Woodworking Techniques

Brush-On Finish the Easy Way

American Woodworker Editors — Thu, 21 Mar 2013 18:05:00 GMT

Brush-On Finish the Easy Way

Thinning the poly is the secret.

By S. Lloyd Natof

Finishing is a challenge—right? It’s one thing to get a nice finish on a small, flat sample board, but good luck with those inside corners, vertical surfaces, curved areas, thin edges, and framed panels. I don’t care for spraying, which comes with its own set of problems, so I’ve developed a technique to apply a finish by hand, using only a brush and some rags.

The general sequence of steps goes like this: First, I apply a coat or two of thinned-out polyurethane. Then I scuff sand the finish. Finally, I apply a coat of gel varnish to remove the sanding haze. The goal is a finish that appears level and clear, shows the pores and texture of the wood, and feels very smooth.

Applying a finish by hand has many attributes in common with using hand tools. The process is quiet, meditative, and benefits from a methodical approach.

Materials

• Brush. I use a 3" foam brush with a wood handle. I cut about 1" off the end of the handle so the brush can be stored in a quart can of finish. This eliminates the use of solvents to clean the brush.

• Polyurethane. I use semi-gloss Minwax Fast Drying Polyurethane for the interior of a cabinet and gloss for the outside.

• Thinner. I use naphtha rather than paint thinner because it evaporates faster. The goal is to thin the poly so that it will stay wet and flow out better without extending the drying period too much.

• Gel varnish. I like Bartley Gel Varnish.

• Sandpaper. I use 3M 216U Fre-Cut Gold stearated sandpaper in P400, P600 and P800 grits.

• Felt block. This is for backing the sandpaper.

• Cotton rags or paper wipes. I use Brawny medium weight Taskmate Wipers, avaliable at the grocery store.

• Japan drier. This helps speed the drying process. It’s available at most paint stores.

Technique

I completely pre-finish all the interior surfaces and partially finish the exterior surfaces of a cabinet before assembly. Pre-finishing lets you work on surfaces without having to brush into an inside corner. Pre-finishing also allows you to place all your parts in a horizontal position to prevent drips and runs (Photo 1). You’ll finish one surface at a time, letting it dry completely before turning it over to finish the opposite side. Before finishing, tape off mortises, tenons and all glue surfaces with standard masking tape. Trim the tape after it is applied using a utility knife.

Start by sanding everything to 180 grit. Wet the sanded surfaces with a damp rag or sponge. After the wood dries, scuff sand the raised grain using a felt block and 220-grit paper. Wipe off or vacuum the dust. The surface doesn’t have to be absolutely dust-free because scuff sanding between coats will smooth out any vagrant dust in the finish. You won’t have to bother with a tack rag.

Next, prepare the finish. Stir 1/3 capful of Japan drier into one quart of poly. Thin the poly with naphtha until it is more like water than syrup (usually about 40% naphtha by volume). The exact amount of thinner is not that important. What you want is a coat that flows out and stays wet while you brush.

Apply the poly using a disposable foam brush. After you’re done with each coat, store the brush in a partial can of varnish. One brush will last for all the coats you’ll apply.

Working with a foam brush requires some getting used to. The main issues are that it unloads quickly and pushes a small puddle of finish in front of itself. With practice, you will get a sense for the right amount of finish to load into the brush. As for the puddle, let me show you how I finish a large panel.

Start by applying a perimeter of finish roughly 1" from the edge (Photo 2). Then, work the finish back and forth to fill in the middle (Photo 3). To avoid pushing the puddle over the edge of a panel, be sure to keep shy of the edges. Next, work the dry border with a brush that’s loaded just enough to wet the wood but not enough to drip over the edge (Photo 4). Go back over the entire surface, in any direction, to move the finish around and create a thin even film with no puddles or dry patches. Finally, brush with the grain using very light strokes at a low angle, like a plane landing (Photo 5). Start the strokes just in from the edge and continue all the way off the opposite end. The only downward pressure should be from the weight of the brush; you are just lightly smoothing the finish in the direction of the grain and don’t want to push finish over the edge.

When you’re done, examine the panel in a raking light. You should see a wet and even coat of finish. The brush marks should start to flow out and disappear, while the perimeter begins to look drier. If you see puddles or dry spots, move the finish around with the brush. Follow this up with light strokes that go with the grain. Check for drips on the edges and wipe them off.

Next, tackle the edges. Brush on the poly and wipe it off right away with a cloth (Photo 6). This leaves a thin film of varnish that won’t sag or drip. It’s enough protection for edges that won’t be handled very often. Use a raking light to check for a ridge of finish that may have been pushed onto the top. If you see one, smooth it out with a light brush stroke following the grain.

If you want to have more finish on an edge, wait until the faces are dry, then stand the part up on edge for brushing. Don’t forget to wipe off any drips after brushing the edges.

If you’re finishing a curved part, use a much drier brush (Photo 7). Dip the brush’s tip in the finish and stroke lightly with the brush held in a vertical position. Limit your working area to one face and brush out a thin, even coat. Wipe off the adjacent faces to remove any drips.

When you’re done brushing, clean the can’s rim, drop in the brush, hold a deep breath for a minute, and exhale into the can. Quickly put on the lid. This helps to replace the oxygen in the can with carbon dioxide, which minimizes the skin that may develop on the finish’s surface.

Lightly scuff sand every surface after it has dried for one day (Photo 8). Be careful near the edges, where the finish can be extra-thin. The edges that you wiped off should already be smooth, but if you need to sand out a little fuzz, use a very light touch with 800-grit paper.

Once you’re done sanding, use a new foam brush to apply 2-3 coats of gel varnish to the interior surfaces only (Photo 9). Working one part at a time, brush the gel on most of the surface, then smear it around and begin to remove it with a wipe in each hand. Switch to a new set of wipes to remove all the excess gel varnish (Photo 10). Any remaining gel will dry to a sticky mess, so get it off now. Use a clean, folded wipe on the edges. Remove any vagrant gel from the underside of the part and clean off smudges from your hands on the top.

Now you can remove the tape and glue your project together. Apply two coats of thin gloss poly on the outside surfaces (Photo 11). Sand with 400 grit in between coats. If you’re finishing a cabinet, brush one side at a time, rotating the case to bring a new side horizontal after the previous side has dried. You should be able to finish two or three sides in one day. Blankets and padding are important to protect the sides from damage as you rotate the cabinet. Wipe off any drips that may form on the edges (Photo 12).

Note: The used wipes should be spread out to dry when you are done.

Wait at least two days for the second coat to dry. Then lightly scuff sand with 600-grit paper to dull the glossy surface by about one-third (Photo 13). Repeat with 800-grit paper wrapped around the felt block. This time, push down harder to level the surface (Photo 14). Look for a 90% sanded surface with an even pattern of small, shiny pores after you wipe off the dust.

Finally, use a gel varnish to reduce the sanding haze, just as you did with the interior surfaces (Photo 15). I usually apply two to five coats of gel on top of the poly to get the finish I am looking for. For my really special pieces and on dark finishes, I polish with 3M’s Imperial Hand Glaze #5990 between the last coats of gel. I rarely use wax except on thin or satin finishes.

This finishing process can be used over dyes and stains, but you must be very careful near the edges, especially with dyes. Dark colors require more coats of gel and Hand Glaze polishing to remove the sanding haze.

Click any image to view a larger version.

1. Brushing a finish is much easier before assembly. For the best results, thin the finish, tape the joints, and lay all the pieces flat on your bench.

2. Brushing technique really matters. On a panel, start by brushing a perimeter. Leave a dry border to prevent drips.

3. Fill in the perimeter. Lay out an even, wet coat of polyurethane over the whole surface, except the border.

4. Brush the dry border, moving parallel to the edge. Hold the brush lightly, barely overhanging the edge.

5. Make the final strokes with an unloaded brush, following the grain.

6. Finish the edges next. Brush on the finish, then wipe it off immediately.

7. Curved surfaces test your skills. Use a less saturated brush with a light touch and check repeatedly for drips or sags.

8. Scuff sand with 400-grit sandpaper after the first coat has dried overnight. Wrap the paper around a felt block.

9. Apply gel varnish to all the interior parts with a foam brush. Gel varnish helps remove the sanding haze.

10. Wipe off all the gel with two rags and two hands. Remove the tape from the joints, then glue and assemble your project.

11. Apply a second coat of poly to the outside of the project.

12. Wipe up any drips that form on the edges with a folded towel.

13. Sand the exterior surfaces with 600-grit paper. Sand to within 1/8" of an edge, then make very light passes in this zone.

14. Repeat the process using 800-grit paper to level the surface. Again, sand much less near the edges.

15. Apply gel varnish until you get the look you’re after.

This story originally appeared in American Woodworker December/January 2009, issue #139.

December/January 2009, issue #139

Purchase this back issue.

How to Build a Torsion Box

American Woodworker Editors — Thu, 07 Mar 2013 19:30:00 GMT

How to Build a Torsion Box

It’s amazingly strong, light. . . and cheap!

