 AmeriC:aJlWoodworker.c:om OCTOI ER I N OV E M I ER 20 1 0
Hole-Saw Helper
HOLE SAWS CAN BE FRUSTRATING TOOLS. They stop cutting
when their teeth fill with sawdust. and that causes the teeth
to heat up and dulL If this happens to you, too, try this trick.
Drill down just far enough with the hole saw to scribe a
shallow circle. Then drill a few 3/8" holes around the circle's
circumference. When you return to cutting with the hole
saw, sawdust will exit out these holes, allowing the saw to
cut cooler and more efficiently.
Joe Sarchioto

•••••••••••••••••••••••••••••••••••••••

$2 Square
I MADE MY OWN TRY SQUARE using a 1" x 4" corner mending
plate and a couple scrap pieces of hardwood. To make one
yourself, first check the mending plate to be sure it's square.
If it's off, true it up with a file. Epoxy wood blocks to both
faces of one leg, and you're ready to go. Mending plates
come in many sizes, so you can make a full set for only a
few bucks!
Brad Holden

E~L~~
PhotoLaser Plus

• ". ~
. c

•
~g

View an demanslra Ian of Pho olaser Plus and see how II provide
sturvung pho 0 engravtng reslAIs at www~loser.oomIameriCXlrrNW1tm
 Too Nut Tools Our Readers Love

Conflicted Bandsaw
I BOUGHT THIS 18" BANDSAW FOR $80 AT AUCTION, not knowing
exactly who made it. It had a Delta-Rockwell badge on the
upper door, but the saw didn't look like any Delta I'd seen
before. It had been repainted green, the same color as General
machinery, but it clearly wasn't a General. Inside the machine,
under the paint, a plate read 'Sears, Roebuck and Co." Sears
obviously wasn't the manufacturer-they put their brand on
equipment made by other folks. So, who made it?
There were two clues to the saw's identity: a Sears part
number and the saw's beautiful Art Deco-style cabinet. Turning
to the website Old Wood-Working Machines (www.owwm.
com), I learned that my saw was made in the late '50s by Parks
Woodworking Machine Co. Sold by Sears as a Craftsman tool, it
was originally painted gray.
Parks was famous for its planers, but it also made a serious
bandsaw. This saw's frame is heavy-gauge steel, its massive
thrust bearings are 2" dia., it has a resaw capacity of 12-1/2",
and it's powered by a surprisingly gutsy 1 hp Delco motor
wired for 230 V.
Although I've spent about ten hours repairing and tuning
the saw, I don't plan on restoring it to its proper identity
just yet. I'll leave it conflicted a while longer as I debate the
aesthetic merits of returning my new favorite tool to an
industrial gray!
John Hough

Dignif ed Dril
THIS BLACK .. DECKER 1/." DRILL, patented in '"
«
1917, once belonged to my uncle, Dinny o....
~
Sowyer, who passed away over 40 <II
«
years ago. He was a hard-working ....
Z
o
carpenter in Pennsylvania. His drill, u

which still works, has all the dings (;

>-
and bruises of an equally tough life. :::
I-
I've kept the drill because Uncle Dinny ~

awakened my first interest in woodworking,

....o
>-
r
in a backhanded kind of way. When I was a kid, he would proudly show me his tools and machines and Q.
<
«
explain to me how they worked. But Dinny never really taught me how to use them. I wanted to know
more, so I started woodworking on my own in my late teens. I've since built my own home (mostly from '"o>-
o
r
trees harvested on our land), all the cabinetry and molding in the house, and quite a lot of furniture. Q.

Thanks, Uncle Dinny!

«
George Buffum <
Q.

'"<
....
:::<
o
....
We'II IH'Y you $100 to share your favorite tools. new or old. with fellow readers. Contact us by e-mail at toolnut ••meriCllnwoodworker.com. or mail us at «
American Woodworker. 1285 Corporate Center Drive. Suite 180. Eagan. MN 55121. If possible, please include digItal photos of your tools. ....o
o
w

18 JlmericaaWooclworJrer.com oeToIU / NOVEMBER 1010

 WhereWeShare.com

.JET.
Visit Us Online At : (JlJAII TV INN( JVATION Sf TMC f
 My Shop Where Our Readers Live

Luthier's Shop
MY SHOP GREW out of my love of
wood, woodworking and music. I
build mostly mandolins, along with
guitars, banjos and an occasional
fiddle. Now that I've retired from
teaching, I can devote the time it
takes to build an heirloom-quality
instrument from scratch (usually
about three months), without feeling
pressured to finish the job quickly to
pay the bills.
Although my shop is located •
in the basement. large glass entry
doors flood natural light into the
front of the shop, where I assemble
and finish my instruments. My tool
cabinets and benches are stationed small blocks that adorn the doorways
there, including my pride and joy, and cabinets in this part of the shop. stations line the walls in the back
a workbench inspired by one that I I've also added bits of stained glass to portion of the shop. These tools are
saw in the movie "The Red Violin." I've embellish the front windows. all connected to a dust collector. This
carved the leaves of native trees into My stationary tools and fabrication part of the shop is also plumbed for

20 AmericUlWoodwork.... com OCTOBER/N ov E M B E R 2010

>-
t;; r----,YJr"
z
z
......
w

...o
v

o'">-
...'"
w

'"o::> Tell Us About Your Shop

v
>-
r
Send us photos of your shop. a lay·
C>.
< out draWing, and a description of what
a: makes your shop interesting. Tell us
:5... compressed air. My stationary tools thanks to its basement location. In what you make In it and what makes
o your shop Important to you. If "My Shop"
r are easy to pull into position for use, fact, it's hard to get me out of my
C>.
features your shop, you'll receive S100.
because none of them are large sanctuary-with a little music playing Email your entry to myshop ~
z industrial models-they're all sized for in the background, it's easy to lose
o AmericanWoodworker .com with
'"
z the type of work that I do. track of time. My wife jokes that the digital photos attached. Or mall
r
Q A CNC shaper/carver might reason I spend so much time here is to your description with digital pho-
::E to~ on a diSC to My Shop, American
;::: expedite some of the less interesting be with my girlfriend, MAmanda Lynn!" Woodworker, 1285 Corporate Center
o tasks, such as roughing out shapes. She's right, of course-I hope that
z Drive, SUite 180, Eagan, MN 55121.
<
But I must confess that I have a real the pleasure I derive from working Please Include your phone number.
...'"o
~

love for old hand tools, which I collect, in this little shop is reflected in the SubmiSSions cannot be returned and
< become our property upon accep
a: refurbish, and frequently use. instruments that I make.
o tance and payment. We may edit sub·
;; The summers can get quite hot Scott Bennett miSSions and use them In all print and
<
a and humid here in Georgia, but my Newnan, Georgia electronIC media.
a:
...oo shop stays comfortable all year long,
w

OCTOIEII / NOVEMIEII 1010 JLmerlcaaWooclworker.com 21

 A Great Americ Woodwor e An Artisan's Life Story

Fred
Cogelow
One-of-a-kind
carver,
one-of-a-kind
carvings.
WhereWeShare.com

by Spike Carlsen

AN IMPROMPTU ENCOUNTER with Fred resource, Fred utilized the curved Fred's artistic endeavors were
Cogelow's"Norwegian Wheelchair w hollow shell as the backrest of the waylaid for several years while he
gave me a true sense of Fred as chair and other parts for the chassis. earned a degree in political science
both an artist and a person. The I hesitated when Fred asked if he from the University of Chicago. He
chair itself is a thing of rare beauty, could give me a ride in his fantastic resumed woodcarving while working
adorned with mythical Scandinavian chariot. But I realized something as at an adolescent treatment facility, ow
figures, interwoven acanthus forms I was gliding across his living room where he was periodically assigned
...o
z
and intricate faces (Photo, page 23, floor: Fred loves to have a good time in to night-watch shifts. "The only '"
~
at bottom). It incorporates a swivel whatever he does. requirements were to make rounds ,j

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:::>
mechanism, reclaimed cast iron every hour and stay awake the rest
wheels and a chunky seat that caresses Carving out a living of the time,w Fred explains. "Carving
you. Obviously, Fred is an imaginative When asked what he'd do for a living if kept me awake.wHis first creation was
artist with enormous talent. he weren't a wood sculptor, Fred stares a dollar bill-size carving of Albert, the
He's also infatuated with trees and blankly. The thought hasn't occurred to Pogo comic strip character. He tried
wood. The wood for the wheelchair him-at least not in the last 30 years. his hand at furniture restoration and >-
Though deemed "hopelesswby a third
I
came from an ancient butternut tr~e construction for a while, but tired Q.
<
a:
near Fred's hometown of Willmar grade teacher that had watched him of it. Though his formal art training I::J

Minnesota. He prefers not cutting break a leg off the Ivory soap scotty consisted of only 7th and 8th grade art
...o
o
I
down live trees for his sculptures, so dog he was carving with a butter knife, classes, he turned to woodcarving full Q.

he'd kept his eye on this tree for years. Fred persisted. He first tried carving time at the age of 29. z
When it died, Fred got permission to wood when he was 17, working six Fred likes to concentrate on one o
'"IZ
harvest the wood. But when he went hours with dull carpenters' chisels and sculpture at a time and completes o
after the old tree with a chainsaw, he a propane torch on a fir house-moving four or five large pieces and 15 to 20 ::>
discovered that most of it was hollow. beam that his father (who died when
Not wanting to waste a beautiful Fred was six) had left behind.
smaller pieces in a year. His sculptures
generally sell for $400 to $20,000; large
'"
a:
...o
a
'"
22 .lm.erlcaaWoodworker.com 0 C T 0 I E R I NOV E M I E R 1010
 A Great AIneric n Woo or er
there are few absolute rights and a
good many wrongs; he says. "When
working in this style, a carver weighs
numerous options of how best to
create the illusion of greater depth.
These options include warped
pljtnes, distorted forms, enhanced
or compressed elements, judicious
undercutting and the use and re-use
of the actual (available) depth. Of
course, these options are employed
in conjunction with conventional
perspective techniques
of converging lines,
foreshortening and
overlapping. Fred's
sculpture titled "Betty's
Spies·-the 2010 International
Woodcarver's Congress "Best in
Show· award winner- offers a prime
example of this carving style (Photo,
page 25 at bottom) . Although this
sculpture is only 3-3/4" deep, the trees
visible through the window appear to
Joyride be far away-across the street from
(Honoring astronaut George "Pinky" Nelson) the gentleman in the foreground.
Basswood Fred's figures in the round are
1999
96· H x 96·Wx 26· 0
Honk Rullestol
(Norwegian Wheelchair)
and complex projects bring more. He 2004
prefers working on his own designs Butternut, black walnut, bur oak
versus commissions. "I try to make 34· H x 2B"Wx4Q· 0
everything a little experimental; he
explains. "And commissions usually
make you go backwards instead of
forwards. Plus you never know if the
sculpture in your head matches the
sculpture in the client's head:'

Versatile and driven

Fred, now 60 years young, is versatile
in many respects. The subjects he
carves range from cowboy caricatures
to superbly realistic religious figures.
He's carved local farmers and hung-
over gargoyles. Some works, like
the sculpture honoring hometown
astronaut Pinky Nelson (Photo,
above), are nearly life-size. Others are
as small as a fist-"Applebee's sliders,·
Fred calls them.
Fred works in numerous carving
styles, but he's particularly interested
in what he calls "mezzo-relief·
carving."In between low-relief and
high-relief carving is a realm where
MARC FEATHE Y

