0100.pdf

Plate joiney

Dust collection

Sudley tool chest

Half-blind dovetails

164797

THE CEAN-CUT LOOK

TO POWER TOOL

ACCESSORIES.

High performance and indus

trial quality. What you get from

DeWalt power tools is available in

a complete line of power tool acces

sories. They'll fit all major brands

of power tools, and give them the

extra power and precision you expect

from DeWalt.

Take the DeWalt Thin Kerf

Carbide Blade. It's as much as

25%

thinner than standard carbide blades

to ensure a fast, smooth cut. But

unlike most thin kerf blades, its

precision-ground carbide teeth and

tempered plate will stand up to the

most demanding jobs.

DeWalt® Accessories. They'll

give your finished work just what it

needs, the clean-cut look.

DEWAL:

lD K

DEWALT $ BRINGS

DEPRTMENS

Tool Forum

RICLES

Letters

Classiied

106

Methods of Work

& Answers

Events

110

Questions

Notes and Comments

Making a Drawer with Half-Blind Dovetails by Frank Klausz 40

You don 't have to sacrifice sp eedfo r a hand-cutjoint

Sliding Compound Miter Saws by Sandor Nagyszalanczy

Surveying six clever crosscutting toos

Platejoinery basics, p.

Visible Joinery Makes a Chest by Malcolm Vaughan

Flared mortises andjig-cut wedges create matching, tightjitting th rough-tenons

Studley Tool Chest Makes Smithsonian by William Sampson

Research reveals more about th e man and his tool chest

Scratch Awl from Scrap by Tom Herold

Simple steps produce a beautful, high-qualiy tool

Setting Up Shop by Peter Korn, Mario Rodriguez and Mark Duginske

hree pros give advice on oufitting afi rst shop

Sofa Table Complements Antiques by Gene McCall

his eclectic design blends syles andjoinery

Sliding Table Simpliies Mortising by Mac Campbell

Heay-duy drawer slidesfo r precise alignment, easy action

Studley tool chest close-up, p.

Taking Stock in Forest and Shop by RichardJagels

Timber management and resourcefu l woodworking save money and lumber

Using Overlooked Hardwoods by John

Clark

Crib Hides Its Hardware by Bradley S. Rubin

Co mmercial drawer slides are th e ky

r by Jim Lawton

Clearing the

Increase your dust sy stem 's fi lter area, and add a yclone separator

Plate-Joinery Basics by Ed Speas

Fo ur dfferent setups will cut mostjOints

On the Cover: Mark Duginske works in

his well-eqUipped shop in Wausau, Wis.

He joins Peter Kon and Mario Rodriguez

to offer tips on oufitting a shop, p.

Dana Robes, Wood Cratsman by Sandor Nagyszalanczy

0361-3453)

cr 06470-5506.

(203)426-8171.

Producing solid-woodfu niture, one piece at a time

r 06470-5506,

1130

OH 44870.

#J 23210981.

osmaster:

toFineWoodworking,

The rightproduct and good techniques keep outdoor projectsfr omfa lling ap art

Photo: Scott Landis.

Fine Woodworking (ISSN

is published bimol1lhly,JanwlIY, March, May,July, September and November, by The Taunton Press, Inc., Newtown,

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Editor's Notebook

Sliding compound miter saws, p.

Wood Against Weather by Jim Tolpin

Editors Notebook

t IOO-Eighteen years ago, when

I was putting together the first issue of

Fine Woodworking -because I was hun

gry for good information-the United

States woodworking world was a fa r dif

fe rent place. Everything was much harder

to come by, hardwoods, tools and, above

all, ideas and information.

Strange as it may seem, most of the com

panies now offering their wares in our

pages did not exist then. Unwittingly, in

creating Fine Woodworking, we also gave

birth to a varied and vital marketplace of

equipment and supplies. But primarily, we

were the leading edge of an even more di

verse marketplace of ideas and info rma

tion. Where there had been only two

magazines dealing with woodworking

(Popular Mechanis and Workbench),

now there are almost five times that many.

And where there had been only a handful

of good book authors (Marlow, Gottshall,

Joyce), now there are dozens of them.

And most impoltantly, the quality of the

information is now on a much higher

plane. The Tage Frids and Bruce Hoadleys

of the world have had a chance to share

their knowledge and insights, and we all

have been far better off for it.

But progress doesn't end with issue 100.

I like to think that in the conling years,

we'll be entering the golden age of Fine

Woodworking. And after years of concen

trating on publishing, I am now personally

rediscovering woodworking as a mar

velous discipline and absorbing process. It

pulls together a real blend of skills, crafts

manship, ideas and utility in making things

our friends, fa milies and maybe even our

descendants can use and enjoy.

Here's to the second 100!

of which I had no previous notion. All

at once there was inspiration and aspira

tion.

doubtthose earlyissues had a sim

ilar effect on other woodworkers. That's

why it is no surprise how many of our

readers are so proud of being charter sub

scribers. And those who aren't frequently

covet or boast of owning complete sets of

the magazine.

But as a neophyte woodworker on my

first encounter with the magazine, I fe lt a

certain measure of awe and fear as well.

Could I ever hope to achieve results of that

level? Those feelings kept me from imme

diately embracing the magazine, and it

wasn't until a few years later that I came in

to tl1e fold, so to speak.

To day, Fine Woodworking is 100 issues

old. The covers are in full color and the

space on newsstands reserved fo r wood

working magazines is a lot more crowded.

Interest in woodworking continues to

grow, and Fine Woodworking has an im

pOltant role to play in that growth as we

move into our second 100 issues. As the

magazine matures, we look fo rward to

continuing to provide a level of quality

and usefulness unmatched in the ield. At

the same time, we want to leave the door

open not only to the subscribers who have

been with us since WW

-Paul Roman,

fo unding editor and publisher

Milestone for the road ahead-I can't

claim to have been part of the Fine Wood

working fa mily since its beginning. But

much as a fe llow alight remember the day

he met his wife, I can remember exactly the

circumstances and scene when I first met

Fine Woodworking. I was in a new lumber

store in San Jose, Calif., reveling in the new

found variety of hardwoods the store of

fe red when a small rack ofblack-and-white

images stopped me in my tracks. I think it

was the strong, angular design of a work

bench vise on the cover of FWW #4 that

transfixed me. That issue was alongside

several other early issues, all with their typ

ically dramatic black-and-white covers.

I feasted on the covers and flipped the

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work.ng M"g"zine

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P.e Woodwork.ng Books

Vieos

is a reader-written magaZine. We welcome proposals, manuscripts, photographs and ideas from

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your contributions to

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Title to the copyrights in rhe contributions appearing in

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"y Barbara Hudson

4 Fine Woodworking

The

BJTIOS

...bJ·le ' cnll!Jsi:JSIS

P.e W

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