BUILD IT YOURSELF!

112 PAGES OF EXPERT GUIDANCE

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March 24, 2015

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 EDITORIAL CONTENT CHIEF DAVECAMPBEll

DEPUTY EDITOR CRAIG RUEGSEGGER

PUBLICATION EDITOR KERRYGIBSON

ART DIRECTOR KARL EHLERS

PUBLICATION ART DIRECTOR KIM HOPKINS

DIGITAL CONTENT MANAGER LUCAS PETERS

SENIOR DESIGN EDITOR KEVIN BOYlE

DESIGN EDITOR JOHN OLSON

TOOLS EDITOR BOB HUNTER

GENERAL·INTEREST EDITOR NATEGRANZOW

ADMINISTRATIVE ASSISTANT SHERYL MUNYON

CONTRIBUTING CRAFTSMEN JIM HEAVEY,BRIANSIMMONS, MARKLANE,

BOB BAKER,TOM BRUMBACK,BOBSAUNDERS,STEVEFEENEY,MATTSEILER, DOUGLEY
PHOTOGRAPHERS DEANSCHOEPPNER,JASON DONNELLY,JAYWILDE
CONTRIBUTING ILLUSTRATORS TIM CAHILL,LORNAJOHNSON, ROXANNELeMOINE
PROOFREADERS BABS KLEIN,BILLKRIER, IRA LACHER,JlM SANDERS

Welcome to VICE PRESIDENT

ADVERTISINGANDMARKETING
& GROUP PUBLISHER
GROUP BUSINESS DEVELOPMENT DIRECTOR
SCOTTMORTIMER
CURTBLADES

Woodworking ADVERTISING SALES REPRESENTATIVE

SALES ASSISTANT
LISAGREENWOOD
NANCYECHEVERRIA
ONLINE MEDIA KIT woedmaqarine.rem/mediakit

BUSINESS MANAGER DARRENTOLLEFSONCONSUMER MARKETING DIRECTOR LIZBREDESON

fyou're reading this, you've obviously given serious

I
CONSUMER MARKETING MANAGER BLAINEROURICKRETAIL BRAND MANAGER·NEWSSTAND TAMMYCLINE
PRODUCTION MANAGER SANDYWILLIAMSADVERTISING OPERATIONS MANAGER JIM NELSON
thought to taking up woodworking. Maybe you're tired of PREPRESS DESKTOP SPECIALIST RANDYJ. MANNINGCOLOR QUALITY ANALYST PAMELAPOWERS
shelling out money for particleboard passing as furniture
MEREDITHNATIONALMEDIAGROUP
and thinking, "I'll bet I could build this better myself out of PRESIDENT TOMHARTY
real wood." Or perhaps you're looking for a hobby that rewards
EXECUTIVE
VICEPRESIDENTS
you with a feeling of accomplishment at the end of the day. PRESIDENT, MEDIA SALES RICHARDPORTER PRESIDENT, PARENTS NETWORK CAREYWITMER
PRESIDENT, WOMEN'S LIFESTYLE THOMASWITSCHI PRESIDENT, MEREDITH DIGITAL JONWERTHER
Whatever the reason, I can personally vouch for woodwork- PRESIDENT, MEREDITH HOME GROUP JAMESCARR CREATIVE CONTENT LEADER GAYLEGOODSONBUTLER
ing as an excellent solution. Spending time in the shop is also CHIEF MARKETING OFFICER NANCYWEBER CHIEF REVENUE OFFICER MICHAELBROWNSTEIN
GENERAL MANAGER DOUGOLSON
a great stress reliever, and nothing beats the satisfaction of
SENIORVICEPRESIDENTS
creating something with your own hands. CHIEF DIGITAL OFFICER ANDYWILSON DIGITAL SALES CAROLYNBEKKEDAHL
But how do you get started? For those of us lucky enough, we RESEARCH SOLUTIONS BRITTACLEVELAND

had a dad, granddad, uncle, or neighbor who patiently showed VICEPRESIDENTS

BUSINESS PLANNING AND ANALYSIS ROBSILVERSTONECONSUMER MARKETING JANETDONNELLY
us the ropes from an early age. Sawdust runs through our veins. CORPORATE MARKETING STEPHANIECONNOLLYCOMMUNICATIONS PATRICKTAYLOR
HUMAN RESOURCES DINANATHANSONCORPORATE SALES BRIANKIGHTLINGER
Think of this issue as that same friendly advice and guiding DIGITAL VIDEO LAURAROWLEY DIRECT MEDIA PATTIFOLLO BRAND LICENSING ELiSECONTARSY
hand. With more than 30 years creating the world's most-read STRATEGIC SOURCING, NEWSSTAND, PRODUCTION CHUCKHOWELL
woodworking publication under their belts, the editors of
WOOD® magazine have put together-this issue to teach you the emeredith
CHAIRMAN AND CHIEF EXECUTIVE OFFICER STEPHENM. LACY
skills you need, from understanding and selecting wood, to PRESIDENT, MEREDITH LOCAL MEDIA GROUP PAULKARPOWICZ
buying your first tools, to joinery and finishing techniques.
VICE CHAIRMAN MELLMEREDITHFRAZIER
That's all well and good, but you want to get busy with those IN MEMORIAM - E.T.MEREDITHIII (1933-20031
skills! So we've also included five starter projects-including a
simple workbench (on page 75) for your new shop-to put what
you've learned into practice. Oh, there's also a handy reference
section chock-full of useful information.
So welcome to the club! I know you're going to love it.
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woodmagazine.com
Contents
Understanding and
Buying Wood
4 Board Basics
A guide to understanding all things wood.

6 Wood Structure and Appearance

Cell structure gives wood its properties.

10 lingo for Buying Lumber

Pick the right wood for your projects.

14 Machining Wood
How to work wood to your advantage.

16 Selecting Sheet Goods

Not all plywood is the same.

Get Equipped
20 Assemble a Commonsense
Tool Kit
Essential tools to get you started.

22 Top Buys in 6 Power Tools

Get the most bang for your tool bucks.

Tools, Skills, and Tips

26 Measure and Mark for Better
Accuracy
Learn rules for dead-on measurements. Safety
43 Healthy Woodworking
29 Tune Up Your Tools Equipment to keep you safe in the shop.
Accurate cuts start with proper alignment.
46 Safety Checklist
30 Start Square to Finish Square Follow these simple rules to work safely.
Must-have skills for precision builds.

33 How to Cut a Straight Edge

Basic Joinery
on Anything 47 Master Dadoes, Grooves,
These tips keep you lined up for success. and Rabbets·
Learn how to create these essential cuts.
38 Eking Precision out
of Portable Power Tools 52 Half-Lap Joints
Get big-time results with small tools. Fashion simple, yet strong connections.

42 Precisely How Precise? 54 Save Time with Pocket Holes

Don't sweat the really small stuff. A quick and easy way to join workpieces.

56 Glue Up Perfect Panels

Turn multiple boards into a smooth unit.

Wipe Out Excess Glue

Tips for keeping glue under control.

Joint Decisions
Pick the joint that bestfits the need.

2 Get Started in Woodworking

Finishing
62 Keys to Successful Hand-Sanding
Essential skills for smooth surfaces.

64 Start of a Great Finish

Expert advice from a finishing pro.