OCTOIU / NOVIMIIR 1010 &meric:aaWoocl_kel'.c:om 23

 A Great Amero can Woodwor er

equally exemplary. In his book, horse, his sculptures brim with

Sculptor in Wood, Fred explains. NThe personality. In Fred's sculpture of
greatest problem in carving these a wizened gentleman seated on
figures- especially from a limb Of from a pair of boxes (Photo, left), the
a log- is to create a product which figure appears to be paused in the
comes across as something more than midst of a heart-rending story. His
a decorated fencepost."There's no sculpture, "Peter Accused" (Photo,
mistaking Fred's work for a fencepost. bottom right) has such realism
Whether it's a bemused mechanic and emotion that one hesitates
grasping a spark plug (Photo, page to turn away from it. "Rest Easy
25, at top) or an astronaut riding a Tonight" (Photo, top right) is
playfully political.
Fred's fellow woodcarvers
agree that he is one of the best.
Among other honors, Fred has
won "Best of Show" nearly a dozen
times at the annual International
Woodcarver Congress
competition. MARC FEATHERL Y
Yet the world of carving is not
without its slivers. A few years back Rest Easy Tonight
Fred broke his arm while hollowing (A Salute to the Department
out the back of a statue. The bit stuck, of Homeland Security)
but the drill-and Fred's wrist-kept 2004
turning. And in his office sit two Butternut; walnut base
gorgeous carvings in need of repair. 19" H x 9"Wx 14" D
One, a fabulous mezzo relief, fell
victim to a tainted finish. The other,
a figure in the round, is missing two
fingers and a hat brim, due to rough
Peter Accused (a.k.a. Peter Meets His
handling by a shipper.
Principle .-Fred Ditto ...)
For the love of 2003
Basswood
wood and tools 44"Hx26"Wx28"D
Fred uses butternut for
80% of his carvings, with
basswood coming in a distant
second and walnut an even
more distant third. He loves
butternut because of its
straight grain, moderate
hardness and coloration.
"It's easier to read the
grain in butternut than in
basswood, because it has
more color; he explains.
"My customers like it too. If I
carve something out of another wood,
Alnt Indolence (... If YOUTe Minding it invariably sells for less."
Other'S Business) "I think I have enough wood for
1995 several lifetimes,· laughs Fred, who
Butternut knows the exact provenience of the
30" H x 14-1/4"W x 17-3/4" D wood used in most of his sculptures.
"But that doesn't stop me from
hoarding more." Most of Fred's wood

24 Jlmaric:aJlWooclworku.c:om OCTOBER / NOVEMBER ~o,o

 Gr at American Wood orker

is stored in his late mother-in-Iaw's Fred's shop, perched on the

barn. This stash is primarily the result of second floor of a reconstituted
a friendship with a DNR forester, who chicken shed next to his home,
occasionally informed Fred of fallen is filled with objects that Fred
trees in need of removal. The stack uses as both inspiration and
of apricot wood in Fred's storeroom, models. He has antlers, skulls
though, came from a tree in his own and his "Norwegian track-
backyard. lighting system; an old hay
Fred is equally enamored with tools. mow trolley that hangs from
His workspace consists of a padded a wooden track and carries a
stool perched in front of a massive single candle. "My contribution
carving easel created from the cast to cutting-edge technology of
iron base of an oid mortician's tabie. #A which I am most proud,· Fred
tool-collector friend sold it to me for claims. He has weathervane
$25," Fred recalls. "He called me up out roosters, stained glass
of the blue one day and announced windows, Mickey Mouse Club
that he had something I needed. You badges, bent bugles, sections
can crank it up or down, it tilts and it's of curved choir loft railing, The Simpk Pleasures of Edifying the College-
darn solid-the best carving table I've horse stirrups, old tools and Educatftl (It's Your Spark Plug, Dummy!)
ever seen. It has saved my back and things that defy description. 2008
hence, my career." Fred's work station is Amidst all of this hangs a sign Butternut
surrounded by tool cabinets containing with a quote from Thomas 18-1n"Hx 14"Wx6"O
hundreds of gouges, skews and chisels, Edison that reads "To invent
all within easy reach. Sandpaper you need a good
is nowhere to be found. "I can't imagination and
remember using it on more than three a pile of junk:
or four pieces in the past 30 years~

s.tty's Sp#fl (Small Town Busybodies

Keeping Busy)
2010
Basswood
21" H x 24-1/4"W x 3-3/4" 0
 A Great American Woodwor er

Advice for rookies a place that sells carving tools, so that feet.Hlf that's true, Fred Cogelow has
Fred suggests whittling as a way they can ask what tools they'll need won Olympic gold.
to learn about tools, and splitting and experiment with different types.
firewood as a way to learn about "Be mindful that any motion that Spike Carlsen is the author
wood's grain. As for subject matter, cuts without use of a prying effort is of A Splintered History of Wood: Belt
he says, "Do something you're familiar legitimate, be it straight on, rotational Sander Races, Blind Woodworkers
with. If you like messing around with or gliding;' Fred explains. "Keep your and Baseball Bats, now available
cars, do cars. If you like bird watching, tools sharp and remember that a through Harper Perennial ($15.99,
do birds:' cool tool is a happy tool. And think ISBN 978-0-06-137357-2).
He's hesitant to recommend any of your tools as an extension of your
particular set of tools. His advice for hands, in the same
those interested in testing the waters way figure skaters
is to find a carving or casting in a style think of skates as an
they'd like to attempt and bring it to extension oftheir

WhereWeShare.com
Eye 0 a Ma er
FRED DESCRIBES CARVING AS both an artistic and logical
endeavor, but he's been carving for so long and works so
intuitively that he finds it difficult to put the creative process
into words. ·Part of it is learning how to see;' he explains. But
since there are tools, materials, specific end results and a
coherent way of getting there, ·Part of it is engineering the
piece, too:'
He often works from photographs and is not beyond
asking friends to dress in bed sheets to serve as models when
he's carving robed religious figures. Interviews sometimes
help Fred understand the personalities of his subjects that
photos can't convey. With some commissions, he'll create
life-size sketches as a guide, but he rarely uses calipers to
transfer measurements, since some elements grow and
others shrink when they're carved, especially in mezzo-relief.
For the commissioned project
shown here, Fred started SP,KE CARL SE"4

with two photos-an

inspriational shot portraying a good likeness ofthe father. As Fred generated
showing the father a full-size drawing from which to work, he had a friend
and his daughter model, so he could get the correct folds in the shirt.
playing solitaire Because carving is a subtractive process, where
and a second material is taken away rather than added, Fred is
shot constantly wary of making commitments that can't
be modified. "The temptation to round things off or
undercut them prematurely is always present. Doing so
makes them look correct in the short run, but it dooms
them to be mediocre or outright wrong in the end:'
And though parts of the process can be learned,
Fred clearly has the eye of a master. Referring to a recent
sculpture, Fred explains, ·When I'm out there with a
chainsaw, I can already see the cowboy in the tree:'

Declcof51
2010
Butternut
15-1/2" H x 17-1/4" W x 5-5/8" D

26 .imerica.aWooclwol'kel'.com 0 C T 0 I E A I NOV E M I E A 1010

 Does your insulation keep your
home warmer, cooler and healthier too?

Ours does.
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 The Well-Equipped Shop Our Pick of the Latest Tools

12" Glider
THAT'S RIGHT-GLIDER, NOT SLIDER. This innovative new miter saw from Bosch
has the same huge capacity as a 12" slider-without the rails. The blade
assembly glides on a set of articulated arms rather than sliding on a set of rails.
The result is a saw that can be tucked up tight against a wall-ideal for a small
workshop.
The Glide Miter Saw has a horizontal cutting capacity of 14" and a vertical
cutting capacity of 6-1/2" against the fence. The vertical cutting capacity is 6-1/2"
when the blade is tilted to 45°. All of the saw's controls are on the front, including
the bevel lock lever. Unlike many sliders, you don't have to reach around back to
tilt the blade. The saw tilts 47" left and right, and the bevel scale is large and easy
to read. The turntable swings 52° to the left and 60° to the right. Using a front-
mounted lever, you can override the detents to finesse an angle.
Pull out the ends of the saw and you have a worktable up to 40" across. The
saw has two dust ports that accept 1-1/4" hose, and it weighs 65 Ibs.

Source: Bosch. www.boschtools.com.(877) 267-2499. Glide Miter Saw. GCM12SD. $699.

••••••••••••••••••••••••••

'""-<
'"
<
u
:<
Two Nail Sets in One ....o
c%
STANLEY'S REVERSIBLE NAIL SET features a double-ended insert that stores ~

z
~

inside a handy cartridge. One end of the insert is a 1/32" nail set; the other is a
2132" nail set. Swapping between the two is simply a matter of removing and o
N

flipping the insert, which is secured by a locking collar. ~

'"
Cl
You can also use this tool as a screwdriver, in a pinch. It accepts all hex bits. Z
<

Source: Stanley, www.stanleytools.com. (800) 262-2161 . FatMax Nail Set, 58-501 , $9.99.
'"
'"o
~
Cl
w

28 AmericaaWooclworlter.com OCTOIER / NOVEMBER 2010

An Extra Hand
COMBINE A VISE WITH A SAWHORSE and what do you get?
Rockwell's Jawhorse-an all-steel, three-legged sawhorse
with a built-in 37" capacity vise. To tighten the vise you just
push down on a foot pedal. This frees your hands to support
and position the work, whether it's a wide plank, a cabinet or
an entryway door.
The Jawhorse is basically a compact, portable workbench that folds
up for storage. While you might think of it as just a jobsite tool, we can
imagine dozens of uses for a Jawhorse right in the shop.
With additional attachments, the Jawhorse can become a miter
saw station, a stand for holding logs or a work table. Another
accessory expands the Jawhorse's clamping width to 48" for
holding sheet goods.

Source: Rockwell Tools, www.rockwelltools.com. (866) 514-7625,

Jawhorse, $159.99; Miter Saw Station, $79.99; Plywood Jaw, $49.99;
Log Jaw with Chainsaw Vise, $39.99; WorkTable, $49.99.

• •••••••• •••• • ••• •

Multi-Functional Dremel
DREMEL KEEPS PUSHING THE BOUNDS of what a rotary
tool can do. The new Dremel Trio performs three
different types of jobs: it plunge-cuts, routs and sands.
The Trio features a telescoping plunge-router-
style base. Its handle can be positioned horizontally
(as shown above) or vertically (like a trim router). This
compact design is particularly useful for the extra
control you need for delicate routing and sanding jobs.
The Trio has a 2 amp motor and a variable-speed range
of 10,000-20,000 rpm. A button latch allows you to lock
the Trio in the ·on" position so you can use both hands
for difficult maneuvers.
The Trio comes with a carbide hardwoodlsheet metal
bit, a sanding mandrel with six 5/8" dia. sanding drums in
three grits and a 1/4" straight bit for routing. The Trio only
accepts Dremel6800 3/16" shank bits.
Available accessories include a dust port adapter
(for hooking up a hose), a depth guide and a circlel
edge guide.

Source: Dremel, www.dremel.com. (BOO) 437-3635, Dremel6800

Trio, $99.99.

OCT 0 I E R I NOV E M I E R 2010 JlmericaaWoodworker.com 29

 he Well-Equipped Shop continued

3 Subcompacts The 12V Max* drill/driver features a sleeveless

SMALL IS IN-AGAIN. A few years ago, drill manufacturers chuck, a two-speed transmission that delivers 0-400
seemed to be in a race to make the biggest, baddest and 0-1 ,500 rpm and an LED light for illuminating your
NiCad drill on the market. Now, using lightweight work. The 12V Max· impact driver delivers 950 in-Ib of
lithium-ion batteries, they're competing in a new field: torque, and three LED lights arranged around the collet
12 volt subcompacts. DeWalt has just issued three new to provide shadow-free illumination.
ones-their 12V Max· series. (The asterisk is Dewalt's. It All three tools come with two lithium-ion batteries, a
indicates that the initial battery pack voltage is 12 volts, 4O-minute charger and a soft case.
but under load, the nominal voltage is 10.8 volts).
For woodworkers, subcompacts are a whole new Source: DeWalt, www.dewalt.com. (BOO) 433-9258, 12V Max*
experience. They deliver more than enough power Screwdriver, DCF610S2, $139; 12V Max· DrilVDriver, DCD710S2,
to drill the holes and drive the screws woodworkers $159; 12V Max* Impact Driver, DCF815S2, $159.
typically use. Thanks to their small size and light weight
(about 2 Ibs. each), these drills are very easy to aim and
hold steady. We think they're really going to catch on.
Our favorites from the new 12V Max* platform
include a 3/8" drill/ driver, an impact driver and a type of
specialized drill called a "screwdriver." The screwdriver
caught our attention right away. It has a collet-type
chuck that accepts 1/4" hex-shank drivers and bits.
Swapping bits is a snap-literally. To remove or install a
bit, you just pull the spring-loaded collet sleeve forward,
which is far easier than using a standard drill chuck. The
screwdriver has just one speed range, from 0-1,050 rpm,
which is ideal for driving screws and OK for drilling holes,
too. Of course, you'll need a set of hex-shank bits. The
screwdriver includes three LED lights arranged around
the collet for shadow-free illumination. We've been using
a drill similar to this for more than a year now, and we're
hooked.

