0056.pdf

OREN DREEBEN

I Imew it was a good deal.

I worlied there.

When I had the chance to buy my own Austin Hardwoods franchise in

San Antonio, I couldn't pass it up. I knew just how good an opportunity Austin

Hardwoods ofered because, for over four years, I managed Austin Hardwoods

stores and trained other managers and ranchise owners.

Since I already knew how to operate a lumber store and how to market

the diferent types of hardwoods, I really didn't need the training program that

we ofered. Why buy a franchise and not just strike out on my own? Because I

knew the advantages of having Austin Hardwoods behind me. Not only could

they provide an established market identiication, but the biggest advantage was

in having their buying power behind me. Austin Hardwoods buys in such

volume that I got a diversiied inventory at a cost that allowed me to be

competitive from the irst day I opened. I also knew that our program gave

franchise owners all the guidance they needed to be successful, but still allowed

them the independence to operate without being held to a lot of formulas.

Now you know some of the things that I knew. After watching it work

for others, I couldn't pass up the chance to make it work for me. It's a real head

start-not only for me but for my family.

Since there are too many facts to go into here, if you are interested in

this opportunity, as an owner/operator or as an investor, please let us hear from

you. Contact the Austin Hardwoods Franchise Marketing Department, P.O.

Box

EBERNAT'L. RDWOODLBERASSN.

3096, Austin, Texas 78764. The current total investment is

approximately

$100,000.

AUSN DWOODS

Wood, x l g"

Fne

V'or

January/February 1986, No. 56

�

E4i1or

Paul Bertorelli

American clockmaker's. On p. 30,

Wayne Westphale begins a two

part series on how to design and

build a contemporary wooden

clock movement.

4 Letters

10 Methods of Work

Ar, Dir.dor

Roland Wolf

•• oell'. E4i'or.

Jim Cummins

Roger Holmes

Dick Burrows

David Sloan

14 uestions & Answers

Burning plywood; sharkskin handles; shaping convex moldings

Copy E4i'or

Nancy-Lou Knapp

•• i.," . ,

Kathleen Creston

102 Evns

An A

106 Notes ad Com n t

E4i1o d S.erdly

Cindy Howard

Co . ,i" . ,i"1 E4i'or.

Tage Frid

R_ Bruce Hoadley

Richard Starr

Simon Watts

Wood collector'S clambake; interior designing; doomsday tools

Co ... lli . 1 E4i'or.

George Frank

Otto Heuer

Ian J. Kirby

Don Newell

Richard E. Preiss

Norman Vandal

30 Desi gnin g Wooden Clockworks

40 Vermont Turnin g School by Dick Burrows

These delicate goblets by Del

Stubbs were among work shown

at last October's woodturning

conference at Arrowmont School

of Arts and Crafts. More photos

43 Stencilin g a Boston Rocker by Beau Belajonas

and a report appear on p. 64.

M.,bo4. of Worl

Jim Richey

48 Console Table byJohn Kriegshauser

Color witb po wdered metals

TheTaunton Press

Paul Roman, pubUsher; Jaulce A. Roman,

50 Choosin g a Tablesaw by Rich Preiss

sc iate pubUsher; John Keley, enlor

editor; Tom Luxecier, businss manager;

arol Marotti, eonnel manager; lois

ck,onc �ncsco

58 Carvin g Benches

Accolttit: Irene Artaru, man·

ager; Mary Ames, Catherine Sullivan,

Elaine Yamln_

t: Roger Banes, desin

60 Plannin g for Profit by Tim Nash-Jones

oo .. : Leslie carola, publish

er; Heather Brine amert, asciate art

director; Scott Landis, Christine Tim

mons,

Stenciling may be a forgotten art

but it isn't lost, as Beau Belajonas

explains on p. 43.

sc iate editors; Nancy StabUe,

copy/prduction editor; Matha Higham,

61 Pricin g for the art market by David Ellsworth

ecre y . lat: arole E. Ando,

sucription manager; Terry homas,

Basic cost analysis fo r woodworkers

a ger; Gloria o n, orothy

reher, onna Leavitt, Pe lY LeBlanc,

62 Try a computer by Mac Campbell

el, Heather Ric i ; Patricia

Rice, Nancy chch; en Wner,

sistant

c hi, dlstribu

ll ·

o r; avid Blasko, Mary Ann

otagliola,

64 Arrowmont Turnin g Conference by David Sloan

nn ea ingram, o n Nath

evics clerk. Roet B

c heUe Serling. _-

Fine Woodworking (iSSN 0361·3453) is pub·

Iished bimonthly, Januay, March, MaY,July, Sep·

tember and November, by The Taunton Press,

Inc., Netown. CT 06470. Telephone (203) 426·

8171. Second·c1ass postage paid at Newtown, CT

06470, and additional mailing offices. Copyright

1986 by The Taunton Press, Inc. No reproduc·

tion without permission of The Taunton Press,

Inc. Fine Wdworking' is a registered trade·

mark of The Taunton Press, Inc. Subscription

ates: United States and osseSSions, U8 for one

year, $34 for

fa: Kathleen avis, t or; Gary Man

cini, manager, production services;

avid eFeo, cordinator; Barbara Bahr,

eorah Coer, Dinah George, prduc

tion assistants; Claudia Blake Applegate,

system operator.

