April 2021 No.

288

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Remembering Philip C. Lowe, p. 28

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MARCH/APRIL 2021 ■ ISSUE 288

46
CUTTING BOARDS

52
TENONING JIG

END TABLE
WITH CARVING 32
features
28 A Master Craftsman and Gentleman 46 Artistic Cutting Boards
COVER
STORY Remembering Philip C. Lowe Carve decoration on one side and dinner
BY STEVE BROWN AND WILL NEPTUNE on the other
BY MARK GARDNER

32 End Table with Delicate Details

Turning, carving, and contrasting woods 52 Beefy Shopmade Tenoning Jig
elevate a traditional form Adaptable jig handles narrow, wide, and
BY DAVID LAMB angled tenons
B Y B O B VA N DY K E

40 How to Drive a Screw

Tips and strategies for using this essential fastener 60 Ship-Inspired Wall Shelf
for furniture Graduated shelves and graceful symmetry hang
BY MIKE KORSAK on a single stud
BY CHRISTIAN BECKSVOORT
Tablet editions free to subscribers
Magazine content, plus searchability and interactive extras. Download
the app at FineWoodworking.com/apps. Access is free with your print
subscription or FineWoodworking.com online membership.
 in every issue
6 On the Web

8 Contributors

10 Letters

12 Workshop Tips
■ Tablesaw rack holds rip fence and
miter gauge
■ Smart way to hang nailers

16 Tools & Materials

■ Get a grip on router bits
■ New tools to look for
GALLERY:
FWW LIVE 68
20 Greenwood
Gouges for green woodworking

68 Gallery 20
GOUGES FOR
72 Handwork GREEN WOOD
East meets West handplane

82 From the Bench

Woodworking changed my life

Back Cover
Slice It Like Pye

15
DISK SANDER JIG

16
FLUSH-CUTTING
CHISELS

72
MAKE A PULL PLANE
 Our Unlimited membership provides
exclusive access to a dynamic menu of Online extras
woodworking talent, techniques, and Free content at finewoodworking.com/288
projects—combining our print subscription

UNLIMITED with our online membership—all for $99

a year. For details on all the benefits, go to
finewoodworking.com/members.

For members
VIDEO
Rough around
the edges
After fairing the edges of his cutting
boards (p. 46), Mark Gardner adds
an aesthetic and tactile touch to the
edges by pulling the board across
the bandsaw blade on a diagonal.
In this video, he shows exactly how
it’s done.

VIDEO VIDEO
A man of many vises Floral carving in action
Michael Fortune’s work is anything In this quick video, you’ll see how David Lamb does
but traditional, so it’s no surprise the simple but elegant floral carving on the legs of
that his workholding tools aren’t his table (p. 32).
necessarily traditional either. In this
video, Michael shows off his favorite
VIDEO
ways to hold his work.
NEW: Master Class
with Tom McLaughlin
Follow along with Tom McLaughlin while he builds a
Shaker-style dresser in this eight-part video series.

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ONLINE ARCHIVES DIGITAL LIBRARIES Hanging with Ben

Get on-demand access to the Unlimited includes two digital The myriad products available when shopping for
complete Fine Woodworking book collections: The Complete wall anchors can be dizzying. In this video, Ben
magazine archive. That’s more Illustrated Guide to Woodworking Strano demonstrates anchors that have stood the
than 1,900 in-depth articles! and Methods of Work. test of time and are simple to use.

VIDEO WORKSHOP

Restoring handplanes
You can get great results from a garage-
sale find or an eBay purchase as long as
A LIVE WEBINAR SERIES
you know what to do. Roland Johnson has
rejuvenated dozens of Stanley Bailey planes Fine Woodworking is bringing our best
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down a plane to its bare chassis and rebuild
information, check out FineWoodworking
it into a classic. He’ll demonstrate how to
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restore Bailey-style bench planes, block
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6 FINE WOODWORKING
contributors
David Lamb (“End Table with Delicate
Details”) works in a shop steeped in
history. He first stepped into his bench Group Editorial Director Thomas McKenna
room about 50 years ago, when he began Editor and Michael Pekovich
his three-year apprenticeship with master Creative Director
cabinetmaker Alejandro de la Cruz. Later,
Deputy Editor Jonathan Binzen
David, already a pro furniture maker,
returned to the shop to buy it back from Deputy Art Director John Tetreault
de la Cruz, who was heading back to Senior Editor Anissa Kapsales
Spain to retire there. Then there’s Lamb’s
Associate Editor Barry NM Dima
machine room, a relocated post-and-
beam mill full of 1880–1910 machines Managing Editor/ Elizabeth Knapp
by John A. White Co. Some are awaiting Production

restoration. Others, like a 36-in. bandsaw Administrative Assistant Betsy Engel

and 24-in. jointer, are his everyday tools.
Contributing Editors:
Christian Becksvoort, Garrett Hack,
Roland Johnson, Steve Latta, Michael Fortune,
Chris Gochnour, Bob Van Dyke

Jeff Miller (Back Cover) is entering his 38th year as a furniture FWW Ambassadors:
Michael Cullen, Mike Farrington,
maker. He’s mostly self-taught as a woodworker, but that’s not
Megan Fitzpatrick, Aspen Golann, Nancy Hiller,
the case for all his talents. He studied music and literature Matt Monaco, Philip Morley
at Yale and earned a master’s degree from Eastman School
FineWoodworking.com
of Music in Rochester, N.Y. He played trumpet as a freelance
musician and then found woodworking. Today, working in his Web Producer Ben Strano
[email protected]
Chicago shop, he remains inspired by the explorations the craft
Manager, Video Studio Jeff Roos
lets him make into technique, toolmaking, and design.
Video Director Colin Russell

Executive Editor, Books Peter Chapman

Dave Fisher (Greenwood: “Gouges for green woodworking”) a
high school history teacher, has been exploring and adapting Fine Woodworking: (ISSN: 0361-3453) is published
to meet the new challenges of his hybrid online and in-person bimonthly, with a special seventh issue in the winter, by
The Taunton Press, Inc., Newtown, CT 06470-5506.
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head is full of ideas. Carving is therapeutic and a welcome Newtown, CT 06470 and at additional mailing offices.
break from the screen time. You can find him exploring local GST paid registration #123210981.

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for three years (payable in U.S. funds). Single copy U.S.,
Born and raised in Sudbury, Ontario, Vic Tesolin (Handwork: $8.99. Single copy Canada, $9.99.
“East meets West handplane”) started woodworking when his Postmaster: Send all UAA to CFS. (See DMM 707.4.12.5);
daughter was born 20 years ago. He hasn’t stopped. Among NON-POSTAL AND MILITARY FACILITIES: Send address
corrections to Fine Woodworking, PO Box 37610, Boone, IA,
other things he’s been a magazine editor and a technical
50037-0610.
adviser for Veritas tools. Now, having hung out his shingle at Vic
Canada Post: Return undeliverable Canadian addresses
Tesolin Woodworks, he teaches, consults, builds, and more. His to Fine Woodworking, c/o Worldwide Mailers, Inc.,
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8 FINE WOODWORKING
varathanemasters.com © 2020 Rust-Oleum Corporation
letters
From the Editor David Welter’s lesson on dowel joints
What a great article (FWW #287). It took
me back to when I attended the three-
Phil Lowe: craftsman, teacher, friend week summer session at what was then
College of the Redwoods entitled Tools
The woodworking community has lost one of its giants with the passing of
& Techniques. In addition to making two
Philip C. Lowe. A consummate craftsman, he was the former instructor and Krenov-style wooden-bodied handplanes
head of the furniture making program at North Bennet Street School in and learning hand-cut joinery, we used
Boston, and later at his own school, The Furniture Institute of Massachusetts. the dowel joinery process to make a little
wall cabinet. We milled all the pieces,
But if you were to ask any of the people who have known and worked
finished them with our handplanes,
with Phil, the first thing you’d hear about is what a tremendously kind and and used the dowel jig described in the
generous individual he was. In the handful of times I’ve had the pleasure to article to assemble the cabinet. It was a
work with Phil, I was always struck by his smile, quick wit, and great sense great experience and David was a superb
help in learning new skills. Thank you
of humor. Of course, when he’d get to work, all my attention turned to his
for this trip down memory lane.
tremendous skill and the seeming ease with which he approached his work. —B O B SI MMO N S, S u n Ci t y We s t , Ar i z .
For those of us not fortunate enough to
Hexagonal box was satisfying
have studied under Phil, the good news is
This is to thank Clark Kellogg for his
that he has been a consistent contributor to excellent article “Hexagonal Boxes Are
the magazine for more than 30 years. The Little Gems” in the December issue (FWW
articles that he has written over that time #285). The article provided enough
written detail plus fine photos to allow a
stand as a testament to his talent and the
hobbyist like me to successfully complete
generosity with which he shared his insights, the project. Had I just been given a
though sadly they only skim the surface of drawing of the box plus measurements
his knowledge and experience. To read some I would not have attempted it. The
detailed descriptions of measurements,
of Phil’s articles and watch a video workshop
cuts, assembly, and tuning gave me the
on building his smart and simple workbench, confidence to try. It’s the smallest and
head to FineWoodworking.com. It will give most demanding piece I have made.
you an idea of the person that he was, not —F R E D N U SSB A UM, Mi ddl e t o w n , R.I.

to mention his skill and knowledge as a

More on finishing process, please
woodworker. I marveled at the craftsmanship of
For this issue, we thought it would be nice to gather some remembrances Steve Latta in creating his beautiful
cherry cabinet in your October 2020
from the people who worked, taught, and studied with Phil. It shouldn’t
issue (FWW #284), and hoped that my
have come as a surprise that the project quickly snowballed as those we attempts could one day look like that.
contacted recommended even more people whose lives were touched by Phil. Your explanation and photographs
In the end, we’ve chosen a sampling to print in this issue, though the entire were encouraging, until I reached the
end of the article, when Steve simply
collection is available on our website.
stated that “I give everything a final
Our thoughts go out to Phil’s family; and our gratitude for the contribution sanding and finish the cabinet with
he made to the craft to which he dedicated his life cannot be measured. General Finishes Arm-R-Seal.” The
miracle of getting a finish like that on
—Michael Pekovich, editor and creative director
cherry still eludes me. I humbly beg for
more information.
—MI KE SC H E I D T, We s t m i n s t e r, Co l o .

10 FINE WOODWORKING
 Featuring hands-on
classes for all skill levels
taught by nationally
known craftsmen including
Will Neptune
Publisher Renee Jordan Steve Latta
Senior VP, Sales Russell Ellis Peter Follansbee
917-767-5338
[email protected]
Darrell Peart Distinctive Woodwork
Mike Pekovich
Associate Publisher, Alex Robertson and more! Hand Tools
Advertising & Marketing 203-304-3590 www.thetoolworks.com.au
Director [email protected]
Administrative Beverly Buonanno
Assistant 203-304-3834
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Advertising Operations
Digital Advertising Erin Nikitchyuk
Operations Specialist

Senior VP, Erica Moynihan

Consumer Marketing
Senior Marketing Manager Sara Springborn
Director of Matthew Ulland
Consumer Marketing
Marketing Manager Danielle Shpunt

To contact us or submit an article:

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www.f inewoodworking.com MARCH/APRIL 2021 11

workshop tips
Tablesaw rack
holds rip fence
and miter gauge
Before I came up with this small
rack, I didn’t have a good place Back ends where
to store the miter gauge and rip rear cabinet corner
fence near my tablesaw. The rack begins to round over.
holds both items securely under
the left side of the table—out of the
way yet close at hand. If your saw Top rail, hardwood,
3
rolls on a mobile base like mine ⁄4 in. thick by 11⁄2 in. Rack sits 1 in. proud
wide of front of cabinet.
does, the rack and its contents go
wherever the saw does. Lower rail, hardwood,
The miter-gauge runner goes 11⁄2 in. square; formed by
two boards with matching Top notch is 1 in.
into a rectangular hole at the 7 deep by width
⁄8-in.-by-3⁄16-in. grooves
front and then through a closed of rip fence, and
slot formed between two mating starts 1 in. from
inside edge.
boards. The fence rests securely in
a notch on top.
Mount the rack slightly proud
of the front side of the saw cabinet
so the fence and miter gauge won’t
hit it. Since the rack attaches to
the thin sidewall of the cabinet,
I added a wood block inside to Vertical bar,
hardwood, 3⁄4 in.
create a better attachment point for thick by 21⁄4 in. wide
the front end of the rack, which by 9 in. long, with
1
bears the bulk of the load. At ⁄2-in.-deep notch
that holds lower rail
the back it can be attached more
simply, with screws driven from Front and back plates,
inside the cabinet. hardwood, 3⁄4 in. thick by
I’ve provided dimensions that 53⁄4 in. wide by 9 in. tall;
adjust as necessary to
suit my saw cabinet and rip fence. suit rip-fence width
Adjust them to suit yours.
—S TEVE FIK AR, S halim ar, F la. Miter-bar hole, 3⁄8 in. tall by
7
⁄8 in. wide, located to align
with internal slot in lower rail

Best Tip A Reward for the Best Tip

Send your original tips to [email protected].
Steve Fikar took over his dad’s woodshop in We pay $100 for a published tip with illustration;
high school and made a host of wild projects, $50 for one without. The prize for this issue’s
best tip was a Veritas Small Crosscut Saw.
including a steam generator, a garbage
compactor, and a one-man hovercraft. After a
decorated career in the Air Force, he co-founded
a software firm that later was purchased by
Motorola, allowing him to retire and build his
dream shop on the Florida coast.

12 FINE WOODWORKING Drawings: Dan Thornton

Pair of squares simplifies mitered sticking
To build classic door frames with full mortises and tenons
and a molded profile on the inside edge, called “sticking,” you
have to cut small, precise miters at the inside corners. It’s a
scary step, because you have already invested a lot of time at
that point. I’ve cut these miters successfully on the tablesaw,
but my new handsaw technique gives more accurate results
with much less setup. The trick is using two carpenter’s Speed
Squares to guide the saw. I align and clamp one on each
side of the rail or stile, aligning their tips with each other,
and their angled edges with the miter I need to cut. Then I
simply run a flush-cutting saw along the squares. This type of
saw has no set on one side, so it won’t dig in to the squares.
The miters come out perfect and I have total control over the
process. You can also run a cranked-neck paring chisel along
the squares.
— J IM M UR T HA , L anc a ste r, O h i o

Clamp carpenter’s
Speed Squares to
molded rail or stile.

Line up squares
with desired cut.

Be sure tips of
squares line up
too.

Squares guide
flush-cutting saw
for perfect results.

MARCH/APRIL 2021 13
workshop tips continued
1
⁄2-in. to 3⁄8-in.
reducer bushing
Smart way to hang nailers
As I grabbed a nail gun off the wall Quick-connect
coupling
near my compressor recently, it
occurred to me that I’ve never seen
anyone use my setup for storing
nailers—by hanging them from the
same type of coupler that goes on the
end of the air hose. The hangers are
made from a few pieces of common 3
⁄8-in.-dia. nipple
hardware. They keep my air nailers at Cast-iron floor
the ready, and debris out of their inlets. Nail gun flange, 1⁄2 in. dia.
—RO LAN D JO HN S O N , S auk R ap id s , M inn.