By Alan Schaffter

Torsion Boxes–the Real Story

“How can something made from such thin wood be so stiff?” That’s what everybody asks when they first meet a torsion box. The engineering principles behind a torsion box are pretty simple; even so, there’s a lot of misleading information about torsion boxes, particularly on the Internet. Without getting too technical, here’s what you should know:

• A torsion box works like an I-beam (see right). It’s almost as strong as it would be if it were made from solid material–but it’s much lighter and less expensive.

• The thicker the torsion box, the stronger it will be–by a lot! If you increase a torsion box’s thickness by 25%, for example, it will be 100% stronger. If you doubled the thickness, it would be eight times stronger. Strength increases by the thickness cubed.

• The stiffness of the skins isn’t that important. A thick material, such as 1" plywood, doesn’t necessarily make a stiffer box than using thin material, such as 1/4" plywood. Thickness does matter in another way, though: thin material will deflect more easily where it’s unsupported, in the spaces between the web pieces. If you’ll be pounding on a torsion box, clamping things to it, or setting heavy objects with narrow feet on it, a thick skin is better than a thin skin. Or you could space the web pieces closer together.

• The thickness of the web pieces isn’t all that important, either. They can be relatively thin and lightweight, as long as they resist stretching and compression. For an MDF box, such as the one in this article, I usually space the web pieces 6” to 8” apart. The web pieces must be well-glued to the skins to prevent the skins from buckling, though. That means that the web material shouldn’t be too thin–it must be thick enough to have a sufficiently wide glue surface. You don’t need to use a special glue to assemble a torsion box–a PVA (yellow) glue works fine. And to clear up two misconceptions on the Internet: the webs don’t have to look like miniature I-beams, nor do you have to cut dados in the skins to receive the webs. Torsion boxes don't need to be that complicated!

Click any image to view a larger version.

Strong, but light

This huge torsion box is 8 ft. long, but it easily holds 300 lbs. of bricks and deflects less than 1/2". It weighs only 30 lbs., and is made from inexpensive 3/16" hardboard.

How an I-beam works

When you press down on a solid beam, you actually compress its top section and stretch its bottom section. These compression and tension forces are neutral at the beam’s center. In an I-beam, most of the center is removed, to save material and weight, but the forces still act in the same way.

A torsion box is a remarkable piece of engineering. It’s stable, light and uses a minimum amount of material, yet it’s extremely strong. The idea has been around for years, and you probably have one in your house: hollow-core doors are torsion boxes.

Making a torsion box doesn’t require any specialized equipment or skills–a guy with a small shop and a decent tablesaw can easily handle the job.

When I needed a flat, solid, durable and inexpensive top for an assembly table, I planned on making it as a torsion box. I researched the subject and found a lot of conflicting information. I also talked to some experts–and learned a lot.

In this article, I’ll show you how I built that assembly table top, but you can use this method to build a torsion box of any size or composition. If you stretch your imagination a bit, you can find many ways to use torsion boxes in furniture making: they can be desk or dining table tops, pedestal ends, shelves and, of course, doors.

Materials

A basic torsion box is composed of two types of parts: skins (the top and bottom) and webs (which form an internal grid, and include the sides of the box). Skins are usually made from an engineered material, such as plywood, MDF or hardboard. The webs and sides may be made from engineered material or solid wood. The web pieces do not need to interlock, as mine do, but it is quicker and easier to make the grid that way. Plus, the box will be stronger.

I used 1/2" MDF for all three parts. Though heavier than plywood, MDF has a more consistent and uniform structure. It is flat and stays flat, if properly stored. It has no internal stresses, resists compression and tension along the surface, machines easily, holds glue relatively well, and is relatively inexpensive. Using the same material for all the parts minimizes the amount of sheetstock you have to buy, and gives you more flexibility in cutting it up.

MDF that’s 3/4" thick would work, too, but there’s no significant advantage to it (see Torsion Boxes–The Real Story, above). Material that’s 1/2" thick strikes just the right balance, I think–it’s thick enough so you can safely nail into its edges, but thin enough to make a large table that's light enough to move.

Cut the web pieces

1. You will need only two sheets of 1/2" MDF to make the skins (A), web pieces (B and C) and sides (D and E). Break down the sheets into manageable pieces (Fig. E), then cut all the parts to exact dimension (see Cutting List, below). Rip the web, sides and leg socket reinforcing parts (F) at the same time to ensure they’re exactly the same width.

2. Set up your tablesaw to cut halflap joints in all the web pieces (Photo 1). First, adjust the width of a dado set to just a little bit over 1/2", or whatever it takes so the parts will easily slip by each other. Make an indexing jig to space the notches (Photo 2 and Fig. B). The jig is just a fence for your miter gauge with a small notch cut into it, plus a pin to fit the notch. Cut the notch after you’ve adjusted the width of the dado set. Set the distance between the indexing pin and the blade (for this web, it’s 7-1/4"). Raise the blade to cut a notch 1/32" deeper than half of the pieces’ width (for these 2" wide pieces, make the notches 1-1/32" deep). You don’t want the notches bottoming out when the web is assembled.

3. Cut the half-lap joints (Photo 3). Make the first cut with one end against the alignment pin. Slip the first notch over the pin and cut the next one. Repeat the process until all notches are cut in all web pieces. The distance between the last notch and the end of the web piece may be slightly different than the spacing between the other notches, but this is not a problem. Mark an "X" on all pieces at the end you started cutting from. Place all the "X" ends in the same direction when you assemble the web.

Build a construction platform

4. To make a torsion box that’s flat, you must build it on a flat surface. The best strategy is to make a temporary construction platform that you can adjust to become absolutely flat (Photo 4). All you’ll need is a pair of sawhorses and some straight and knot-free 2x4s (Fig. C). Joint one edge of all the 2x4s and run them through the planer so they’re all the same width. Place the sawhorses approximately 3' apart. Secure them to the floor with screws, nails, hot melt glue–whatever–so they won’t move. Add bracing, if necessary, to make them stable and rigid.

5. Place the long 2x4s on the sawhorses, then use hot-melt glue to attach the short 2x4s on top. Make a pair of winding sticks by jointing and ripping two thin boards that are 2" to 3" wide by 4 ft. long. Paint one board white and the other black. Place the winding sticks on the first and last supports. Sight across the winding sticks (a white backdrop helps) and insert shims under the long supports until the top edges of the winding sticks are parallel. Without disturbing the platform, securely attach the long 2x4s to the horses with hot-melt glue.

6. Place both of the skins (A) on the platform–this will give you a large, flat area to glue up the web and sides. Cover the topmost skin with thin poly sheeting to protect it from glue drips. Stretch the sheeting tight and anchor it with tape or thumbtacks.

Assemble the web and sides

7. Join one short and one long side (D and E) with glue and brads (Photo 5). Align and clamp these two sides to the edges of the skins. Place the long webs on the skins with the notches facing up. Slip one or two short webs in place to prevent the long webs from falling over.

8. Glue the web, starting from one end (Photo 6). Make sure the tops of both pieces are flush at each joint. Continue working towards the opposite end; apply glue and add one short web at a time. Place weights on the web as you complete each row.

9. Once all the webs have been glued, slide the grid away from the sides. Apply glue to the ends of the webs and position the grid back against the sides. Shoot a few brads through the sides and into the ends of the webs. Attach the remaining two sides with glue and brads. Remove any glue from the top of the webs, check that the grid is square, and let it dry.

Build leg sockets

10. This is an optional step. There are many ways to attach legs to a torsion box top–I chose to house them in sockets built right into the top. Begin building the sockets by adding reinforcing pieces (F) to the web’s sides (Photo 7).

11. When the glue is dry, temporarily place a leg in the socket and glue and clamp the remaining reinforcing pieces (Photo 8). Remove the leg before the glue dries.

Add the skins

12. Draw layout lines on the bottom skin for attaching it to the grid with brads (Photo 9). First, remove the grid and both skins from the platform. Replace the skin with plastic on it and put the grid on top. On the grid’s sides, mark the centerlines of all the web and reinforcing pieces. Mark the centerlines of each leg socket on the sides as well (you don’t want to shoot brads here). Place the remaining skin onto the grid and align two adjacent edges of the skin with the sides of the grid. Transfer your marks from the sides onto this skin, then use a straightedge or large square to connect the marks. This skin will be the bottom of the torsion box.

13. Glue the skin to the grid (Photo 10). To begin, remove the skin and place masking tape inside the leg sockets, to prevent glue from sticking here. Apply a liberal amount of glue to the edges of all sides, webs and reinforcing pieces. Work quickly and don’t be concerned about drips or using too much glue. Place the bottom skin on the grid and align the same sides you used when laying out the nailing lines. Shoot 1-1/2" long brads, spaced every 3", along the layout lines and along the sides (Photo 11). Place weights on the skin to keep it flat.

14. Drill and rout the skin to open up the leg sockets (Photo 12). The top I’m making also required additional pieces (G) to accommodate bolts that secure a set of leg braces. To install these anchor pads, turn over the top and glue them to the bottom skin. After the glue is dry, drill holes through the skin and pads and install T-nuts in the pads.