••• ••••••••••••••••••••••••••• ••••••• •

Helical-Head Planer
THE LATEST TWIST IN SMALL PLANERS is in the cutterhead-a
helical twist. Rather than long, straight knives, this new
13" 15 amp planer from General International has 26 HSS
knives arranged in a spiral pattern around the cutterhead.
According to the manufacturer, this design creates less
tearout and less noise than a standard 3-knife head.
Each of the knives has four edges. When one edge on
all the knives gets dull, you just rotate the knives to a fresh
edge. Similarly, if a few of the knives get nicked, you just
rotate or replace them and you're good to go again.
The cutterhead moves on four widely spaced posts to
minimize snipe. Front and rear fold-down extension
tables and top-mounted rollers provide support
and stability for large pieces. One rotation of
the depth-of-cut adjustment handle moves the
cutterhead 1/ 16" (a feature we really like-in
some planers, the amount is an awkward 2 mm).
The planer also has a scale that indicates how
much you're taking off with each pass.

Source: General International, www.general.ca. (888) 949-1161 , 13'

Single Surface Planer, 3().OQ5 M 1, $649.99.

30 JlmericanWoodworker.com OCTOI ER I N OV E M I E R 2010

120V SawStop
YOU' VE PROBABLY HEARD OF THE HOT DOG SAW BY trunnions found on SawStop's 3 hp Professional
NOW-you know, the one whose blade stops and drops Cabinet Saw. It weighs more than 360 Ibs. in its lightest
the instant it contacts a hot dog-or flesh. It's called a configuration-plenty of mass to dampen vibration.
SawStop, and there's a new one out that we're pretty SawStop also makes a 120 volt contractor's-style
excited about: a 120 volt, 15 amp, 1-3/4 hp cabinet saw. saw, but a cabinet-style saw has two big advantages-
This new model features the same heavy-duty accuracy and dust collection. First, adjusting the blade
cast-iron table and wings, steel cabinet and cast-iron to be parallel to the miter slot is much easier on a
cabinet saw. In addition, the blade of a cabinet saw
will almost certainly stay parallel when
it's tilted to 45°. On many
contractor's saws with top-
mounted trunnions, the
blade goes out of parallel
when it's tilted. Second, the
sealed base of a cabinet
saw captures and contains
dust and debris, unlike the open legs of
most contractor's saws.
If you don't need a 3 hp motor-and most work
doesn't require that much power-this saw would be
a great addition to a small shop. It has just about every
feature we'd want.

Source: SawStop, www.sawstop.com.(503)57().3200. 1.75 hp

Professional Cabinet Saw, 30' Rails, PCS 175, $2,299.

OCTOIER/NOVEMIU 1010 Americ. .Woodworiter.com 31

 The Well-Equipped Shop I continued

WhereWeShare.com

Power in Small Packages

WE'VE REALLY COME TO APPRECIATE SMALL DRILLS.
They're lightweight, easy to maneuver and fit in tight
spaces. The latest 12 volt offerings from Craftsman give
you almost everything we like in these drills at a good
price.
The compact 12V drill/driver delivers 195 in-Ib
of torque (plenty for most drilling applications). It
has two speed ranges: Q-4()() rpm for high-torque
driving and 0- 1300 rpm for fast drilling. The drill also
features an 18-position clutch, a 3/8" keyless chuck. a
trigger-activated worklight, a 1.3 amp-hr battery and a
30-minute charger. Weighing in at 2.2 Ibs., it's easy on
your arms.
The 12V compact impact driver is surprisingly
powerful for its size. It provides 830 in-Ib of torque in
both forward and reverse-very handy for those times
when you need more power than a standard drill. It
weighs 2.1 Ibs. Other features include an electric brake, a Source: Craftsman, www.craftsman.com.(BOO) 377-7414. NEXTEC
1/4" collet, a variable-speed trigger with integrated LED 12V Lithium·lon Drill/ Driver, #11812, $89.99; NEXTEC 12V Impact
worklight, a 1.3 amp-hr battery and a 3D-minute charger. Driver, #17428, $109.99.

32 &mericaaWoodworku. com OCTOBER / NOVEMIER 1010

 WhereWeShare.com

Cut Dovetail Joints

with Your Router!

DOVETAIL JIG

No. 860

With THE DOVETAILER'" Jig and your router, you can

cut professional Through or Half Blind Dovetail Joints,
simply and accurately . . . It of th Boxl
Accommodates boards of any width
Includes 1/2" Dovetail Router Bi~ Instructional
CD and User's Manual

T
Self-aligning design ensures that both ends of the No need to bolt the jig onto workbench like many
dovetail joint match up evenly every time other expensive Dovetail Jigs
Portable to your work site or work area You bring the jig to the work piece, not the work piece
Sturdy machined aluminum construction to the jig
Easily adjust the dovetail interference to create Integrated clamps allow precise clamping of jig to
loose or tight joints work piece
The Easy Way to Make Professional Furniture Joints

~ 3M:IM:t1' ~••'Ii"." !" 'rJI'i I'•• nllll~

C2010 General Tools & Instruments
80Whrte Street. NewVork, NY 10013-3567 For more information visit
TEL 212.4316100 TOll FREE; 800.697.8665
FAX: 212.431 .6499 www.generaltools.com/joiningtools
salesCgeneraltoots.com www.generattools.com
 Eye-Catching Finishes
for Small Projects
Take a walk on the wild side of finishing.
by Alan Lacer

I'VE GOT SIX GOOD REASONS to skip the stain and where you can more easily control the consistency of the
polyurethane on your next small project: bleached, blended, material (all parts made from the same piece of wood, for
charred, marbled, salt and pepper, and iron and vinegar each example) and the way you apply the finish. I'm a professional
name beautiful finishes for wood. These finishes are rarely woodturner, so all of the projects shown here are turned. But
seen on large pieces of furniture, however, because consistent these finishes can be successfully applied on virtually any
results are difficult to achieve on large surfaces. But these small woodworking project.
finishes can produce spectacular results on small projects,

OCT O. E R I NOV EM. E R 1010 Americ:&llWooclwodter.com 35

 ANY WOOD THAT HAS VISIBLE PORES IS A CANDIDATE for a
two-color finish. The basic process is to stain the wood
one color and then fill the pores with another color.
Using black and white on walnut is one of my favorites.
Walnut blackens beautifully and whitening its pores
creates delicate, graceful grain patterns. If your project
is a lidded box or container, add interest by leaving the
inside a natural walnut color.

The technique
Finish-sand the workpiece to 220 grit, making sure that
no sanding scratches remain. Then apply coats of India
Apply India Ink with a rag or brush. India ink is great for ink (Photo 1).India ink (available at www.dickblick.com)
ebonizing wood. is an excellent material for ebonizing wood-it's easy to
apply (wear gloves!), dries in less than half an hour and
it won't fade. Up to three coats of ink may be required
to achieve a uniform black surface. Let the ink dry
completely before recoating.
Color the pores with white gel stain (Photo 2). Apply
the gel stain with a clean white rag. Cover the piece
evenly, then immediately wipe across the grain to pack
the pores and completely remove the excess stain from
the surface. Allow the stain to dry completely. If the
pores aren't evenly filled, repeat the staining process.
Pale topcoats such as lacquer and blonde shellac
help to preserve the white color in the pores. Do not use
finishes that add an amber tone.

Wipe on white gel stain to fill the pores. Continue wiping until
the stain is completely removed from the surface.

WOODS THAT CONTAIN HIGH AMOUNTS OF TANNIC ACID The technique

(such as white and red oak, cherry anp walnut) can be In a glass container, immerse a pad of steel wool (steel is
ebonized by brushing on an acidic solution of iron and mostly iron) in white vinegar from the grocery store. Screw
water. Depending on the species, the black color that on the lid and allow the steel wool and vinegar to react for
results is likely to contain shades of brown, red or green. at least a day. Shake the solution occasionally.
The coloring is usually uniform and consistent, without Finish-sand the piece you want to treat to 180 grit. The
the blotching that sometimes occurs with oil-based wood iron and vinegar solution contains lots of water, so it's a
stains. On oak and other woods that have large pores, the good idea to preemptively raise the grain. Dampen the
effect is particularly striking because the pores usually sanded piece with water, let it dry and then sand lightly
remain light in color. with 180 grit to remove the raised fibers.
Apply the solution with a cloth. There's no need to
saturate the wood; a good dampening of the surface will

I 36 &meriC:&IlWooclwodter.c:om 0 CTO. E RI NOV EM. E R 1010

BLEACHING OFTEN MAKES WOOD LOOK LIFELESS, but I
find its effect on walnut to be striking. I bleach walnut
until it's nearly white and then lightly sand the surface to
bring back the ghost of the original color.

The technique
Two-part wood bleach from the paint or hardware store
works the best. The two components are hydrogen
peroxide and sodium hydroxide (lye), so be careful. Wear
rubber gloves and eye protection and strictly follow the
instructions.
Finish-sand the piece you want to bleach to 180 grit
Bleaching solutions contain lots of water, so it's a good Remov the wood's natural color with two-part wood bleach.
idea to preemptively raise the grain. Dampen the sanded Several applications may be necessary.
piece with water, let it dry and then sand lightly with 180
grit to remove the raised fibers.
Don your protective gear and follow the
manufacturer's directions to apply the bleach. Some tell
you to apply Part A, wait a few minutes, and then apply
Part B; others tell you to mix the two parts together and
apply the mixture. Wipe on a light coat of the solution
(Photo 1). There's no need to saturate the wood; just
dampen the surface. Let the piece dry. Then repeat the
process-it usually takes seven or eight applications
to bleach walnut white. When you're satisfied with the
white color, wipe the piece with a damp cloth to remove
any bleach residue. Then let it dry.
Sand lightly with 320 to 400 grit to gently ghost back
the walnut color (Photo 2). Then apply lacquer, wax or a
Sand lightly to ghost back the walnut color. Then apply lacquer,
clear water-based finish to preserve the bleached look.
wax or a clear water-based finish.

do. On tannin-rich woods, the reaction can be instantaneous

(Photo at right). Let the piece dry and then repeat the
process. If the surface starts to feel rough, lightly sand
between applications. Eventually the color will become
uniformly dark; you can stop whenever you like, though.
Sometimes a lighter shade of black looks great, so you may
want to call it quits after one or two applications. When you're
satisfied with the color, wipe down the wood with a damp Wiping a solution created by immersing steel wool in
cloth to remove any residue from the solution. Let the wood household vinegar onto woods that contain high amounts of
dry before applying a finish. Oil finishes, wiping varnishes and tannic acid causes a chemical reaction that turns the wood black.
oilivarnish finishes enhance this coloring process.
OCTOIER / NOVEMIER 1010 ADYricaaWoodworker.com 37
 EBONIZED WOOD OFTEN ISN'T PURE BLACK. Depending
on the method used, the color usually includes shades
of brown, red, purple or blue. A rich, deep, pure black
is hard to achieve-unless you char the wood with a
torch. This method works on any wood, although the
results will look distinctively different from one species
to another, depending on the character of the wood.
Also, a uniform appearance is easier to achieve on face
and edge grain than on end grain.
This finish is tricky because it's fairly easy to overheat
the wood and cause it to crack or ignite. End grain
surfaces and thin pieces (less than 3/8" thick) are
especially vulnerable. It's a good idea to develop your
charring technique by practicing on pieces that aren't
"keepers."
WhereWeShare.com
The technique
Finish-sand the piece you intend to char the same as for
a clear finish-charring doesn't cover sanding marks or
Lightly scorch the wood with a torch. Move the flame torn grain as well as you might think. Work in an area
continuously and quickly so the wood doesn't overheat. free of combustible materials. Wear a heavy protective
glove to hold the piece while charring its surface, and
use a propane torch with an adjustable flame so you
can control the heat level.
The best approach is to char the wood to a uniform
appearance in stages, stopping to brush off the burned
debris between applications of heat. Start by lightly
skimming the wood's surface with the flame (Photo 1).
Make slightly overlapping passes and move the torch
continuously. If the wood ignites, simply blowout the
flame and let the wood cool before resuming.
After lightly charring the entire surface, let the piece
cool, and then go over it with a soft metal brush to
remove the ash and other completely burned debris
(Photo 2). Brushing often accentuates the latewood,
which is usually harder and more resistant to the flame
than the earlywood. Torch and brush the entire surface
a second time to make the charred color as uniform as
possible.
The last step really brings out the rich, carbon-black
color. After the piece has cooled, apply a coat of oil
finish. I usually use boiled linseed oil or pure tung oil
(both thinned by one-third with mineral spirits). Rags
Brush off the loose debris with a soft bristle brush. Repeat the soaked with boiled linseed oil are flammable, so dispose
process, if necessary, to create a consistent black color. Then of them properly.
apply an oil finish to intensify the black.