65 Foolproof Finish
A go-to finish for guaranteed success. Starter Projects
66 3 Easy Oak Finishes 75 One-Day Workbench
Build this workshop essential.
Easy techniques for flawless finishes.

79 Low-Tech, High-Appeal
Project Preparation Picture Frames
69 Understanding Drawings Simple techniques yield great results.
and Plans
Decipher the details for better builds. 82 Classic Bookcase
Test your skills and reap the rewards.
73 10 Keys to Successfully
Building WOOD® Projects 90 Garden Bench
Helpful hints for project perfection. Adapt techniques for outdoor builds.

96 Hall Table
Hidden simplicity, classic lines.

Reference Guide
102 Choose the Right Screw
Make sense of your fastener options.

106 Drill-Press Guide

Match speed with style for best results.

108 Choosing and Using

Woodworking Adhesives
Pick the right glue for the task at hand.

110 Choosing and Applying

Clear Finishes
Determine what's best for your job.

112 Fraction, Decimal, and

Millimeter Equivalents
No-math chart for figuring out fractions.

82
woodmagazine.com 3
 UNDERSTANDING AND BUYING WOOD
Board Basics
They're easy to learn if you follow the grain.
W
en is a groove a dado? What's
the difference between ripping
and resawing? And why would
anyone give dimensions as V2x4x2" when
it sounds so much more correct to say
V2x2x4"? The answers to these and other
woodworking questions depend on one
thing-which way the grain runs.
Let the grain guide you
When you start talking about grain, you
have to think about the log the stock
comes from. The concentric growth rings
visible on the ends of the log form those
stripes-often arc-shaped-that you see
on the ends of a board. This distinctive
end grain provides a convenient reference
point for identifying the six planes on a
board, shown below. When the stock's
thickness equals its width, all four surfaces
are called faces.
As simple as edge, face, and end seem,
confusion arises because these planes on
the stock may not correspond to direc-
tional terms for the part. For instance, on
a box with the grain running horizontally,
references to the front and back edges of
an end piece will indicate the ends of your
~
L G-:;;'~::::-:""~
-.s>""
~ End
Surface
~~~
W~I'-"T GRAIN AND
SURFACES
4 Get Started in Woodworking
stock. So, be sure you're clear whether
directionals and terms such as edge or end
refer to the stock or to the actual project
part.
Keep dimensions in order
Measurements can lead to confusion, too.
Wood dimensions are customarily given
in a specific order-thickness, width, and
length (TxWxL).Thickness is normally the
smallest dimension on the board's end;
width, the measurement across the grain;
and length, the measurement along or
with the grain, as. shown in the drawing
bottom left.
If you swap given dimensions when you
cut a piece for a project, the part will fit,
but it might not look right. Rearranging
dimensions also could affect the strength
or durability of a project. The illustration
below shows three ways a piece could be
cut simply by changing the order of the
dimensions.
Warps and size changes
As humidity changes, so does the size of a
piece of wood. Exposed to high humidity,
wood swells, only to shrink when the
humidity decreases. This movement,
which varies in degree among species, also
relates to grain.
Only the slightest dimensional change
occurs with the grain, or lengthwise. But
thickness and width can vary consider-
ably. Going from green to oven-dry (a
testing standard, not to be confused with
kiln-dry), some woods shrink by almost 13
percent in width, or more than 3,4" on
6"-wide stock. Since you'll ordinarily build
projects from kiln-dried stock, you won't
experience such extreme variations. Also,
once wood has been dried, it doesn't
expand to that degree when exposed to
normal humidity changes.
A look at the end grain will give you
some clues as to how a piece of wood will
react to humidity. Movement will be
greatest in the direction of the stripes or
arcs, or tangential to them, shown below.
Radial growth and shrinkage across the
Moderate
change
(radial)
WOOD EXPANSION
AND CONTRACTION
 arcs will be less, probably in the range of
40-80 percent of the tangential value,
depending on the species. This uneven
Bow
shrinkage can set up stresses in a piece of
wood, causing it to warp. Described here
and shown at left are four common warps
you'll likely encounter:
Bow: A curve from end to end, resulting
in a board that rocks from end to end on
one face when placed on a flat surface.
Crook: An edge curvature from end to shown above, often accompany warping,
end, resulting in a board that rocks back too. And, of course, if things are really out
and forth on the convex edge. of control, you could find a snakelike
Cup: Edge-to-edge curvature, resulting in board that combines two or more varieties
a board that rocks from side to side on one of warping .•
face when placed on a flat surface.
Twist: A warp that lifts one corner, result-
ing in a board with ends that aren't parallel More Resources
to each other. ~ Learn the lingo! Find a complete
WARPING Checks (cracks across growth rings) and glossary of woodworking terms at
woodmagazine.com/woodwords.
shakes (cracks between growth rings),

A glossary of cuts
To cut stock to size, woodworkers rely on
SAWING RABBET
three basic sawing operations, all defined
STOCK TO
in relation to grain direction. The sizing SIZE
cuts, shown in Drawing 1, are:
Crosscutting: Sawing across the grain to
reduce a board's length. A crosscut at an
angle other than 90° to the board's edge is
a miter cut.
Ripping: Sawing in the grain direc-
tion to reduce a board's width. A
face will rest flat on the surface of
the tablesaw.
Resawing: Sawing in the grain direction
to reduce thickness. An edge of the piece
being resawn will rest on the saw table.
Here are some other cutting terms you'll DADOVS. CHAMFER
likely run across: GROOVE AND
Rabbet: A channel along an edge or end of BEVEL
a piece of stock, shown in Drawing 2.
Dado: A flat-bottomed channel that runs
across the grain, open from edge to edge, as
shown in Drawing 3. .
Groove: A similar channel running with
the grain.
Bevel: An angled cut across an entire edge,
end, or face, shown in Drawing 4.
Chamfer: An angle cut on a portion of an
edge, end, or face.

woodmagazine.com 5
 Live bark
(Protects inner layers;
transports sugars
produced in leaves.)

(Generates new growth.

Thickness exaggerated for
clarity.)

Sapwood
(Live wood that transports
water and nutrients.)

Heartwood
(Dead wood that provide
structural support.)

Pith
(Original tree stem
surrounded by soft
juvenile wood.) .

=-,....-_~"*:JHlt-~Growth
rings
(New wood fibers addec
annually as tree grows.)

Peel open a log, and you'll

reveal the distinct cellular layers
that make up wood. When sliced
into boards, these layers produce
the color, grain figure, and strength that
woodworkers prize.

'''.;;:.~:i:::.::;1~~~~2~~~- Flatsawn
(Growth rings meet face
at 30° angle or less.)

Wood Structure
and Appearance
The more you know about wood, the better able you'll be to work with it. By
understanding wood's composition, you can use its structure to your advantage.

oodworkers know that indi-
W vidual boards, whether from
separate species, the same one,
or even the same tree, can have vastly
different grain figure, color, and working
properties. Few of us, though, under-
stand why. If you take time to become
familiar with wood as a material, you'll
reap rewards by the truckload. It will let
you better select, machine, assemble, and
finish wood for the projects you build.
And you'll understand how completed
projects react to changes in temperature
and humidity.
Thankfully, you don't have to decipher