15. Remove the plastic from the top skin and mark it using the same procedure as you followed for the bottom skin. Glue the skin to the grid. Use a router and flush-trim bit to make both skins flush to the sides all around.

Add the facing and laminate

16. The torsion box is basically complete at this point, but I added hardwood faces (H and J) to the sides and plastic laminate (K) to the top. You can butt the faces together, miter them, or make box joints, as I did. I attached the facing to the torsion box with glue and brad nails (Photo 13) and trimmed it flush to the top.

17. Glue on the plastic laminate (Photo 14). If you want to avoid working with laminate, you could make the top skin from 1/2" MDF with one melamine face. It’s not quite as durable as laminate, but better than plain MDF.

18. Sand and finish the facing and the bottom skin.

Add the legs

19. The legs that I designed for this table are removable. They’re fastened to the top with bolts that pass through the box’s faces and reinforcing blocks. The bolts thread into T-nuts on the back side of the leg. Make a drilling jig (Fig. D) to position the bolt holes and to ensure that the holes are perpendicular to the legs. The jig has two holes, one for each side of the leg. Before drilling, mark the holes’ locations. Counterbore the holes so the bolts’ heads won’t protrude. Then drill the holes for the bolts, going into the legs (Photo 15). Finish drilling the holes through the legs at the drill press.

Cutting List

Fig. A: Exploded View

Fig. B: Web Notch Layout

Fig. C: Gluing Platform

Fig. D: Drill Guide

Fig. E: Plywood Cutting Diagram

1. Inside this torsion box there’s a grid of interlocking web pieces. Adjust the width of your dado set to make these pieces easy to fit together.

2. Make an indexing jig to space the web piece’s notches. Adjust the distance from the jig’s pin to the dado set, then fasten the jig to your miter gauge.

3. Cut equally spaced notches on the web pieces. After cutting each notch, pick up the piece and reposition it on the indexing pin.

4. Make a dead-flat assembly platform to build the torsion box. Use a pair of winding sticks to check for twist. If the top edges of the sticks are parallel, you’re good to go.

5. Place the top skin of the torsion box on the platform and cover it with plastic, which prevents glue from sticking to the skin. Assemble the box’s frame with a brad nailer.

6. Construct the grid by gluing one row at a time. Place weights on the completed sections to ensure the grid stays flat as the glue dries.

7. This torsion box has builtin sockets at the corners for removable legs (see Adjustable Height Assembly Table, page 48). Reinforce the corners with additional pieces of hardwood.

8. Temporarily set a leg in each corner. Fit additional reinforcing pieces around the leg and glue them in place. Remove the leg before the glue hardens.

9. Place the bottom skin of the torsion box on the grid. Mark the centerlines of the web pieces inside the box to guide your nailing in the next step.

10. Apply a liberal amount of glue to the entire grid, the frame and the leg reinforcing blocks. Work quickly so the glue does not harden before you install the skin.

11. Place the skin on the grid, align its edges and attach it with brad nails. Using a router and flush-trim bit, trim the skin so that it's even with the sides.

12. Open the leg sockets. Drill an access hole, then use a router with a flush-trim bit to define the edges. Square the corners with a chisel. Turn the assembly over and glue and fasten the top skin.

13. Fasten hardwood faces on all four sides of the box. Use a block to align the top edge of each face with the skin. Trim the faces flush with the bottom skin using a router and a flush-trim bit.

14. Apply plastic laminate to the top skin. This makes an ideal working surface– laminate is smooth, resists scratches and is more durable than melamine. You can pop off dried glue from it with ease.

15. Drill holes through the faces and reinforcing blocks for bolts that will fasten the legs to the top. The bolts thread into T-nuts in the legs.

This story originally appeared in American Woodworker December/January 2010, issue #145.

December/January 2010, issue #145

Purchase this back issue.

Mortising on the Drill Press

American Woodworker Editors — Tue, 31 Jul 2012 18:50:00 GMT

Mortising on the Drill Press

Simple improvements make a mortising attachment work great.

By Tim Johnson

Purchase the complete version of this woodworking project story from AWBookstore.com.

Even though they’re sexy, benchtop mortising machines aren’t the only power-tool option when it comes to cutting square-shouldered mortises. A drill-press mortising attachment can be just as effective and it costs a lot less. I’ll show you how to tune any out-of–the-box mortising attachment so it’s easy to install and a joy to use.

Mortising attachments are available for almost every drill press. Although they vary in appearance, they all have three basic components: a fence, a chisel holder and a hold-down. Upgrading these parts to stabilize the workpiece and operating the drill press at the optimal speed are the keys to success.

Two-piece mortising chisels cut square holes. The auger bit fits inside the chisel and protrudes slightly. During operation, the auger drills a round hole and the four-sided chisel squares the corners. Cut side by side, square holes create mortises (see photo, above).

Click any image to view a larger version.

This story originally appeared in American Woodworker May 2005, issue #114.

May 2005, issue #114

Purchase this back issue.

Purchase the complete version of this woodworking project story from AWBookstore.com.

Make Poplar Look Pretty

American Woodworker Editors — Thu, 24 May 2012 15:57:00 GMT

Make Poplar Look Pretty

Give this useful but unattractive wood a makeover.

By Kevin Southwick

The wood we know as poplar has many common names, such as tulip poplar, yellow poplar, tulipwood, yellow tulipwood, tulip tree, whitewood and canoewood. The “tulip” part of these names comes from the tulip-like flower the tree produces in the spring. Where the “poplar” part of these names comes from is a mystery, because the tree is not even a true poplar—it’s a member of the magnolia family. In fact, poplar is known as the “king of the Magnolias.” It’s also the tallest hardwood tree in North America.

Regardless of what it’s called, Liriodendron tulipifera Magnoliaceae produces very useful and versatile lumber. The tree grows fast, with a straight trunk and no branches near the ground. That translates to knot-free boards that are available in expansive widths and thicknesses. Poplar is economical, costing considerably less than other hardwoods such as maple and oak, and its finely textured lumber works well with both hand and power tools. These qualities make poplar suitable for many furniture and construction applications.

An ugly duckling

So why isn’t poplar popular with furniture makers? The answer is simple: The wood is just plain homely. Its color ranges from pale yellowish white to an odd shade of green, and boards are often discolored by dark gray or purplish streaks. To top it off, poplar doesn’t stain well with traditional wood stains. In fact, it can get ugly really fast because it blotches so easily. About the only time furniture makers use poplar as a primary wood is when the piece is going to be painted.

Transformed

Poplar has too many desirable furniture-making qualities to be limited to “paint-grade” service. Fortunately, by using a special approach, it’s possible to make this ugly duckling glow beautifully. This process will transform poplar’s odd green color to any brown wood tone you like. However, dark streaks will still show—they’ll need to be avoided or placed strategically in the design and called “character.”

The key to giving poplar a rich, even stain color is to control its horrible blotching tendencies. This requires starting with a very effective stain controller (also called wood conditioner or pre-stain sealer). The commercial stain controllers I tested didn’t provide enough blotch resistance, so I developed a simple recipe to make a controller with the necessary strength. This recipe and the finishing steps that follow work well on any wood that’s prone to blotching.

After applying the stain controller, use a two-step coloring process for better control and color intensity. This coloring method combines the benefits of both dye and pigment stain. The dye provides a ground color as strong and rich as needed, and the pigment ensures that the color doesn’t fade and become dull over time. The dye and pigment colors shown here are both a medium-dark “warm” brown. They combine to create a rich chocolaty tone on both the green heartwood and pale sapwood. Your color choices may be different.

How-to

1. Prepare the surfaces by sanding to 180 grit. Be sure to sand by hand after you power sand, to eliminate swirl marks. Pay extra attention to the end grain.

2. To make the stain controller, mix one part General Finishes Clear Gel Varnish with three parts paint thinner. Apply the stain controller with a rag and allow it to soak in (Photo 1). Be sure to saturate the wood, especially the end grain. After a couple of minutes, but before the stain controller starts to set up (5-10 minutes), use clean, dry rags to remove any that has not soaked in. Be sure not to leave any wet spots or streaks—they’ll show up when you apply the stain. Let the wood dry overnight. This step is intended to seal the wood approximately 60%-75%, which is usually enough to control blotching and still allow the stain to penetrate.

3. Wash the partially sealed surface with a mixture of dish soap and water to “open” the top layer of wood cells so they’ll absorb the dye easily (Photo 2). This step won’t cause any significant grain-raising because the surface has been treated with the stain controller.

4. Hidden blotches will reveal themselves as the water dries (Photo 3). Areas that are extra-porous soak up more water. This means they’ll stay wet longer, so they’re easy to identify. The longer they stay wet, the worse the blotch will be. Fortunately, even super-absorbent areas can be tamed if they’re found and treated with extra stain controller before color is applied.