31 JlmaricaaWooclwodtu.com OCTO I EII I N OV E M IE II 2010

ONE OF MY ALL-TIME FAVORITE FINISHES for dark woods
is a blend of high-quality oils and varnish-it's very
similar to the finish espoused by master furniture maker
Sam Maloof. This "hybrid" finish enriches the color of
the wood, highlights the grain and gives the surface
a beautiful luster without ever looking like built-up
film finish. For my taste, however, its rather dark amber
color adds too much yellow tone to light woods such
as maple, holly and pine. This finish also dries very
slowly-but I'm willing to wait for the rich, luxurious
appearance it provides.

The technique
Premium ingredients are the key to this finish, which
consists of equal parts 100% pure tung oil, boiled
linseed oil and gloss varnish with a high resin content,
such as Behlen Rockhard Table Top Varnish. This
finish has a relatively short shelf life-it thickens with
exposure to air (even the air inside a closed, half-filled
container), and eventually becomes unusable. So mix Mix equal parts pure tung oil, boiled linseed oil and gloss
the three ingredients in small batches (Photo 1). To varnish. Premium ingredients are the key to this finish.
make this finish easier to use on large surfaces, add
small amounts of mineral spirits, naphtha or turpentine
to reduce its syrupy consistency.
Finish-sand the workpiece to 220 grit. Then wipe
on the finish with a lint-free cloth (Photo 2). As soon as
the piece is evenly coated, use a clean cloth to wipe the
surface dry. After 30 minutes, wipe down the surface
again to make absolutely sure that no residue remains.
Move the piece to a dust-free area to dry. Note: The
finish-soaked rags are likely to spontaneously combust,
so dispose of them immediately and properly.
After two or three days, gently rub the piece with
very fine abrasive wool (steel or synthetic) to remove
any roughness, dust or residue from the surface. Then
apply additional coats of finish, following the same
procedure. The first few coats add little sheen-they
look pretty much like an oil finish. But eventually the
finish will build and the luster will develop. The more
coats you apply, the higher the sheen. I normally stop
when the finish has a soft, warm glow. Let the finish
cure for several weeks before buffing to brighten the
sheen, or rubbing to dull it. I usually buff my pieces with
a soft towel or rub them with abrasive wool. Apply an even coat of finish and then wipe the surface dry. The
lustrous appearance develops as additional coats are applied.

OCTO. E R / NOV EM. E R JO 1 0 JlmericanWooclworker.com 39

THE PROCESS OF FLOATING COLORS ON WATER, creating Create a
patterns and then capturing those patterns on paper solution that's
or fabric probably originated somewhere in the Orient. thick enough
Called Mmarbling,· this process traveled westward to float the
through India, Persia and Turkey before arriving in acrylic paint
Europe in the 17th century. used for
Marbling three-dimensional objects is less common, marbling. Mix
although it has appeared on vases, bowls, boxes and carrageenan
even fishing lures. Learning how to marble flat and and water in
rounded surfaces offers unique coloring opportunities a blender. Let
for wood. this solution
A variety of variables affects the process and its sit overnight.
success, so it's best to learn the basics using sheets of Then pour it
4" x 6" paper. Chemical contaminants, air pockets, dust, into a large
improperly mixed colors, temperature and humidity are shallow tray.
all factors that can frustrate the marbling process.
Liquid acrylic paints, carrageenan, alum and other
marbling supplies are available at art supply vendors
such as www.wetpaintart.com. You'll need a blender
to mix the carrageenan solution (it's food-safe, so no
worries if you borrow Mom's), distilled water to thin
the acrylic paints and glass jars (a pint jar for the alum
solution and a gallon jar for the carrageenan solution).
You'll also need a palette, a shallow tray, foam brushes,
measuring spoons, rubber gloves, eyedroppers (one for
each color, plus one for the distilled water), toothpicks,
foam board, a bunch of 2" wide newspaper strips and
practice paper (65 lb. to 75 lb. weight, and not too slick).

The technique
Mix the carrageenan solution the day before you plan to
marble (Photo 1). Follow directions on the bag, usually
2 tablespoons per gallon of distilled water. The solution
has a two to three day shelf life, so prepare only as much Coat the piece you plan to marble with a solution of alum to prime
as you'll need. Mix the solution in a blender for at least it for marbling. Don't touch the primed surface.
one minute. Then set it aside.
Finish-sand the pieces you plan to marble to 180 grit
and preemptively raise the grain. Dampen the sanded
pieces with water, let them dry and then sand lightly with
180 grit to remove the raised fibers.
The next day, mix the alum solution in very hot tap
water, according to the package directions (usually 2
teaspoons per pint). Allow this mixture to cool before
using it. In fact, make sure that everyt~ing you'll use (the
solutions, the paints, the water, the pieces you plan to
marble, etc.) is at the same (room) temperature.
Find a dust-free area for marbling. Pour the carrageenan
solution into the marbling tray to within about 1/4" of
the top. Use the foam brush to coat the paper (one side
only) or the pieces that you plan to marble (completely)
with the alum solution (Photo 2). The alum solution Thin acrylic paint with distilled water so it will float on the surface
works like a paint primer to help the acrylic colors stick of the carrageenan solution.

40 JlmericaaWoodworker.com OCTOI£R I NOV£MIU 1010

 to the surface. It's a good idea to wear rubber gloves for
this step because you should never touch the alum-
treated surfaces ~th your bare hands-touching may
affect the adhesion of the paint. Set the primed pieces
aside to dry for about an hour.
Choose the acrylic colors you plan to use and thin
them with distilled water to the consistency of whole
milk so they'll float on the surface of the carrageenan
solution. It's best to limit the number of colors for your
first marbling attempts. One of my favorite combinations
is is simply black and white. An inexpensive plastic
palette is great for mixing the paints (Photo 3). Shake
the bottles to mix the paint and squeeze some of each
Clean the surface of the carrageenan solution just before color that you've chosen onto the palette. Then use
adding the paint by skimming it with newspaper strips. eyedroppers to add the distilled water. Mix the thinned
paint by stirring with a clean toothpick. Just before you
drop the paint onto the carrageenan solution, skim its
surface with a strip of newspaper (Photo 4). Skimming
removes dust and other floating imperfections that can
cause Mbald spots· on the marbled surface.
Dropping the paint onto the carrageenan solution
is one of the most critical-and unpredictable- steps
in marbling. Using an eyedropper, gently squeeze a
drop of color onto the center of the solution. Avoid
creating bubbles when you squeeze. The drop should
immediately disperse across the surface. If it sinks to the
bottom of the tray, the paint is too thick- thin it further
and try again. (Paint drops on the bottom will cause no
harm, as marbling occurs on the surface.)
Using a different eyedropper, gently squeeze a drop
of the next color onto the dispersed color. As each drop
disperses, it creates a ring where it meets the previous
Gently squeeze drops of acrylic colors onto the carrageenan solution. drop. Alternate squeezing drops of different colors
The colors disperse across surface, forming rings. until the surface is covered with rings (Photo S). You'll
learn that some colors disperse more aggressively than
others-experimenting with different colors is one good
reason to practice on sheets of paper.
Creating patterns in the floating colors is, perhaps,
the most mesmerizing step in the process. You simply
pull patterning tools slowly and gently through the
paint (Photo 6). Effective patterning tools can be made
from nothing more than toothpicks and foam board.
Varying the spacing between toothpicks is one simple
way to modify the patterns you create.
Pull the tool straight across or move in waves, loops
or zig-zags. Make separate passes that overlap. Use
a stylUS such as a cat's whisker or a hatpin to create
delicate patterns and swirls that are more spontaneous
and free-form. Once again, experimenting is important
because you'll learn how to make and recognize
patterns in the paint that will create interesting marbled
Use a patterning tool to comb the layers of paint into effects on your projects.
interesting patterns. This tool is made from toothpicks and Transferring a pattern that you like onto the
foam board.

OCTOIER / NOYEMaER 1010 AmertcaaWoodwor)'.... com 41

workpiece is the pivotal step (Photos 7-10). Starting
at one corner (or edge), barely dip the piece into the
paint pattern. Then gently and continuously roll it
across the painted surface to transfer the pattern. This
sounds easy, but it's tricky, because it's easy to miss an
area or submerge the piece too far. The goals are to stay
on the surface and move fluidly. A two-dimensional
object (paper or a flat board) is often much easier to
successfully dip and roll than a three-dimensional one.
Pull the marbled piece from the tray and examine it
to see what you've achieved. This is the moment of truth,
when you learn if everything came together. I can say
from experience that each success is thrilling-when I Position the workpiece over a paint pattern that you like.
teach marbling wood to my friends, there's always lots of
celebratory yelping at each "reveal."
Immediately dunk the marbled surface in a clean
pail of water to rinse off any carrageenan and paint
that didn't adhere. You can also hold the piece under
a trickling faucet- just don't smack the surface with a
high-pressure water stream.
What you see now is the permanent pattern. Don't
touch the marbled surface at this point-it's far too
tender. Set the piece aside to dry for at least an hour. If
you intend to put a finish on top of the marbled surface,
wait at least a week to allow the paint to cure. I've
successfully used a variety of topcoats, including wax,
shellac, water-based polyurethane and epoxy. Gently dip the workpiece onto the paint and roll it across the pattem.
You can usually marble several items from the same
batch of colors, but eventually the patterns will start to
start to break down. When this happens, simply skim
the surface three or four times with newspaper strips to
remove the paint (use a fresh strip for each pass), and
the carrageenan solution is ready for another round of
marbling. When you're done for the day, thoroughly
clean all of your equipment. I use only hot water for
cleaning, as soap residue may cause problems in future
marbling sessions.

Be careful to stay on the surface as you continue rolling.

Alan L c r isa
woodturner, writer and
instructor who lives near
River Falls WI. To see more
of Alan's wor!<. visit:
www.alanlKer.com

To see marbling, visit

AmericanWoodworker.com/WebExtras

The goal is to cover the entire surface in one continuous motion.

42 Americ&IlWoodworker.com OCTOIU / NOVEMIU 1010

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Guide to
Finishing
11 . HardMapie

Common, • • I

wooas
White Pine
Improve your results
by understanding
wood characteristics.

y vin South ic

EACH SPECIES OF WOOD has unique

finishing characteristics, both positive
and negative. To help you determine how Poplar
to choose the right wood and get the
best results when you finish your next
project, I'll explain those characteristics
and sum them up in a chart that divides
11 commonly used woods into categories
that affect their finished appearance. The
notations in each category are based on
my observations and experiences with
these woods as a professional wood
finisher over the past 15 years.
WhIte Birch
 Tiny, invisible pores

Pore Structure
Each species of wood is unique in appearance, thanks mainly the earlywood and latewood, so staining creates a more uniform
to variations between its ~arlywood and latewood, but also appearance. In maple, the pores are so small they're virtually
because of the size and distribution of its pores. Pore structure invisible-until stain is applied. Then they appear as dark specks
is important when finishing, because most stains accentuate that cover the surface. Also, in oak. walnut and many other
the pores. In ash, pores appear in the earlywood, but not in the species, the pores are large enough to appear as crevices when
latewood, so staining creates a strong contrast between these a clear finish is applied. If a glass-smooth surface is desired, these
two elements. In walnut, the pores are evenly distributed across woods require extra finishing steps to fill the pores.