the intricacies of wood's cellular makeup.
We've done that for you in this article to
help make it easy for you to understand
what you need to know about wood. Let's
start with the basics of how a tree grows.
The growth cycle
Trees, whether hardwood or softwood,
all grow pretty much the same way. A
narrow stem sprouts from a seed, and
reaches for sunlight. But that stem-call
it the trunk=doesn't just get longer.
Instead, it adds layer upon layer of new
material like coats of paint, causing it to
increase in both height and diameter as
it grows upward.

6 Get Started in Woodworking

Growth rings
give clues to
the tree's age,
growth rate, and
whether the trunk grew
straight or crooked, on flat
ground or a slope. Uneven ring
distribution can indicate unstable wood.

Rays

The cambium, a thin layer just
-beneath the live bark, serves as the driv-
ing force behind this growth. Each year, it
produces new sapwood on the inner side,
and a bit more live bark on the outside.
As trees grow, they sprout branches,
which all originate from the stem, now
called the pith. Branches grow in diameter
and length, like the trunk, by adding new
cells each season. Slice through the base of
the branch at the trunk, and you'll see the
telltale remnants of a branch: a knot.
Once enough layers accumulate, they
show up as growth rings, seen in the
drawing on the previous page, and the photo
above. In some species, the rings are readily
visible-and difficult to see in others. This
depends, in a large part, on the types of cells
the tree contains, as well as how they're
distributed. Read below to learn more about
wood structure.

Hardwood or soft: it depends on cell structure

Hardwoods and softwoods share similar Hardwood at 100 times magnification
cellular makeup, as shown at right.
Vessel (pore) Tracheids
Softwoods are simpler, containing two (fibers)
major cell types; hardwoods have four.
In both types of trees, the old analogy
of wood as a bundle of straws glued
together remains reasonably accurate.
Most cells, though, aren't continuous
tubes. They have sealed ends.
In softwoods, about 95 percent of cells
are tracheids (commonly called fibers)
that are aligned vertically. They carry
liquids (sap) through the tree and offer
structural support. Horizontally arranged
rays (the other 5 percent of cells) radiate
out from the pith like spokes in a wheel.
Rays transfer and store nutrients in the
sapwood. In softwoods, rays are usually
small and difficult to see ..
All of these cells are stuck together by a
gluelike substance called lignin.
Hardwoods also contain tracheids and When magnified, "solid" wood shows its true nature: separate fibers joined together. One cubic inch
rays. The rays are often larger than those may contain as many as 5,000,000 individual fibers.
in softwoods, and are grouped in bigger
bundles, making them readily visible,
especially in quartersawn stock, as Ray cells radiate outward
shown right. Some hardwoods have from the tree's center, so
vertical parenchyma cells that are similar they only show up clearly
to rays, but run up and down. in quartersawn stock.
Hardwoods also feature specialized cells White oak (shown here),
called vessels that transport sap. These red oak, and sycamore are
vessels lose their ends as they form, renowned for the distinct
creating continuous ducts. Looking at a "ray fleck" figure that
quartersawing exposes.
hardwood board in end view, you often
can see the open ends of the vessels,
which are commonly called pores.

woodmagazine.com 7
The color connection: Heartwood vs. sapwood
As growth rings form around the a tree's
perimeter, they produce sapwood. This
outer layer, which often sets itself apart
with a white to light tan color, varies in
thickness among species. It carries sap
(water plus any minerals present in the
soil) from the roots up to the leaves. Sug-
ars produced in the leaves then flow back
down through the live bark to feed the
cambium layer.
Cells residing in the tree's inner layers
die as sapwood layers accumulate. At this
time, they become heartwood, which
provides structural support for the tree.
During this process, the cell walls take on
materials called extractives. Tints in the
extractives give many woods, especially
hardwoods, their distinctive colors.
Woodworkers value heartwood in most
species because of its color and greater
natural durability. Some exceptions exist,
Fanciful figures
Most wood fibers run vertically, but
they don't necessarily grow straight up
and down. Sometimes, they take on a
wavy pattern, twist together
(interlock), or spiral.
Combinations of these variables
produce intriguing grain lines and
cause uneven light reflection.
Woodworkers prize boards bearing
these properties, below, and refer to
them as highly figured.
though. Most woodworkers prefer the
appearance of the consistently light-color
sapwood found in both maple and poplar,
for example, over the darker heartwood. '
Extractives in some species add more
than color. Those in cedar and redwood
make the heartwood resist decay. This
explains why the sapwood rots more
quickly in these popular outdoor woods.
Heartwood cells often resist the absorp-
tion of liquids better than sapwood, too,
because the extractives block the tiny pits
in cell walls that normally allow liquid
movement. As a result, makers of treated
lumber for outdoor use choose woods with
a high percentage of sapwood, such as
southern yellow pine. The sapwood accepts
the chemicals, and the heartwood does
not. So, in this man-altered wood product,
the heartwood becomes more susceptible
to decay than the sapwood.
Wavy grain produces curly figure,
sometimes referred to as striped or tiger
grain. Violinmakers often use tight curly
grain known as fiddleback.
When the fibers form localized swirls,
the result becomes bird's-eye figure,
most commonly exhibited in sugar
(hard) maple.
At tree crotches (where branches
intersect the trunk), wood fibers become
The moral of the story: Avoid treated
boards with heartwood, especially if that
stock will be in contact-with the ground.
The transition to heartwood brings other
changes to wood cells. As the extractives fill
the cell walls, they often become harder and
make the heartwood more durable.
In some species, bubblelike membranes
called tyloses form in the vessels. These
block the flow of water through the ves-
sels. White oak, for example, contains
these structures that suit the wood well for
crafting wine barrels that won't leak.
Now that you know why wood looks
the way it does, you'll be better equipped
to find lumber with the right appearance
for your next project .•
Written by David Stone
Illustrations: Eric Flynn
Original cell art: Les Jozsa
entangled, yielding figures of many
types. Most common among them are
patterns called crotch and flame. On
occasion, trees develop growths called
burls that produce wildly figured grain.
Unfortunately, reading what grain
figure exists within a tree trunk proves
difficult. But finding out what lies within
remains one of the joys of cutting logs
into lumber.
 Choosing stock for a project
can be a delightful walk in e
wood store-or a mumbo
jumbo of lumber jargon.
Here's a primer to sharpen
your buying eye and
help you talk the
talk the next
time you shop
for boards.

Hardwood and softwood:

two ball games
hat makes a wood "hard" or "soft"?

W Carvers love the softness of bass-

wood and butternut under their
knives. Sure, they're soft in that respect, but
technically they're hardwoods. That's because
hardness isn't what spells the difference
between hardwood and softwood lumber.
Instead, it's the type of tree from which the
wood is harvested.
Hardwood is produced by mostly broad-leaf
deciduous trees that-in the world's temperate