Fence, 1⁄2 in. thick,

Small hold-down attached square Miter box parts on the router table
clamp to working edge
Mitering parts for small boxes is trickier than it seems. You
have to cut the angles precisely while cutting parts to uniform
lengths. The best approach I’ve found is a router-table jig like
this one. I team mine up with a 1-in.-dia., 90° V-groove bit, but
any bit with a 45° cutting edge will work. Start by crosscutting
all of the pieces to final length. Then adjust the height of the bit
and the position of the router-table fence so the bit just reaches
the top edge of the workpiece but no farther. This is so you
don’t change the length. If anything, leave a tiny square edge at
the tip of the miter; it will disappear after the box is assembled
and sanded. For uniform results, push the jig and workpiece
firmly against the router-table fence as you make the cut,
Jig base, 3⁄8-in.-thick
MDF, 10 in. wide by
working right to left. Then simply flip the workpiece to miter
Notch lets bit spin 16 in. long the other end.
freely before cutting.
—B R U C E D U D MA N , H o b a r t, Ta s m a n i a , Au s t r a l i a

Tape your tape for repeat measurements

When I have to mark multiple pieces for biscuiting, drilling, or any other
repeat spacing, I put painter’s tape on my measuring tape and make my
marks on that with a fine-tipped Sharpie. It’s a lot quicker than measuring
every time, and way less prone to error. And if you’re careful when releasing
it, your measuring tape will roll up just fine with the masking tape on it.
— DA N MA R T I N , G a l e n a , O h i o

Mark painter’s tape at repeat

locations, such as when biscuiting.

Measuring tape
Painter’s tape

14 FINE WOODWORKING
 Pivot pin, clipped
4d nail, 5⁄8 in.
Bar slot, 3⁄8 in. from end
deep, 2 in. from Sliding bar, 3⁄8 in.
side of base thick by 3⁄4 in. wide
by 10 in. long

Adjuster block,
Base, plywood, hardwood, 3⁄4 in.
3
⁄4 in. thick by thick by 2 in. square
8 in. wide by
10 in. long Wingnut
Threaded
handle
Miter runner, Clearance
hardwood, made hole for rod
to fit miter slot
T-nut

Threaded rod,
5
⁄16 in. dia. by
71⁄2 in. long

Turn threaded
rod to adjust
depth of cut.

Push workpiece forward as

you turn and sand it, until Lock wing nut
rod hits front of table. to lock setting.

Disk-sander jig makes smooth, precise circles

To make any number of precisely sized disks, I built a micro-
adjustable jig for my disk sander. A small runner fits into the
sander’s miter slot to keep the base of the jig stable, while
allowing it to be moved side to side to access fresh areas of
the sanding disk. Up top there is another slot, perpendicular
to the disk, which holds a thin sliding bar with a 4d (4 penny)
nail sticking out near the end. Hanging off the sliding bar is
a threaded rod that hits the front of the sander table to limit
the depth of cut. After roughing a workpiece to size on the
bandsaw, drilling a 3⁄32-in. hole at its center, and tapping it
down onto the nail, you just slide the workpiece forward as
you rotate and sand it. When the threaded rod touches the
table, the disk is at its final diameter. Adjustments are simple,
and you get smooth, precise disks every time.
— C HIP T R EBOUR , R ic h m o n d , Va .

www.f inewoodworking.com MARCH/APRIL 2021 15

tools & materials
■HAND TOOLS

Flush-cutting chisels
OWNING SPECIALTY CHISELS (fishtail, skew, mortise, etc.)
can feel like a luxury. Often, with just a little more
work, you can make regular bench chisels work
just fine for the job at hand. There is one
Flushing chisels by Veritas
area where I need a specialty chisel, 1
⁄2–1-1⁄2 in.
though, and that’s flush paring. $70–$230
The new flush-cutting chisels
from Veritas are spectacular.
I’ve tried other paring chisels—
all of which were generally bench
chisels with longer handles—and
been disappointed. The Veritas flushing
chisel, however, has a long, flat blade with an
angled, threaded insert for the replaceable handle. This long
blade is a fantastic reference surface and the angled handle gives you great
control while allowing you to reach where other chisels or planes cannot.
The backs were flat out of the box. I put these chisels through their
paces over a month making multiple booths for a restaurant. The booths
are constructed with various types of plywood and solid white oak and
several corners in which odd angles intersected that needed exactly this
kind of tool. The PM-V11 steel held a fantastic edge.
The handle came loose a few times as I twisted my wrist and the tool to Removable handles. The blades screw into the handles,
remove the waste, but it wasn’t so bad as to sour me on the tool. making it possible to save money by having several blades
—Adam Godet is a furniture maker in Washington, D.C. but one handle.

■ACCESSORIES

Get a grip on router bits

THERE ARE SOME SMALL TASKS that prove to be outsize hurdles for
me. Tightening or loosening the bearings on router bits, such as when
adjusting a rabbeting bit, is one such hurdle. It’s a tiny, worthwhile task,
but it’s also such a hassle. Gripping the bit, staying clear of its cutters, and
using a skinny Allen key is frustratingly tricky.
Thanks to Infinity’s new Router Bit Vise, that struggle is over. Its
simplicity is its beauty. Designed to fit bits with 1⁄4-in., 8mm, or 1⁄2-in. Bearing maintenance is a cinch. This two-sided vise
shanks, this handheld vise uses unidirectional needle holds a bit’s shank securely against rotational forces when
bearings to hold a bit securely whether you’re you remove or replace a bearing. One side is used when
loosening or tightening a bearing. Inserting the tightening, the other for loosening.
bit from one side holds the bit against clockwise
forces; inserting it from the other holds it against
counterclockwise ones. For a small, simple
tool, it’s a tremendously elegant solution. The
vise would also work well for holding bits for
Router bit vise by Infinity
cleaning.
$30
—Barry NM Dima is an associate editor.

16 FINE WOODWORKING Photos: Shawn Bruce (chisels);

Barry NM Dima (vise)
tools & materials continued

■MEASURING

Ruler for your router table

ROCKLER’S NEW ROUTER BIT CENTER DEPTH GAUGE is a clever product that makes
router table fence and bit adjustments a snap. The gauge has a robust 12-in. steel rule
etched clearly with both metric and imperial measurements. The gauge’s moveable
fence, which has a hairline cursor, slides smoothly and locks in place firmly. Notch fits around bit shank. The notches
To set or measure the cutter height, simply set the movable fence, lock allow the scale to register off the center of bits
it, and stand the gauge over the bit. The broad foot at the end of the with either 1⁄4-in. or 1⁄2-in. shanks.
scale makes the tool stable. Adjusting the router table’s fence is where
this gauge really shines, though. The tool’s fence niftily registers off
the center of a bit via notches that slip around bits with either
1⁄4-in. or 1⁄2-in. shanks. This helps streamline measurements.

For example, if you wish to cut a groove, just measure

from the center of the groove to the edge of the
Router table ruler board, and set the gauge to that distance. It’s
by Rockler that simple. Its offset foot helps the gauge
$20 avoid the bit opening in the fence.
—Ray Finan makes furniture Flat area works well for setting cutter
in Vermont. height. The gauge works just as accurately for
measuring the height of cutters.

■TOOL NEWS

New tools to look for

Smaller drill and driver
For fans of going smaller, Metabo HPT is releasing a new line of sub-
compact tools. These 18-volt tools include a cordless drill and impact
driver. Both have brushless motors and LED lights. There’s also a combo
kit, which includes both tools and two 1.5Ah lithium-ion batteries.

Router plane with side fence

Rockler is expanding its Bench Dog line of
handplanes with a router plane. The tool has an open
throat and includes a side fence. —B.D.

18 FINE WOODWORKING Photos: Barry NM Dima (router table ruler); others courtesy of the manufacturers
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greenwood
Gouges for
green woodworking
B Y D A V I D F I S H E R

A
handful of sharp carving tools can tackle many green
woodworking tasks, helping you to make bowls,
spoons, shrink pots, chairs, and more. They can also
help accomplish the same jobs as other, harder-to-
find tools, like adzes or a quality hook knife. Luckily,
a small kit is enough to open up plenty of variety in
your work.
I find myself regularly reaching for the eight tools listed in this do. Plus, variations between numbering systems and subtle
article. But don’t be overly concerned with acquiring the exact differences between manufacturers makes exact matching
sweep (the first number in the tool’s name) and width (the difficult.
second number) specified here. In most cases, it makes little My favorite gouges, or close approximations, are all readily
difference whether you do the job with a #4 sweep or a #5. available from reputable brands, new or antique. Regardless of
(For reference, the lower the number, the shallower the sweep.) their vintage, I recommend full-size tools with an overall length
So while I’ve listed specific sweeps and widths, you should of around 10 in.
think more generally, using my setup as a guide. And you may
want to adjust for the particularities of the work you wish to David Fisher is a carver and green woodworker in western Pennsylvania.

Remove material quickly. A workhorse

like this, paired with a mallet, can hog
away a lot of wood very fast. With one
hand on the mallet and the other on the
gouge, it’s also very safe.

#8 30MM BENT GOUGE

In general, higher sweeps are more versatile for
hollowing, because they go deeper and into tighter
areas without their corners digging in. In fact, you’ll
find four #8 gouges on this list; that’s how useful
I find them. Another special aspect of this gouge
is that it’s bent, meaning the shank swoops down
so it’s not in line with the handle, as it would be
with a straight gouge. The bend allows the gouge
to follow into hollows that could not be negotiated
by a straight gouge. This gouge is also great for
sculpting tasks such as the hollows underneath a
bowl’s handles or the inside of a spoon’s bowl.

20 FINE WOODWORKING Photos: Barry NM Dima

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greenwood continued

Knock down the peaks to smooth

the surface. Hollowing a bowl
quickly often leaves behind deep
ridges. The flatter sweep of this #5
blends those trenches without its
corners tearing into the surface.

#5 25MM BENT GOUGE

This medium-sweep gouge is a nice
complement to the preceding #8. It can
refine the boldly furrowed surface left by
the #8 and leave a more subtle texture. I
typically hold it in a dagger grip with my
thumb over the back of the handle and
registered against the front of my shoulder.
I drop my knees and use my body weight
for smooth, controlled paring cuts. For
some small bowls, a narrower #5 may be a
better option, but for most the curve of this
gouge will negotiate the hollow without the
corners digging in.

#8 20MM SPOON-BENT GOUGE

For hollows too steep and deep for even a bent I typically hollow a deep ale bowl, for example,
gouge, a spoon-bent gouge really shines. Spoon- using a progression of gouges from straight to
bent gouges have straight shafts for most of their bent to spoon-bent. Only the spoon-bent can hog
length, finished by an abrupt scoop in the last inch away so deeply and even undercut walls. Similar
or two. These tools can be rotated further than hollows, like those of kuksas—deeply hollowed
even a bent gouge before the handle interferes drinking cups—also call for the spoon-bent gouge.
with the cut. This allows them to stand in for hook For tricky-to-reach areas in the center of more
knives. standard bowls, go with a shallower sweep.

Bend into tight

places. The shape of
this gouge’s shaft lets
it fit where even a
standard bent gouge
can’t go, such as
inside this wooden
cup. The cup’s steep,
undercut walls are no
issue for this spoon-
bent gouge, which
can handle every
interior surface.

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greenwood continued

#8 20MM GOUGE
Here’s another #8, but this time straight. Bent gouges are essential for working into
most hollows, but they’re awkward and more difficult to control on flat and convex
surfaces. Conversely, this straight gouge can hog away material from the exterior of
a bowl or other sculptural pieces. It’s a great general wood remover, even for shrink
pots. Once you’ve bored out the center of the branch section for a shrink pot, the
straight #8 can work its way through the rest of the material quickly. The outer bevel
provides the control that prevents the tool from digging in too aggressively. The
interior of the walls can be finished with the gouge or with a knife. If your work is
unusually large, consider a wider version.

One hungry gouge. Super for shrink

When working flat pots. With the
or convex surfaces, middle already bored
reach for this deeply out, you can take
curved straight generous bites with
gouge. It offers the gouge. Just tilt
excellent control the handle inward
while still quickly a bit so the outer
wasting away stock. bevel will guide
The tight sweep the edge along the
keeps the corners wood fibers. Work
of the cutting edge around and around
away from the wood, until you’ve achieved
preventing them your desired wall
from digging in. thickness.

Fine flutes. After

sketching on layout
lines for the tapering
flutes, Fisher uses
the #5 gouge to
gently pare the
channels. As the
lines draw closer
together, he cuts
more shallowly,
which narrows the
flute.

Polished
thumbnail. To start,
#5 18MM AND #8 10MM GOUGE strike the #8 gouge
straight into the
The larger of these two gouges is ideal for carving wood, forming stop
flutes deep enough to be noticed, but not so much as cuts. Next, remove
the wood behind
to leave fragile sharp peaks between hollows. There
each stop cut with a
is a fine hand-worked texture left from each forward sloped cut, leaving
nudge of the gouge. The smaller gouge is a handy a thumbnail-shaped
sweep and size for all sorts of jobs. It adds another, divot.
more bold, texturing tool to the kit, but I use it most
for decorative thumbnail cuts.

24 FINE WOODWORKING
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 greenwood continued

No time wasted at
the beginning. A good
double-bevel chisel
can work on broad
surfaces on spoon
handles (right) and
bowl rims, all with a
great deal of power
and control, somewhat
#1 25–40MM DOUBLE- like a drawknife. It
BEVEL CHISEL works equally well
A flat chisel in this width range can when removing large
amounts of material on
hog away material or refine subtle the outside surfaces of
facets on exterior surfaces. It can cut bowls (below).
chamfers, including stopped ones. It’s
perfect for large “chip” cuts, even in
harder wood. A 40mm chisel can be
challenging to manage, but, because of
its width, the corners are less likely to
dig in on surfaces that are only slightly
convex. A tapered shaft can make a
wide chisel easier to grasp. While you
can do the same tasks with a standard
bench chisel, the double bevels improve
control. When using a bench chisel
bevel-down, the handle must be raised
relatively high. A double bevel chisel
with a cutting edge at the same angle
needs to be raised only half as high
since the angle is split between two
bevels. This puts the handle more in line Slow down at the end. The low angle of attack allows
for more control, letting you make subtle, shallow cuts
with the cut—a better approach. while refining a nearly finished surface.

#12 (60°) 10MM V-TOOL

A good V-tool is indispensable for all sorts of green woodworking
tasks. Many decorative carving techniques require a V-tool,
including many of the 17th-century carving motifs like those Peter
Follansbee specializes in. I also use this tool to begin excavating
the large triangular recesses I sometimes carve on bowl rims and
handles. A more surprising use may be in carving the rabbet
on round shrink pot lids. With the lid secured on edge in a
clamp, I work by hand or with a mallet to remove the
majority of the waste from the rabbet with the
V-tool. The job can be finished with the V-tool
Shape the underside of a shrink pot lid. With the rabbet
by tilting one wing and then the other to
under the lid laid out, remove the bulk of the waste with the
pare to each line separately. V-tool. To pare one wall or the other, simply rotate the V-tool
in that direction.