5. Mix TransFast Medium Brown Water Based Dye following the label instructions and apply it generously, using a rag (Photo 4). Allow the dye to saturate the wood, then remove the excess with clean rags. Allow the wood to dry until the water has completely evaporated (2 hours).

6. Check the workpiece and selectively apply clear gel to any blotches or end grain that are already dark enough from the dye step (Photo 5). This is your last chance for blotch reducing.

7. Apply a coat of General Finishes Medium Brown Gel Stain (Photo 6). Then let the piece dry overnight.

8. Apply two coats of 2 lb. cut amber shellac (Photo 7). Although shellac is a durable finish, I know that this table will often be used as a place to rest a coffee cup, so I’ll add a coat of oil-based satin polyurethane to prevent water rings.

This story originally appeared in American Woodworker October/November 2010, issue #150.

October/November 2010, issue #150

Purchase this back issue.

Click any image to view a larger version.

1. Start by wiping on a strong stain controller to keep the poplar from blotching when you apply the dye and stain. Make a strong stain controller by thinning gel varnish with mineral spirits.

2. Wash the sealed surface with soap and water so the dye will soak in, rather than bead up on the surface.

3. Blotch-prone areas will stand out as the water dries, because they’re super-absorbent. After the wood has thoroughly dried, apply an additional coat of stain controller to these areas.

4. Apply a coat of medium-brown dye to create a uniform ground color.

5. Look again for blotching or dark end grain. Seal any areas that have gone extra-dark with a coat of gel varnish just before you apply the gel stain in the next step.

6. Apply a coat of medium-brown gel stain. Gel stain adds richness to the overall color and helps to keep the dye from fading.

7. Apply two coats of amber shellac to add depth and tone, followed by a more protective topcoat, if necessary.

Turn green to gold

Oxalic acid works miracles on poplar’s green heartwood. Simply mix a saturated solution of oxalic crystals in hot water and brush the solution on the wood. As the solution dries, the green heartwood will turn to a golden brown and the white sapwood will take on a warmer shade of pale. A second application of the solution after the first has thoroughly dried usually helps the results—and it can’t hurt. Oxalic acid is poisonous, so let the surface dry completely and then rinse it thoroughly with water to remove any acid that remains. Note that this treatment does nothing to reduce poplar’s tendency to blotch, so you’ll still need to follow the recipe to end up with a great-looking finish.

Oxalic acid is primarily used to restore the natural color of grayed, weathered, exterior wood—it’s the active ingredient in deck-renewing products. Restorers and woodworkers use oxalic acid to remove black water stains from wood. It’s available at most hardware stores.

Turning Wood: Socket Chisel Handles

American Woodworker Editors — Fri, 27 Apr 2012 14:51:00 GMT

Turning Wood: Socket Chisel Handles

Here’s a 1-2-3 system for getting a perfect fit.

By Tim Heil

High-quality socket chisels— such as the Stanley Sweathearts and Lie- Nielsens—are making a big comeback. Why would these companies choose the socket style? Well, it’s all about you, the user. If you’re not satisfi ed with a handle’s shape, you can change it. If you want a diff erent wood—no problem. Th e handle of a socket chisel isn’t glued or fastened to the tool, so you just remove it and make your own.

Truth is, woodworkers have been doing this for years. In the age before plastics, when a wood handle on a socket chisel split or mushroomed, replacing it was easy. But not all were fixed. Today, there are loads of wonderful old socket chisels going for a song, merely because they have busted or missing handles.

I’m a turner with a thing about handles— I just love making them. Screwdrivers, awls, ice cream scoops: If it’s got a handle, I’ve got to make my own.

When I first turned handles for socket chisels, I would make a few crude measurements of the socket and just go at it. If the taper on the handle’s shank wasn’t quite right, I guessed where it was off and tried again. While this method works OK, I’ve since found a measuring system that’s much more reliable. Following these steps, your shank should fit tight right away.

First, turn a cylinder that’s an inch or two longer than the length of the handle you’re going to make (of course, the full length includes the shank). Th e narrow end of the shank will most likely be a small diameter (anywhere from 1/4" to 3/8"), so I prefer using a cone-shaped revolving center in the lathe’s tailstock. Th is gives me more room to maneuver the parting tool when cutting the shank’s taper.

Measure the socket

Start by wrapping a small piece of notebook paper around a pencil, forming a cylinder (Photo 1). Push the cylinder all the way down into the chisel’s socket (Photo 2) and let the paper unroll into a cone. (You may have to help it a little bit.) Once the paper has fully conformed to the socket’s taper, put a couple of pieces of tape on the paper, to hold its shape. Th en draw a line on the cone, following the top of the chisel’s socket (Photo 3). Remove the cone—you’re all set to take three measurements.

First, set a divider to the distance between the pencil mark you made and the end of the cone (Photo 4). Transfer that distance to the handle blank (Photo 5). Second, set a caliper to the diameter of the cone at the pencil mark (Photo 6). Turn the blank to this diameter, immediately to the right of the mark indicating the shank’s length (Photo 7). (I fi nd it easier to do this if I start roughing out the shank at the same time.) Th ird, reset the caliper to the diameter of the cone’s end (Photo 8). Turn the end of the shank to this diameter (Photo 9), then form a straight taper up to the end of the shank.

Test the fit

If all has gone well, the shank should perfectly fi t the socket. Just to be sure, perform a simple test. Rub a piece of chalk on the inside of the socket (Photo 10). Turn off the lathe, pull away the headstock and push the socket onto the shank. Twist the chisel a few times and remove it (Photo 11). If the fi t is correct, most of the shank will be coated with chalk; if it’s not, the chalk will show you the high spots that need to be removed. If the fi t is too loose, your best bet is to cut off part of the shank and start over from the beginning. Don’t worry—the turning goes pretty quick.

Once the fi t is OK, lengthen the shank by about 1/8" (Photo 12). (Notice the small gap between the end of the socket and the end of the shank on the handles shown on page 30.) Th is gap allows you to drive the shank tight into the socket. Th e end of the handle shouldn’t butt up against the top of the socket. If it does, the handle could split when you strike the chisel.

Turn the handle to any shape you wish (Photo 13). Th ere’s really no right or wrong here; traditionally, chisel handles came in many diff erent shapes and sizes. If your work requires you to strike the chisel hard, you may want to put a ferrule on one or both ends of the handle to prevent it from splitting. Turn off the lathe from time to time and test how the handle feels. When you’re done, part off (Photo 14). To install your handle, just drive it into the socket with a mallet. With a tight fi t, there’s no need for glue. When you apply fi nish to the handle, don’t put any on the shank. If the shank is too slippery, it won’t stay seated in the socket.

This story originally appeared in American Woodworker February/March 2012, issue #158.

Click any image to view a larger version.

1. Chisel sockets come in many different sizes, so you’ll need to take some measurements before turning the handle. Start by cutting a piece of notebook paper about 4” square. Roll it up around a pencil.

2. Push the paper cylinder all the way into the chisel’s socket. Let go of the paper—it will unroll to form a cone. The cone will be exactly the same shape as the socket.

3. Stick one or two pieces of tape on the cone to hold its shape. Mark the cone at the end of the socket. Remove the cone from the chisel.

4. Set a divider to the distance between the pencil mark and the end of the cone.

5. Mark this distance from the tailstock end of a blank you’ve roughed out.

6. Set a caliper to fit the cone at the mark you drew at the end of the chisel’s socket. This will be the major diameter of the handle’s shank (the part that fits into the socket).

7. Turn the blank to the major diameter, just to the right of the pencil line. Rough out the rest of the shank’s taper.

8. Reset the caliper to fit the end of the cone. This will be the shank’s minor diameter.

9. Turn the end of the shank to the minor diameter, leaning the parting tool at about the same angle as the rough taper. Cut a straight taper between the major and minor diameters.

10. Check the fit of the shank in the chisel’s socket. First, coat the inside of the socket with chalk dust. Then turn off the lathe and pull away the tailstock.

11. Push the socket onto the shank and twist it a few times. If its taper is correct, the full length of the shank will be coated with chalk. If it’s not correct, only the high spots will be coated.

12. Once the taper is correct, lengthen the shank about 1/8" to the left.

13. Shape the rest of the handle as you wish. Stop the lathe and remove the handle from time to time to test how it feels.

14. Part the handle from the blank using a spindle gouge. (My gouge is very short, from turning so many handles!)

Chemical Ebonizing

American Woodworker Editors — Tue, 10 Apr 2012 19:21:00 GMT

Chemical Ebonizing

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

By Richard Tendick

Remember the old slogan, “better living through chemistry”? When it comes to turning wood black—a process called ebonizing—I prefer the chemical approach, which uses solutions made from vinegar, steel wool and tannic acid. Watching them transform an ordinary wood, such as the yellow poplar I’m using here, is magical.

Other methods of ebonizing (dye, ink and paint) use pigments, which can obscure the wood’s grain. The chemical technique leaves an absolutely transparent layer of black. You can still see the wood’s figure and character, particularly after you apply a topcoat.