zones-lose their leaves each fall. Softwood,
on the other hand, refers to wood that comes
from evergreen, needle-leaf, cone-bearing
trees called conifers. Neither term has any-
thing to do with hardness, although the wood
from deciduous trees generally proves to be
harder than that from coniferous trees.
Because of its beauty, stability, strength,
predictability when machined, and resistance
to denting, hardwood is the choice for most
furnituremaking. Few softwoods offer the
same positive characteristics. Bald cypress,
redwood, and western red cedar are occasional
exceptions. See the sidebar, on page 12, for a
selection of the most commonly used hard-
woods and softwoods,
Continued 011 pare 12
10
 UNDERSTANDING AND BUYING WOOD

Hardwood grade school

Because hardwood trees are less abundant
than softwood and their lumber more
II PRIMARY USES
cabinets sim Ie furniture
OTHER USES
valuable, great care is taken to minimize
waste from a log. That means you'll find cabinets
carved items
boards of differing quality-even if they
cabinets,furniture flooring
came from the same log. For this reason, carved items
the National Hardwood Lumber Associa- cabinets finefurniture rnoldin s
tion (NHLA) assigns specific quality chairs tool handles cabinets
grades to all hardwood boards. Each classicfurniture outdoor furniture
durabletables & chairs cabinets moldin s
grade reflects a classification according to
cabinets furniture moldin s
the percentage of clear material the grade outdoor & indoorfurniture barrels
is expected to yield. The greater the per- utilityfurniture painted items
centage, the higher the grade and value of furniture boat decks & trim
the board. Let's look at the top four stan- finefurniture moldin s
dard grades of hardwood lumber.
Bald cypress outdoor & indoorfurniture
• Firsts and Seconds (FAS). This grade Cedar (western red) outdoor furniture decks,fences
features long and wide cuttings. The board Pine (ponderosa) countryfurniture
sizes measure from 6" and wider to 8' and (white) countryfurniture
longer. Graded from the poorer side, FAS (southern yellow) flooring treated for outdoor use
Redwood outdoor furniture decks,fences
boards produce minimum cuttings of
4"x5' or 3"x7'. Clear-face cuttings must
yield no more than 16 percent waste. grade. No difference exists between FASlF and wider, 4' and longer, with minimum
These highest-quality boards are most and Selects except for minimum dimen- cuttings of 4"x2' or 3"x3'. Clear-face cut-
often used in tabletop and moldings, or sions. The minimum size for FASlF boards tings must yield two-thirds or more usable
where long, clearboards are required. is 6"x8'. Selects measure at least 4"x6'. The wood, You'll find the grade in the shorter
• FAS l-Face (FASlF) or Selects. FAS1F Select grade applies to woods, such as pieces of cabinets or furniture .
is graded like FAS, except that the boards birch or hickory, that yield shorter, nar- • No. 2A. Most often found in flooring,
are graded from the better side, or the rower boards . boards of this grade yield at least 50 per-
clearer face. The back side of the board • No. 1 Common. Graded from the cent clear wood in cuttings at least 3"
will grade no lower than No. 1 Common poorer side, Common boards measure 3" wide and 2' long.

BasicYield for FAS

8
11
1
BasicYield for No.1 COrn.n1.on
I~'---- 4'------·1
811 -1 Dtt~"'>
~ ':r.i#;';;:~":'

I ~aSiCYield for No.2 COnUnon \' 12' 7_' ~ __ ~"_+_: I

TIP Ifyou're looking for consistent color and grain in long boards, say for a piece of fine furniture or
cabinetry, go with a Select or Better grade. If, however, you're building a small project that you
plan to paint or stain, a lesser grade will save you 30 to 50 percent in wood cost.

12 Get Started in Woodworking

Softwood grade school
Like hardwood, softwood lumber of fur-
nitureand cabinet quality (not building
construction) is graded on the number
of cuttings a board will yield. Softwood
grades fall into three main categories-
Select, Shop, and Common. A board's
best side determines the grades for all
but 5/4 (1%") and thicker Shop grades.
One-inch lumber generally is sold in 2"
width increments (lx2, lx4, etc.), and
1%" lumber comes in random widths
and lengths. Several rules and regula-
tions govern softwood grades. Here's a
simplified rundown.
• ( and Better Select. The clearest
grade available from most American mills,
many C and Better Selects have a Band
Better face with backs of a slightly lower
grade that have minor imperfections, but
no knots.
• D Select. A good practical grade for
many projects, D Selects have only minor
defects, such as small, tight knots.
• Molding stock. A special grade offered
by a few mills, Molding Stock yields more
than 70 percent clear rippings I" and
wider, 6' and longer. As the name implies,
this grade is used to make moldings
because of its narrow yields.
• Shop grades. The highest Shop grade,
in 1W' and thicker dimensions, No.3 Clear
offers only a few well-placed defects,
allowing for a very high yield of clear, two-
faced stock.
Beyond No. 3 Clear, Shop lumber falls
into three other categories: No. 1 Shop,
No.2 Shop, and No.3 Shop. Widths run 5"
and wider, lengths 6' to 16'. No. 3 Clear
yields 70 percent clear cuttings. In con-
trast, No. 1 Shop yields 50 percent clear
cuttings, and No.2 Shop yields just 33Y3
percent clear cuttings.
1" X 6" X 96" = 576
576 -;-144 = 4 board feet
woodmagazine.com
• No. 2 and No. 3 Common.
No.1 Common is no longer graded
and sold separately. Instead, it's
included with No.2 Common and
sold as No. 2 & Better Common.
Referred to as the Knotty or Shelv-
ing grade, No. 2 Common is the
most popular utility grade. Similar
Hardwood
to No. 1 Common, No.2 Common t hlIcness
k t h·ICk ness
allows more pronounced knots and after S2S
other defects. No. 3 Common 1V,6"
includes boards of less uniform 1Yi6"
appearance than the higher grades. 1V!6"
Common grades include the desig- 1%,'
nation liS-Dry,"meaning they have 2W'
18-20 percent moisture content. 2%,'
All higher, more expensive soft-
wood grades are kiln-dried to less
than 10 percent.
Air-dried vs. kiln-dried
Both hardwood and softwood lumber
begin as "green" boards sawn at mills from
the logs of freshly felled trees. A green
board's moisture content runs 28 percent
or greater. This makes it unsuitable for
woodworking because all wood shrinks,
warps, and splits as it dries.
To remove moisture from green boards,
most manufacturers air-dry then kiln-dry
them. Air-drying lumber reduces moisture
content to 12-19 percent naturally-work-
ers stack and separate the boards so that air
circulates between them. Moisture content
in the teens is okay for outdoor construc-
tion, but is inadequate for interior projects,
such as furniture and cabinets. Why?
Because wood will shrink in a drier interior
environment, playing havoc with project
glue joints and finishes.
Kiln-drying takes over where air-drying
leaves off. Large, ovenlike kilns with care-
fully controlled temperatures drop mois-
ture to 6-9 percent, the ideal range for
I--'-----=----'-'-~~ = board feet
1" X 6" X 8' = 48
48 -;-12 = 4 board feet
Softwood
I Thickness after S2S
4/4 = 1" %"
5/4 = 1W' 1V32"
6/4 = 1 Yz" 110/32"
8/4 = 2" 11V,6"
10/4 = 2W 2%"
12/4 = 3" 2%,'
interior projects. Kiln-dried lumber won't
absorb moisture readily, so it's more stable.
Calculating board feet
Dealers typically price softwoods by the
running (lineal) foot, and hardwoods by
the board foot, a volume measurement. A
board foot includes thickness, width, and
length measurements that equal 144 cubic
inches. The box below le{tprovides some
sample calculations.
The thickness of lumber, especially
hardwoods, is referred to in quarters of an