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 A Master Craftsman
and Gentleman
Remembering Philip C. Lowe
B Y S T E V E B R O W N A N D W I L L N E P T U N E

W oodworkers like Philip C. Lowe

don’t come along often. In fact,
humans like him are a rare
commodity, combining extraordinary tal-
ent with more than average levels of kind-
the perfect formula for teaching. Under his
leadership the program thrived.
In 1985, after more than a decade teach-
ing, Phil stepped down and started a full-
time business in his home town of Beverly,
ness and generosity, and on top of that the Mass. His work included conservation,
passion and temperament to teach for de- custom furniture, turning, and carving.
cades. While he can’t be summed up with Throughout his career, he maintained a
a few titles, Phil was a father, husband, steady stream of furniture commissions and
tradesman, sailor, teacher, scholar, writer, furniture conservation jobs, but he spent
mentor, and, above all, a friend. His life the next 14 years steeped in that work.
was full. His loss is profound.
The culmination of a life’s work
A teenager sets out on a path The Furniture Institute of Massachusetts,
In 1967, Phil gained entrance into North the school Phil started in 1999, was his
Bennet Street School’s Cabinet and Furni- Philip C. Lowe, 1948–2021 passion—the manifestation of his life’s
ture Making program. He was just 17— endeavors as a woodworker and teacher.
under the permissible starting age—and He ran the school for more than 20 years,
was admitted solely on the strong recom- had been in business since 1815) and en- closing the doors in early 2020 to focus on
mendation of his high school shop teacher. joyed a long woodworking career before his health and his family.
Phil left NBSS after one year to join the retiring in 1951 and starting the furniture For many of his students, Phil represent-
Navy, where he worked on a ship doing making program at NBSS. Phil learned the ed a link to the long history of woodwork-
metal and wood repairs and fabrication for skills of the trade, and learned them well. ing. The school began with Phil teaching
four years. He said his time in the Navy He was remarkably productive. a two-year class, as well as shorter classes
taught him the value of being efficient and He began teaching at NBSS in 1975, as for serious hobbyists. He also shared his
productive. Mr. Fullerton’s first assistant, then as the broad knowledge of furniture making at
He returned to NBSS in 1972 to complete head of the department. This continuity guilds across the country, and by writing
his second year. As a student there, Phil of professional training proved a tremen- articles and making videos for Fine Wood-
learned furniture making from George Ful- dous asset for the students. Phil’s immense working for more than 30 years. Phil was
lerton, who had apprenticed in the Mas- knowledge, innate talent, patience, practi- no stranger to accolades from his peers. In
sachusetts shop Mellish and Byfield (which cal approach, and humor turned out to be 2005 he received the prestigious Cartouche
Award, given by the Society of American
Period Furniture Makers in recognition of
Will Neptune (left) graduated from NBSS in 1981 and his skill and his career as a teacher. He also
taught there from 1985 to 2000. His work includes received the 2010 Artisanship Award from
commissioned furniture and carving. Like Lowe, he the Institute of Classical Architecture and
is a Cartouche award recipient. Steve Brown (right) Classical America.
graduated from NBSS in 1990. Brown then worked for As an instructor at the North Bennet Street
Phil until returning to NBSS as an instructor in 1999.
School and then in his own school, Phil

28 FINE WOODWORKING Photos, except where noted: staff

was one of the last authentic connections
to the rich woodworking tradition found in BORN TO TEACH
the shops that began to disappear in the
From his mid-teens it was clear that Phil Lowe
20th century. It was in those shops that
was walking a path, and every step he took over
George Fullerton acquired the skills and
decades led him to where he was meant to be:
knowledge that he shared with Phil, first as woodworking and teaching in his hometown,
Phil’s teacher, then as his mentor when Phil in his own school, in his own way. He has
began to teach. Phil’s legacy is found not influenced generations of woodworkers.
only in the students who went on to work
as furniture makers, but also in those who I first met Phil in 2004 when I took a him, however.
became teachers themselves, trying to pass weeklong hand-tool class with him at Phil wanted to hear about you,
on what they gained from him. the Center for Furniture Craftsmanship wanted to know your inspirations and
in Maine. I was a bit nervous. After all, I aspirations, your successes and your
The pragmatist inside the teacher
was about to take a class with a legend. failures. The world has lost a master
While Phil’s expertly crafted, historically
accurate pieces might have seemed the Turns out this masterful woodworker woodworker, but woodworkers have lost
epitome of romance, he refused to roman- was simply Phil—no pretenses, no airs, a friend.
ticize the trade. He repeatedly impressed just an approachable, knowledgeable, —Tom McKenna
upon students that they were making a and engaging instructor. He was a tough
“product.” This did not mean he didn’t teacher, though. I recall the sharpening Phil wanted students to figure things
appreciate the rewards and satisfactions section of the class, when we were out for themselves, but when you told
that come from doing good work and hav- flattening the back of a plane blade. him you needed help he would drop
ing it recognized by others. But he knew Phil would not let a student move on everything and give you his undivided
that going into the shop Monday morning to the next sharpening grit until he was attention. Sometimes you got more
meant there was work to do, whether you satisfied that all the scratches from than you bargained for. We often called
felt inspired by it or not. He was realistic
the previous grit were gone. That was a it “going down the rabbit hole” because
and pragmatic without losing the ability to
sweaty workday for us students, but by he would start on one subject and be off
appreciate his accomplishments.
He always remembered to emphasize sunset we all realized the satisfaction of on another, and another, and ... you get
that woodworking is a trade, that the de- a job well done. the picture. He also had subtle ways of
cisions and judgments made when design- More than the woodworking making a point. Once, he noticed I was
ing and making work for clients should lessons, however, I will remember not paying sufficient attention to grain
be based not only on the quality of the the conversations. His life was full of direction. So he walked past my bench
craftsmanship but also on the smart and stories, and he could always pull a tale with the world famous “box of straws,”
prudent use of your time. So he expected from his Navy days. He was passionate slammed it on down, and kept going into
his students, like himself, to see both pro- about furniture making, but he also the office. Point made.
ficiency and efficiency as essential. The
had a love of sailing, of being on the Phil knew what he had in terms of
goal of any commission was to figure out
water at sunset and experiencing the talent and he appreciated recognition,
how to best produce work that met the cli-
ent’s expectations and needs with quality fullness of East Coast shoreline living. but he was a most humble man. He
workmanship and professional efficiency. Phil was a dedicated family man, who would be the first to point out to students
He did not feel the need to overbuild for spoke lovingly and proudly of his wife that the only difference between the
the sake of proving his abilities. Sandra and their family. Conversations student and himself was 40 years
Phil also knew you didn’t have to own never completely revolved around of practice. I witnessed many, many
certain benches, fixtures, or tools to be mistakes on his part when he was
a successful woodworker. He produced working on something and he never once
quality work on a simple bench with a tried to hide them. Instead he would call
basic side vise. He exemplified a North everyone over to his bench and show us
Bennet Street catch-phrase that embraced how to get out of the jam he had just put
“using hand tools in concert with machin-
ery.” He did what made sense at the time
given the task.
Phil found enjoyment in the process of
The student becomes a teacher. Phil
building pieces that he knew others would Lowe in two phases of his life at NBSS: as
live with and enjoy. This was also true with a student (top) and as an instructor with
the teaching he did and the happiness that George Fullerton in the late 1970s (left).
he saw in his student’s efforts and suc-
cesses.

Photos, this page: courtesy of Lance Patterson MARCH/APRIL 2021 29

 He beamed with deep satisfaction from just
sailing along. He was in a sanctuary that
gave him great peace. I’ll never forget the
smile on his face.

about life. It has been a profound honor to

know and work with Phil, and his legacy will
live on in my heart and hands.
—Asa Christiana

Like many folks, my earliest acquaintance

himself in. His answer to every student who time I saw Phil, he was beaming, in his own with Phil was in print. I was building my first
thought the mistake they had just made was generous and understated way, to see one of Queen Anne piece and turned to his article
the end of the world was always the same: his students take Best of Show at the 2019 from issue #42, “Cabriole Legs: Hand-
“How does it feel to be human?” Fresh Wood competition at the AWFS Fair shaped, without a lathe,” an article I have
—Arthur W. Keenan in Las Vegas. Walking his own path through given my students many times since.
life, Phil left a remarkable legacy in the
Because we taught workshops at many
Phil’s knowledge of American period hearts of those of us whom he touched as a
of the same schools, our paths crossed. He
furniture was encyclopedic. His eye for detail teacher, mentor, and friend.
was one of our most popular presenters for
and carving ability was amazing. I stood in —Peter Korn The Society of American Period Furniture
awe of his creations, each and every one. He Makers and it was not uncommon for
was such a fine teacher, willing to share and Knowing and working with Phil has been attendees to skip other demonstrations just
guide. And a wonderful human being. a special honor. He had a way of making to watch Phil twice.
—C. H. Becksvoort me feel genuinely valued. I never had the Phil was a generous man who liked to
slightest sense that my many questions laugh and engage in lively conversations.
Phil once took me to see the Seymour & were a nuisance or that he didn’t have the One day, I had the privilege of seeing Phil
Sons exhibit at the Peabody Essex Museum. time for me. In 2019 I had the privilege of totally out of the shop environment, when
The museum guard followed us around so teaching a weeklong carving class at his he took me out sailing. I have only a vague
he could hear what Phil was saying about school. Just spending time at his school, memory of the boat and where we sailed,
the work. I don’t know how many times we getting to know Phil, and seeing him freely but I have a vivid recollection of the pilot.
set off the alarms while on our hands and and naturally share golden nuggets of He beamed with deep satisfaction from
knees as Phil pointed out some unique knowledge with the students was special. just sailing along. He was in a sanctuary
feature or bit of veneer work. There are few —Mary May that gave him great peace. I’ll never forget
folks born with a chisel in their hands. Phil the smile on his face. I feel blessed to have
was one of those. I can safely say I learned more from Phil known him and 35-plus years later, I still
—Gary Rogowski than any other craftsman I worked with, and want to grow up and be like Phil.
I worked with all the greats. —Steve Latta
Phil’s passing leaves an irreparable I learned that when you know something
hole in our community. He was a peerless deeply, you don’t have to bang the drum Phil knew how to make people
craftsman, superb instructor, and as fine loudly. Phil would never say a bad word comfortable, how to inspire great work, how
a person as you could hope to meet. Over about other woodworkers, no matter how to convey difficult concepts. He knew how to
the past 20 years, Phil kindly took time dubious their methods. He would just say, “I lead a student to the brink of discovery, then
away from his own superb school to teach do it this way, and it seems to work well.” step back and see the light go on. He knew
at the Center for Furniture Craftsmanship I’ll miss his humility, generosity, and that teaching in this field has to include
on several occasions. At Monday night slide kindness. He never looked down his nose doing; and enough of that doing leads to the
shows, we were humbled and uplifted by at my dumb questions. After every shoot, deep understanding that comes wrapped in
the breadth and depth of his work. The last we had a steak and a beer and just talked the satisfaction of making great furniture.

30 FINE WOODWORKING Photo, this page: courtesy of Steve Brown

 I taught at his school for almost 10 years,
mostly night and weekend courses. Phil was
always there to greet my students, check on The museum guard followed us
their work, show us something a full-time around so he could hear what Phil
student (or he himself) was working on, and
just generally share his overall enthusiasm was saying about the work. I don’t
for the craft and work done well. Often, he’d
stay for most of a three-hour night class
know how many times we set off
after teaching and working all day—just the alarms while on our hands and
because he loved what he did.
Most of all, Phil had a knack for bringing
knees as Phil pointed out some
people together, making them feel welcome unique feature or bit of veneer work.
and a part of the special places he created.
What a gift!
—John Cameron
instructor at Connecticut Valley School of
Woodworking. His knowledge and skill were
Phil has been an icon to me from the phenomenal, but what really impressed me
start of my woodworking career. I knew was Phil’s natural ability to teach.
of him before I went to NBSS. I remember
He never got flustered. We were doing a
making my family watch the VHS tape of
Queen Anne tea table class, and while he
him “Carving the Ball and Claw Foot.” I
My last semester at the Furniture Institute, was mortising the inside of an apron, the
started teaching workshops after graduating
I had reached a place where I was not able depth stop let go and the bit came right
and soon after, Phil asked if I would come
to pay the tuition, despite working full time. through the face. He did not even blink!
and teach at his Furniture Institute. I was
I faced an impossible decision: pack up and Instead he just said, “So here is what you do
honored. He was a kind and patient teacher
return home without graduating, or become when that happens” and proceeded to run
able to reach out to all who had an interest
homeless and use my rent money to pay a dado the whole length of the apron—right
in learning what he knew. Working with Phil
for the school. I approached Phil, hoping over the hole. Then he found a scrap that
made me a better teacher.
we could come up with a payment plan. He matched the apron and fitted it into the
—Janet Collins made me an offer for which I will always dado, glued it in, planed it flush, and it was
be grateful. Phil asked me to work for him, gone. One of the biggest lessons I learned
Phil and George Fullerton were the generously putting 50% of every job toward from Phil: Anything can be fixed; and don’t
instructors at NBSS in 1977 when I started my balance for the semester. Phil was a make a big deal of it—especially in front of
as a student. It wasn’t very far into the master of his craft, an outstanding teacher, the class!
course when Phil gathered me and two and above all, a truly generous man. —Bob Van Dyke
other students for machine maintenance for —Freddy Roman
the jointer.
Phil’s school was one of few where you
I was a bit shocked when Phil directed Phil was a furniture maker’s furniture could learn to tackle the “high styles” of
us to completely disassemble the jointer maker. He knew the classic styles of the period furniture with the same techniques
(less the electric motor), clean all the parts, 18th century and accumulated a vast kit and build quality used by the old masters.
and re-assemble it with proper lubrication of the tricks and techniques and the hows For all that, you might imagine his shop to
and alignment. This was his regular and whys of traditional design. Need to be a vast woodworker’s paradise—the kind
maintenance for most of the machines in reproduce a unique Seymour banding or you’d design if you were given a blank slate
the shop. With this task Phil showed us that Goddard carved shell? Ever humble, Phil and an open checkbook. Well, it wasn’t. In
“doing it” is a major tenet in understanding would show you how. fact, Phil’s shop, at first glance, is startlingly
and that it improves our skills and gives us —Garrett Hack spare. All he needed was a small room
confidence in our own abilities. to house a handful of basic workhorse
Shortly after I graduated in 1979, Phil I met Phil 20 years ago and invited him machines, a drafting room, and a small
asked me to become a part-time instructor. to teach at my school. During his first workbench in front of a wall of hand tools.
It was an opportunity for me to continue class, every student came up to me and That was the first lesson: It’s not about the
learning from Phil. said, “Make sure you get this guy back stuff you have.
—Lance Patterson here again!” So Phil became a regular —Roger Benton

www.f inewoodworking.com MARCH/APRIL 2021 31

 End Table with
Delicate Details
Turning, carving,
and contrasting
woods elevate a
traditional form
B Y D A V I D L A M B

The neoclassical
carving requires
T his little end table is a functional
combination of a simple form with
subtle but considered detail. Most
notable may be the carving, which while
very straightforward in both layout and ex-
few tools. ecution contributes a layer of elegance to
the table’s Shaker roots. The turned legs
have a pleasing taper with a slight swell-
ing near the top, similar to neoclassical
designs. The final feature is the use of con-
trasting material, butternut and its darker
cousin, walnut. If you choose to use differ-
ent species, consider how they’ll resonate
with the overall form. For example, the
tabletop may be a nice spot for quiet and
straight grain, or a statement piece that is
highly figured. Speaking of changes, while
this version doesn’t have one, the table
also lends itself well to a drawer.