eOn,

67 A 17th-Century Chest by Peter Schuerch

New work, new guild

Marketing: Dale

BrowD, director; Rosemaie owd, trade

sales cordinator; aura

Promotion: Jon Miller,

n do, execu·

70 Vacuum Veneerin g by Greg Elder

o years; Canada and other coun·

tries, $21 for one year, $40 for

nn e Feinstein, ssistant t c

o years (in U.S.

dollars, please). Single copy, $3.75. Single

copies outside U.S. and osessions. $4.25. Send

to Subcription Dept., The Taunton Press, PO

ox 355, Netown, CT 06470. Address all corre·

sondence to the appropriate deatment (Sub·

scription, Edilorial, or Advetising), The Taunton

Press, 63 outh Main Street, PO ox 355, New·

town, CT 06470. U.S. newsstand distribution by

Easten News Distributors, Inc., 1130 Cleveland

Road, Sandusky, OH 44870.

Vio: Rick MotelU, prducer/ c

tor; on

manager; MoUy

of, Jr., prduction ssistant.

72 Woodworkin g Without Electricity

ager;

Build a bag press

Adafag nd .a: Ric d MulU

o and James P. a velU, national ac

counts manages; VIvian E. orman,

sociate salcl representative; Carole

Weck

Diesel Powerfo r Production Sbops by David Sloan

A Cbild's Pole Latbe by John and Jon Leeke

Industrial-Age Pedal Power by Paul Bertorelli

Pleasures of a Slo wer Pace by Simon Watts

Postmaster: Send address changes to The Taunton Press, Inc., PO Box 355, Newtown, CT 06470.

a tor; Claudia lnaes,

circulation assistant. Tel. (203)426-8171.

Cover: Along with brass, wood

was a favorite material of early

Plugs on a strip; countersinking; jigsaw vacuum attachment

20 Books

by Wayne Westphale

Movements and bow tby work

36 Cooperin g by Skip Sven Hanson

Curved panels fr om solid wood

Russ Zimmerman 's tbree principles fo r clean cuts

A three- way tenoned miter bolds it togetber

Ho w to fi nd tbe one tbat fi ts your needs

a tor; Pauline

Fazio, executive secretary; Mary Ann

Colert, ecretay; Susan Mcann, rece�

tlonlst.

A carving/sbaving bencb by E.D. Lyman

Articulated sculptor's bencb by Richard Starr

director.

tion sue

Scooping curves wltb a scrub plane

n eUe, ssistant n

tive secretay.

tor.

se r, enlor sals co a tor; Jo

Voigt, als co

LeUers

Thank you Fi ne Wo odworking for a thoughtful issue No. 55. I

can't help but write down some thoughts myself on where

we've come from and where we're going, especially after read

ing Glenn Gordon's great article on Jim Krenov.

Gordon mentions Soetsu Yanagi's Unknown Craft sman. The

industrial revolution turned the spotlights on and focused

them at us craftsmen saying: justify yourselves ...you can no

longer work from sheer necessity because you have been un

dersold. Maybe the industrialists were hoping we would be

blinded to the essential fact of craftsmanship: the quality is

real. No piece of manufactured furniture could ever hold a

candle to my simplest piece. And no matter how much hype

industry lavishes upon its output, even the most uneducated

can tell the difference instantly.

So fo r now, I will continue to build what I most enjoy: pri

marily 18th-century American furniture of the highest quality. I

build it for those who value antiques, but couldn't dream of

owning a real John Goddard or John Seymour piece. If my

pieces are twice as expensive as the manufactured alternative,

my clients are getting a hell of a deal. Those people are worth

starving for.

not plastic?" question (Letters, WW #53). When you paint

wood, it no longer looks like wood. It becomes a surface to

receive paint, like plaster, or clay, or plastic. Most of us who

work in wood do so because we like the looks of wood. It

shows an interesting surface all on its own. Plastic is made to

look like wood in our culture because people without aesthet

ic sense think it "looks nice." Plastic can't look nice as it is; it

has to look like something else. Painted wood looks like

something else. Hence the question " ...why not plastic?"