Woodworkers have long known that rusty, acidic water turns some wood black. Woods that are high in tannic acid, such as oak, walnut and mahogany, work best. The technique I’ll show you adds tannic acid to the wood, so you can ebonize virtually any species. I can’t take credit for this idea, though; it’s been a finisher’s trick for a long time.

Mixing the chemicals

The two solutions can be stored and used over and over. The first is more or less liquid rust, which you make with white vinegar and steel wool (Photo 1). For the best results, use Heinz white vinegar and Liberon 4/0 steel wool (see Sources, page 63). This steel wool works well because it doesn’t contain oil, but you could also use regular steel wool and wash out its oil with a detergent. Cover the jar with a lid, then puncture the lid with a small hole to let gas escape. Set the jar aside for a week or so.

Eventually, the pad will dissolve and the formerly clear liquid will turn a dark reddish brown, with a black scum on top. Place a coffee filter in a funnel and pour this gunk through the filter into a new container. Repeat the process two or three times, using new filters, to remove all the solids from the solution.

The second solution, tannic acid, is made with dry powdered tannin (see Sources, below). It’s not expensive, but unfortunately it’s not available in a small quantity. Rather than be stuck with a lifetime’s supply, I’ve shared the surplus with a dozen woodworking friends.

To mix the powder, place 1 heaping tablespoon in a disposable container and add a small amount of water (Photo 2). Stir until the powder forms a paste, then add 1 pint of hot tap water. Transfer the solution to a jar or bottle. It can be used right away.

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

Application

It’s clear sailing from here. First, pour a small amount of the tannic acid solution into a shallow container and brush it on your project (Photo 5). Make sure every bit of the surface is covered. Let the wood dry.

Next, pour a small amount of the steel wool and vinegar solution into a separate container. Using a different brush, apply the solution to the wood (Photo 6). Almost immediately, the wood will turn a bluish black. Don’t pour the excess solution back into your original container, as it will be contaminated by the tannic acid. Again, let the wood dry. Finally, apply another coat of tannic acid, using a rag to avoid brush marks (Photo 7). Voila! You’ll get a rich, deep black.

Dispose the surplus tannic acid (it will be contaminated, too), and let the wood dry a day or two. You’re ready to apply a clear finish.

Sources

(Note: Product availability and costs are subject to change since original publication date.)

FinishSupply.com, shellac.net, 707-226-3623, Dry Powdered Tannin, 8 oz.

Highland Woodworking, highlandwoodworking.com, 800-241-6748, Liberon 4/0 Steel Wool, 100g.

This story originally appeared in American Woodworker October/November 2010, issue #150.

October/November 2010, issue #150

Purchase this back issue.

Click any image to view a larger version.

1. Dissolve steel wool in vinegar to make the first of two solutions you’ll need. The pad should completely dissolve in about one week.

2. Make tannic acid for the second solution. Mix dry powdered tannin with a small amount of water to make a paste, then add more water.

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

4. Sand with fine paper to remove any fibers sticking up from the wood’s surface.

5. Brush on the tannic acid solution and let it dry.

6. Apply the vinegar and steel wool solution. The surface will turn a bluish black right away.

7. Apply more tannic acid with a rag. This turns the wood a deep, transparent black. After it dries, you’re ready for a topcoat.

Spalted Wood

American Woodworker Editors — Tue, 10 Apr 2012 15:35:00 GMT

Spalted Wood

By Alan Lacer

When wood is captured somewhere between the extremes of being completely sound and fully rotten, it can display magnificent beauty. The discoloration, prominent black lines and changes in texture that occur during the decaying process are known to woodworkers as spalting.

Spalting is a by-product of the rotting process that is carried out by a vast army of stain, mold and decay fungi. They are abundantly present in the air and soil, waiting for favorable conditions and a suitable host. Generally, wood moisture content of at least 25 percent, temperatures from about 40- to 90-degrees F, air and food (especially abundant in sap wood) are what the fungi need. A tree or branch freshly fallen onto a damp forest floor in warm weather is asking for it.

Lighter colored woods offer the best canvas for nature’s graphic work. Hard maple is viewed as the king of spalted woods, although sycamore, persimmon, red and white oak, elm, pecan, birch, buckeye, apple, magnolia, beech, holly, hackberry, box elder and the sapwoods of walnut and cocobolo are favored by woodworkers as well.

Where to find spalted wood

You can purchase spalted wood—usually maple—from specialty lumber and mail order suppliers (see Sources, below). Turning blocks are most easily found, but a few suppliers offer boards when they can get them.

Hunting spalted wood is like panning for gold—lots of searching for that one precious nugget. Logs rotting on the forest floor, dead limbs and entire dead standing trees are excellent sources. You can also hunt for hidden treasure at a community bone yard of removed trees, and don’t overlook the bottom of your old firewood pile.

Make your own spalted wood

Woodworkers commonly use these methods to cause wood to spalt. They will work most effectively if the temperature is kept where the fungi will thrive, between 60- and 80-degrees F. Monitor the spalting progress monthly—the optimal conditions you’ve created can make it happen fast.

• Place a freshly cut log section 2 to 3 ft. long upright on the bare ground. Put a shovel of dirt on the top end and cover it loosely with black plastic.

• Bury a log, freshly sawn green boards or green rough-turned bowls in damp sawdust containing pieces of rotten wood with active fungi. Keep the sawdust moist.

• Use plastic bags or plastic garbage cans to hold short sections of green wood or rough-turned bowls. Adding some soil or rotting sawdust may speed the process, although the fungi already present in the air or on the wood surface is probably enough to get it going. Leave the bags or cans with a small opening to allow for some air exchange.

How to stabilize spalted wood

Remove those things the fungi need to grow, and you’ll stop its progress. One method is to lower the wood’s moisture content.Wood below 25-percent moisture content, when kept in low relative humidity, is not likely to decay or even stain. Accomplish this by air or kiln drying, placing smaller pieces in a microwave or finish turning if the piece was a rough-turned bowl. You can also raise or lower the wood’s temperature. Spalting rarely occurs above 90-degrees F and stops below 32-degrees F. Some turners store blanks in a freezer prior to finish turning. Finally, you can restrict the air—no air, no decay. Logs submerged in water, for example, do not decompose from fungi. Tightly wrapping the wood in several layers of plastic will restrict the air and slow the growth of the fungi.

Working properties

If you’re lucky, you’ll catch the spalting at the right time, before the cellular structure of the wood deteriorates, and you’ll be able to work the piece without any trouble. Sometimes, however, the material will have areas that have become soft and punky. These areas have no strength and defy normal woodworking strategies. They will crumble, tear out in chunks or leave a wrinkled appearance when you try to cut or plane them. They refuse to be glued together, and leave you with a cratered, uneven surface when you try to sand. Though not suitable for joinery, these soft areas can often be stiffened enough to finish so the piece of wood can still be used decoratively.

You can saturate soft areas with a liquid hardener. Where the wood is only marginally soft, a spot coat or two of clear shellac or nitrocellulose sanding sealer may harden it sufficiently. A really punky spot will require cyanoacrylate (CA) glue (the thin, watery type) or a product made to stabilize rotten wood. There are a number of them sold as wood hardeners at hardware stores. It may take several generous applications to treat each bad spot. These hardeners are effective, but they have side effects. They fill the wood cells, so surfaces treated with them can’t be glued and oil finishes don’t take well because they can’t penetrate. Solvent-based hardeners and CA glues darken the wood considerably. I like Protective Coatings Petrifier (see Sources, below). It’s a water-based hardener that doesn’t discolor the wood, yet seals and stiffens effectively. It’s an excellent choice for troublesome soft spots.

You should be able to work the stiffened surface with edge tools—make very light cuts—or with abrasives, taking care to provide a firm, flat backing for the sandpaper. Some turners use body grinders or stiffbacked sanding discs and work the piece while it’s spinning on the lathe. For flat lumber, an abrasive planer is an excellent option, followed by a randomorbit or pad sander. If you sand by hand, use a sanding block to give firm support to the paper.

Finishing

You are likely to encounter three problems when you finish spalted wood: Splotching, yellowing and excessive darkening. The whiter woods—which usually have the most dramatic examples of spalting—can turn quite yellow with certain finishes, and because the soft areas act like end-grain or even a sponge, splotching or excessive darkening can result unless the piece is sealed first. An effective weapon against splotching is clear, dewaxed shellac used as a sealer. (Spray cans of shellac are thinned and dewaxed.) Cover the entire piece with a thin coat and let it dry. Then recoat dull-looking areas until all surfaces have a uniform sheen. You can use almost any finish as a topcoat over dewaxed shellac after it’s been sanded.

To minimize yellowing and darkening, use a surfacefilm finish like clear shellac or lacquer. Waterborne finishes dry clear and don’t yellow with age. If the piece is primarily decorative and has few, if any, soft areas, clear wax is appropriate.

If you don’t mind the yellowing and darkening, use your favorite oil finish, but be prepared to make many applications to the softer areas. Experience has taught me that an oil-finished spalted piece will appear rather muddy and uneven at first, but will look better as the finish cures, which can take weeks or even months. Some oil finishes (such as General Finishes Sealacell Step 1, see Sources, below) are essentially a thinned, light-colored varnish, and will not yellow as much.