inch, such as 414(lifour quarters" or 1"),5/4
(1.25"), 6/4 (1.5"), 8/4 (2"), and so on. These
hardwood thicknesses, however, are desig-
nated and the board footage calculated
before surfacing. Although you'll pay for
the full designated thickness, what you'll
actually get in lumber surfaced two sides
(S2S)is shown in the chart above. Also, in
a lumber store, the board footage is
rounded up or down to the nearest one-
half board foot, except for more costly
exotic or imported wood. Exotic wood is
calculated to the inch, and will be rounded
to the nearest hundredth of an inch .•
Written with Raymond L. Wilber
For more information
National Hardwood Lumber Assoc.
P.O. Box 34518
Memphis, TN 38184-0518
901-377-1818, nhla.com
Western Wood Products Assoc.
1500 SW 1st Ave #870
Portland, OR 97201
503-224-3930, wwpa.org
13
 UNDERSTANDING AND BUYING WOOD

Make Sense of
Machining
U
nlike manufactured materials that have uniform
strength, density, and structure (such as plastics), there's
little in the makeup of wood that can be called consis-
tent. Variations in cell density and distribution within a board
are the norm, not the exception. Boards of different species can
react differently during the same machining operation.
Add to those variables the stresses introduced to wood
during the drying process, and you have an unpredictable (but
beautiful) material. In this article we take a look at how you can
best deal with wood's quirky characteristics during key machin-
ing steps. First, let's get familiar with basic wood structure.

How cell orientation influences

Cuts parallel to
the fibers remove more
woody material and lignin
than cuts across the fibers, which
encounter more hollow pockets. That's why
rip cuts require more power.
cutting smoothness
A board consists of millions of tiny cells, often called fibers,
that vary in size and shape. They're held together by lignin.
Some 95 percent of these cells run vertically in trees, or
lengthwise in boards cut from those trees. The remaining
cells, called rays, run perpendicular to the bulk of the fibers.
However you cut a piece of wood-with a saw blade, router
bit, planer knife, or even abrasive particles on sandpaper-
results vary depending whether you cut parallel or perpendic-
ular to the wood fibers, left. Cuts parallel with the fibers,
called rip cuts, require more power and tend to heat tip cut-
ters, but machine cleanly. Cuts perpendicular to the fibers
(crosscuts) generate less heat, but create fuzzing and splinter-
ing, called tear-out.

If ripping cuts require a lot of power, why do they The problem:

machine so cleanly? Think of splitting a log with The kerf closes on a
an axe. The blade essentially wedges adjacent fibers board being ripped.
The solutions:
apart, causing the lignin to fail and the fibers to rip
• Avoid boards containing
open lengthwise, which they do easily. Much the pith, as well as boards that
same happens when you rip wood using power have inconsistent growth-
tools. Blades and bits remove lignin and cut the ring spacing.
fibers with a shearing action. This minimizes tear- Bow and • Avoid boards showing
out and generates heat. crook signs of improper drying,
develop as
Often, rip cuts reveal hidden stresses in a board such as face checks,
tensions
caused by the fibers shrinking as the wood dried. are released. "honeycomb" cracks, and
Fibers may have been compressed or stretched by excessive warping.
those around them, and held in tension within the • Machine project parts
oversize to let the wood
board until you make a cut. These conditions are
release tension. Then
inconsistent across the width of the board, especially resurface and recut the
if it contains reaction wood (from leaning or twisted -,

pieces to size, removing

trees) or was cut near the center (pith) of the log. the imperfections.
We've all witnessed the results of these conditions, • Keep saw blades sharp
but may not have known their cause. and clean.

14 Get Started in Woodworking

 & &. .
Crosscuts, on the other hand, tear across fiber
walls, which introduces more stress on the mate-
rial. Think of slamming an axe into
the side of a log: The blade smashes through a
few layers of fibers, then stops.
Making a clean crosscut in a board
requires a cutter sharp enough to slice fiber
walls, rather than smash through. Even
sharp cutters bend the fibers ahead of and
surrounding the cut. Sometimes, the wood
tears before the blade cuts through.
'ij~~~/f..,:
The problem:
Wood fibers around the cut tear out.
The solutions:
• Keep blades and bits sharp.
• Use a slow feed rate to reduce
pressure placed on the fibers.
• Make multiple shallow passes.
• Use zero-clearance tablesaw inserts and
back workpieces with scrapwood backer
. '. _ .." boards. These support the wood fibers
~. ,'",";:t:.( where the cutter exits the workpiece to
" " L-';; "~;.>',~,'
ft1fJ.;:",;."r;. ~f.ii:C?~i.: \~~:" reduce the likelihood of tear-out.
•...

Unfortunately, not all cuts fall neatly The problem:

parallel or perpendicular to the wood A jointer or planer produces a smooth
fibers. That's because we often cut surface on straight-grain portions of a
wood at angles, and because the fibers board, but tear-out on others.
The solutions:
- in wood run in all sorts of directions
• Take extremely light cuts to minimize
around knots as well as in burls tearing pressure on the wood fibers.
or other areas of abnormal growth. • Keep jointer and planer knives sharp.
These areas often produce inconsistent • Feed with the grain (see inset).
tear-aut-usually a minor problem on • Sand figured boards to thickness
board edges, but a big headache on the using a horizontal drum sander if you
face of a board. Tear-out on the face can have access to one.
ruin figured boards, such as those with • Dampen the wood surface before
curly or birds-eye patterns. planing to increase fiber flexibility.

Boring holes in wood presents The problem:

even more problems because Drilling produces holes with rough edges and
the spinning cutting edge of a tear-out where the bit exits the wood.
drill bit cuts through fibers run- The solutions:
• Don't feed the bit into the wood too quickly or with too
ning in multiple directions.
much force, or fibers will tear ahead of the cutting edge.
And a bit produces a great deal • Spin large-diameter bits more slowly to ensure
of pressure on the wood fibers adequate time for the bit to slice the wood and eject
ahead of and around it. This can waste, and to prevent overheating. (Find a drill-press
cause tear-out where the bit speed chart on pages 706-707 in the "Reference
enters the wood, in the walls of Guide" section.)
the hole, and, especially, where •... • Use backer boards to prevent tear-out.
it exits the wood. • Keep drill bits sharp and clean.

• • •
As trees convert sapwood to heartwood, the fiber walls take on The problem:
substances called extractives. They color wood and can increase Routing or cutting
rot resistance, but they pose machining challenges. leaves burn marks.
The solutions:
Extractives can be very abrasive. In some woods, the
extractives quickly dull cutters and lead to excessive heat • Keep blades and bits
sharp, and free of pitch.
buildup. That's why even softwoods that contain loads of
• Reduce heat by
extractives, such as cedar, can be "hard" on cutting edges. making multiple
Fiber walls also can contain resins that burn from router- shallow passes.
bit and saw-blade friction. These resins produce dark brown • Increase feed rate.
or black marks on the wood that often have to be sanded or • Decrease router
scraped away by hand after machining. Resins build up on speed .••
cutters, too, becoming pitch. Such woods as cherry, pine,
Written by David Stone