Fresh Planed Color and Natural Color Change Sandability and Minimum Final Grit
All types of wood, even finished woods, change color over time, When is it time to stop sanding? The answer depends on the
as the result of exposure to air and light. Both the color and the type of wood and the type of finish. Basically, it's as soon as you
rate of change can vary widely. For example, cherry and maple can no longer see any sanding scratches. Dense, hard woods
darken relatively quickly; walnut and mahogany slowly become with smooth texture and small pores require the most effort and
lighter. Knowing what color the wood will eventually become is sanding to the highest grits. Woods with large or medium size
important for finishing. It may affect whether or not you decide pores allow stopping at lower grits, because the coarse texture
to use stain, for example. And if you want the Morris chair you're helps to disguise the scratches. The chart indicates the minimum
building to look authentic, it's important to know what colors to grit at which you can quit sanding for a clear varnish finish. Sand
add to make that new quartersawn white oak look like it's 100 more carefully if you plan to stain the wood-scratches that
years old. won't show with a clear finish are likely show up when you stain.
Many woodworkers sand to finer grits for oil finishes.

a:
w
Z
>-
Z
w
N
Z
o
Water-based '"~
>-
:x:
Cl.
Stainability The Effect of a Clear Finish <
a:
Many types of wood stain well with oil-based pigment stains. Oil-based and water-based finishes have very different effects on
The color soaks in readily and evenly and the results look good. a wood's finished color. Oil-based finishes typically add a slight
'">-oo
:x:
However, some woods are difficult to stain dark, due to their amber tone that benefits dark colored woods such as cherry, Cl.

density. And some woods are tricky to stain due to blotching, the but can give maple and other light colored woods an unwanted
z
random, uneven and unattractive absorption of stain. For woods yellow tone. Water-based finishes add little to no color, keeping o
that are difficult to stain dark, apply multiple coats of pigment light colored woods looking natural, but leaving dark colored '"
z
:x:
stain or start with a dark-colored dye stain. Stain controllers or woods looking pale, or even parched. Orange (amber) shellac Q
~
wood conditioners can be used to minimize blotching. resembles an oil-based finish. Blonde (clear) shellac and ;:::
nitrocellulose lacquer add less color than oil-based finishes, but a:
o>-
more than water based finishes. ow
46 JlmericaaWoodwodter.com OCTOln/HOVEMln 2010
 WhereWeShare.com
Finishing Characteristics of Common Woods (a)
5pedes PlN5CNdIn FtW5h PIIned ....... CaIar S.... . , ... ~.., fftKt fila. FInIsh
CaIar(ll) a...(c) . . . . . FiIIIIGrIt(d)
lsi! PM sizr: laIge. Sapwood: Pile tan to very SlI9hdY daBer and ~ Difficult. Good. Oil-bastc!. Adds a wanner
Location: Eartywood only; light golden brOWn. yellow-gold. Stop at 120 gnt Challengmg to makt dark golden tonto
mates very strong grain Heartwood: Darktr. Come IjIaln helps to hide WIthout U5II1CJ a multlplt- Water-based Color I!IIIalIlS
patterns. sandtng saatmes. step staining ~ light
GIasHmooth Iirnsh: filling

....... reqtIIRd.
PM~Medun.
Loation:Throughout.
Heartwood: light greyish,
greerlISh, or p!IlIush brown.
lighter, to a untfonn golden
brown, and the pcm lost
Easy to MedIum.
Stop at150 got
Excellent.
StaIns dark easily WIth
OiI·based: DaIkens and
ennches color.
GIass·smooth tmIt Filling Sapwood WIW. their dart color. Cow grail helps to hide p!CJIIIeIlt SlaIn or ~ stMn. Water-based Color mnaIIIS
required. sanding saatmes. Can hght
contain fuzzy artas.
0IIny PM SIZI!: Small. Heartwood: Ught pinlush to Darktr ~ brown, Medium to Difficult. MedIOm. Oil-based: Darktns and
Loation:Throughout, medium ~1Sh brown. although the IIItellSlty can Stop at 180 gnl Prone to blotching. (e) ennches the color.
but ~ prominent in Sapwood: Wlute. vary ~atty. HIgher gnts art ~uRd to Pores appear.s dart 5jltCb W er-based: Color becomes
eal1ywood. hide sandtng mtmes. when stained. (e) pale and washed out
Glass-smooth Iirnsh: filling
not~uiml.

IIInI Sapwood Very pale tan. Slightly daIktf and ~ DifIicuIt. Oil·based:Adds a warmer
...... PM sire:Vtfy small.
Loc.ation:Throughout.
GIass·smooth finish: Filling
Heartwood DaB brown. golden. Stop at 180 got
HIgher gnts iIIt ~ to
Medioot.
Prone to blotching. (e)
Pores appear.s dart 5jltCb
golden tone.
Water-based: Color renlaIIlS
not~uired. hide sanding saatmes. when stained. (e) 119ht
......., PM~MedIUlll.
Location:Throughout.
Heartwood: light to
medium ~1Sh brown.
Usuallyless~, lighter,
~ golden brown.
Easy to MedMn.
Stop at 150 got
Excellent
Stams dart easily WIth
Oil·based Darktns and
enndles the color.
Glass-smooth finish: Fdllng Sapwood: light to medium The gratIl helps to hide pigment statn or ~ stam. Water-based: Color becomes
~ ~brown. sandtng mtmes. The pale and washed out
density of different types of

,.... PMSIZI!:SmaR.
LoatMlIl: Throughout.
Sapwood:Wh .
Heartwood:Green;
Sapwood: Golder! brown.
Heartwood DaB brown.
mahogany an vary WIdely.
Easy.
Stop 150 got
1kdIoot.
Prone to blotching. (e)
OiI·based Adds a warmer
golden tone to sapwood and
GIass-smooth finlsll: FilIIIl9 ~indudes dart Low density makts sandIIg darVns the heartwood.
not~UIIfd. purple or black streab. go faster. Water·based Sapwood
remains light; heartwood
Ioob washed out
1M PM sizr: Very large. Heartwood:Tan to slightly Slightly darter and ~ Medium. Good. Oil-based: Adds a warmer
0lIl Loation: EarIywood only; pinkish brown. golden. Stop at 120 got Challenging to ma dart golden tone.
mates very strong gratIl Sapwood: Wlute. Coa!se gratn helps to hide without U5II1CJ a multiple- Water-based: color remains
patterns. sandmg mtmes. step staining process. light

.......
GIass-smooth finish: FiIImg
~URd.

PM sire: Medium. Heartwood: Dart greyish Ll9hter and ~ golden Medium. Excellent OiI·based DaIkens and
location:Throughout. brown WIth pwpIe brown. Stop at 150 got StaIns dart easily WIth ennches the color.
GIass-smooth finish:FillIIl9 ~(f) Cow grail helps to hide pigment stain or ~ statn. Waler-based Color becomes
~URd. Sapwood: ('nyIsh brown sanding saatmes. pale and washed out
10wNte.
.....
IiIdI
PM sire: Small.
Loation: Throughout
Sapwood: Pile, slightly
golden brown.
Slightly darter and ~
golden.
MediUm.
Stop at 150 got
MedM.
Prone 10 blotching. (e)
OiI-based: Adds a wanner
golden lone.
Glass-smooth finish: Fillmg Heartwood: DaB brown. Pores appear.s dark 5jltCb Waler-based: Color rema ns
nol~UIRd. when stamed. (e) light
.....
0lIl
PM~lMge.
location Eartywood only;
Sapwood Tan to very light
greyish brown.
Sltghtly darter and ~
golden.
VtfyDifficult.
Stop 011120 gnl
Good.
Challenging to makt dark
OiI·based:Adds a warmer
golden lone.
males very strong grail Heartwood: Darter. Cow grail helps 10 hide WIthout U5II1CJ a multJplt- Walerbased Color becomes
patterns. sandIIg saatmes. step staining ~ pale and washed-out
GIass·smooth finish: FiltIOCj
~URd.
.....
PIIII
PM SIZI!: NonH:onlferous.
Loation: NA
Heartwood: Pale tan.
Sapwood: Pile tan.
Slightly darter and ~
golden brown.
Easy.
Slop 011150 got
Med'1Om.
Prone 10 bIolching. (c)
Oil-based: Adds a wanner
golden tonto
GIasHmooth finish: Fillmg Low density makts sanding EarIywood is much ~ Waler-based:Color remal/IS
not~UIRd. go faster. absorbent 10 stam and finish light
than lalewood.

Notes: a) The appearance of virtually any species of wood can vary e) Wood conditioner minimizes blotching and specking, but
widely, so exceptions to the notations will surely occur. makes the wood difficult to stain dark without using a multiple-
b) The preferred choice for color (heartwood or sapwood) is listed first step staining process.
c) long-term exposure to direct sunlight causes many woods to fade. f ) Describes kiln-dried walnut. Air-dried walnlJt heartwood is
d) Minimum final sanding grit for a clear varnish finish. medium brown with red and gold highlights.

OCTOIER / NOVIMIER 1010 JlmericaaWooclworur.com 47

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 by ic rd d

YOU'VE SPENT WEEKS, OR MONTHS producing that

perfect table from a very special wood, and
now it's time to apply the finish. What do you
reach for? If it's durability you're after, use
poly. But if beauty is more important, I'd
recommend shellac.
Lacquer can yield equally stunning
results, but it's best applied by
spraying. Spraying requires
specialized equipment and a lot
of cleanup with strong solvents.
It may not even be legal in
states with tough air-quality
standards. Shellac is far
simpler. All you need is
a good brush to apply
it and denatured
alcohol for cleaning
up.
Traditionally,
shellac was applied by a
process known as French polishing. In
this technique, you use a cloth pad to apply
dozens of very thin layers of shellac, without sanding
between coats. You achieve a high-gloss finish by
gradually thinning the shellac. It's very Iow-tech, but
no matter how well you master the technique--Md gorgeous top
that can take a while-it's a time-consumlng process. does. You don't have
Today, using a synthetic brush, It's possible to to sand them to the same high
achieve that same build much faster, also without standard or apply as many coats of finish as
sanding between coats. You achieve the final look- you do for a top.
satin or gloss-by using modern abrasives. It's still a While there are many ways to make a
shellac finish, but Icall It Not-So-French polishing. perfectly smooth surface, the same test
applies to each method: Look at the surface
Prepare the surface under a raking light (Photo 1). The tiny swirls
Shellac Is almost perfectly transparent. It won't obscure made by a random-orbit sander may not
flaws, so the wood's surface should be sanded to be apparent this way, though, so Igo one
near-perfection. Fortunately, this rule doesn't usually step further and use a magnifying glass
apply to a whole piece of fumiture.lt's really only the (Photo 2). Ifigure if it looks good under
horizontal surfaces-a top, for example-that require magnification, it's going to look great
such special treatment. Vertical surfaces such as legs without it!
and ralls won't reflect light or catch the eye the way a

OCTOI.I/NOV •• I.I JO,. 49

Prepare the surface by sanding up to 220 grit with an orbital Sand by hand using 220 grit paper. With a magnifying glass,
sander. Make sure the surface is free of mill marks and scratches look for swirl marks left by the orbital sander. Keep sanding until
by examining it under a raking light. all the swirls are gone.

Thin the shellac with an equal portion of denatured alcohol. On Apply the shellac using a high-quality brush to minimize ridges.
dark woods such as this walnut, use amber shellac. This brush-my favorite type-has Taklon bristles.

Build the finish out the film. Don't work the shellac too much-it dries very
You can make shellac from flakes and denatured alcohol, fast. Stop when you start to feel the drag of the drying shellac.
but I usually buy cans of premixed Bulls Eye shellac, which is Continue this process across the top, overlapping each pass
available at most hardware stores. This shellac comes in two about 1/4".
shades: clear and amber. I generally use clear shellac on pale You can recoat the top in an hour or so, but you don't have
woods and amber on dark woods. I've found that thinning to clean your brush between coats-one of the benefits of
premixed shellac with denatured alcohol reduces the size and using shellac. When you're done with a coat, just suspend
amount of brush marks so that I don't have to sand between your brush in a jar of denatured alcohol. Hang it so the bristles
coats. To begin, mix your shellac with an equal amount of don't rest on the bottom of the jar and use enough alcohol
alcohol (Photo 3). This thinned mix will keep at least one year, to completely cover the bristles. Before you apply a new coat,
so you can make as much as you want. shake out the brush and wipe it a few times on a scrap of
Now, a word about brushes. Good ones are worth the wood, then go at it.
money- about $35 for a 2" brush. While you can certainly Recoat the top up to twelve times (Photo 5), or until you
apply shellac with a cheaper brush, it will leave uneven ridges get the amount of build you desire. You can take your time;
that require a lot of time to sand out. A good brush leaves a there's no need to do it all in one day.
flatter surface. I've used two types of high-quality brushes: The bottom side of your top should receive an equal
badger hair and Taklon (Photo 4). While a badger brush can number of coats. You can apply these coats as you go, or wait
hold more finish, I think the Taklon is better because it leaves a until you've put the final coat on the top side, then flip the
smoother surface. work over and start in on the bottom.
Back to the tabletop. First, place it top-face up and brush
the edges all around. Some shellac will probably dribble Finish the finish
underneath the top; wipe that excess with a rag or your finger. Although shellac dries to the touch very fast, much more
On the top itself, start each brush stroke about 2" from the time is required for it to harden enough to be sanded with
end of the top, then pull the brush toward that end and off fine paper. If you sand too soon, the paper will clog up and
the top. Place the brush back where you started and pull it to the surface will be very uneven. Wait at least one week before
the other end. Go back over this wet area with quick back- smoothing the finish.
and-forth strokes to cover any spots you missed and to even After this period, you can treat the lower parts of a project
50 AmericanWoodworker.com OCTO. ER I NOV EM. ER 1010
Apply another coat after an hour or so-you don't have to sand. Sand with very fine wetJdry paper, using mineral spirits as a
Put on at least twelve coats. Set the top aside to cure for at least lubricant.
one week.