Turn the legs and feet

The legs comprise two turned elements:
the butternut legs and the walnut feet,
which are drilled with a mortise to attach
to the leg’s tenon. Neither element is par-
ticularly challenging technically, but pay
Leg is tenoned attention to the leg’s swells and transitions.
to receive On such a delicate piece, the flow of these
turned foot in legs plays a huge role.
contrasting wood.
I start with the legs, milling them into
11⁄2-in.-sq. blanks. To lay out the transitions

32 FINE WOODWORKING Photos: Barry NM Dima

 Top, 5⁄8 in. thick by 16 in.
wide by 22 in. long Bullnose on top,
3
⁄8-in. radius

TOP DETAIL

Three buttons on each Haunches, 1⁄4 in.

long apron, one button thick by 3⁄4 in. wide
on each short apron by 1⁄4 in. long

Mortise, 11⁄8 in.

deep, 1⁄4 in. from
outside face of leg

SIMPLE CONSTRUCTION,
TASTEFUL DETAILS
Straightforward turning, carving, and
proportions come together to make a
table greater than the sum of its parts.

1
⁄4 in.

3
⁄4 in. Groove for
bead, 1⁄8 in. Tenons, 1⁄4 in.
deep thick by 31⁄4 in.
Long aprons, wide by 1 in. Short aprons,
3
⁄4 in. thick by long 3
⁄4 in. thick by
4 in. wide by 4 in. wide by
191⁄2 in. long 131⁄2 in. long
1
⁄8-in. radius
31⁄4 in
. bead, 1⁄8 in.
thick by 3⁄16 in. Tenons are
wide, mitered at rounded to fit
corners routed mortises.

Bead starts 1 in Legs, 25 in. long

1
⁄8 in. up from .
Tenons do not
bottom of apron have shoulder on
bottom edge.
TENON DETAIL
Top has 3⁄4-in.
overhang
22 in. 16 in. 3⁄ 4 in. dia.

1 in.

1⁄ 2 in. dia.
1⁄ 8 in.
7⁄ 8 in. dia.

To purchase 1 in.
5 expanded plans
25 ⁄8 in.
and a complete
parts list for this table
and other projects, go Foot, 15⁄8 in. long
to FineWoodworking 11⁄2 in.
.com/PlanStore.

11⁄ 16 in. dia.

FRONT VIEW SIDE VIEW FOOT DETAIL

Drawings: John Hartman MARCH/APRIL 2021 33

Turning LEGS

11⁄2 in.

4 in.

1
⁄8 in.
1
⁄8 in.

3
⁄4 in.
11⁄8 in.
dia. 1 in.
Bead,
1
⁄8 in.
dia.
1
⁄8 in. Size the diameter right below the bead. After roughly defining the bead at the top of the leg, Lamb uses a
11⁄8 in. parting tool to bring the area below it to final diameter. He checks his progress regularly with calipers.
dia.

41⁄4 in.

11⁄2 in.
dia.

Refine the carving area. Use a gouge to carefully turn the transition right above the bead. You’ll carve this
area later, so aim for a good surface.

13 in.

3⁄ 4 in. dia.
1⁄ 8 in.
7⁄ 8 in. dia.
1 in.
11⁄2 in. Turn the tenon for the foot. This tenon creates a solid connection between the leg and its applied foot.
Carefully use a parting tool to sneak up on the final diameter (left). Frequently check the tenon’s fit in a test
11⁄ 16 in. dia. block (right).

34 FINE WOODWORKING
FEET

Use a plug when turning most of the foot. After drilling the foot Turn the foot. The foot’s shape echoes the gentle taper of the leg above,
blank’s mortise, insert a plug with a matching tenon. This will let you and its delicate cove marks the transition between the two pieces.
better secure the blank in the lathe.

Use the lathe as

a clamp when
gluing the foot
to the leg. After
applying glue to
the leg’s tenon
and slipping on
the foot, Lamb
slowly advances
the tailstock to
close the shoulder
and hold the parts
in place while the
glue dries.

and joinery, I use a pattern stick. I always ameter in a scrap block you drilled with The feet come last. Mill a long piece of
make a full-size drawing for pieces, and the same bit you’ll use for the foot’s mor- walnut 1 in. square and chop it to short
making this pattern stick from the drawing tise. I frequently check the shoulder with blanks. After marking the centers, bore the
is easy and helps ensure repeatable results. a straightedge. 1⁄2-in. mortise at the drill press. After that,

Next, define the diameter below the Below the bead, use a parting tool to you can turn and then sand the foot. When
bead with a parting tool before using the define transitions before blending them turning these small feet, I make a simple
point of a skew chisel to lightly score the with a gouge. Remember, the upper part wood plug. The plug itself is tapered, let-
corners at the bottom of the bead. This of the leg is somewhat bulbous and the ting it fit snugly into the hole in the top of
helps prevent unwanted corner breaks that lower part is mostly a straight taper. Blend the foot. With it, the spur center engages
could run to the upper leg square. Then, the turning with 120-grit sandpaper before the plug rather than the foot itself.
above the bead, use a gouge to carefully refining to 220. No need to sand the carv- Once turned, the feet are ready for glue.
turn the transition from square to round. ing area though. Clamp carefully and ensure a good, close
Finish the top by defining the bead. Lastly, with the skew, lightly score a line fit all around. Instead of trying a balancing
Form the tenon at the bottom of the foot around the thickest part of the leg. It’s a act I use my lathe as a clamp. Easy and
with a parting tool. Regularly check its di- small detail that adds greatly to the design. effective.

www.f inewoodworking.com MARCH/APRIL 2021 35

Carving adds classical flair to top of leg
The leaf carving is a simple motif that benefits from a methodical approach. It requires a small tool kit and a handful of steps.

File each face flat. Draw and knife in Shallow gouge removes Shallow gouge V-tool forms center Shallow gouge
leaf outlines and chips behind leaves. shapes minor leaves. vein of major leaves. shapes major leaves.
CARVING SEQUENCE centerlines.

LAYOUT Let’s carve

The leaf carving is a small detail with big
payoff. It also doesn’t require many tools,
just a file, a knife, a shallow gouge, and a
small V-tool. But on top of looking great,
it also teaches some good lessons about
carving, such as how to create depth and
the correct order of cuts.
Before you pick up a gouge, file the
turned area into flat triangles. This en-
hances the transition between it and the
turning below. Then, using a cardboard
pattern, lay out the leaves with a pencil.
Then knife over your pencil lines. I like
Use a template a standard, thin-blade utility knife. Deepen
to lay out the
the lines in several passes; don’t go for
major and minor
leaves. After filing
a flat on each face, Single point lays
Template
Lamb traces the out major leaves.
shape of the leaves
onto the legs,
using alignment
marks to position
the template. 1 in.
Then he draws the
centerline (bottom).

Double points lay out minor leaves.

36 FINE WOODWORKING
MIN OR LEAVES

Knife in the outline. Begin by using a thin- Remove the chips behind the minor leaf. The minor leaf’s faces are concave. Slightly
bladed utility knife to score along your pencil Use a 5⁄16-in.-wide #4 gouge to remove the hollow the minor leaf on each side, leaving the
lines. For the best results, take multiple passes, triangular areas between the leaves. These cuts center raised. Use the same shallow gouge.
starting light and going deeper each time. taper, deepening to about 3⁄32 in. at the edges.

full depth on your first shot. Next, use a MAJOR LEAVES Carve the major
5⁄16-in.-wide (or so) No. 4 gouge to remove leaf’s center vein.
the tapered triangular areas between the Use a small V-tool
and carve from
leaves.
the tip of the leaf
To better distinguish the minor and major down. This will likely
leaves, carve their surfaces differently. The require multiple
minor leaves should be slightly hollowed, passes.
and the major ones slightly rounded over.

Base is standard construction

The legs and aprons are typical haunched
mortise-and-tenon construction. The base
will look plain at first, but the inset walnut
bead that runs around will elevate the ap-
pearance. To make sure that bead wraps
cleanly around the base, it pays to not un-
derestimate the simple base.
I cut the tenons at the tablesaw and rout
my mortises. For both operations, I find it
helpful to use test pieces when setting the
machines. Cut the mortises 1⁄8 in. deeper
so the tenons don’t bottom out. Before as-
sembly, cut the grooves for the buttons that
will attach the bullnosed top to the base. Round over the
Assembling the base starts with gluing major leaves.
To contrast these
two opposite sides. Alignment and keep-
leaves with the
ing parts square is critical, especially since concave minor ones,
there is no reveal between the legs and Lamb uses the #4
apron. Their outside faces are all flush. gouge to model
For small parts like these, I apply glue to their faces slightly
the entire mortise-and-tenon, including the convex.
shoulder. Any movement across the 4-in.
apron is very minimal. Allow the glue to
set overnight before gluing the remaining
parts. Double-check for square and that
there is no twist.
Once the glue has cured, level the top
edges and blend all joints flush.

www.f inewoodworking.com MARCH/APRIL 2021 37

Easy assembly, but mind the details
Level the legs
to the aprons.
After chamfering
the insides of
the legs to avoid
blowout, plane the
legs and aprons
level. Finish with
a continuous pass
around the whole
base assembly. This
is your reference
surface for sawing
the bead groove, so
you want it to be
perfect.

Glue up the base. After gluing up the two

short ends, Lamb brings the whole assembly
together with the long aprons.

Cut the groove for the bead using the

tablesaw. This can feel hair-raising, but it’s
safe, effective, and fast. Keep even pressure by
pressing down on the inside face of the apron,
and keep the assembly tight to the fence.

Fence

Groove for
bead, 1⁄8 in.
deep

33⁄4 in. Blade

38 FINE WOODWORKING
Add a bead for the final flourish

Scratch stock shapes the bead. After thicknessing the wide bead Rip off the beads. Leaving the stock overwide until now makes the
blank to a press fit in the groove, use a scratch stock to mold its two workpiece both easier and safer to handle.
edges. Lamb uses his middle finger to keep the scratch stock centered.

Base ends with a bead

Using the tablesaw, cut 1⁄8-in.-deep grooves
on all four sides. Reference the top of the
table, which you just trued up, against the
Miter the bead
fence.
stock. Lamb clamps
For the bead, first thickness the blank a small miter box
for a good fit in the apron groove. Leave in his vise and
the blank wide for now. This makes it makes the cut with a
easier to shape, and you can safely rip off backsaw.
the beads afterward. To shape the bead,
I use a scratch stock made from a piece
of shaper steel to hand scrape the profile,
followed by sanding to 220 grit.
Once the bead stock is prepared, I cut,
fit, and glue it into the table one side at
a time. The bead strips are mitered at the
corners. I use a small miter box and back-
saw to cut these.
After gluing, clean up squeeze-out and
soften the corners slightly. At this point,
you can attach the top.
Install the bead
Don’t overdo the finish around the table.
There are a number of good finishes out Check each piece’s
there. Because an end table can be a high- fit before gluing it in.
use piece, I recommend a waterproof top- The pieces should
sit 1⁄16 in. proud of
coat such as an oil varnish. The base can
the surface, and the
be shellacked. I’d go for a hand-rubbed miters should close
effect on this piece and not over-finish it, tightly.
as it is rather casual, and too much finish
on the carvings is not good. □

David Lamb is a member of the New Hampshire

Furniture Masters.

www.f inewoodworking.com MARCH/APRIL 2021 39

 How to Drive a

I frequently use screws in my furniture, in places where they

won’t be seen like the backs, bottoms, or insides of pieces.
First and foremost, screws allow me to fine-tune the fit of a
joint or assembly before committing to permanently joining parts.
I can assemble parts, disassemble to make adjustments, and then
Some assemblies can’t be glued but still need to be held tightly
together—a perfect use for screws. And third, screws are efficient.
They are cheap and easily sourced. And installing screws doesn’t
require expensive equipment. There is a broad spectrum of screws
available for all sorts of uses, but here I’ll focus only on traditional
reassemble. Second, screws add strength. When installed prop- wood screws for furniture.
erly, they are extremely strong in terms of clamping force, shear
strength, and resistance to withdrawal. By using screws to hold A drill press makes everything easier
together an assembly, I can generally omit most or all clamps My first piece of advice regarding the use of screws is to use a
during glue-up because the screws provide the clamping force. drill press. For the first five or so years of my career, not having

40 FINE WOODWORKING Photos: Jonathan Binzen

Screw ANATOMY OF A WOOD SCREW
On cut screws, like
the traditional wood
screws Korsak uses,
the diameter of the
threads is the same
size or smaller than
Head

Shank

Tips and strategies the shank. On rolled

screws, like drywall
Thread
for using this screws, the threads
are larger than the
shank.
essential fastener Root

for furniture Countersink

B Y M I K E K O R S A K
Clearance hole

Inside
countersink

Pilot hole

Head pulls top board Threads not

to target board. engaged in
top board.

The inside
countersink
provides
clearance for any
a drill press, I drilled all holes, countersinks, counterbores, etc. lifted fibers which
with handheld power drills. That worked, but once I acquired a would prevent
the parts from Threads
drill press, the benefits of using one became immediately evident. engaged in
seating.
The most obvious advantage is that the holes get drilled perfectly target board
vertical. But there are many other benefits. With a fence and stop only.
blocks, you can quickly and efficiently drill precisely located holes
in multiple parts that share some common reference edge or end.
Also, when employing fences and stop blocks, you can perform
A TIGHT-FITTING SCREW JOINT
multiple processes that share the same centerpoint. For example,
if I change from a drill bit to a countersink bit, the through-hole

Drawings: Vince Babak MARCH/APRIL 2021 41

Size the drill bits for the job
1. CLEARANCE HOLE
and countersink will be exactly concentric, which is
definitely not the case when doing this by hand. Plus,
the depth stop of a drill press allows for much more
accurate control over how deep countersinks and
counterbores are drilled.

Clearance and pilot holes

Understanding and properly sizing clearance and pilot
holes is key to working with screws. Improperly sized
clearance or pilot holes can lead to splitting, gaps
between parts, or stripped threads or screw heads,
even broken screws.
The clearance hole is sized to the outside diam-
eter of the threads (or the outside diameter of the
shank—whichever is bigger). Clearance holes should
be large enough to allow the screw to slide freely in
and out. This ensures that the screw’s head will act
1 like a clamp and pull part A tightly against part B.
With an undersize clearance hole, the screw threads
engage with both parts and negate the clamping ac-
To determine the
diameter of the
tion of the screw.
clearance hole, The pilot hole, drilled in part B, is sized to the root
use dial calipers diameter of the threaded portion of the screw. If a pilot
to measure the hole is too large, there is very little wood left for the
shank of the threads to engage with, leading to a weak connection
screw (1). Select prone to stripping. If the pilot hole is too small, the
a bit that matches screw can act as a wedge as it’s driven and split the
the size of the wood. Plus, the screw can be very hard to drive, caus-
shank; if none is ing a stripped screw head, or worse, a broken screw
an exact match,
leaving part embedded in the wood.
pick the next
To ensure that clearance and pilot holes are properly
larger size (2).
Then test the fit
sized, I use dial calipers to measure the shank and root
at the drill press. diameters. I do this every time I use screws, measur-
Using a scrap of ing one screw of a given batch. I could make a chart,
the same species 2 but I prefer to take a measurement because there are
you’ll be drilling
the clearance hole
in, cut a sample
hole (3) and
test the fit of the
screw. It should
slide in easily (4).