If you are looking for a challenge, and effects that often surpass the wildest woods from the tropics, spalted wood may be your ticket. Each block of wood has its own unique properties that must be judged and worked on its own terms. Use spalted wood and your work will never go unnoticed. Use it well, and you’ll produce a real showstopper.

Sources

(Note: Product availability and costs are subject to change since original publication date.)

Flat material suppliers:

Northwest Timber
P.O. Box 1010
Jefferson, OR 97352
541-327-1000

Randel Woods
P.O. Box 96
Randel,WA 98377
360-497-2071

Talarico Hardwoods
RD #3 Box 3268
Mohnton, PA 19540-9339
610-775-0400

Bigleaf Maple:

Mount. Cheam Woodworking
8359 Banford Road
Chilliwack, B.C.V20GH3
604-795-9297

Turning stock suppliers:

One Good Turn
6064 S. 300 W. #11
Murray, UT 84107
801-266-1578

Choice Woods
833 W. Main St.
Louisville, KY 40202
888-895-7779

Craft Supplies USA
1287 E. 1120 S.
Provo, UT 84606
800-551-8876

Hot Stuff CA Glue
Satellite City, P.O. Box 836
Simi Valley, CA 93062
800-786-0062

P. C. Petrifier
Protective Coatings
221 S. 3rd St.
Allentown, PA 18102
800-220-2103

General Finishes
Sealacell Step 1
P.O. Box 51567
New Berlin,WI 53151
800-888-8286

For further reading:

"Sculpting Wood" by Mark
Lindquist, 1986, Worcester, Mass., Davis Publications, 800-533-2847. Mark and his father Mel have been pioneers in working spalted wood and in popularizing its use as a decorative material.

"Understanding Wood" by Bruce Hoadley, 1980, Newtown, Conn., Taunton Press, 800-888-8286.

This story originally appeared in American Woodworker December 1999, issue #77.

December 1999, issue #77

Purchase this back issue.

Click any image to view a larger version.

Cabinet on Stand English oak with spalted bigleaf maple panels by Tim Patterson, student, College of the Redwoods, 1996.

Claro walnut box inlaid with spalted end-grain sycamore, bookmatched to form a bird image by Del Stubbs, 1982.

An active fungus colony surrounds itself with a chemical and physical barrier that defines its outer boundaries. Filaments of the fungus pack and swell in these regions and exude generous amounts of pigmented material that usually appear as black lines. The material in these “zone lines” protects the colony from attack by bacteria, insects, and other fungi, and assists in maintaining a desirably moist atmosphere. Inset: Electron microscope view of a fungus zone line in front of wood cell structures.

Worm-spalted red maple bowl by Alan Lacer, 1998. Typical spalting differs from worm spalt, where the worm hole allows the fungus to enter and work from the inside out.

Working Spalted Wood Safely

There is anecdotal and some medical evidence that substances from decaying wood are a health threat. Allergic reactions and some serious lung diseases have been traced to spores and fungi that inhabit rotting wood. The effect on an individual woodworker depends on his or her tolerance to the spores and fungi, the concentration of them in the environment and the length of exposure. Persons with weakened immune systems, lung illnesses or who show signs of allergic reactions to the spalted wood should avoid the material altogether. One must err on the side of caution when working spalted wood. Freshly sawn green material with active spores and fungi, or even air-dried material, is potentially the most hazardous. Kiln drying, by turning up the heat and driving out the moisture, will actually kill both fungi and spores. To avoid breathing spalted wood dust, I strongly recommend that you wear a respirator—not a nuisance mask—and have an effective point-of-origin dust collection system or a self-contained air filtration helmet. Avoid prolonged contact with your skin, and clean your work area thoroughly following any work with spalted wood.

Router Table Box Joints

American Woodworker Editors — Thu, 29 Mar 2012 14:57:00 GMT

Router Table Box Joints

The perfect fit comes easily with a simple shop-made jig.

By Tom Caspar

Purchase the complete version of this woodworking technique story from AWBookstore.com.

Box joints are a cinch to make on a router table. All you need are a sharp bit and a basic plywood jig.

The biggest problem in making box joints has always been getting a precise fit, because the line between success and failure is only a few thousandths of an inch thick. Fortunately, the solution simply requires that your jig be easy to adjust, not difficult to make. I’ve added a microadjust system to my jig that is incredibly precise but takes only a minute to put together.

This jig is designed to make 1/2 in. box joints in stock up to 5 in. wide. It’s dedicated to only one size of router bit. To make wider or narrower box joints, you must build another jig. For box joints wider than 1/2 in., you’re better off using a tablesaw and a different kind of jig. If your project requires box joints that are more than 5 in. wide, widen the jig accordingly.

This story originally appeared in American Woodworker March 2005, issue #113.

March 2005, issue #113

Purchase this back issue.

How to Flatten Wrinkled Veneer

American Woodworker Editors — Thu, 22 Mar 2012 15:21:00 GMT

How to Flatten Wrinkled Veneer

By Mario Rodriguez

If you've ever handled highly figured veneer, you know that it can be stiff, brittle and prone to cracking, much like a potato chip. In fact, it can be shaped like a potato chip, too. You can't work with it this way.

In order to cut a sheet of veneer into smaller pieces and fit the pieces into a precise pattern, the veneer has to be rendered flat and pliable. Fortunately, that's easy to do. You just have to wet it with a homemade sizing solution, then squeeze it in a press.

Make the size by preparing a mixture of 50% water, 20% denatured alcohol, 20% glycerine and 10% liquid hide glue (see Sources, below).

Prepare the press by cutting two sheets of 3/4" melamine large enough to accommodate the veneer. Cut two pieces of nylon screen mesh (the kind used for screen windows) about the same size as the melamine. In addition, obtain some plain newsprint (it's available at art supply stores).

Assemble the lower half of the press (Photo 1). Pour the sizing solution into a spray bottle. Spray both sides of the veneer, so it's thoroughly soaked. Place the veneer on the press (Photo 2). Add the top half of the press and clamp (Photo 3).

The mesh allows the passage of both moisture and air to dry the veneer. The mesh also prevents the newsprint from sticking to the veneer. The newsprint absorbs the excess size, while the MDF keeps everything nice and flat.

Change the newsprint after 12 hours. Remove the veneer from the press after 24 hours. It should be flat and flexible enough to bend slightly without breaking. It should also be easy to cut without chipping (Photo 4). If the veneer isn't flat or soft enough, repeat the treatment.

Sources

(Note: Product availability and costs are subject to change since original publication date.)

Antique Refinishers, oldbrownglue.com, 619-298-0864, 5 oz. bottle, $8; 20 0z. bottle, $20.

MedLab Supply, medical-and-lab-supplies.com, 800-660-5998, Glycerin, 1 liter, $8.50.

Click any image to view a larger version.

1. Make a press for flattening the veneer. Each half of the press is composed of a sheet of 3/4" melamine, a few pieces of plain newsprint and a piece of screen mesh.

2. Spray the veneer with a mixture of water, alcohol, glycerine and glue. Place the wet veneer in the press.

3. Add the top half of the press and clamp. Change the paper after 12 hours; remove the veneer after 24 hours.

4. The result should be veneer that's absolutely flat and pliable enough to be trimmed without chipping.

Four-Sided Quartersawn Table Legs

American Woodworker Editors — Wed, 21 Mar 2012 20:00:00 GMT

Four-Sided Quartersawn Table Legs

How to rout lock miters on narrow pieces.

By Tom Caspar and Stewart Crick

Purchase the complete version of this woodworking technique story from AWBookstore.com.

If you spotted an oak leg with quartersawn figure on all four sides, your first reaction might be: That’s neat! But if you know wood, your second reaction ought to be: Now, how did they do that?

Well, there’s more than one way. You could make a solid, plainsawn leg and glue quartersawn veneer on all four sides. Or you could make a leg from quartersawn wood and veneer just two sides. Or you can do what L. & J. G. Stickley did over one hundred years ago, in the heyday of the Arts and Crafts era, and make the leg from four interlocking pieces of solid wood. This method is the most durable type of construction because there’s no chance of veneer flaking off. Using a modern lock miter router bit, it works well for any size leg, big or small.

Figuring out how to make these lock miters safely and accurately on a narrow leg can be quite a challenge. On each piece, one lock miter is routed with the piece held vertically; the other is routed with the piece held horizontally. The problem, as you can readily see, is that the pieces have very small bearing surfaces. The solution: make a push block and a jig to hold the pieces rock steady for each pass.

Click any image to view a larger version.

8. Glue four identical pieces to make the leg. The interlocking miters prevent the pieces from slipping side to side.

This story originally appeared in American Woodworker April/May 2009, issue #141.

April/May 2009, issue #141

Purchase this back issue.

Purchase the complete version of this woodworking technique story from AWBookstore.com.