and maple are exceptionally resinous. Illustration: Eric Flynn

woodmagazine.com 15
Do you know what sheet goods work best for shop fixtures? Or which ones excel
in furniture construction? Armed with our chart, you'll be an instant expert.
M
Ost woodworkers know the
major virtues of plywood:
strength, stiffness, size, and
stability. You may not be nearly as famil-
iar, though, with the wide array of other
sheet goods available today. No matter the
project, you'll find a type of sheet stock
ideally suited for the task at hand.
Enhanced performance
through engineering
All sheet goods, including plywood, fall
into a broad category called "engineered
wood." Unlike solid lumber, which is sim-
ply cut from the tree and dried, engi-
neered products are further altered during
the manufacturing process to enhance or
suppress certain properties.
Plywood, for example, consists of multi-
ple thin layers glued together with the grain
running at right angles on alternating lay-
ers. This enhances strength, decreases
dimensional changes, and places desirable
wood only on the visible outer faces.
16
While plywood remains prevalent, "high-density" varieties made up of
more and more sheet goods are pro- ultrathin plies.
duced from ground wood chips or wood You can familiarize yourself with the
pulverized into powder, mixed with uses, properties, costs, and sources of 10
adhesives and additives, then pressed contrasting sheet goods using the handy
. into sheets. This, in turn, becomes such chart on pages 18-19.
products as medium-density fiberboard Note: We purposely excluded some
(MDF) and particleboard. Even tradi- materials, such as oriented strand board
tional plywood has changed, with the (OSB) and pressure-treated plywood, which
addition of new core materials, face are designed for building construction and
coverings, and increasingly popular have limited usefulness in the shop.
Surefire steps to sheet-goods success
1. Always measure the thickness of sheet goods before machining mating pieces.
Plywood, for example, is Y32" thinner than its stated thickness.
2. When cutting sheet goods on the tablesaw, place the good face up to prevent
tear-out. Place the good face down if using a handheld circular saw.
3. Ifyou work with particular sheet goods often, invest in saw blades designed
for that material to get the smoothest cuts and least chip-out.
4. Rather than wrestle a sheet onto the tablesaw, lay 2" rigid foam insulation on
the floor, place the sheet on it, and rough-cut using a circular saw.
Get Started in Woodworking
 UNDERSTANDING AND BUYING WOOD
Sheet Goods Selector: Match the Product to the Project,
Material Description
PARTICLEBOARD Wood shredded into tiny chips (essen-
tially sawdust, often from waste wood),
combined with adhesives, then heated
and compressed to form sheets.
MELAMINE Particleboard faced with paper
impregnated with melamine resin,
a type of plastic. Paper on low-cost
types is simply adhered. Higher-cost
sheets are thermally fused (essentially
melted together).
HARDBOARD Ground wood pulp combined with
resins and pressed into sheets.
May be smooth on one or both faces.
MEDlUM·DENSITY Cellulose fibers combined with
FIBERBOARD(MDF) synthetic resin and formed under
heat and pressure.
SOFTWOOD PLYWOOD Face-glued layers of thin softwood
veneers.
MEDIUM· DENSITY & Exterior-rated softwood plywood
HIGH·DENSITY OVERlAY covered on both faces with
resin-impregnated fiber (paper).
PLYWOOD (MDOIHDO)
HARDWOOD PLYWOOD Veneers (soft- or hardwood) glued in
layers with alternating grain, and
covered with hardwood veneer.
BALnCAND Made from ultra-thin (Vi6"), void-free
FINNISH BIRCH birch veneers. Finnish birch is like
Baltic, but is made with exterior
adhesive for outdoor use.
APPLEPLY American version of Baltic birch, with
alder and birch core plies and quality
veneer faces. Birch face is standard,
other woods available.
BENDABLE PLYWOOD Plywood with a single face veneer
and core plies with all grain running
perpendicular to the face to allow
cross-grain bending.
18
--.--
Uses Available sizes
Widely used as a substrate for Sold in Yo",%", o/a",
flooring and countertops, and for %",1 ", and 1 Va"
building inexpensive knockdown thicknesses. Half and
furniture and cabinetry. Also suitable quarter sheets are
for some shop fixtures. often available.
Great for making cabinet carcases Sold in 49x97"
because it wipes clean easily. oversize sheets
Use it, as well, for shop fixtures or to in 1,4",Y211, o/all, and %"
make an economical router-table top. thicknesses.
Excellent for shop fixtures and jigs Available in two
(especially the variety with two thicknesses: Va" and
smooth faces) and covering Yo" in 4x8' sheets.
benchtops. Use perforated hard-
board for hanging tools.
Excellent for shop jigs and fixtures, %",3/8 Y2", 0/8", %'\
11
,
cabinets, painted projects, molding and 1'a" thicknesses in
and millwork, furniture, and as both 4x8' and 49x97"
a substrate under veneer and sheets.
plastic laminate.
Outdoor projects (exterior rated), 1,4",0/16", 1Y32'\ Y2",
carpentry and construction, shop o/a", 2%2", and %"
cabinets, substrates, underlayment thicknesses in
for floors and countertops. . 4x8' sheets.
Used extensively for highway signs; 1;4",716", 3fall,Y211, 0/811,
great for outdoor projects, siding, and %" thicknesses in
painted projects, watercraft, cabinets, 4x8' sheets.
shop fixtures, and concrete forms.
The traditional sheet good of choice Yo", %", and %" are
for everything from furniture and most common.
cabinets to wall paneling and boxes. Occasionally, you'll
find Va", 'Va", and o/a"
in some species.
Use to create shop jigs and fixtures, In millimeters:
cabinets, drawer sides, furniture, 4 (Ya"), 6.5 (W'),
and as a substrate. 9 ('Va"), 12 (WO),
15 (o/a"), and 18 (%")
in 60x60" sheets.
Same uses as Baltic above, plus Available in Yo", 'Va",
applications where a fine-hardwood V2", %",1", and 1%11
face veneer is needed. thicknesses, in 4x8'
sheets.
Used mostly as a substrate for Va" and 'Va" are com-
building cabinets, etc. with rounded mon, though thicker
corners. Sheets with clear-face sheets are produced.
veneers are suitable for furniture. Sold in 4x8' sheets.
Get Started in Woodworking
as Well as Your Budget
Common grades
PBU-for floor underlayment.
M-S, M-1, M-2, M-3 industrial
grades are best for making
shelving and countertops.
There are no standard grades for
melamine, but there are "vertical"
and "horizontal" types. Higher-
priced sheets generally feature
thermally fused coatings and are
made with thicker paper.
Service (2 green stripes on edge)
Standard (1 green stripe)
Service-tempered (2 red stripes)
Tempered (1 red stripe)
S1S (smooth one side)
S2S (smooth two sides)
One main grade: Industrial. Lower
grades, which aren't commonly
available, carry "B" or "shop" grade.
Also classified by density: Medium-
density (MD) is standard; low-
density (LD) is a lightweight version.
Veneer grades: A, B, C, D.
Panel grades: include sheathing and
"Sturd-I-Floor."
Exposure: Exterior, Exposure 1,
Exposure 2, Interior.
Follows softwood plywood grading.
Face and back plies (which are
covered with paper) rate as B grade
or better, inner plies are C grade.
Face: AA, A, B, C/D/E, Special.
Back: 1, 2, 3, 4.
Core: J, K, L, M.
Panel types: Technical type, Type I,
Type II {Type II most common for
interior use.)
No standardized grades, but manu-
factured with void-free plies and
face veneers carrying a grade of B
or better.
No standardized grades, but manu-
factured with void-free plies and
face veneers carrying a grade of B
or better.
Able to conform to tight radii with-
out splitting or cracking with no
need for kerf-bending or steaming.
woodmagazine;com
Pros
PBU grade is readily available