3 4

42 FINE WOODWORKING
2. COUNTERSINK

At the drill
press, guide the
countersink to the
clearance hole by
eye, but grip the
workpiece with
moderate pressure
so the bit can
center itself (right).
Set the depth stop
so the screw head
sits just shy of the
surface (far right).

3. PILOT HOLE

Place the tips of

the dial calipers
between the
threads to measure
the screw’s root (1).
Using a scrap of the
same species you’ll
be driving into, drill
a test pilot hole
(2). If the wood
is dense, select a
bit slightly larger
than the root of the
screw; for a very
soft wood, choose a
1 2
bit slightly smaller
than the root. Drive
a screw into the test
differences between screws of the same size made by
hole to be sure the
different manufacturers.
fit isn’t too tight or
Sometimes the caliper measurements correlate nicely too loose (3).
to drill bit sizes. Sometimes they don’t. If the shank
diameter does not correlate to a standard drill bit size,
I always use the next size larger. Yes, the clearance
hole will be slightly larger than needed, but that’s bet-
ter than being undersize. If the root diameter doesn’t
correlate to a standard drill bit size, I make a judg-
ment call based on the material I’m working with. If
the screw will be threaded into a low-density species
(poplar, spruce, white pine, etc.), I’ll select a drill bit
slightly smaller than the root diameter. If it’s a dense
species like bubinga or oak, then I’ll use a drill bit
slightly larger than the screw’s root diameter. If in
doubt, I always drill a hole in a scrap of the species
I’m working with and drive a test screw.
3

www.f inewoodworking.com MARCH/APRIL 2021 43

Put together an efficient installation routine
1.PRE-DRILL THE STOCK

1 2

To cut a series of
clearance holes in the
Hints, tips, and tricks back boards of a cabinet,
A few other details: First, always lubricate your screws Korsak sets a fence on
to make driving them easier. Even with properly sized the drill press (1), then
pilot holes, screws can sometimes be hard to drive, sets the depth stop so the
especially if you are using very long screws or dense bit will just penetrate the
material. Paste wax makes a world of difference and sacrificial sheet of MDF on
can eliminate stripped or broken screws. the table. Using the fence
When a screw is driven into a pilot hole, the threads and layout lines struck
lift the fibers at the surface. These fibers can prevent across the back board,
boards from being pulled together tightly, especially Korsak drills clearance
holes on both edges and
in dense species. To eliminate that possibility, I cut a
both ends (2).With the
small countersink on one of the boards being joined,
fence at the same setting
on the mating face. This provides a space for the raised as for the drilling, Korsak
fibers and ensures a tight interface between boards. cuts countersinks on each
Screws let you assemble and disassemble a joint 3
of the clearance holes (3).
multiple times. But it’s possible, when driving a screw Then he turns the back
back into a previously used hole, to cut a new set of board over and resets the
threads in the hole and weaken its holding power. The depth stop to cut very
trick is to first turn the screw counterclockwise while shallow countersinks on
pushing the screw into the hole with just a bit of force. its inside face (4); these
As you do, at some point you’ll feel the screw “click” will prevent gaps caused
by any fibers that are lifted
into place. Start turning the screw clockwise and it will
when he drives screws into
track into the previously cut threads.
the pilot holes.

Putting it all together

Here’s an example of how I use screws. I like to make
the backs of case pieces out of several boards, gapped
to allow for movement, attaching them to the case with
countersunk flat-head screws.
First I drill the clearance holes. After measuring the
screw and selecting the bit, I set the depth stop so
4

44 FINE WOODWORKING
 2. ATTACH THE BACK BOARDS
the bit will bore just into a sacrificial piece of MDF
clamped to the drill-press table. I hold a back board’s
edge against the fence and drill all the holes along one
edge, then repeat for the other edge.
Next I chuck a countersink bit in the drill press and,
using a test scrap, reset the depth stop so the screw
heads will sit just below the surface. Placing a back
board against the fence, I align a clearance hole to the
countersink bit. This is done somewhat by eye and
somewhat by feel. As I bring the bit down and engage
it with the work, I slightly loosen my grip on the back
board while keeping it registered against the fence and
let the countersink bit slightly shift the board laterally
to find the center of the clearance hole, then bring the
countersink bit down to full depth.

1
With the clearance holes
and countersinks cut, Korsak
slides the back boards into
place (1). Using the clearance
hole bit, he drills a very
shallow dimple in the back
edge of the shelf (2). This will
act as a centering device for
the pilot hole bit. Shifting to
the thinner bit, Korsak drills
the pilot holes (3), sighting
the clearance hole to keep the
pilot bit centered. With all the
pilot holes drilled and screws
waxed, he installs the screws
2 3 to finish the assembly (4).

After cutting all the primary countersinks I reset the

depth stop to cut the small countersinks, maybe 1⁄8 in.
deep, that accommodate the fibers raised when the
screws are driven. I flip the back boards over, so that
their outside faces will be down on the drill-press
table. Now I mill shallow countersinks on the inside
faces of the back boards at all clearance hole locations.
Now I put the back boards in place on the cabinet.
I chuck the clearance bit into a handheld drill, insert
the bit into each of the clearance holes, and drill into
the interior shelf by 1⁄16 in. or so, just enough to make
a dimple. The dimple will serve to center the bit as I
drill the pilot hole with the handheld drill. To keep the
pilot hole bit perpendicular to the work, keep the bit
centered in the clearance hole by eye; it’s surprisingly
easy to do. After vacuuming each hole, wax and drive
the screws, and installation is complete. □

Mike Korsak drives screws in Pittsburgh, Pa.

4

www.f inewoodworking.com MARCH/APRIL 2021 45

Artistic Cutting Boards
B Y M A R K G A R D N E R

C utting boards are

often stored in
view in the kitchen,
propped on the counter or
hung on the wall, so I decided board feel
to make some that took advan- more substan-
tage of that visibility. I wanted my tial. I choose planks
cutting boards to be fully functional wide enough to make the cut-
and yet decorative—a pleasure to use ting board without having to edge-glue
and a pleasure to look at. I aimed to multiple pieces. This way there are no glue seams
give them an interesting shape, diverg- that could delaminate through use and washings.
ing from the usual rectangle, and a hole I usually make cutting boards in batches. I crosscut the rough
that would make hanging easy. I clear-finished the business side plank into sections long enough to yield two cutting boards. At
of the board, but added milk paint and decorative carving to the about 33 in., these double blanks are easier to mill than the full
other side. The carving may give them the look of artwork, but plank, yet long enough to avoid problems that shorter boards
these boards are built for utility, either preparing or serving food, sometimes have going through the planer. After jointing the
and with care in washing they will hold up for many years. blanks, I plane them, taking just enough to remove any sawmill
marks.
Make the blanks hefty Then I set the blanks aside for a week or two, allowing them
The cutting boards I make are roughly 16 in. long and 9 in. to acclimate to the shop atmosphere and move from any tension
wide. I start with roughsawn 5/4 boards; you could make them released in the first milling. Then I joint and plane the boards
thinner, but I like the thicker material, which makes the cutting again, leaving them as thick as possible.

46 FINE WOODWORKING Photo, this page: Carol Singer and Jonathan Binzen
 Carve decoration on one side

Shaping the blank

Whenever I’m making a batch of identical cutting boards, I make
a template of the shape from 1⁄4-in. plywood and trace it onto the and dinner on the other
blanks. At the bandsaw I cut just outside the traced line. Then the
roughed-out cutting board gets clamped into a router jig and cut
to final shape on the router table using a pattern bit. I actually use
two jigs; the first one cleans up a little over half the perimeter of
the cutting board and the second cleans up the remaining edges.
I use Whiteside’s double-bearing compression pattern bits, which
produce a clean cut in grain running in any direction.
If I’m making a one-of-a-kind cutting board, I don’t use the
pattern-routing method. Instead, after bandsawing close to the
layout lines, I clean up the profile and fair the curves by sanding.
I use a stationary belt or disk sander to smooth the straight and
convex edges, and a spindle sander for concave edges.
With the perimeter shape finished, I texture the edges. I find
this produces a good visual transition from the painted side of
the cutting board to the unpainted side. I do the texturing at the
bandsaw. With the saw running and the board laid just to the
outfeed side of the blade, I pull the board toward me on a diago-
nal, gently dragging the edge against the side of the blade. This

Photos, this page (right): Tim Barnwell MARCH/APRIL 2021 47

Shape the board
Rough cut at the
bandsaw. After
milling a 5/4 board,
bandsaw just outside
the perimeter layout
lines and then
smooth up the sawn
surface. A spindle
sander (or a sanding
drum in a drill press)
works well for
smoothing concave
curves. A disk or belt
sander handles the
straight or convex
edges.

Front of bandsaw
Teeth

Approximately 30°
Start with the
Sawteeth produce the texture. After fairing the edges, corner of the board
contacting the side Pull the workpiece diagonally across the
Gardner scores them by pulling the board across the
of the bandsaw blade blade’s teeth, adjusting pressure and
bandsaw blade on a diagonal. behind the teeth. speed to control the amount of texturing.

When producing cutting boards in batches, Gardner

Making multiples makes pattern-routing jigs for trimming them to shape.

Speedy layout. A template made with 1⁄4-in. Pattern routing, Part 1. After bandsawing Now the second jig. Transferring the board
plywood lets him lay out identical boards close to the layout lines, Gardner trims three to his second pattern-routing jig, Gardner
in a few moments. To make milling more edges flush to the base of a shopmade trims the fourth edge. He uses a Whiteside
convenient, his initial blanks are long enough pattern-routing jig. compression pattern bit, which cuts cleanly
to yield two cutting boards. in a range of grain conditions.

48 FINE WOODWORKING Photos, except where noted: Jonathan Binzen; drawings: John Tetreault
 Brush on the milk paint
allows the set of the teeth to
score the surface without dig-
ging in too deep and affecting
the shape. Adding this texture
may seem odd, since I’ve just
used the sander or router to
remove the bandsaw marks,
but this process produces a Coat the cutting board.
different kind of texture and After sanding the board’s
faces with 150-grit, apply
one I can easily control. With
milk paint to the textured
the machine work complete, edges and one face.
I sand the boards, front and Depending on the color of
back, to 150 grit. the paint and the wood,
two or three coats should
Apply the milk paint be sufficient. When the
Now it is time to paint. I prefer last coat is dry, drill the
hanging hole with a
milk paint for my work as it
Forstner bit.
is very durable and the palette
seems to lend itself to comple-
menting wood tones. Two or
three coats usually works well;
the number will depend on Smooth the surface.
the color of paint and the type When the milk paint has
of wood. If you’re applying dried, its surface will be
lighter paint colors to darker somewhat gritty. Sand it
woods, you’ll need more coats. smooth with 150-grit and
then 220-grit paper. Also
Make sure to paint the textured
sand the textured edges
edges at this point, and be enough to break through
careful not to get paint on the the paint on the high
unpainted side of the cutting spots to reveal raw wood.
board. Then, with a sanding
Once the last coat of paint block and 150-grit paper,
dries, I use my plywood layout create a chamfer around
the perimeter to expose
template to locate the hole for
a line of unpainted wood
(below).

Online Extra
To see how Gardner textures the
board’s edges on the bandsaw and
creates the decorative pattern on the
painted face with a power carver, go
to FineWoodworking.com/288.

www.f inewoodworking.com MARCH/APRIL 2021 49

 Carving through the paint

Transfer by
tracing. With a
sheet of artist’s
transfer paper
beneath the design,
tracing the pattern
will transfer it to
your workpiece.

Little bits.
Reciprocating
power carvers can
be fitted with a
wide variety of bits,
which are quickly
changed. Gardner
did this carving
with just two bits.

hanging the cutting board, and then cut the hole with a 3⁄4-in. Use a power carver to add the designs
Forstner bit on the drill press. I sand a chamfer around the rim of My wife, Nancy, came up with several designs for carvings on
the hole on both faces of the board. the painted side of my cutting boards. You can transfer a carving
Unlike latex or enamel paints, milk paint doesn’t dry to a smooth design to the milk-painted surface by placing carbon paper or
surface. So lightly sand the surface with 220-grit sandpaper. Sand transfer paper between the pattern and the cutting board. Using
the edges with 150-grit paper, abrading enough to reveal the light pressure, trace over the design to transfer it to the cutting
texture from the bandsaw, and finish them with 220-grit. I also board.
sand a chamfer around the perimeter of the board on the painted Then, using a V-chisel in a power carver, cut along the pat-
side; the chamfer cuts through the paint and creates a nice outline tern through the paint to the wood surface below to create the
of wood color around the painted surface. If you did happen image. I use an Automach reciprocating power carver and buy
to get any paint on the unpainted face of the board, sand it off blades from Flexcut. The Automach is a great tool; pricey, but
now and finish that side with 220-grit sandpaper. As this is the well worth it. For years, though, I used a Ryobi reciprocating
side intended to be used for serving or cutting, sanding any finer carver, which was far less expensive than my current model and
seems unnecessary. still worked very well.

50 FINE WOODWORKING
 No apprenticeship
required. A novice
with a power carver
can pick it up and
be successful
almost immediately.
Provided its bits
are sharp, the tool
quickly gives a
sense of control and
confidence.

Sensitive starting and stopping. The carver requires only light hand pressure, making it easy to Gouge makes good buds. After using the
start and end a cut accurately. Start a cut with the tool held high (left), and end a cut by lowering V-tool bit to carve the stems in this design,
the handle toward horizontal (middle) to lift out the tip of the bit. Gardner switched to a gouge bit, which he used
with a scooping motion to make the buds.