Hammer Your Own Copper Hardware

American Woodworker Editors — Wed, 21 Mar 2012 19:58:00 GMT

Hammer Your Own Copper Hardware

By David Olson

Purchase the complete version of this woodworking technique story from AWBookstore.com.

Hardware doesn’t have to come from a catalog. You can make your own. The raw materials are inexpensive and you won’t have to buy lots of special metalsmithing tools, because most of the things you’ll need are already in your shop. Learning the techniques for working copper can be rewarding and fun. Annealing and work hardening were new to me, and may be to you, but cutting, hammering, and drilling are familiar to woodworkers.

Working copper is a blast!

I was pleased with the very first copper piece I made, and my results kept getting better the more I practiced. Once you’re familiar with the techniques, you’ll be able to make all the hardware for the AW Stickley-Style Sideboard project (available from awbookstore.com)—or just about any Mission or Arts and Crafts style piece of furniture in a couple of weekends. If you decide to try making your own, I guarantee that you will enjoy the process and be thrilled by the results.

Materials and sources

For the AW Stickley-Style Sideboard, you’ll need 2 sq. ft. of 48-oz. copper sheet stock (.064 gauge) for hinge straps and backplates, 3' of 5/16" copper rod stock (AISI grade #110) for bails, 10" of 1/2" x 1/2" copper bar stock for posts, and 10" of 4-gauge copper grounding rod for post pins (Photo 19). Sheet metal and architectural metal fabricators are often willing to sell the small amounts of sheet stock you’ll need. Rod and bar stock is harder to find. Try salvage yards or order through the mail (see Sources). Grounding rod is available anywhere electrical wiring supplies are sold. You’ll also need pickling flux and silver solder, and perhaps a patinizing solution (see “The Look of Aged Copper”). All of these things are also available through the mail (see Sources).

Tools

The only specialized tools you’ll need to work the copper are hammers and a punch, something to pound on, a heat source, and places to heat and cool the metal.

You can buy real metalsmithing hammers (see Sources), or use some elbow grease and make your own from inexpensive 16-oz. ball peen hammers. Be sure to wear eye protection when you try this.

Reshape one flat hammer face into a shallow dome (Fig. A, Planishing Hammer) using a disc or belt sander. The shape of the dome determines the size of the mark. I found a 5/16" dia. mark the most attractive. Some areas that need texture are too small for the planishing hammer, so I domed the tip of a length of steel rod (Fig. A, Mini-planisher). Shape the face of the second hammer into a shallow-domed rectangle that slopes toward the handle (Fig. A, Forming Hammer). To quickly get the rectangular shape on this one, I cut away the unnecessary steel with a 4-1/2" cut-off wheel in my grinder/sander before moving to the disc sander for final shaping. You can do this whole job on the disc sander, but it will take longer. A third hammer face remains flat. Smooth and polish all of these faces with an orbital sander, working through sandpaper grits up to 600. Any blemishes left on the hammer faces will be transferred to the copper.

To achieve a crisp texture on the copper you must hammer it on a hard surface. Wood is not hard enough. I used a piece of 1/2" steel plate for the hinge straps and backplates (Photo 2) and a massive steel block for the bails (Photo 13). I bought both at a salvage yard for next to nothing. Raising the crowned shape of the hinge straps and bolt heads can be done using a piece of maple 1-3/4" x 4" x 12" (Photo 5) as a forming block.

You’ll need a high-output, self-starting torch and a tank of MAPP gas to get the copper hot enough to anneal it— propane won’t do. I made my own annealing tray by filling an aluminum cake pan with pumice stones (see Sources, p. 8) and used a plastic container for the quenching bath.

Click any image to view a larger version

1. Saw the hardware pieces following paper patterns fixed to the copper sheet with spray adhesive. Copper is soft enough to cut on a bandsaw using a generalpurpose, fine-tooth blade. Centerpunch all drill hole marks on the patterns, smooth all burrs and refine the edges with abrasives or files. Remove paper and adhesive residue, then polish the copper faces with 400-grit wet/dry sandpaper.

2. Create a hammered texture by striking the copper with a planishing hammer on a flat steel surface. Be sure to hammer the face—the side with the centerpunched holes. Practice hammering on scraps so you can get a feel for the metal and develop a hammering rhythm. Slightly overlapping each stroke creates a nicely balanced look.

6. Pound an annealed strap into the forming block to create the raised center. Use the forming hammer. The strap will bend dramatically as it is worked, but you can flatten it by gently tapping its top side with a non-marring mallet. Anneal the copper when it becomes work hardened (see “The Annealing Process").

8. Hammer texture marks onto the convex profile at the tip of the freshly annealed hinge strap. A ball peen hammer held in a vice serves as a stake—an anvil for texturing a curved object. Make sure each blow of the planishing hammer is centered on the stake hammer below. As you work, move the hinge strap, not the hammer, for each blow. Use the forming block to flatten the tip if it distorts.

11. Hammer penny-sized polished copper discs into a spherical cavity in the forming block with the ball peen hammer. Center a steel tack in the concave backside and silver-solder it in place.

13. Pound around the annealed rod with the forming hammer to lengthen and taper it. Work from the center out, and rotate the rod with each blow. It will take four to five courses of pounding and annealing to achieve the final length and the desired taper.

16. Start the bend of the door’s V-shaped bail by pounding it, freshly annealed, over a 1" x 1/4" steel bar clamped so its edge is slightly below the bail’s centerline. Anneal the bail when you sense work hardening. Frequent annealing assures that bends occur where you want them. Repeat the process of annealing and bending until the final V-shape is attained. Make sure the pins align.

18. Drill holes in copper bar stock that has been divided into 1/4" sections, leaving room for saw kerfs between them (Fig. B, posts). These shallow holes, which are centered in each section, will have pins soldered into them. After drilling, carefully saw between each post from the pin end, stopping two-thirds of the way through. This establishes the individual posts, but keeps them connected and easy to handle.

20. Solder the pins in place. First coat all pieces with flux and hammer the pins in place. Place a sliver of solder at the junction of each pin and post. Then heat the bar, holding the torch on the side opposite the solder, until the solder flows into the joints. Heat the metal, not the copper, and don’t overheat. After soldering, sand the pins so they’re slightly longer than the thickness of the backplates. Then drill shallow 5/32" dia. holes in the end of each one to facilitate riveting (Photo 22 and Fig. D).

23. Rivet posts to the backplate. First position posts on the pins at the ends of a bail. If the bail pins are properly bent, the posts will align parallel to one another. Make necessary adjustments before positioning them on the backplate. Work on a softwood block so the bail holes in the posts are not distorted. If you don’t have three hands, get help from a friend.

This story originally appeared in American Woodworker August 1999, issue #74.

August 1999, issue #74

Purchase this back issue.

Purchase the complete version of this woodworking technique story from AWBookstore.com.

Tips for Better Picture Frames

American Woodworker Editors — Fri, 02 Mar 2012 16:58:00 GMT

Tips for Better Picture Frames

Frame like a pro with simple tools.

By Dave Munkittrick

Purchase the complete version of this woodworking technique story from AWBookstore.com.

Blind splines

Until somebody discovers a miracle glue for end grain, miter joints will need reinforcement. Nails work, but pounding them in delicate frame material can be risky. Blind splines offer invisible reinforcement without nails. Cut the slots on a router table using a guide board and a 1/8-in. slot cutter. Each piece is cut face up (mark the faces as a reminder). Feed the stock from the right for one cut and from the left for the second cut.

Cut the splines from a strip of hardwood with a 1-in. plug cutter and orient the grain perpendicular to the joint for strength.

Click any image to view a larger version.

Four-point frame clamp

This shop-made frame clamp puts equal pressure on all four corners of your frame at once, for quick, hassle-free assembly. Use scraps of paper towel under each joint to absorb glue squeeze out. Set the pivoting corner blocks to fit your frame. Apply enough clamp pressure to hold the frame together but still allow you to align the pieces for a perfect fit. Finally, clamp tight.

Matting and mounting

1. Lay out the mat opening with a marking gauge. You can easily make your own from a block of wood and some 5/8-in. dowel.

4. Position the artwork in the mat opening. A simple block of wood with some acid-free mat board glued on the bottom keeps the artwork from shifting as the mat is raised and lowered for positioning. Don’t be tempted to use your finger as a hold-down, acids and oils from your skin will cause the artwork to deteriorate over time.

This story originally appeared in American Woodworker August 2001, issue #88.

August 2001, issue #88

Purchase this back issue.

Purchase the complete version of this woodworking technique story from AWBookstore.com.

Classic Frame and Panel Door

American Woodworker Editors — Fri, 02 Mar 2012 16:57:00 GMT

Classic Frame and Panel Door

Traditional methods for making doors that last.

By Lonnie Bird

Purchase the complete version of this woodworking technique story from AWBookstore.com.

A few design elements are as simple, beautiful or enduring as the frame-and-panel (Fig. A). Woodworkers have been using this type of construction for centuries to build doors, wall paneling and cases. It’s a classic solution for dealing with an unavoidable problem: the seasonal expansion and contraction of a large panel. It’s also a great way to display a prized plank of figured stock.