and inexpensive. Particleboard
cuts easily and is fairly stable.
Inexpensive, readily available,
easy-clean surface, available
in a variety of colors and in
wood-grain patterns. Also
available with kraft paper or
real-wood veneer on one face.
Readily available, easy to cut,
relatively stable, available with
two smooth sides or one,
takes paint well.
, easily damaged, holds
Flat, no face or core voids,
consistent thickness, glues
easily, has machinable edges.
Cheaper than hardwood ply,
readily available, face veneers
can have a nice appearance in
higher grades.
Resistant to weather and
water; flat, smooth surface is
easily paintable, machines
easily, and is very durable.
More stable and less
expensive than solid wood,
widely available, made in a
variety of species, and with
any choices for veneer
I 'matching on faces.
Stiff, stable, consistent
thickness, no voids,
nice-looking edge, holds
screws.
Stiff, stable, void-free,
nice-looking edge, holds
screws, offers a variety of
face veneers.
Flexibility allows radiused
corners, decorative shapes.
Cons Where to find it Price (%"x4'x8'
sheet unless noted) !
Low stiffness, heavy, Home centers carry 1;4- $16+ per sheet for PBU grade.
holds fasteners poorly, %" PBU grade. "M" "M" grade prices range about
not moisture resistant. grades (mostly M-2) are 20 percent higher.
found at building-material
and millwork suppliers.
Not moisture resistant, Home centers carry W' $28+ for adhered-surface,
heavy, edges chip easily and %" sheets, shelves, vertical-grade white sheets
when cutting unless you and closet parts. Colors common in home centers.
use blade designed for other than white and Colors and wood-grain patterns
cutting laminates. patterned papers are cost slightly more. $40+ for
available by special order. thennally fused sheets.
Standard and Service Home centers carry $15 (W'x4'x8', tempered).
grades are susceptible to 4x8' sheets plus half Perforated sheets are also
moisture, can't sand and quarter sheets in available at a similar price.
faces, flexible, edges standard and tempered
grades. Look for the
fasteners poorly. edge stripes.
Heavy-100 Ibs. per Home centers carry $35+ for both MD and LD.
sheet in MD grade; medium-density (MD) %"
low-density (LD) version sheets. Low-density (LD)
weighs approximately is available through
60 Ibs.-standard wood millwork suppliers and
screws hold poorly. some hardwood retailers.
Built more for perfor- All home centers and $40+ for A-C sanded, varies by
mance than appearance; building-supply stores type and material.
thick plies reduce stiff- carry an array of
ness; interior plies may softwood plywood
have voids, face veneers for construction.
often patched.
Not widely available, Some home centers, $65+ for MDO; HDO costs
heavy. wood specialty stores, slightly more.
sign shops.
Thick sheets are heavy, Home centers carry a $40 to $100+
exposed ply edges may few species, such as Prices vary greatly due to spe-
mean you'll have to band oak, birch, maple. Turn cies, face and back grades,
with solid wood, thin face to building suppliers ply count, and cut of veneer.
veneers rM') are easy to and hardwood retailers A12 or B/2 is reasonably priced
sand through and damage. for other species. and suitable for furniture.
Hard to find, costly, Woodworking-supply $60+ for standard-size
odd-size sheet (60x60"), stores, hardwood retail- 60x60" sheets.
available only with ers, mail-order catalogs
birch face. (small sizes).
Difficult to find, costly, Visit statesind.com for $50+
requires large order to distributor infonnation.
get optional veneers.
Not designed for Building-supply stores $35+ (YB"x4'x8' sheet)
structural use, quality and hardwood retailers.
of face veneer varies
greatly.
19
 Assemble a Commonsense
Tool Kit
P
erhaps you've just completed a
beginning woodworking course, or
maybe you've assembled your first
kit project. You thoroughly enjoyed this
taste of woodworking, and now you're
ready for bigger challenges. But one obsta-
cle blocks your way: You don't own the
proper tools. What tools does a beginning
woodworker need, and how should he or
she acquire them?
This basic woodworking tool kit con-
tains the tools we think should be part of
any shop. With this equipment-and a this hobby without robbing a bank? The
little skill-you can perform most wood-
working operations.
When assembling our kit, we kept the
beginning woodworker in mind. You'll
notice that the list doesn't include large,
stationary machines-the tablesaws, drill
presses, bandsaws, and jointers that profes-
20
sional woodworkers and serious amateurs
depend on. If you've got the budget for
these, that's great. But to help you stretch
your tool dollar, we suggested some bench-
top models because they'll still perform
some necessary tasks as well as their bigger,
stationary counterparts.
Even with these benchtop tools, if you
walk into a tool store or home center and
ask for everything on our list, the clerk
might ask you to turn over a couple of
grand, or more. How can you get a start in
answer is to plan carefully and buy wisely.
Plan Ahead
Equip your shop a few tools at a time. As
your skills improve, so will your tool
inventory. In the basic kit on the next page,
we list the tools that we find indispens-
able. They're the items you're likely to find
most useful and use most often, so think
about purchasing them first.
Can you sidestep any processes for
which you're not well equipped? Some
retail wood outlets will joint, rip, plane,
and crosscut lumber to requested dimen-
sions. You pay for this service, but in the
short run it's less expensive than buying
tools you'd need to do the work yourself.
As you budget for each project you
build, try to figure in the purchase of one
new and necessary tool. You'll spread out
the cost of equipping your shop, and you'll
be able to enjoy a new tool with each proj-
ect you undertake.
Finally, remember that there ate wood-
workers who make exceptional pieces with
only hand tools (and a little perspiration).
We are addicted to the power tools in our
Get Started in Woodworking
shop, but we know that life can go on
Common Tools that Make
without them.
Up a Basic Shop
. Be a Smart Tool Shopper
When you're ready to buy tools, do your Measuring/marking tools:
research and shop carefully. There's a .12' measuring tape
wealth of tool reviews on our website • Combination square
(woodmagazine.com/ptreviews) and other .12" steel rule
woodworking sites to help you pick a • Marking knife
• Sliding T-bevel
model with optimal features. Online 13" benchtop thickness planer
retailers, such as Amazon, allow you to Hand cutting tools:
compare several tools at once and also • Japanese crosscut saw (pull saw) Portable power-tool accessories:
provide customer reviews. Some home • Coping saw • Router bits (W' & W straight bit,
centers will match or beat competitors' W'-W' round-over, rabbeting bit
Hand shaping tools with bearings, buy profiles as
advertised prices. So take advantage of • Bench chisels C.4", W', W', 1") needed)
such deals. Don't rush yourself. • Block plane • Brad-point drill bits (Ys"-W in
Mail-order ads in magazines, such as • Hand scrapers 1;\6" increments)
WOOD®, regularly offer substantial price • Forstner bits CI2"-lW' in
General hand tools: Va"increments)
reductions on top-quality tools. And deep
• Screwdriver set (flat/Phillips/square/ • Twist bits CA6"-W'
discounts and closeouts are such a normal Torx) in V32" increments)
marketing practice for online outlets and • Pliers (slip-joint and needle-nose) • 7W' carbide-tipped circular-saw
home centers, it sometimes seems difficult • Utility knife blades (24 and 40 teeth)
to pay full retail price. • Dead-blow mallet