Using a power carver is very intuitive; you can pick one up for
the first time and succeed quickly. The tool gives you precise
control, and very little pressure is required to engage the cutting
action, letting you start and stop cuts exactly where you need to. To the finish.
In order to keep the carving crisp, though, be sure to keep the To protect both
the painted and
cutting edges sharp.
unpainted parts of
The last step is to apply finish. For wood that comes into contact the board, Gardner
with food, I prefer to use a finish that I make myself by blending applies a coat
beeswax and walnut oil. Wipe a liberal amount of the mixture on of his own blend
the entire cutting board, front and back, and then wipe off the of beeswax and
excess using a clean rag. Now you’re ready to serve some food walnut oil.
and display your work. □

Mark Gardner works wood in Saluda, N.C.

www.f inewoodworking.com MARCH/APRIL 2021 51

Beefy Shopmade
Tenoning Jig
Adaptable jig handles narrow, wide,
and angled tenons
B Y B O B V A N D Y K E

I can think of at least half a dozen different ways to make a

tenon, and I use them all. Often the best way to cut tenons is
at the tablesaw, holding the workpiece vertically in a jig. But
I find commercial tenoning jigs, even the old cast-iron monsters,
extremely limiting and usually less than accurate.
saw’s rip fence. The bridge’s mass helps to dampen any vibration
that could lead to inaccurate tenons. Because it straddles the rip
fence, the jig is infinitely adjustable, unlike versions that slide in
the miter gauge, and its ability to work with the fence on either
side of the blade means that the direction your saw’s blade tilts
I prefer this shopmade jig. It is a smaller version of the massive is not an issue.
one I learned from my friend Will Neptune. It cuts all types of The bridge is housed between two uprights. The tall one sits
tenons equally well, from narrow ones for table aprons to wide perfectly square to the saw table and hugs the rip fence. The
ones for breadboard ends and angled ones for chairs. The jig’s short upright helps trap the jig on the fence so it travels with zero
heart is its bridge, a thick lamination of plywood that straddles the side-to-side play, a crucial fit. I have a clever way to sneak up on

52 FINE WOODWORKING Photos: Barry NM Dima

 BUILT HEAVY FOR SMOOTH RESULTS
Only a few of the jig’s dimensions are critical. Build it to your tablesaw and your work—and don’t
skimp on the mass, which dampens vibration for better cuts.
Online Extra
3
Short upright, ⁄4-in. Baltic-birch To watch how the shim lets you
Dado, 1⁄8 in. deep, located so fit the jig to any saw, head to
plywood, 71⁄8 in. wide by 20 in. long bridge rides 1⁄8 in. above rip fence Bridge, five layers FineWoodworking.com/288.
of 3⁄4-in. Baltic-birch
Wing nuts Shim dials in fit of jig plywood, 20 in. long
on saw’s rip fence. Handle, screwed
to bridge
Support block,
Sacrificial hardwood, 2 in. thick by
strip 2 in. wide by 9 in. long,
screwed to tall upright

Washers

Pressure bar, 3⁄4-in.

phenolic plywood, 23⁄4 in.
wide by 20 in. long

Hex bolts, 5⁄16 in. by

2 in., epoxied into
phenolic pressure bar
MDF standoff,
Width of bridge depends on 1
⁄4 in. thick by
width of tablesaw’s rip fence. Toggle clamps
81⁄2 in. wide by
20 in. long
ADJUSTABLE
PRESSURE BAR Tall upright, 3⁄4-in. Baltic- Workpiece
birch plywood, 101⁄4 in.
A shim between Hex bolts epoxied wide by 20 in. long
the phenolic into phenolic
pressure bar and pressure bar.
the short upright
lets you dial in the
Shim dials in
fit of the jig after fit of jig on
it’s assembled. saw’s rip fence.
Hex bolts and
wingnuts make
sure the setting Workpiece
stays there.
Tighten wingnuts to
lock correct setting. END VIEW

20 in.

101⁄4 in.
13⁄8 in.

1 in.
Lowest screw must be at
RIP FENCE BACK VIEW 63⁄4 in. 31⁄4 in. RIP FENCE FRONT VIEW least 31⁄4 in. above saw table.

Drawings: Christopher Mills MARCH/APRIL 2021 53

Make the body

Glue up the bridge. This central piece is five layers of plywood, giving Tack on a temporary straightedge to true the first edge at the
the jig much of its necessary weight. Use thick cauls and plenty of tablesaw. After scraping off the glue, nail a straight stick to the middle
clamps to guarantee even clamping pressure across this critical element. of an edge of the bridge (top). This stick is the reference surface for the
rip fence (above), letting you square and straighten the first edge.

the fit with an adjustable pressure bar after the jig is assembled,
letting you easily fit the jig to your particular saw.

A carefully built jig makes for accurate tenons

Precision is critical to this build; any inaccuracy in the jig will affect
the accuracy of your tenons. So while the jig may look simple,
you shouldn’t underestimate the importance of building it well.
The first step is to glue up the five layers of plywood for the
horizontal bridge. I used 3⁄4-in. Baltic-birch plywood here, but I’ve
used MDF to make this jig before. Both work well. MDF is heavier,
but plywood holds screws better, so it’s your call. The finished
width of the bridge is the width of your rip fence plus 3⁄4 in. for the
phenolic bar, 1⁄4 in. to accommodate the two 1⁄8-in.-deep dadoes in
the uprights, and 1⁄16 in. extra for fitting the jig to your saw later.
Make the layers about 3⁄8 in. wider than the finished bridge so
there will be plenty of extra width to trim after the glue-up. To
bring the glued-up stack to final size, begin by truing one edge
of the bridge at the tablesaw. Tack a straight stick to the middle Flip the workpiece to finish the cut. The workpiece is too thick to rip
of the stack on one side and reference that against the rip fence. in one pass, so you’ll need to flip it face for face before the second cut.
Then reference the cleaned-up edge off the fence to rip the blank Finish by using the newly sawn edge to rip the bridge to width.

54 FINE WOODWORKING
Dado the uprights to locate the bridge. The bridge should fit snugly.
Position the dado so the bridge rides above the rip fence. You want the
jig to ride on the saw table, not the fence. After this, drill the holes for hex
bolts.

Dry-fit the jig to see if the tall upright needs shimming.

It is critical that the tall upright is perfectly square to the
table, since any inaccuracy here will impact your tenons.
Shim if necessary (right). The short upright just gets screwed
in place after getting predrilled for the pressure bar’s hex
bolts.

to width. If you have a jointer and planer with carbide knives, you Assemble the main body. Because it’s crucial the tall upright is
can use those too. The plywood will ruin straight knives, though. square to the saw’s table, check it during a dry-fit and again during
Now for the dadoes in the uprights. Referencing off their bottom glue-up. Shim it if necessary. I use Old Brown Glue, since it allows
edges, cut a 1⁄8-in.-deep dado whose width is the exact thickness extra time to adjust the clamps for a perfectly square assembly.
of the bridge. Locate the dadoes so the bridge will ride just above After the glue dries, I screw the shorter upright to the bridge.
the rip fence without touching it. These dadoes need to be con- Give the jig a test run to see if you need a shim under either
sistent in depth. If they’re not, a light shave with a router plane upright to make the tall upright square to the saw table. I usually
should help. Later on, you’ll through-bolt the short upright to the use tape, although I’ll glue on veneer if it’s really bad.
phenolic pressure bar, which slides against the rip fence. Drill
these holes now. To ensure they line up, use double-sided tape Equip the jig with support blocks and standoff
to attach the phenolic to the inside face of the upright. It should With the main body of the jig made, it’s time to make the support
sit about 1⁄8 in. above the upright’s bottom edge. blocks and MDF standoff. Attach a piece of 1⁄4-in.-thick MDF to the

www.f inewoodworking.com MARCH/APRIL 2021 55

Outfitting the jig
STANDOFF AND HOLD-DOWN CLAMPS face of the tall upright with brads or double-sided tape. It should
be flush to the top edge and have a 13⁄4-in. gap at the bottom. This
gap prevents any scrap from a cheek cut getting trapped between
the blade and the jig.
Next, make a support block from 2-in. stock. If you modify your
toggle clamps the way I do (see the tip in “Jigs for Routing Perfect
Curves,” FWW #283), you’ll be able to clamp all workpieces thin-
ner than the support block. And it’s easy to customize the blocks
for thicker parts when the need arises. Because the support block
also registers the workpiece, install its leading edge square to the
saw table. Using double-sided tape, add a thin sacrificial strip
between the support block and the workpiece to back up the cut,
preventing tearout. You’ll need a second block for tenoning wider
stock, so make that now too. Finally, add the handle.

Adjustable pressure bar eliminates side-to-side play

Turn your attention to the phenolic pressure bar and dialing in
its fit until the jig slides smoothly along your fence. While I like
phenolic here because it slides well, MDF or Baltic-birch plywood
also works fine. You’ll just need to keep it waxed so it slides better.
Begin by epoxying hex bolts into the phenolic. These will go
Sacrificial MDF standoff prevents waste from getting trapped. The through the corresponding holes in the short upright and let you
MDF’s bottom edge should be 13⁄4 in. above the bottom edge of the base. lock the bar in place via wingnuts when you shim it to its cor-
This creates a gap that prevents offcuts from getting trapped between rect setting.
the blade and the jig.

Install the vertical support and toggle clamps. This block both supports the
workpiece and holds toggle clamps. Install it square, and mount it about 1 in. above
the saw table (above). Then double-stick tape the zero-clearance sacrificial strip in
place (right). This strip backs up the workpiece, limiting tearout on the back of the cut.

56 FINE WOODWORKING
ADJUSTABLE PRESSURE BAR After the epoxy sets, begin fine-tuning the jig’s fit by taping a
Epoxy hex bolts strip of 1⁄16-in.-thick veneer between the bolts. Test the jig to de-
into the phenolic termine if you need to shim it more or less. Plastic or brass shim
pressure bar. stock or a few layers of tape also work great.
The bolts’ heads
are recessed in
counterbored holes
Now cut some tenons
filled with epoxy. Van With this jig, you can make tenons easily and, more importantly,
Dyke simplifies the accurately. I have found that when I dial in the fit on one tenon,
process by using a the rest will need little to no adjustment with a shoulder plane.
block to temporarily Cutting tenons with the stock held vertically requires cutting the
raise the heads shoulders and the cheeks separately. The shoulder cut is done
above the holes
with a crosscut sled, a miter gauge, or a pusher block with the
as he applies the
adhesive. He then
end of the stock running against the fence.
removes the block so As for the cheeks, there are a few different methods for cutting
the bolt heads cure them vertically, and this jig does them all well. One is to cut the
within the pool of first cheek and then flip the board face-for-face to cut the second.
adhesive. When the This centers the tenon, but any adjustments need to be done
epoxy is dry, scrape very carefully since the flip doubles any errors. Another method,
or sand it flush to the
especially useful for offset tenons, is to cut the first cheek on all
phenolic.
the workpieces and then adjust the fence to cut the second. A

Shim to adjust the pressure bar’s fit. The shim should run the length of the bar (top left). Van Dyke
starts with 1⁄16-in. veneer, having built the bridge overwidth by that amount. Then bolt the bar in place
and test how the jig travels. Tighten the wingnuts until they’re finger-tight (bottom left). Check to see
how the jig rides (above). If necessary, use a thinner shim or pad out the existing one with tape.

www.f inewoodworking.com MARCH/APRIL 2021 57

Using the jig
BASIC TENONS
Put the workpiece
in place and
adjust the toggle
clamps. Keep the
end of the stock
square and tight to
the saw table and
the support block.
Always support the
jig when tightening
the toggle clamps.
Otherwise, it is
possible for the
saw’s fence setting
to slip.
Cut the shoulders. With the end of the stock running against the fence,
make a cut with a crosscut sled, miter gauge, or pusher block. Van Dyke
usually cuts the shoulders before the cheeks, but he hasn’t had a problem
cutting them afterward.

Vertical cut leaves smooth cheeks. After

dialing in the cut with a setup piece, Van Dyke
cuts all the cheeks meant for that setting. The
sacrificial strip will be needed as you move the
fence for different cuts.

third option, which requires only one fence setting, is to use a With extrawide workpieces that won’t permit a second sup-
spacer after cutting the first cheek. In my own work, I usually use port block, use hand clamps to replace the second set of toggle
a fourth method: twin blades with a spacer between them to cut clamps.
both cheeks at the same time. Angled tenons present different challenges, and this jig accom-
This fixture also excels at cutting wide tenons, like on a table’s modates them easily. Instead of angling the blade, I instead angle
breadboard end or a lowboy’s side panels. This is where a second the workpiece with a wedge cut to the correct angle. The wedge
support block with toggle clamps on the jig’s far end comes into goes between the work and the tall upright. □
play. I use one for any board more than 6 in. wide. If the board
is at all cupped, place it with the concave side out. This ensures Bob Van Dyke runs the Connecticut Valley School of Woodworking
that the clamps will hold the entire board flat. in Manchester, Conn.

58 FINE WOODWORKING
ADD CLAMPS FOR WIDE STOCK

Screw on a second support block for parts over 6 in. wide. Replace the block with a clamp for very wide stock. Depending on the size
This extra clamping pressure ensures the whole workpiece stays of your jig, a second block may not fit as your workpieces get wider. A hand
flat against the upright. clamp works just as well in these situations.

ADD A WEDGE
FOR ANGLED TENONS

A wedge simplifies angled tenons. Instead

of angling the blade, Van Dyke puts a wedge
between the workpiece and the tall upright.
After cutting the first cheek, he moves the
fence to cut the second. It’s important to check
with each pass to make sure the end of the
stock is tight on the saw table.

www.f inewoodworking.com MARCH/APRIL 2021 59

 Ship-Inspired
Wall Shelf
Graduated shelves
and graceful symmetry
hang on a single stud
B Y C H R I S T I A N
B E C K S V O O R T

I have a thing for wall-

mounted furnishings, be
they clocks, lamps, cabi-
nets, or shelves. The latest de-
sign is based on the mast and
spars of a square-rigged sailing
ship. It is designed to be light,
graceful and strong, for display
of books, DVDs, art objects, or
just your collection of knick-
knacks. The whole shelf is de-
signed to hang on a single stud.
Like the spars on a ship, the
shelves get thinner and smaller
as they go farther up the rib.

Start with the center rib

All of the shelves branch out
from the center rib (or mast).
Before the rib has been ta-
pered, and while both edges
are still square and parallel, I
cut the 1⁄8-in.-deep dadoes to
hold all the shelves. That way
I can flip the board to cut da-
does on both sides. Because
the shelves go from thinner at
the top to thicker at the bot-
tom, all but two of the dadoes
are of different widths. Cutting
them is an organizational chal-
lenge. There is a lot of adding
and subtracting spacers from
the dado setup. Patience pays.
Once the dadoes are cut, the
rib can be tapered, from 71⁄2 in.
at the largest shelf to about

60 FINE WOODWORKING Photos: Anissa Kapsales; drawings: Dan Thornton

WALL SHELF 1
⁄2 in.

While this shelf has a straightforward design, the graduated dimensions will keep
you on your toes. The design remains light and airy because the shelves and their
supports vary in thickness, depth, and length. Stay organized and you’ll do fine.
Center rib, 3⁄4 in.
thick by 71⁄2 in.
A wide by 50 in. long

C
D
B Shelf 1
20°
15°
3
⁄4 in.

SHELF TOP VIEW

CENTER RIB
SHELF 1 2 3 4 5 Shelf 2 TAPERED TOP DETAIL
3 7 1 9 7
FRONT VIEW
Thickness ⁄8 in. ⁄16 in. ⁄2 in. ⁄16 in. ⁄16 in.
Length (A) 13 in. 18 in. 24 in. 32 in. 13 in.
Center width (B) 37⁄8 in. 51⁄8 in. 63⁄4 in. 9 in. 5 in.
1 3 1 5
End width (C) 2 ⁄8 in. 2 ⁄4 in. 3 ⁄2 in. 4 ⁄8 in. 31⁄4 in.
5 15 1 1
Notch depth (D) 2 ⁄8 in. 3 ⁄16 in. 5 ⁄2 in. 7 ⁄2 in. 33⁄8 in.