WI.,. away the slurry and examine the surface. If you see any Use automobile polishes to obtain a higher gloss. You can also
shiny spots, continue to sand until they're gone. use steel wool and wax to create a satin finish.

differently than the top, just as in sanding and building up amount of Swirl Remover on the top and polish with a circular
coats. Rub these parts with 3/0 or 4/0 steel wool, then follow motion (Photo 8). When the top has a consistent shine, switch
with a coat of paste wax and buff it out. to Mirror Glaze and repeat.
A top requires special care. I've found that the best way Shellac is a brittle finish, and scratches easily. To keep
to smooth the shellac on a top and achieve the final luster, scratches to a minimum-particularly on a mirror finish-
whether satin or gloss, is to sand with wet/dry paper and a apply a coat of paste wax.
lubricant. I use mineral spirits as the lubricant, which requires
good ventilation and a respirator, but I'm still looking for SOURCES
something less obnoxious. In any case, you need only work a • Homestead Rnishing Products, www.homesteadfinishing.com.
small area at a time, to minimize the amount of mineral spirits (216) 631 -5309. Homestead Golden Taklon 2" brush, '2021, $31 .95.
that evaporate. • Meguiars, www.meguiars.com. (800) 347-5700, Swirl Remover,
Start with 600 grit wet/dry paper, wrapped around a .SWlRL 16, S12.49; Show Car Glaze, .SHOW 16, $11.49.
rubber, cork or felt sanding block. Squirt a small puddle of
mineral spirits onto the surface and start sanding lightly in The beautiful claro walnut used in this article came from Artisan Lumber,
a circular motion until you create a slurry (Photo 6). Work located in Lunenberg, Massachusetts (www.artisanlumber.com).
your way across the surface and apply more mineral spirits
as needed. Periodically wipe away the slurry. Let the film of
mineral spirits dry, then examine the surface. Sand until the Richard Tendick
surface has a consistent, dull appearance. If you see any shiny is a retired engineer who loves
spots (Photo 7), continue to sand until they're gone. designing projects and working
Switch to 1000 grit wet/dry sandpaper and repeat the wood.
process. When you wipe away this slurry, the surface will be a
bit shinier. Switch to 1500 grit and repeat. The surface will now
have a rich, satin appearance. If this is what you want, stop here.
If you want a mirror-like finish, move on to automotive For more on using shellac, go to
polishes, such as Meguiar's Swirl Remover and Show Car AmericanWoodworker.com/WebExtras
Glaze (see Sources, at right). Using a soft doth, squirt a small
OCToalll / NOVIMal1l 1010 AmericaaWoodwol'ku.com Sl
 WhereWeShare.com

Go E-Z on the R-O

RANDOM-ORBIT SANDERS employ a dual-action motion
(the disc rotates and oscillates) to create a uniform scratch
pattern that minimizes visible scratches. Bearing down and
moving fast while using this type of sander feels natural, but
it's the wrong thing to do because it disrupts the sander's
dual-action motion and creates uneven scratch patterns.
Noticeable scratch marks are the unfortunate result. To keep
scratch marks at bay, random-orbit sander manufacturers
recommend moving the sander very slowly, about 5 to 10
seconds to cover 6", and applying only light pressure, about 2
to 4Ibs., which is about the weight of your arm.

Always Sand by Hand

HAND SANDING WITH THE GRAIN should always be your last
step before applying stain. Power sanding may be a real time-
saver, but it rarely leaves surfaces that are entirely scratch-
free. Hand sanding after power sanding aligns all the sanding
scratches so that the grain will help to hide them. Bearing
~
down when you sand by hand is OK. In fact, it speeds up the ...zz
process. Using a cork-faced sanding block helps to evenly ....
distribute the sanding pressure. Start with the same grit size '"oz
that you used for your last round of power sanding. If visible '"
~
scratches from power sanding remain after hand sanding, >-
r
switch to slightly coarser grit and start again. ...
0..
co
~
o
or
0..

52 OCTOIER/NOVEMBER 1010
Know When to Quit
SANDING TO SUPER-FINE GRITS makes wood look great under
a clear oil finish, but it can cause problems if you plan to use
stain. Most oil-based stains contain pigments, which color
wood by lodging in pores and other crevices in the surface-
such as sanding scratches. As these crevices decrease in size,
the stain becomes less effective. Many stain manufacturers
recommend finish sanding to 220 grit at most and stopping
at a lower grit for a darker color. The samples at right show
the difference in stain penetration on mahogany between
stopping at 180 grit (left) and sanding to 320 grit (right).

Don't believe it?

See how sanding affects stain retention at
Ameri(inWoodw~rker.(~m.1Webbtras

Step 1 Step 3
120 grit 180 grit

Sand Diagonally Pre-sand and Pre-stain

AN OLD-SCHOOL METHOD for eliminating visible scratch marks WANT TO CREATE A FINISHING TIME BOMB? Just wait to sand
is to purposefully make them visible by sanding across the and stain frame-and-panel structures after they're assembled.
grain as you work your way through the grits. After sanding During the heating season, the panel is likely to shrink
diagonally in one direction, change to finer grit and sand because of the lower humidity, exposing a strip of unfinished
diagonally in the opposite direction until the scratches from wood at one or both edges. To hide the panel's seasonal
the previous grit disappear. Step up another grit and sand movement, sand, stain and finish it before assembling the
with the grain until all the diagonal scratches are gone. frame-and-panel structure.

Sand the Stiles Last

BEWARE OF SANDING ACROSS JOINTS on stile-and-rail and
face-frame assemblies. The goal of sanding by hand is to
hide scratches by aligning them with the grain. But going too
far on these joints makes the scratches stand out like a sore
thumb. To avoid this problem, simply sand the stiles last-
and when you sand the stiles, be careful not to cross the
joint line, or you'll leave unsightly cross-grain scratches on
the end of the rail. On miter joints, sand to the joint line
from each direction.

OCTOIEII / NOVEMIEII 1010 Jlmeric:&aWoocIworker._ 53

Know When to Sand Further
ONE WAY TO KEEP END GRAIN FROM GOING DARK when stain
is applied is to sand it to finer grit than the face grain. On
most woods, the end grain is considerably harder than
the face grain, which makes sanding scratches and other
crevices harder to remove. As a result, the end grain looks
darker when it's stained. On the samples shown here (top),
the end grain and face grain on the bottom board have both
been sanded to 180 grit, while the top board's end grain has
been sanded to 320 grit to completely remove the sanding
scratches. When stain is..applied (bottom), it's clear that the
extra sanding pays off: The end grain's color is much more
similar to the face grain. The end grain looks better, too-
whether it's stained or under a clear finish-because the
annual ring structure shows clearly and distinctly.

Moldings Require Sanding Raise the Grain

RESISTTHETEMPTATION to stain moldings without sanding WATER-BASED DYES AND STAINS often leave a rough surface
them. Even if they feel smooth, moldings often contain because they cause wood fibers bent over by sanding to
milling marks on the raw wood. These marks can be very swell and stand up. The best way to avoid this problem is
hard to see because of the wood's grain and the molding's to preemptively raise and flatten the grain. Then it won't
curved surfaces. But if you don't eliminate them by sanding, happen when stain is applied. Dampen the wood and let it
they'll show up as bands of parallel lines when you stain. dry. Then smooth the surface by sanding very lightly with the
same grit used for final sanding.

Buy Colored Sandpaper 3M

_ - - Pro Grade
THE BEST MATERIAL FOR SANDING unfinished wood is made
with premium aluminum oxide abrasive that's graded for K1ingspor PS33
consistent size, applied in an open coat, resin-bonded - - - Stearate
to a flexible lightweight backing and covered with an
anti-clogging material. So how do yq,u choose the right
stuff? Many manufacturers use color to brand their top-
quality sheets, so one easy way is to look for paper that's
a distinctive color. Norton 3X, Klingspor PS33 Stearate, 3M
216U Gold, 3M SandBlaster, and 3M Pro Grade all fit the
bill. Ironically, sandpaper in shades of brown-the color
of sand-is often made with garnet abrasive, which dulls
much more quickly than aluminum oxide, so it isn't the best
choice. This paper isn't likely to be covered with an anti-
clogging material, either.

S4 &meric:aaW~~._ OCTOBEII/NOVEMBER 1010

 WhereWeShare.com
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• Exotic Species Or email :
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 '"...<
'"
<
u
:::E
o....
'"
....o
Q
w

S6
Start with black
First, mix up a batch of black aniline dye
(see Sources, page 58). Appfy the dye
using a foam brush (Photo 1).let the AppIJ. CINt d
dye soak in and dry at least 1 hour. Next, black dye. Let
sand off most of the dye with 180 grit the panel dry.
paper (Photo 2). I use an orbital sander
for the bulk of the work. then go back
and sand areas that look too mottled,
using a cork or felt block.
Black dye adds extra depth to the
wood's figure. Sanding removes the
dye from areas where the dye didn't
penetrate very deep, and leaves the dye
in areas that are more absorbent. The
result is a pattern of dark areas that look
like shadows, and this makes the curly
grain appear more three-dimensional.
Sanding also removes any wood fibers
raised by the water in the dye. Sand off most of
the dye. Areas
Add bright colors where the dye
Next, mix up a brightly colored dye remains will look
and brush it on the panel (Photo 3). Let like shadows.
the panel dry overnight, then apply
two to three coats of 2 lb. cut dewaxed
shellac. I use Bulls Eye SealCoat, which
is premixed as a 2 lb. cut (see Sources).
Topcoats will adhere better to dewaxed
shellac than to standard shellac. I use a
simple folded pad to apply the shellac
(Photo 4), but a brush would work just
as well.
Your panel should be looking pretty
good at this point, but an additional
step of adding a glaze will make it
OCTO I U I N 0 Y I III 1111 zo 10 AmericaaW........ S7
 took much better (Photo 5). I often
use a glaze that's basically the same
color as the dye, but darker. If you're
adventurous, try experimenting with
different colors. Adding this layer makes
the finish look much richer and more
complex.
A glaze is simply a pigmented finish
that's applied over a sealed surface.
(The surface is sealed-with shellac, in
this case-to prevent the glaze from
penetrating too deeply and unevenly.)
You can buy ready-made glazes at an
art-supply store, but I prefer a wider
choice of colors, so I make my own. The
recipe is very simple. I use a tube of
WIpe on th.... artist's oil color for the pigment, mineral
c.ts of super- spirits to thin the pigment, and a clear
blonde dewaxed gel varnish to bind the pigment to the
shellac. surface (see Sources). The exact ratios
aren't critical. For this small panel, I
squirted out about 1" of pigment from
the tube and mixed it with about 1/2
capful of mineral spirits, stirring until
there were no lumps. Next, I mixed
about 1 teaspoon of mineral spirits with
2 teaspoons of gel varnish, and added
the thinned pigment.
Wipe on the glaze with a piece of
cheesecloth, using a circular motion.
Then lightly wipe the panel with the
cheesecloth, using a straight motion,
Add depth to the
to even out the glaze. You can remove
finish by wiping
or leave as much glaze as you wish, or
on a thin coat of
apply a second coat later on. Let the
brightly-colored
panel dry overnight, then apply more
glaze.
coats of plain gel varnish, or any other
finish (Photo 6).
SOURCES
• Rockier, www.rockler.com. (BOO) 279-4441 ,
Homestead Dry Dyes (water-soluble),
$10.59 per 1 oz. bottle.
• Zinsser, www.rustoleum.com. (BOO) 323-3584,
SealCoat Universal Sanding Sealer (dewaxed
shellac), $8.97 per quart.
• General Finishes, www.generalfinishes.com.
(BOO) 783-6050, Gel Oil Based Urethane Topcoat,
$20 per quart.