Frame-and-panel is a very flexible design. By changing the shape and proportions of the panel or the frame, the design can be easily adapted to fit almost any style of furniture or architecture. Panels can be beveled or flat, rectangular or arched; the edges of the frame can be shaped with a decorative molding called a “sticking,” (Fig. B) or left square.

The main idea, though, is that the solid-wood panel isn’t glued in place: it’s free to float in grooves all the way around the frame. As a panel shrinks in width in winter, it’s free to withdraw in the stile’s grooves. As it expands in summer, there should be enough room in the grooves so the panel doesn’t bottom out and force the frame apart (Fig. C).

I’ll show you how I build a very traditional frame and panel door–one which will withstand years of use. It has mortise and tenon joints, a sticking which is mitered at the corners, and a rectangular raised panel.

Why mortise and tenon?

There’s more than one way to build a frame and panel door. Today, most woodworkers use a pair of cope-andstick router bits, which allow you to quickly and easily construct a kitchen full of doors. One bit shapes the decorative sticking profile and the panel groove; the second bit cuts the tenon and copes the ends of the rails to match the sticking. However, most of these bits create a short, stubby tenon (equal to the depth of the panel groove) which has only a small surface area for glue. Cope-and-stick joints are fine for lightweight doors, but I believe that large doors with solid-wood panels require more robust joinery.

For strength and longevity, it’s tough to beat traditional mortise and tenon joints (Photo 1). Unlike coped joints, deep mortises and long tenons provide mechanical interlock and plenty of surface area for glue. When I build traditional furniture that’s intended to last for generations, I always use mortise and tenon joints for the doors.

Click any image to view a larger version.

1. Here’s the joint I’ll be making. It provides a rigid mechanical interlock and plenty of surface area for glue. Note how the molding, or “sticking” is mitered, and how the joint is cut to accommodate the miter.

3. Scribe the mortise from each face to perfectly center it on the stile.

5. Cut the tenon on a test piece with a dado set. Remove equal amounts from each face to center the tenon. Clamp a board to the fence for protection.

7. Shape the sticking profile the full length of all the rails and stiles, plus a test piece.

12. Miter the rail’s sticking by aligning the tenon’s shoulder with the reference line.

15. Remove the waste by sawing close to the sticking’s edge or the scribed line, depending on which end of the stile you’re cutting. Guide the cut with a fence.

19. Rout the panel. Use a barrier guard to shield your hands from the bit.

20. Clamp the assembly on a flat surface to prevent it from twisting. Saw the stiles to final length to make the outside corners flush.

This story originally appeared in American Woodworker June/July 2009, issue #142.

June/July 2009, issue #142

Purchase this back issue.

Purchase the complete version of this woodworking technique story from AWBookstore.com.

How to Hang Inset Doors

American Woodworker Editors — Fri, 02 Mar 2012 16:55:00 GMT

How to Hang Inset Doors

Install butt hinges perfectly and establish consistent, slender margins.

By Tim Johnson

Purchase the complete version of this woodworking technique story from AWBookstore.com.

Nothing signals skillful craftsmanship like an inset door with elegant hinges and eye-pleasing margins. This challenging job leaves no room for error: Uneven surfaces and unsightly gaps will tell the tale if the hinges, door and frame don’t fit precisely. Like mastering hand-cut dovetails, successfully hanging inset doors on mortised butt hinges is a woodworking milestone.

I’ll show you a three-step method for installing inset doors that produces great results every time. First, you match the door to the opening. Then you rout mortises for the hinges. And finally, you create uniform, attractive margins between the door and frame. Of course, you can skip the mortising step altogether by choosing different hinges (see “No-Mortise Hinge Options, below”).

To complete the job, you’ll need a couple simple jigs, a mortising bit, and a laminate trimmer. A laminate trimmer is a compact router that’s a really handy addition to any woodworking shop. (If you don’t own a laminate trimmer, this is a great excuse to buy one.)

Round out your door-installing arsenal with a pair of secret weapons—a plastic laminate sample swiped from the home center and a double-bearing flush-trim router bit. This great new bit should be a fixture in every woodworking shop.

Choose hinges

Your first task is to choose between extruded (also referred to as drawn or cast) or stamped hinges (see photos, above). Extruded hinges are machined and drilled, so there’s virtually no play between the knuckles or around the hinge pin. Stamped hinges are made from thinner stock. Their leaves are bent to form the knuckles that surround the pin. Extruded hinges will last longer, because their knuckles have more bearing surface.

I often use stamped hinges because they cost about one-third as much as extruded hinges and they’re available at most hardware stores. They work fine in most situations. Examine stamped hinges carefully before buying. If you notice large gaps between the knuckles and vertical play between the two hinge leaves, keep looking. Be aware that some stamped hinges are brass plated rather than solid brass. Hinges with loose pins make it easy to remove and reinstall the door, but they aren’t widely available.

Click any image to view a larger version.

6. Rout mortises in the door stile. Locate the mortise at least one hinge length from the top. Because of its small size, a laminate trimmer works great for this delicate job.

8. Rout mortises in the face-frame stiles using the mortising jig. You’ll need a laminate trimmer for this job, because the mortises are so close to the corner.

10. Rout the door to final length. Use a fence and a flush-trim bit with top- and bottom-mounted bearings to avoid blowing out the back edge. First, rout halfway using the top bearing.

This story originally appeared in American Woodworker May 2006, issue #121.

May 2006, issue #121

Purchase this back issue.

Purchase the complete version of this woodworking technique story from AWBookstore.com.

Butterfly Inlay

American Woodworker Editors — Tue, 21 Feb 2012 18:06:00 GMT

Butterfly Inlay

Make a perfect fit with a shop-made template.

By Tom Caspar

Purchase the complete version of this woodworking technique story from AWBookstore.com.

Don’t you just love it when something that looks extremely difficult turns out to be oh-so easy? Making butterfly inlay with a plunge router is a good example. The technique is very easy to learn. All it takes is a set of router accessories and some 1/4-in. plywood or hardboard to make your own template.

Butterflies appear to bind two pieces of wood together, but they’re really just for show and are only 1/8-in. thick. Few pieces of authentic Mission-style furniture were dressed up with butterflies, but in recent years they’ve become a common decorative theme in reproduction Mission furniture, adding a light touch to heavy-looking pieces.

Your router

The easiest way to make inlay is with a plunge router, but it’s possible to use a fixed-base router instead. The only problem with using a fixed-base router is that you’ll have to tip it into the cut by hand, which takes some practice. This technique may also put a good deal of stress on a fragile router bit.

Whatever kind of router you use, its base must accept a Porter-Cablestyle template guide. This is a stationary ring that screws onto the router base. If your router’s base doesn’t have a hole sized for a Porter-Cablestyle template guide, you can buy an adapter base.

The inlay kit

Inlay kits are available from several manufacturers, but they’re all very similar. You get a template guide, a 1/8-in.-thick collar that snaps onto the guide and a 1/8- in. solid-carbide bit. The bit is usually a spiral downcut that cuts exceptionally clean, chip-free edges.

The inlay set we used also includes a centering pin for installing the template guide in your router base. If the guide isn’t centered, the inlay may not fit well in the recess.

Click any image to view a larger version.

This kit has everything you need to make both the inlay and the recess it fits into:

1/8" Bit

Snap-on collar

Template guide

Guide-mounting ring

This story originally appeared in American Woodworker March 2003, issue #99.

March 2003, issue #99

Purchase this back issue.

Purchase the complete version of this woodworking technique story from AWBookstore.com.

Woodworking Techniques

Brush-On Finish the Easy Way

Brush-On Finish the Easy Way

Thinning the poly is the secret.

Materials

Technique

How to Build a Torsion Box

How to Build a Torsion Box

It’s amazingly strong, light. . . and cheap!

Torsion Boxes–the Real Story

Strong, but light

How an I-beam works

Materials

Cut the web pieces

Build a construction platform

Assemble the web and sides

Build leg sockets

Add the skins

Add the facing and laminate

Add the legs

Cutting List

Fig. A: Exploded View

Fig. B: Web Notch Layout

Fig. C: Gluing Platform

Fig. D: Drill Guide

Fig. E: Plywood Cutting Diagram

Mortising on the Drill Press

Mortising on the Drill Press

Simple improvements make a mortising attachment work great.

Make Poplar Look Pretty

Make Poplar Look Pretty

﻿﻿Give this useful but unattractive wood a makeover.

An ugly duckling

Transformed

How-to

Turn green to gold

Turning Wood: Socket Chisel Handles

Turning Wood: Socket Chisel Handles

Here’s a 1-2-3 system for getting a perfect fit.

Measure the socket

Test the fit

Chemical Ebonizing

Chemical Ebonizing

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

Mixing the chemicals

Application

Sources

Spalted Wood

Spalted Wood

Where to find spalted wood

Make your own spalted wood

How to stabilize spalted wood

Working properties

Finishing

Give this useful but unattractive wood a makeover.

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