My assumption is that in older times, when everything was

wood, paint was used for visual variety. Today the situation is

different. Wood's natural appearance is appreciated because it

is different from plastic and paint. Painting on wood may be a

part of our craft's heritage, but it's only a part of it.

-Jo hn Lucke, Timberville, Vi rginia

( WW #55)

In the article about wood stains by George Mustoe

the pitch is a fa miliar one: running down pigmented oil stains.

Who has the ax to grind, you or the author? You say the aniline

dyes are transparent and fade-resistant. But what about blotchy

results? I've tried these dyes on many occasions and have al

ways been disappointed. In my latest attempt, I made about 30

tries on a desk and finally gave up. The dyes seem to give a

mottled effect, even after sanding with 600-grit sandpaper.

After trying the dyes, I returned to a two-coat system of Ben

jamin Moore light oak stain followed by a coat of Pennsylvania

cherry. The light cherry result is far superior to anything I

achieved with aniline dyes.

- Wi lliam Th omas, Hillsboro, NH.

availability of Ul (LM308N OP AMP) did not exist in our area.

I substituted using SK9167/938M recommended by a local

electronics parts store. Also, capacitor C2 caused oscillations

in the circuit, possibly because of the OP AMP substitution

used. I moved C2 across the probe connections instead, which

no longer allows an oscillation path.

My meter works great and I hope these clues will help other

readers with this project.

- W Sheard, Freeport, N.

-Paul Stofel, Ma dison, Wi sc.

Your magazine is the only high-quality, mass-circulation peri

odical that represents the innovative and independent wood·

working trade. As such, I would like to see the staff exercise

greater caution in presenting photographs of people without

safety glasses, barefoot or sandaled, wearing loose clothing or

jewelry, or any other imaginable safety infraction. Whether a

technique is new or old, there is a common thread running

throughout any woodworking procedure: safety. Safety first,

safety second, safety last.

-Lee Grindinger, Salt Lake City, Utah

The biggest problem with the mositure meter is getting the

probe out of hardwood without bending the pins. An im

proved probe can be made by fitting a slide-hammer-type auto

mobile dent puller to the Plexiglas rod. The rod can be

drilled and tapped to take the threaded end of a lightweight

dent puller, available from most auto supply stores for less

than $10.

-H.e. Yoke, Ne w Haven, Co nn.

I have to wonder how many letters you'll get commenting on

Carl Swensson's sandals' in his article on the Japanese bench in

the September issue. Perhaps he's careful enough around the

shop so that he never drops anything; for my part, I'd prefer to

have the protection of a sturdy pair of shoes.

-Robert Ma rcotte, Penfield, N.

CARL SWENSSON REPLIES: I'm very careful not to drop anything or let a

chisel roll off the bench. The sandals are worn so that I might quick

ly slip out of them, should I wish to hold the material with my foot

without pressing grit into the wood, which could later cause a nick

in a plane blade. I would also like to correct a couple of errors in the

article. The head of the screw dog is not flattened as drawn, but

sharpened to bite into the wood. Second, for the final finish cuts and

most flattening, the plane is moved in one continuous pass starting

at the far end, oppOsite the dogged end of the board, rather than the

sequence illustrated. High spots or twists can be addressed separate

ly as with a western plane, except on the pull.

WW #52, here's another idea. The system I installed in my

shop has a collector rated at 450 CFM at 7-in. static pressure.

The ductwork is PVC drain pipe, available at home building

retail stores. I found the various fittings (couplings, Ys, el

bows, etc.) adequate to complete the system. The drawing be

low shows the shut-off gates I designed to close branch ducts

when not in use.

-Frank Rotella , Somerville, N]

( WW #53) on Carlyle Lynch's measur

Dick Burrows' article

ing techniques missed an important element. Mr. Lynch is far

more than just a skillful measurer. He is a teacher who

through his extremely accurate drawings, usually with one

sheet for method of construction and one sheet for bill of

materials, provides a classic textbook for the spare-time

dabbler in woodworking.

I believe I can lump myself with many more thousands of

your readers who fit into the above category. Retired now, with

Place coupling

over piece of

pipe and epoxy

to plywood.

Bolt together.

Fine Wo odworking

I can answer Paul Sasso's puzzlement at the "why wood, why

Re Gordon on Krenov: I know there must be a place for com

bining the thoughts of woodworkers, Mao Tse-tung, Sun Yat

sen, Madonna, The Police Ga zette and the now defunct Berke

ley Barb. But give us a break. -Bill Stankus, Bayside, Wi sc.

In reference to the moisture meter article in WW #53, the

In reference to William Harrison's article on dust collection in

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