Apply gel
varnish or any
other topcoat.
Richard
Helgeson
makes furniture that
is·simple, nuanced
and enduring:' See
more of his work at
www.richardhelgeson.com

See how awood-toned aniline

dye can enhance curly maple at
AmericanWoodworker.com/WebExtras
See how
to build this
great looking Pit",.
on page 68.
 •
1
•
Stlirt by wiping on • strong stain controller to keep the poplar W.sh the soled surface with soap and water so the dye will
from blotching when you apply the dye and stain. Make a strong soak in, rather than bead up on the surface.
stain controller by thinning gel varnish with mineral spirits.

BIotch-prone .....s will stand out as the water dries, because Apply. coat of medlum-brown dye to create a uniform ground
they're super-absorbent. After the wood has thoroughly dried, color.
apply an additional coat of stain controller to these areas.

An ugly duckling necessary strength. This recipe and the finishing steps that
So why isn't poplar popular with furniture makers? The follow work well on any wood that's prone to blotching.
answer is simple: The wood is just plain homely. Its color After applying the stain controller, use a two-step
ranges from pale yellowish white to an odd shade of green, coloring process for better control and color intensity. This
and boards are often discolored by dark gray or purplish coloring method combines the benefits of both dye and
streaks. To top it off, poplar doesn't stain well with traditional pigment stain. The dye provides a ground color as strong
wood stains. In fact, it can get ugly really fast because it and rich as needed, and the pigment ensures that the
blotches so easily. About the only time furniture makers use color doesn't fade and become dull over time. The dye and
poplar as a primary wood is when the piece is going to be pigment colors shown here are both a medium-dark"warm"
painted. brown. They combine to create a rich chocolaty tone on both
the green heartwood and pale sapwood. Your color choices
Transformed may be different.
Poplar has too many desirable furniture-making qualities
to be limited to "paint-grade" service. Fortunately, by using How-to
a special approach, it's possible to mal<e this ugly duckling , . Prepare the surfaces by sanding to '80 grit. Be sure to
glow beautifully. This process will transform poplar's odd sand by hand after you power sand, to eliminate swirl marks.
green color to any brown wood tone you like. However, dark Pay extra attention to the end grain.
streaks will still show-they'll need to be avoided or placed 2. To make the stain controller, mix one part General
strategically in the design and called "character." Finishes Clear Gel Varnish with three parts paint thinner.
The key to giving poplar a rich, even stain color is to Apply the stain controller with a rag and allow it to soak
control its horrible blotching tendencies. This requires in (Photo 1). Be sure to saturate the wood, especially the
starting with a very effective stain controller (also called end grain. After a couple of minutes, but before the stain
wood conditioner or pre-stain sealer). The commercial stain controller starts to set up (5-'0 minutes), use clean, dry rags
controllers I tested didn't provide enough blotch resistance, to remove any that has not soaked in. Be sure not to leave
so I developed a simple recipe to make a controller with the any wet spots or streaks-they'll show up when you apply
60 AmericanWooc:Iworker.com OCTOI EIIIN OV EM 1 Ell ZO 1 0
Look -.In for blotching or cllirk end gl'llin. Seal any areas that Apply. c~ of medlum-brown gel suln. Gel stain adds
have gone extra-dark with a coat of gel varnish just before you richness to the overall color and helps to keep the dye from
apply the gel stain in the next step. fading.

Turn Gr

OXALIC ACID WORKS MIRACW on poplar's green

heartwood. Simply mix a saturated solution of oxalic
Apply two coats of .mlMl' shellK to add depth and tone, crystals in hot water and brush the solution on the
followed by a more protective topcoat, if necessary. wood. As the solution dries. the green heartwood will
turn to a golden brown and the white sapwood will
take on a warmer shade of pale. A second application
of the solution after the first has thoroughly dried
usually helps the results-and it can't hurt. Oxalic acid
the stain. Let the wood dry overnight. This step is intended is poisonous, so let the surface dry completely and
to seal the wood approximately 60%-75%, which is usually then rinse it thoroughly with water to remove any acid
enough to control blotching and still allow the stain to that remains. Note that this treatment does nothing to
penetrate. reduce poplar's tendency to blotch, so you'll still need to
3. Wash the partially sealed surface with a mixture of dish follow the recipe to end up with a great-looking finish.
soap and water to M open" the top layer of wood cells so they'll Oxalic acid is primarily used to restore the natural
absorb the dye easily (Photo 2). This step won't cause any color of grayed, weathered, exterior wood-it's the
significant grain-raising because the surface has been treated active ingredient in deck-renewing products. Restorers
with the stain controller. and woodworkers use oxalic acid to remove black water
4. Hidden blotches will reveal themselves as the water stains from wood. It's available at most hardware stores.
dries (Photo 3). Areas that are extra-porous soak up more
water. This means they'll stay wet longer, so they're easy to
identify. The longer they stay wet, the worse the blotch will
be. Fortunately, even super-absorbent areas can be tamed if 7. Apply a coat of General Rnishes Medium Brown Gel
they're found and treated with extra stain controller before Stain (Photo 6). Then let the piece dry overnight.
color is applied. S. Apply two coats of 2 lb. cut amber shellac (Photo 7).
5. Mix TransFast Medium Brown Water Based Dye Although shellac is a durable finish, I know that this table will
following the label instructions and apply it generously, often be used as a place to rest a coffee cup, so "II add a coat
using a rag (Photo 4). Allow the dye to saturate the wood, of oil-based satin polyurethane to prevent water rings.
then remove the excess with clean rags. Allow the wood to
dry until the water has completely evaporated (2 hours). Ke in Southwick is a professional wood
6. Check the workpiece and selectively apply clear gel finishing specialist and furnture restorer/conservator
to any blotches or end grain that are already dark enough in Minneapolis MN.
from the dye step (Photo 5). This is your last chance for
blotch reducing.
OCTOIU / NOVEMIER 1010 &mericaaWoodworbr.com 61
 Chemical Ebonizing

WhereWeShare.com
REMEMBER THE OLD AD SLOGAN, "better living through
chemistry"? When it comes to turning wood black-a process
called ebonizing-I prefer the chemical approach, which
uses solutions made from vinegar, steel wool and tannic acid.
Watching them transform an ordinary wood, such as the
yellow poplar I'm using here, is magical.
Other methods of ebonizing (dye, ink and paint) use
pigments, which can obscure the wood's grain. The chemical
technique leaves an absolutely transparent layer of black. You
can still see the wood's figure and character, particularly after
you apply a topcoat.
Woodworkers have long known that rusty, acidic water
turns some wood black. Woods that are high in tannic acid,
such as oak, walnut and mahogany, work best. The technique
I'll show you adds tannic acid to the wood, so you can ebonize
virtually any species. I can't take credit for this idea, though; it's
been a finisher's trick for a long time.

Mixing the chemicals

The two solutions can be stored and used over and over. The Dissolve steel wool in vinegar to make the first of two solutions
first is more or less liquid rust, which you make with white you'll need. The pad should completely dissolve in about one
vinegar and steel wool (Photo 1). For the best results, use week.
Heinz white vinegar and Liberon 4/0 steel wool (see Sources,
page 63). This steel wool works well because it doesn't contain
oil, but you could also use regular steel wool and wash out its
oil with a detergent. Cover the jar with a lid, then puncture the
lid with a small hole to let gas escape. Set the jar aside for a
a:
week or so. w
Z
f-
Eventually, the pad will dissolve and the formerly clear Z
w
N
liquid will turn a dark reddish brown, with a black scum Z
on top. Place a coffee filter in a funnel and pour this gunk o
'"<
through the filter into a new container. Repeat the process >-
I
two or three times, using new filters, to remove all the solids Q.
<
from the solution. - a:

The second solution, tannic acid, is made with dry "oo

f-

powdered tannin (see Sources). It's not expensive, but I

Q.

unfortunately it's not available in a small quantity. Rather than

a:
be stuck with a lifetime's supply, I've shared the surplus with a <
Q.

dozen woodworking friends. '"

<
u
To mix the powder, place 1 heaping tablespoon in a =<
disposable container and add a small amount of water (Photo Make tannic acid for the second solution. Mix dry powdered o
f-

2). Stir until the powder forms a paste, then add 1 pint of hot tannin with a small amount of water to make a paste, then add a:
of-
more water. Ci
w

62 a-ric:aaWoodworiI:er.com 0 C TO. E R I H 0 V EM' E R 10 1 0

Raise the grain before you begin the ebonizing process. Wet the
wood's surface with a damp rag or sponge.

tap water. Transfer the solution to a jar or bottle. It can be used

right away.
The next step is to raise the wood's grain with plain water
(Photo 3). This is important to do now, before applying either Brush on the tannic acid solution and let it dry.
solution, because you won't be able to sand the wood during
the ebonizing process. After the wood dries, sand off any fuzz
you may feel with 280 or 320 grit paper (Photo 4).1 usually
repeat this process two or three times.

Appllcation
It's clear sailing from here. First, pour a small amount of the
tannic acid solution into a shallow container and brush it on
your project (Photo 5). Make sure every bit of the surface is
covered. Let the wood dry.
Next, pour a small amount of the steel wool and
vinegar solution into a separate container. Using a different
brush, apply the solution to the wood (Photo 6). Almost
immediately, the wood will turn a bluish black. Don't pour
the excess solution back into your original container, as it will
be contaminated by the tannic acid. Again, let the wood dry.
Rnally, apply another coat of tannic acid, using a rag to avoid
brush marks (Photo 7). Voila! You'll get a rich, deep black.
Dispose the surplus tannic acid (it will be contaminated,
too), and let the wood dry a day or two. You're ready to apply Apply the vinegar and steel wool solution. The surface will turn
a clear finish. a bluish black right away.

SOURCES
• FinishSupply.com, www.shellac.net. (70n 226-3623,
Dry Powdered Tannin, 8 oz. $9.98•
• Highland Woodworking, highlandwoodworking.com,
(BOO) 241-{;748, Uberon 4/0 Steel Wool, l00g. $9.99.

Sand with fine paper to remove any fibers sticking up from the Apply more tannic acid with a rag. This turns the wood a deep,
wood's surface. transparent black. After it dries, you're ready for a topcoat.

OCTOIEII / HOVEMln 1010 Amerlc:aaWoodworker.com 63

 by Jeff Corns

Add a touch of color to your hallway.

OUR FRONT HALL is usually a disorganized mess: coats on middle and lower shelves (Fig. A). Cut biscuit joints in the
the floor, keys strewn here and there, and hats-well, I can drawer dividers (Photo 1) and shelves (Photo 2). J:
U
never find them. I built this wall shelf to provide a place for 3. Rout a plate groove in the middle shelf (Photo 3 -<
CD
and Fig. D). Dado or rout a rabbet in the back edge of the a:
everything and to display some decorative objects, too. J:
oa:
When I was done, my wife thought it would be useful in the bottom shelf to receive the back boards (Fig. C).
kitchen too. Now, I'm making a second one! 4. Temporarily clamp together the two shelves and the '"Z
<
Most of the wall shelf is built from 3/ 4" pine, which you drawer dividers. Stand this assembly on one of the sides, in ...a:
can buy at a home center. Just be sure it's flat and straight. the correct location (Fig. E), and draw lines around the ends
I used some old wood from a house I was remodeling. The of the shelves. Remove and unclamp the assembly. Butt the
boards were mismatched in color and full of nail holes and marked side to the unmarked side and transfer the layout
other flaws, so I painted the wall shelf to blend the parts lines. Cut biscuit joints in the sides and the ends of both
together. I used green because this color also symbolizes shelves.
good stewardship of our resources, such as recycling this S. Cut and smooth arches in the bottom ends of the '"a:Z
lumber. sides (Fig. E). Rout a rabbet on the sides for the back o
The joinery is pretty simple. Most of the parts are just boards. Drill holes for the pegs (P) in the peg board. ......
U

w
butted and nailed together. Biscuits reinforce these joints
>-J:
and align the parts, making assembJy easier. Assembly C>.
-<
6. Glue and nail the bottom shelf to the peg board a:
\:J
o>-
Make the parts (Photo 4). Make sure the ends are flush. Add the drawer oJ:
1. Start by ripping the sides (A) and bottom shelf (B) to dividers and middle shelf (Photo 5). Make sure the fronts of C>.

the same width. Also, rip the middle shelf (C) and dividers these pieces are flush.
a:
(D) to the same width. Rip the top (E), peg board (F) and 7. Add the sides (Photo 6). Clamp these joints, too. -<
C>.
wall cleat (G) to width. Trim all of these pieces to length. 8. Once the glue is dry, stand this assembly upside '"
-<
u
Note that the shelves, peg board and cleat are the same down on the top piece. Mark around the sides on the top, ::;
o>-
length. then cut biscuit slots in the top and ends of the sides. Glue
ii.
2. Layout the spacing of the drawer dividers on the the top to the assembly (Photo 7). o
>-
8
64 AmericanWoodwodter.com OCTOll R/ N 0 V l MilK 2010
Cut biscuit joints In the drawer dividers. Cut mating joints in the shelves. Rout a plate groove in the middle shelf
using a core box bit.