Shelf 3

Shelf

Support,
3
⁄8 in. thick

Dado, 1⁄8 in. deep

Center rib
Support

SHELF JOINT DETAIL

BACK VIEW
Shelf 4

Notch
Shelf 5
A

B Top dimension will vary

from 1⁄8 in. to 5⁄16 in.
45°
SUPPORT FRONT VIEW

SUPPORT 1 2 3 4 5 1
⁄4 in.
3 1 1 1 5
45°
Length (A) 12 ⁄8 in. 17 ⁄4 in. 23 ⁄4 in. 31 ⁄4 in. 12 ⁄16 in.
Width (B) 11⁄4 in. 11⁄4 in. 13⁄4 in. 13⁄4 in. 11⁄4 in. SHELF EDGE DETAIL
FRONT VIEW

MARCH/APRIL 2021 61
 1 in. Everything sticks to your rib
The main rib is the infrastructure that locks the shelves and shelf supports in place.

103⁄4 in.

3
⁄8 in.

11⁄4 in.
61⁄4 in.

7
⁄16 in.

11⁄4 in.

81⁄8 in.
50 in.

1
⁄2 in.

13⁄4 in.

10 in. Lots of different dadoes. Because the shelves gradually get thinner toward the top,
there are a lot of dado blade changes to accommodate the different shelf thicknesses. Cut
all these dadoes before you shape the rib.

9
⁄16 in.
1 in. at the top and bottom. I do this the center to both ends. I also cut a
on the bandsaw, and then I clean up 20° angle on the ends. Finally, to make
that cut at the bench with a handplane. the shelves look even lighter, I rout the
13⁄4 in. The section above the top shelf is then undersides of the three visible edges
73⁄8 in. gently tapered on both sides, to about at 45°.
1⁄2 in. thick at the tip, again at the bench

with handplanes. Shelf supports add strength

7
⁄16 in. The shelf supports are next. Like the
Five different shelves shelves, they vary in size, though all
Next I cut the shelves. These are all dif- are 3⁄8 in. thick. The supports for the
ferent lengths, widths, and thicknesses. two large shelves are 1 3⁄4 in. wide,
11⁄4 in.
53⁄16 in. The extra effort to do this contributes while the three smaller shelves have
to the grace of the piece. It would be 11⁄4-in.-wide supports. To lay out the
very clunky if everything had the same notches in the rib that accept the sup-
dimensions. Once the shelf blanks are ports, slide the shelves temporarily in
1 in. milled, I locate the center and cut a place. Hold a support under its shelf
71⁄2 in 1⁄2-in. slot to fit and correspond to the in the back, making sure it is perfectly
dadoes cut into the center rib. Then I flush with the shelf. Then mark the
CENTER RIB SIDE VIEW taper each shelf on the bandsaw from width on the back of the rib. Repeat

62 FINE WOODWORKING
 Shape the rib.
On the bandsaw,
the front of the
rib gets tapered
in two directions.
After cutting the
tapers, Becksvoort
smooths the
bandsawn edges at
the bench with a
handplane.

Square the front

at the dadoes.
With a chisel,
create a shoulder
connecting the two
dadoes, cutting the
front edge of the
rib parallel to the
back edge. This will
allow the shelf to
be inserted fully so
it sits flush with the
back of the rib.

www.f inewoodworking.com MARCH/APRIL 2021 63

Keep the shelves sorted
The five shelves are of varying widths and thicknesses. Patience and
organization will help you keep track of what you’re doing where.

THICKNESS THE SHELVES

Start at the
planer. Keep the
dadoed rib close
at hand so you can
test each shelf in
its dado. Start by
planing the thickest
shelf and work your
way down to the
thinnest one.

NOTCH AND SHAPE THE SHELVES

1 2

3
Notches first. Locate the center point, and cut a 1⁄2-in. notch that will
slot into the dadoes in the rib (1). On the bandsaw, cut the tapers on the
fronts of the shelves (2). Then move to the tablesaw to cut the angles on
the ends (3). Finally, use a handsaw to extend the saw line and then a
chisel to square the end of the notch (4).
4

64 FINE WOODWORKING
for all five shelves, remove the shelves,
and with the dado blade set to 3⁄8 in. Supports are vital
high, cut from each mark up to the The shelves are designed to radiate from one vertical point, the rib. To make it structurally sound
dado. Dry-fit all 11 pieces together, and you must beef up the shelves with supports that are notched into the rib, locking it all together.
mark the supports where they meet the
45° undercut on the shelves. Then cut
the supports to length.

Glue up shelf by shelf, then add

hangers and finish
Sand all the parts and glue the shelves
into their dadoes. Then add a thin layer Mark and notch
of glue on the tops of the supports for the supports.
With a shelf slotted
and in the notches for them and slide
partway onto the
the supports under the shelves. Clamp rib and the support
with spring clamps. butted against the
Once the glue is dry and the clamps shelf, use a knife
are off, turn the shelf over onto its to mark the width
face and rout and drill for two cabinet of the support. At
hangers on the back of the center rib the tablesaw, use a
dado blade to cut
between the first and second shelves
the notches in the
rib (below).

www.f inewoodworking.com MARCH/APRIL 2021 65

Assemble and the third and fourth shelves.
I finish my shelf with a mix of
One shelf, five separate two parts Tried & True varnish oil
glue-ups. For each glue- mixed with about one part spar
up focus on one shelf varnish. I apply three coats with a
and its mating support. good 0000 steel wool rub between
coats.
To hang the shelf, locate a wall
stud with a magnet or stud finder.
Place a strip of 3⁄4-in. blue tape ex-
actly over the stud, making sure
Glue it all up. Working on the tape is perfectly plumb. Put
one shelf at a time, apply two 3⁄8-in. dowel centers in the
glue to the dado and slide hanger holes and press the shelf
the shelf all the way into onto the blue tape, being sure that
place. Then add glue to the
the rib is plumb. Remove the tape
top edge of the support and
to the notch, and clamp and screw two screws (minimum
the support to the shelf length 2 in.) into the dimples left
with spring clamps. Drive by the dowel centers, so that there
a predrilled, countersunk is only about 1⁄8 in. of screw shaft
screw through the support between the wall and the screw
into the rib (below). head. Hang your shelf, decorate it,
and stand back and admire your
work. □

Longtime contributing editor

Christian Becksvoort makes furniture
in New Gloucester, Maine.

66 FINE WOODWORKING
Hang it up
This shelf hangs on two keyhole hangers
in one plane on the rib.

Rout and install. Each keyhole hanger

requires a stepped mortise (top). The shallow
outer mortise lets the hardware sit flush with
the surface of the wood or just a hair below.
The deep inner one accepts the screw head.

Locate and hang. Becksvoort finds the wall stud and marks it with a strip of blue tape. If you
aren’t using a stud, be sure to use wall anchors that are strong enough to support the shelf and its
contents. With dowel center markers in the keyhole hangers, press the shelf in place on the blue
tape. The dowel centers will mark the tape and the drywall underneath for the precise placement
of your screws.

www.f inewoodworking.com MARCH/APRIL 2021 67

gallery
Inspiration for our readers, from our readers

FWW LIVE GALLERY

■ EV E R A D OVSK Y
When the pandemic forced ■ Cambridge, Mass.
the cancellation of Fine
Woodworking Live 2020, these North Bennet Street School, 2018–20
promising furniture makers from The carving design was taken from a blanket
woodworking schools around the chest attributed to Thomas Dennis, a 17th-century
country were set to be featured cabinet maker in Ipswich, Mass. The overall design
in the event's gallery. It's a is inspired by case furniture from this period. “I
shame you won't get to see these chose to do housed tapered dovetails, since this
pieces in person, but here they was a joint that I wanted to try," Eve says.
are in print. We were impressed,
and hope you'll be, too. WHITE OAK, MAPLE, 10D X 14W X 18 3⁄ 4H

■TORRIE SM I T H
■ Vancouver, B.C., Canada
Inside Passage School of Fine Cabinetmaking, 2019
Known as Vidar's chair, this third-term project at the school offers a lesson in grain
graphics and joinery. “The joinery becomes progressively harder as we work through the
chair construction, culminating in a compound angled mortise and tenon on a curve.”
Now Torrie is working on two more chairs, this time built of narra and made in his own
shop.
ASH, 24D X 24W X 34H
Photo: Tim Andries

■ JAC KS O N FA IR L IE
■ Melbourne, Australia
North Bennet Street School, 2018–20
Jackson was inspired by the techniques he wanted to learn, which included
bricking, veneering curved surfaces, bridle joints, and reeded, turned legs. "The
maple accent beads at the foot of each leg tie into the bead underneath the
apron. This was something my instructor Lance Patterson had lightly suggested
and I took on board as an opportunity to do something unique," he says.
POPLAR, WALNUT AND MAPLE, 15 1⁄ 4D X 29 1⁄ 2W X 19 1⁄ 2H Photo: Lance Patterson

68 FINE WOODWORKING Photos:

 ■ N I C H O L AS F ER N A N D ES
■ Malden, Mass.
North Bennet Street School, 2018–20
Nicholas designed a pair of chairs as a modern set to go along
with a tripod table. “The flared legs are to go with the saber
legs of the table," he says. He kept the chair's back posts and
splat simple to harmonize with the ellipse tabletop.
CHERRY, 21D X 22W X 38H (CHAIRS);
20D X 20W X 43H (TABLE UPRIGHT, AS SHOWN),
24D X 20W X 39H (TABLE IN FLAT POSITION)

■CECILIA YO KO EM Y
■ Brooklyn, N.Y.
Rhode Island School of Design
“This bedside cabinet is inspired by the Italian countryside,
where from a distance, houses on a hillside tend to appear
stacked on top of each other, resulting in an asymmetrical,
colorful, and playful landscape,” Cecilia says. She used
aniline dye to create the many colors of this cabinet.
ASH, 8D X 18W X 24H
Photo: Mark Johnston

Show your best work

For submission instructions and an entry
form, go to FineWoodworking.com/rg.

www.f inewoodworking.com MARCH/APRIL 2021 69

gallery continued

■ A DA M BADGLEY
■ Lancaster, Pa.
Thaddeus Stevens College of Technology, Class of 2020
Adam made this bowfront chest of drawers when he was a sophomore.
“I wanted to challenge myself,” he says. “I adorned the fronts with an
end-matched burl veneer, framed by walnut banding with sycamore
stringing.” Big challenges were the flared French feet, the cock beading,
and the drawer sides dovetailed into the curved fronts.
WALNUT, 20D X 40W X 36H
Photo: Bradley Adams

■ M AT T H E W N A RK E VI C I U S
■ East Providence, R.I.
North Bennet Street School, 2018–20
Matthew‘s table is an almost exact replica of one that his instructor
made at NBSS, “except the one change I made, which was to add a
basic acanthus leaf carving on the urn on the column,” he says.
SAPELE, EBONY, 22D X 19W X 41H

■MARION C O U VR E U R
■ Vancouver, B.C., Canada
Inside Passage School of Fine Cabinetmaking, 2016–19
Marion built this writing desk using the first wood she bought for
herself—a plank of English walnut. “I knew from Day 1 I would use
this plank to explore parquetry, a technique I was very interested in.”
ENGLISH WALNUT, LEBANESE CEDAR, SYCAMORE
13 1⁄ 3D X 15W X 31 1⁄ 2H
Photo: Tim Andries

70 FINE WOODWORKING
■ EDWAR D BOEY
■ North Vancouver, B.C., Canada
Inside Passage School of Fine Cabinetmaking, 2018–19
This cabinet was designed for Edward’s wife, a professional
violist. It’s based on a violin cabinet made by James Krenov
in 1969. “The dimensions were chosen for ease of use,” he
says. “The curve in the grain in the back panel was chosen
to complement the shape of the viola.”
NARRA, PORT ORFORD CEDAR, PACIFIC YEW, MAPLE
8D X 35W X 18H
Photo: Tim Andries

■ AR T L A M AN
■ Mansfield, Mass.
North Bennet Street School, 2019–21
The NBSS tool box is the first major project in the Cabinet and Furniture
Making program. Art made the case using a housed tapered dovetail.
This let him add a new joint to his repertoire and try a coved edge on the
molding. On the drop-down door (not shown), he used an escutcheon
inlay from a piece of abalone stock that belonged to his grandfather.
MAHOGANY, HARD AND SOFT MAPLE, 16 3⁄ 8D X 28 1⁄ 2W X 16 5⁄ 8H

■ DA N IEL W EIS S M A N N
■ Melrose, Mass.
North Bennet Street School, 2018–20
One of the program requirements at NBSS is to build a chair using
traditional joinery. This is Daniel’s interpretation of a classic Queen
Anne design. The seat is covered in brown leather, filled with
natural horsehair and cotton batting.
CHERRY, ASH, 22D X 21W X 38H

www.f inewoodworking.com MARCH/APRIL 2021 71

handwork
East meets West
handplane
BY VIC TESOLIN

A
couple of years ago, I was exposed to Japanese I looked to old wooden planes that had a bed or a pocket cut
plane making. A friend let me try some of his planes into the sides to receive the blade and wedge. I didn’t include
and I fell in love with them. They feel nimbler in a chip breaker. There are other methods that I prefer to employ
my hands, and I feel like I have more control over to reduce tearout, such as a sharp blade, a tight mouth, and a
what I’m doing on the pull stroke. But after a few bed angle that suits the wood you’re smoothing.
failed attempts at trying to make a Japanese plane, I Traditional Japanese planes have soles that are hollowed out
realized it was not an easy task. They don’t have any flat surfaces in the center by 0.001 in. or so. I decided to keep the sole of
and the blades are tapered in two directions. this plane flat. Flat soles have yielded fantastic surfaces for me
I truly enjoy pulling planes, so I set out to simplify the over the years. This plane, a smoother, only takes about a day
construction for a pull-style plane. I’m not making a Japanese to make. You can increase or decrease the size for different
plane. I’m simply making a plane that you pull instead of push. types of work.
I’ve been making wooden planes for years using the
sandwich method, dubbed “Krenovian,” so I made this plane Body parts and wedge
from two core pieces and two cheeks. I also wanted to get rid Start by milling out the core piece, which you’ll cut into two
of the pin that typically holds the wedge and blade in place, so smaller pieces later, and the two cheeks. If you cut the parts

72 FINE WOODWORKING Photos: Anissa Kapsales

Hybrid plane: Built Krenovian style, it cuts on the pull stroke
START WITH A BLANK CUT THE CORE NOTCH THE CHEEKS

Cut 1⁄2-in.-thick cheeks Stack the blade and wedge on the bed to
Cut the blade bed at 37°. trace the wedge angle, then rout pockets.
off each side.

Cut the escapement at 45°.

Core

9
⁄32 in.

17⁄8 in. 27⁄8 in.

12 in.

TOP VIEW

SOURCE
O F S U P P LY
VERITAS BEVEL-UP
1
⁄8 in. BENCH PLANE BLADE
leevalley.com
21⁄4 in. 5
⁄8 in.
3
⁄16 in. 1
⁄8 in.

7
⁄8 in.
31⁄8 in.

WEDGE TOP VIEW WEDGE SIDE VIEW

6 in. 37°

13⁄4 in.

45° 4 in.
1
SIDE VIEW ⁄8 in.

Drawings: John Tetreault MARCH/APRIL 2021 73

handwork continued

Saw the body apart

The plane has a core and two cheeks. To start,
mill the core as one solid piece. It will get cut
into two separate pieces later.

Two cheeks and a core. Tesolin mills all the

body parts from a single blank. With one side
and the bottom milled flat and square, he
begins by cutting the first cheek to width on
the bandsaw and skims the bandsawn side of
the core on the jointer. Then he cuts the core
about 1⁄16 in. wider than the plane blade, skims
the second side of the core on the jointer, and
bandsaws the final cheek to thickness. A glue surface for body parts. Once the parts are cut and the cheeks each have a jointed
surface, run the cheeks through the planer to get them to the same thickness. Use a handplane to
lightly smooth all the machine marks off the surfaces.

Cut the core. Mark

the angles of the
blade bed (37°)
and escapement
(45°) on the core
(far left). WIth a
Veritas magnetic
saw guide clamped
to the core blank,
Tesolin saws the
core into two
angled pieces.

74 FINE WOODWORKING
from the same blank, you can maintain the grain picture, but it
is not necessary. Crosscut the bed at 37° and the escapement at
45°. Lay out the wedge, cutting the slope on the bandsaw, and
Make the wedge
clean up the milling marks. A wedge puts pressure on the top of the blade, serving two functions.
I make pockets in each cheek for the blade and wedge to It keeps the blade firmly on the bed of the plane and provides the
slide into. To lay out these pockets, clamp the bed part of the compression that keeps the blade from moving once adjusted.
core to one of the cheeks and transfer the bed location to the
cheek. Then stack the blade and wedge on the bed and trace
the wedge angle. Repeat these steps on the other cheek. Be
sure to organize the parts using a cabinetmaker’s triangle so
that you don’t mark and cut the wrong surface. Mark the depth
of the pockets with a marking gauge. Set up a detail router
with a straight bit and remove as much of the waste as you can,
going as close to your layout lines as you dare. Then, use a
chisel to work to the layout lines, ensuring that you have a crisp
meeting between the shoulder and the base of the pocket.
With the pockets complete, do a dry-assembly to make
sure that everything fits. Prior to getting the clamps out,
remove the point on the front core piece, creating a flat that
is perpendicular to the sole and about 1⁄8 in. wide. This will

Make the wedge.

After you lay out
and draw the
wedge on a blank,
take it to the
bandsaw and cut
the slope. Then use
a block plane to
clean up the slope
(left) and shape a
facet into the top of
the wedge (below).
The facet is purely
aesthetic.

allow you to periodically flatten the sole without increasing the

mouth size. Clamp all the parts together with light pressure and
align them as close as you can by eye. Now insert the blade
and wedge and tap everything in place with a plane-adjusting
hammer. This will bring the parts into alignment and ensure
that the wedge and blade fit well. The front core piece will be
pushed forward until the blade can almost slide through the
mouth. You’ll open the mouth in a later step.

Glue-up: clean bench, plenty of clamps

Now it’s time for the glue to flow. Apply the glue to the core
pieces and keep glue away from the areas adjacent to the bed
and escapement areas. Align and clamp the parts loosely. Insert

www.f inewoodworking.com MARCH/APRIL 2021 75

handwork continued

Notch the sides A pocket in each cheek cradles the blade and wedge.

Locate the
pockets on the
cheeks. First,
clamp the bed
half of the core to
one of the cheeks
and use a marking
knife to transfer
the bed location
to the cheek. Then
stack the blade
and wedge on the
bed and mark the
wedge angle on
the cheek. Repeat
these steps on the
other cheek.

Cut the pockets. Use a marking gauge to mark the depth of the pockets on the cheeks. The
pockets should be deep enough to allow for lateral adjustments of the blade. With a handsaw and
a saw guide, cut the sides of the pocket. Then follow up with a straight bit in a trim router to remove
the waste as close to the line as you’re comfortable with. Clean up with a chisel and router plane.

Sizing the wedge

Fit and trim the
wedge. With the
plane parts aligned
by eye and lightly
clamped on the
bed side, test the fit
of the wedge. If the
wedge is too wide,
simply trim it with
a block plane on
a shooting board
until you dial in
the fit.

76 FINE WOODWORKING
Glue it up The blade and wedge keeps the parts aligned.

1 2 3
Glue up. Apply the glue to the core pieces (1).
Align and clamp the parts loosely (2). Tap the
blade and wedge into place (3). Tighten the rear
clamps a bit more. Slide the front core piece to
meet the blade, then clamp in place (4). Tighten
the clamps, then remove the blade and wedge
(5) and let the glue dry.

4 5

the blade and tap the wedge into place. Tighten the rear clamps your filing in check. Pick a small, flat file or float to slowly
a bit more, then turn your attention to the front of the plane. open the mouth. Be mindful of the file’s position, focusing on
Slide the front core piece to meet the blade and clamp it in keeping it perpendicular to the sole. Remove a bit of material,
place. Be sure that the parts remain flat referencing the sole then test with the blade to gauge your progress. The mouth
and don’t worry about the cheek alignment. You will trim the should only be open a whisper for a fine smoother. It can be
cheeks flush later. Go around the plane, tightening clamps, and much wider if the tool will be used for rougher tasks like mass
then remove the blade and wedge and let the glue do its thing. stock removal. I also use a file to fine-tune the fit of the pocket.
Use a damp cloth to remove any squeeze-out. Once you have opened the mouth, install the blade and set
Once the glue is dry, remove the clamps and inspect the the wedge, keeping the blade retracted. Lay some adhesive-
interior surfaces for any rogue glue, removing it with a sharp backed sandpaper on a flat surface and pull the plane along
chisel. Gently scrape away any hard glue left on the top and the paper to flatten the sole. Draw pencil marks on the sole
sole of the plane. Trim the ends flush and to final dimension. to gauge your progress. Once it is flat, create chamfers about
3⁄16 in. wide on all the edges including the sole. I put a light

Fine-tune the mouth opening, pocket, wedge, and sole coat of wax or a single coat of oil like boiled linseed on my
To open the mouth, start by marking a line parallel to the front tools because I like to feel the wood rather than a candy-coated
of the mouth opening. This will serve as a visual gauge to keep finish, but you can use whatever you like. Now it’s time to play!

www.f inewoodworking.com MARCH/APRIL 2021 77

handwork continued

Sweating the little things

Fine-tuning the mouth, pockets, and sole of the plane will make a huge difference in how it performs.

File the mouth and pocket openings. Working to a pen or pencil line, file the mouth opening,
holding the file perpendicular to the sole (far right). File just a hair before inserting the blade to
check the opening. Additionally, file the pockets clean and in line with the mouth opening (middle).

Set it up and use it

Set this plane up by starting with the blade just above the sole
with the wedge tapped in place to hold the blade. Start to pull
the plane toward you while gently tapping the blade deeper
into the plane body with a small hammer. If you listen carefully,
you should hear the blade sliding against the wood before it
makes a shaving. At this point tap the wedge tighter and take
a test cut. To retract the blade, tap the back, top corner of the
plane body at roughly the same angle that the blade is bedded.
This plane works as well as I hoped it would. The wood-on-
wood burnishing makes a lustrous surface and the warmth of
the wooden tool in your hands is lovely.

Vic Tesolin, author of The Minimalist Woodworker (Blue Hills Press), recently
set up a new shop in Burlington, Ontario, Canada.

Shape the bottom

of the wedge. At
this point, Tesolin
cuts a V-shape,
which is purely an
aesthetic choice,
into the wedge on
the bandsaw and
cleans it up by
hand with a chisel.

A flat sole. With the blade installed but backed out slightly, pull the
plane bottom across sandpaper adhered to a flat surface. Use pencil
lines across the sole to gauge progress until it is flat.

78 FINE WOODWORKING

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Vacuum Pressing Systems, Inc.

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www.f i newoodwor k i n g.com MARCH/APRIL 2021 79

handwork continued

Set up and use

Prevent gouging. Knocking off the corners of Adjusting the blade. With the blade just above the sole and the wedge tapped in place, pull the
the blade is a good practice in order to prevent plane toward you while gently tapping the blade deeper into the plane body. Tap the wedge tighter
the shaving from jamming in the pockets. and make a test cut. To retract the blade, tap the back top corner of the plane body.

Pull for shavings.

Tesolin built this
plane to cut on the
pull stroke because
it gives him more
control and he
prefers the way the
wooden plane sole
burnishes the wood
as it cuts.

80 FINE WOODWORKING
WOODWORKERS MART

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INDEX TO ADVERTISERS

ADVERTISER WEB ADDRESS PAGE ADVERTISER WEB ADDRESS PAGE

Bessey Tools besseytools.com p. 25 Leigh Tools leightools.com p. 27
Briwax briwax.com p. 83 Lignomat lignomat.com p. 25
Center for Furniture MicroFence microfence.com p. 81
Craftsmanship woodschool.org p. 79 Oneida Air Systems oneida-air.com p. 13
Connecticut Valley School Oneida Air Systems oneida-air.com p. 15
of Woodworking schoolofwoodworking.com p. 11 Oneida Air Systems oneida-air.com p. 23
Envi by Eheat eheat.com p. 21 Oneida Air Systems oneida-air.com p. 79
Felder Group USA feldergroupusa.com p. 11 PantoRouter pantorouter.com p. 23
Fine Woodworking Shop Class finewoodworking.com/webinars p. 27 Quality Vacuum Press qualityvak.com p. 81
Grex Tool grextools.com p. 21 Rikon Tools rikontools.com p. 7
Groff & Groff Lumber, Inc. groffslumber.com p. 27 South Bend Tools southbendtools.com p. 2
Hearne Hardwoods hearnehardwoods.com p. 25 Spirals by Steve spiralsbysteve.com p. 81
Henry Eckert Tools thetoolworks.com.au p. 11 Titebond titebond.com p. 19
Highland Woodworking highlandwoodworking.com p. 25 Vacuum Pressing Systems vacupress.com p. 79
I2RCNC i2rcnc.com p. 5 Varathane varathanemasters.com p. 9
Infinity Cutting Tools infinitytools.com p. 21 Woodcraft woodcraft.com p. 23
Keller & Co. accuratedovetails.com p. 81 Woodpeckers woodpeck.com p. 17

www.f i newoodwor k i n g.com MARCH/APRIL 2021 81

from the bench
Woodworking
changed my life
B Y L A S H A W N L . L O N G A few projects. Long built the round table at left for a teacher in the facility. The
crossed pieces are joined with lap joints. On the table and to the right are wine
racks and behind them are plant boxes that Long built.

I
am incarcerated in Green Bay Correctional Institution. I now that with the right set of skills and tools, and with time
completed the Cabinetry/Fine Woodworking vocational and effort, I will smooth them over. I have been able to step
program here and am now the tutor for the class. I want away from much of the negativity in my life and refocus that
to tell you how this class and my boss changed my life. energy into becoming a better father, son, brother, uncle, and
I am a 31-year-old Black man with a rough just a better man overall.
background to say the least. After three years in a I work tirelessly now to better myself. And the shop provides
juvenile correctional facility, I was convicted of armed robbery me the focus I need. The shop is my place of tranquility! I go
at age 18 and sentenced to 15 years in prison. I am set to come to work and immerse myself in my projects and, for that time,
home early 2023, at which point I will be 33 years old having nothing else matters. To see my finished work, knowing all that
spent more than 18 years of my life in one prison or another. went into it, gives me a sense of accomplishment that I now
Because of the way I lived my life, on the outside and within crave. I’m hooked for life!
these walls, I gained a reputation as prone to violence with My pride in my work and my appreciation for the gift Mr.
a negative disposition toward authority figures. I have been Heimke has given me and my family keep me focused on the
labeled everything from “menace to society,” to “high ranking/ end goal. I owe him so much. I won’t disappoint him after the
influential member of a gang,” to a “security risk” within the second, third, and fourth chances he has given me along the
institutions where I have been housed. Most people who don’t way. Not only has he taught me woodworking, but he has also
come from that life take those labels at face value and limit become my mentor. He has given me another way to look at
their interactions with me. and approach the life I can build for myself and my family and
Throughout my time here, there are two people who, even for that I will forever be grateful to him.
knowing of my history, took the time to get to know me and One day, I hope to write to you again, from my own shop,
allowed me the opportunity to better myself and my situation. about the growth I was able to accomplish simply because two
They are Mr. Korey Heimke (the shop’s instructor) and Mr. Greg people refused to give up on me. That being said, I want you
Dausey (another teacher here). Both have fought for me when to know that a man’s past does not dictate his future! Even the
others wouldn’t. My many conversations with these two men, worst of us are potentially only one conversation, with the right
and working in the shop developing my skills and deepening person, away from making a positive change. And you’ll never
my passion for woodworking, have played a major part in my know if you can be a Mr. Heimke or Mr. Dausey to someone if
ability to transform my life. I have a different type of confidence you don’t take the time to find out.
in myself and my capabilities. And while I admit that I still have
a few rough edges, just as with working with wood, I know LaShawn L. Long works wood in Green Bay Correctional Institution.

WOODWORKING BEHIND PRISON WALLS

Thanks to the Wisconsin Department of Corrections and the block planes here but I’d like to learn more about using hand tools.”
magic of Zoom, we talked to LaShawn to get details about his One of his favorite builds was a complete bedroom set, including
woodworking. He’s been a woodworker for about four years, making side tables and dressers. The hardest piece he’s made was a bent
cabinetry and furniture on commission and mentoring others. There laminated, spalted maple bench with black walnut inlay. It took him
are five to seven woodworkers in the shop at any given time. about a month to make. To see more examples of the furniture Long
We asked him what tools he’d like to own someday. “I’ve thought has made and learn about some other woodworking programs in
about this a lot,” he says. “A bandsaw and a tablesaw. We don’t have prisons, go to FineWoodworking.com/288.

82 FINE WOODWORKING Photo courtesy of LaShawn L. Long

 Slice It Like Pye

J
eff Miller is known for machine, Miller readily built the
his furniture, but his framework. But perfecting the
earliest explorations in cutting action, and especially
woodworking revolved the cutter itself, was much more
around repairing and building challenging. Miller’s first cutter,
historic woodwind instruments. ground from a tool steel rod,
With no prior training and no tore out terribly. Next, he tried
mentor, he worked from books mounting the head of an adze on
and experimentation to build an aluminum rod. Much better.
Baroque flutes, crumhorns, and But real success came when
cornettos, often making his own he cold-bent and ground a bar
specialized tools along the way. of tool steel to a shape like a
The experience left him with a spoon carver’s hook knife. After
“mechanical confidence” that many months of trial and error,
followed him into furniture. He Miller says, “the first time I got
needed that when he found great results was unbelievably
himself enamored of the lovely exciting.” He’s been happily
fluted bowls made by the English immersed in using the fluting
craftsman and theorist David engine ever since, producing a
Pye and decided to build his variety of vessels, and “exploring
own version of Pye’s “fluting the quirks of the machine.”
engine.” Studying photos of Pye’s —Jonathan Binzen

Photos: Jeff Miller