Fasten the bottom shelf to the peg Fasten this assembly to the drawer Fasten the sides. They're joined to the
board. dividers and middle shelf, using biscuits shelves with biscuits, too.
and nails.

Add the top. Using a nail gun makes Attach the back boards, which are thin Nail the drawers. The sides are rabbeted
assembly go fast. pieces of tongue-and-groove paneling. into the front and back pieces.

9. Glue the wall cleat to the underside of the top. Then Build the drawers
add the back boards (Photo 8 and H). I purchased this 10. Rip stock for the drawer fronts (J) and sides (K). Rip
material, ready to go, at a home center, but you could make stock for the backs (L), which are 3/8" narrower. Trim the fronts
your own. When you install these pieces, leave at least a 1116" to length, about 1116" less than the actual drawer openings.
gap between each tongue and the bottom of each groove. Trim the backs 1/2" shorter than the fronts.
This space is necessary to allow these pieces to expand when 11. Cut grooves in the drawer fronts and sides for the
the humidity is high. Each piece won't move much, but taken drawer bottoms (M, Fig. A). Cut rabbets in the drawer fronts
as a whole, the width of all the back boards could increase by and sides. Drill holes for knobs (N) in the drawer fronts.
as much as 1/ 2".

OCTOIU / NOVEMIU lOlO .lmericaaWoocIworlter.com 65

Fig. A Exploded View

Fig.E Side

nA"ONlj
Fig. B Back Fig. C Bottom Shelf Fig. 0 Middle Shelf

C
~i" x ~i"
f'1l88t:1
8£41> 2 A"ONl3 " ~i" ])Zll)

Cutting List
Part Name Qty.
Overall Dimensions: 26" Hx42" l x&-1 n"D

Material ThxWxL
-
A Side 2 Reclaimed Pine 314" x5-ln"x25-114"
B Bottom shelf 1 RedMned PIne 3/4". 5-1/2" .39"
( Middle shelf 1 Reclaimed Pine 3/4" x5-118" x39"
D DivicIer 3 RediImed PIne 3/4'.5-118" .3-1/2"
Top Reclaimed Pine 3/4" X&-112"x42"
F P!gboard RediImed Pine 3/4" 13-3/4" 139"
G Walldeat 1 Reclaimed Pine 3/4" x2"x39"
'---"---'--"--:,/"--t1oE-
H Backboard 14 Pine bead boaR! 5116" x3-1/16".20-1/4"
1- 3/i"
Drawer front 4 Reclaimed Pine In" x3-7/16"x9-118"
K Drawfrslde 8 Reclaimed Pine In" 13-7116" 14-718"
l Drawer back 4 Reclaimed Pine 3/S"x3-1/16" xS-5/8"
M Drawfr bottom 4 Plywood 1/4".4-718".11-5/8"
N Drawer knob 4
p P!g S

66 JlmericuaWooclworker.com OClOIE R/ NOV EMIE R 1010

Putty the nail holes, and you're ready to Soften all edges and corners with a ImiUte nicks and bruises by banging on
paint! power sander and by hand sanding. the wood with a set of keys on a chain.

Sponge on a texturing compound to Paint over the texturing compound after Add brown glaze to imitate wear and
create a slightly rough surface. the compound dries. handling.

WhereWeShare.com

12. Temporarily clamp the drawers together and cut though. It would be easier to just drive screws right through
bottoms to fit. Glue and nail the drawers together (Photo 9). the face of the wall cleat and into the studs
As you assemble each drawer, insert the bottom to keep the
drawer square. SOURCES
13. Glue knobs in the drawers and pegs in the peg board. • Amazon.com, www.amazon.com. Folk Art Antiquing Medium (glaze),
14. Fill the nail holes with putty (Photo 10), and you're ' 819, Apple Butter Brown, 2 oz., $2.09.
ready to paint. • Dick Blick Art Materials, www.dickblick.com. (SOO) 828-4548, Winsor &
Newton Structure Gel (texturing compound), 102006-2105, 250 ml, $5.19.
Finishing • Knob Gallery, www.knobgallery.com.(866} 920-2991 , Wood knob,
15. Begin by softening every edge, as if it's been handled . AMBP812WD. $1 .08 ea.
for years (Photo 11). Then roughen up exposed surfaces a bit • Rockier. www.rockler.com. (SOO) 2794441 , Mid-size Pegs, $5.09/pack of a
with a classic faker's tool: a bunch of keys and other hardware
attached to a chain (Photo 12).
16. To simulate years of grit, apply an acrylic texturing
compound (Photo 13 and Sources, at right). You can leave it JeHComs
thick or smooth it out with the sponge. is a self-employed finish carpenter
17. Apply your favorite paint (Photo 14). who also makes custom furniture
18. Mute the paint's color and add some grime by applying and cabinets.
a glaze (Photo 15 and Sources). Use your brush to work the
glaze around until your project looks natural and well-loved.

Installation
19. The wall shelf should be flush to the wall and secured
to studs. There are lots of ways to hang it. I used keyhole slots See 8tips for using abrad nailer at
cut in the back of the wall cleat and hung the cabinet on Am ricanwooctworker.com/W bExtras
long pan head screws driven into the studs. That's fussy work,
OCTOIU / NOVEMIU 1010 .....a1c&aWoodwotker.c 67
 Use • template
Bui d it to rout each
side profile after
1. Cut blanks for the sides, rail and
rough-saWIng
shelf (A-C Fig. A and Cutting Lis page
the blank.
70).
2. If you plan to build only one table,
it's easy enough to trace the pattern for
the sides (Fig. B) onto the blanks, rough-
saw and sand to the lines. But if you're
building two or more tables you'll save
time by making a routing template.
3. To make the template, trace the
pattern on a 9" x 17-3/4" blank of 1/4
MDF. Use the bandsaw and a fence to
cut the slot at the top. Bandsaw the
edge profiles slightly outside the lines
and use a Forstner bit and a jigsaw to Drill offset
iiGiiti in the
rough out the mortise slightly inside
top end of both
the lines. Finish the edge profiles by
sides for the
sanding to the line; square the mortise
"figureS"
with a file. style desktop
4. Use the template to transfer the fasteners.
profile to the side blanks. Cut the slots
and rough-saw the profiles just as you
cut the template. Use the drill press to
rough out the mortises.
5. Attach the template with double-
faced tape. Then rout the profiles with
a flush-trim bit (Photo 1). Take care not
to blowout short grain created by the
curves. To rout the mortise, turn off the
router and place the bit in the center of
Use. sanding
the opening. Start the router, engage
drum to smooth
the bit and advance the workpiece the rail's arches.
against the bit's rotation. After routing,
x
J
< square the mortise corners with a chisel.
x 6. Drill 1/8" deep by 3/4" dia.
0
a: recesses for the "figure 8" style desktop
z fasteners in each side, offset 1/4" from
<
a:
~ the inside face and 1" from each end
z (Photo 2 and Fig. A). Set your drill press
0
;:
< table to the vertical position and use
a:
0-
'" a level to poSition the side. Clamp the
:>
;:; side securely before drilling.
7. Layout the rail's profile (Fig. C)
a: on the blank. (If you want to make a
'"z.
template for the rail, use a 1/4" MDF
...
Z
blank.) Create the tenons by cutting a
z Crute wide
0 1/2" wide x 2" long notch in each end at tenons on both
'"~ the bottom, using the band saw and a
>-
ends of the shelf
x fence. Use a miter gauge to square the by bandsawing
..,a:< shoulders. notches in the
0
0-
8. Test-fit the rail by sliding it into the corners.
0
'I: slots in the sides. The tops should be
flush. Make adjustments if necessary.
z 9. Rough-saw and sand smooth the
0
'"zx arches in the center and on the ends
Q (Photo 3). Use a large sanding drum to
::!:
;:
smooth the main arch and a smaller
a: drum to smooth the curves on the ends.
0
0- 10. Use the bandsaw and a fence to
S
OCT O I U / NOVEMIU lO1O ~Wood-"-._ 69
 Fig. A Exploded View
Fig. B Side Profile

11

5/li'· ~ (, r'l/.
SC,f£tJ (7YP)
I
r
1 I
I
I

~
11111 11 \
"<,
,.....17"
....- -.....
/

1111 III
" TT

Fig. C Rail Profile

Full-size patterns for the sides

and rail are available online at
AmericanWoodworker.comIWebExtras

Cutting List
Overall Dimensions: 14' lx9"Wx 18-ln' H
Fig.D ShelfTenon Profile
Part Name Qty Material TH x W xL

\.J' '-.
"'1 iJ • •
<- It"

Hardware: 4 desktop fasteners; 8 S/8" xt6 saews.

Notes: I ) Cut 1-1/4" x2" notches in all four comers to create
2" x3' tenons on both ends.
II) Taper one face to 3/16"thickness at one end. Cut to final 2-3/8"
length after dry-fitting.
 Mark and drill
cut the tenons on the shelf (Photo 4).
mortises for
11. Layout the mortises on he rail
the wedges in
and shelf. These mortises are ocated
the shelf and
5/8" from the tenon shoulders, so hat
rail. Square the
when the table is assembled they recess
comers with
1/8" into the sides. This guarantees a chisel.
the wedges will tightly lock the JOints.
Drill out the mortises (Photo 5 and
square the corners with a chisel.
12. Cut wedge blanks (D) and la
out the end-to-end taper on each one.
Bandsaw the tapers and remove the
saw marks with sandpaper (Photo 6
The wedges must be smooth on both
faces so they won't mar the finish on
the sides when they're installed or
Sand each
removed.
~ SiT'rOu--tli
13. Cut the top (E) to final
after cutting
dimensions. the taper on the
14. Finish-sand all of the parts and bandsaw.
apply the finish. A wipe-on finish is tre
easiest. To make the top waterproof
add one coat of satin polyurethane.
15. Fit the wedges. They start out
extra-long because tiny variations in their
thicknesses make big differences in where
they seat. Assemble the finished sides,
rail and shelf, and hold all the joints
tight. Firmly seat the wedges in the
mortises by pressing or tapping. Then
measure and cut them to final length,
so they extend about 13/16" on both
Cut the wedges
sides of the tenon. (Photo 7).
to final length
16. Finish the wedges. Staining after installing
or dyeing them black creates a nice them.
contrast.
17. Attach the top (Photo 8).
Assemble the base and install the
desktop fasteners. Center the base on
the top. Then install 5/8" x #6 flathead
screws through the fasteners.

WhereWeShare.com

K vin
Southwick
is a wood- Center the base
finishing and attach it
specialist to the top with
and furniture screws.
restorerl
conservator in
Minneapolis MN.

OCTOIU/NOVEMIU 1010 .lmeric:Aa oodworltel'.com 71

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 s\ Crazy Mistakes Woodworkers Make
WhereWeShare.com

The 01' 1-2

I VOLUNTEERED TO DRILL THE HOLES for the halogen light fixtures
in the 6' tall display cabinet that my cohorts and I were
building at the architectural millwork company where we
worked. I chucked ~ hole saw in my trusty' 12" electric
drill and climbed up on a stepladder, so I could drill
the holes from above the cabinet. Standing at
eye level with the drill, I carefully positioned
the hole saw's pilot bit and started drilling.
About halfway through,
though, the saw wedged
in the cut, causing
the drill's handle to
swing around and
whack the side of
my head. Stunned,
but undeterred, I
reversed the drill
,
to free the bit and
pulled the trigger.
Whack! The handle
swung around the other
way, hit the other side
of my head, and
knocked me to
the floor, where my
coworkers were already
rolling around laughing.
Joe Sarchioto

z
<
~
""
a::
Q
III
W

~
:;;

z
5:z
I
Q
Make your woodwoI1dng mIstIkes pay! Send us your most memorabIe"Whatwas I thInIdngrblunders. You'I
receNe $100 for each one we print ........ aG1l.~WoocIwoItr&CIam or send to AW 00psI, Amerbn
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74 AmericaJlWoocIwodter.com 0 CTOI ER I N OV EMlER 2010

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