Some manufacturers offer two product • Wooden mallet Benchtop power tools:
• Claw hammer (16-oz) • Drill press
lines: inexpensive tools for hobbyists, and • Finish hammer (8-oz) • Thickness planer
more elaborate heavy-duty models for
• Compound mitersaw
commercial and professional use. Which Portable power tools: • Router table
type do you need? Just don't fall into the • W' cordless drill/driver • 10" tablesaw
"overkill" trap. If a l-hp router will be • Random-orbit sander • Jointer (4" min.)
• Jigsaw
entirely adequate for your needs, don't
• 7W' circular saw Safety equipment:
buy a 3-hp model. • Plunge router or plunge/fixed-base • Safety glasses
In general, it makes sense to buy the router kit (l-hp min., with 1f2" collet) • Hearing protection (earplugs or
best equipment you can afford, particu- earmuffs)
larly when you're purchasing hand tools. • Basic first-aid kit
It's unlikely that a good saw or plane will • Dust mask or respirator
become obsolete, and with basic mainte- Clamps (You can't have too many):
nance, there's no reason why these tools • One-hand bar clamps (four 6" and
can't last a lifetime and become an heir-: four 12" )
loom to pass along to future generations. • Pipe clamps (four 24" with couplers
Good tools don't go out of style. A to make 48" clamps)
• Parallel-jaw clamps (four 24" or 36")
lOO-year-old hand plane or wood chisel
• Handscrews and C-clamps (as
works pretty much the same as a brand- needed for projects)
new one. And some woodworkers insist
that the older the tool, the higher the Miscellaneous and maintenance
quality. In fact, some classic models of old tools:
• Sharpening stones with honing
tools can actually be more expensive than guide
new models. • Pocket-hole jig
Online auctions, estate sales, and news- .6" bench grinder
paper classifieds are often good sources for • Shop vacuum
low-cost, high-quality items, so think
about buying your tools used. You might
Shop vacuum
even find a great deal on that stationary
tablesaw or jointer we'd so much like to see
parked in your shop .•

woodmagazine.com 21

Don't wait until you can
afford a shop full of pricey
pro-level tools. You can
start crafting high-quality
woodworking projects
with these six basic (and
inexpensive) tools.
S
O, you've started a power tool collec-
tion and are now wondering where
to put that hard-earned cash next.
How do you avoid buying junk or break-
ing the bank? To answer that question, we
tested a raft of low-cost portable power
tools to see which offer the most perfor-
mance for the money. Along with a few
basic hand tools and accessories, these six
power tools enable you to make a wide
variety of great-looking projects, such as
those beginning on page 75, or on our web-
site at woodmagazine.com/bbprojects.
22
Top Buys in
6 Power
Tools
.&. Best Value: Skilsaw 5580-01, $60
The 13-amp SS80-01, above, had no trouble cutting
anything we threw at it. It readily met our standards
Take the tool to the work for power, ease of adjustment, and comfort. With
with a circular saw a blade upgrade, a shop-made straightedge (More
Resources, page 2S), and a taped, well-supported
Don't discount the circ saw as just a cutline, we made clean, arrow-straight cuts.
rough-cutting tool for breaking down 877-7S4-S999, skiltools.com
sheet goods into manageable size. With
the proper adjustments and techniques,
you'll be making clean, accurate rips and 'T Upgrade: Makita 5007MG, $150
crosscuts every time. The S007MG steps you up to a more powerful1S-
amp motor and more bevel range (0-S6°).
The best circular saws.with 12 or more
The large, soft grips make this easy-to-adjust saw
amps of power, will cut through even comfortable to use, while magnesium components
2 -thick hardwood. But in addition to
1t
make it rugged but light in weight.
muscle, demand clean, accurate cuts. To 800-462-S482, makita.com
that end, look for quick and intuitive
depth-of-cut and bevel adjustments, an
unobstructed view of the cutline, and a
comfortably light weight. We recom-
mend replacing the factory-supplied .' ~
blade' with a premium thin-kerf, =«:
40-tooth, carbide-tipped blade for
general-purpose work. Try Diablo's
D0740A: $20, diablotools.com.
The tablesaw: Go for quick setup and repeatable accuracy
For accuracy on smaller project parts, it's getting a good table saw. Mid-price ($150- You'll also quickly grow irritated by a
time to bring in a larger tool: the tablesaw.· $300) portable tablesaws offer accuracy flexing fence or an out-of-square miter
Wfien you add a tablesaw to your arsenal, and affordability, while maintaining their gauge. The quality of these components is
you gain the ability to quickly set up accu- small, stowable size. especially important on portable tablesaws
rate and repeatable rips, crosscuts, bevels, Power and accuracy rule when choosing that can't be upgraded with an aftermar-
miter cuts, dadoes, grooves, and rabbets. a portable tablesaw. Most use direct-drive, ket fence or miter gauge.
Most seasoned woodworkers will tell .universal motors, as do handheld power Finally, consider capacity. We recom-
you that if you're going to invest extra tools. Still, our Best Value, below, managed mend at least 24" of rip capacity for
bucks anywhere, put your money into cuts through 2"-thick oak. cutting sheet goods in half. Most bench-
top models can crosscut pieces up to about
8" wide.
As with the circular saw, you'll want to
switch out the manufacturer's blade for a
premium combination blade for smooth,
splinter-free cuts.

~ Best Value: Skil3310, $125

At about the price of a premium portable circular saw,
the 3310 offers tablesaw convenience and accuracy in a
package that fits small shops easily. The 20x26" aluminum
table gives rip capacity of 11W' to the left of the blade and
11" tothe right. The 3310 cuts 2W' deep at 45°, and 3" at
90°. The self-aligning rip fence locks firmly with a flip of the
front lever. The saw provides onboard storage for a spare
blade and the blade wrenches on the back of the case, and
it stands on sturdy steel legs.
877-754-5999, skiltools.com

~Upgrade:Contractor-style saw
A contractor's saw in the $500-$800 range could serve
you for decades. You'll give up some portability and
compactness, but you'll gain a quieter, more powerful
induction motor; a larger cast-iron table for better
workpiece support, a much stouter rip fence; greater
cutting capacities in every direction; and heavier, vibration-
dampening construction. At $529, the Ridgid R4512 fits the
bill nicely and comes with a built-in mobile base.
800-474-3443, ridgid.com

woodmagazine.com 23
 GET EQUIPPED

The router-What can't it do?

One of the most versatile tools in wood-
working, a router cuts a variety of joints,
adds decorative shape to edges and trim
pieces, duplicates parts, joints edges, and
much more.
For maximum versatility at a minimum
price, pick a two-base kit that includes a
motor, and interchangeable fixed and
plunge bases. Both bases give you micro-
adjustable depth control. The plunge base
lets you make cuts that start and stop short
of the workpiece edge, while the fixed base
can be mounted in a router table, adding
even more to your tool lineup. Look for a
kit with plenty of power to hog away the
material, and a comfortable, in-control
feel. Check the ease-of-use factors, such as
quick bit changes, depth-of-cut settings,
and smooth plunging. Make sure the
on-off switch is easy to operate while
maintaining a firm grip on the handles.

Fixed
base

• Best value: Craftsman 17543, $120 • Upgrade: Bosch 1617EVSPK, $220

Although bit changes and depth adjustments could be easier to make, the
17543 offers good power, easy base changes, and an LEDworklight. Edge-
guide and dust-collection attachments-pricey add-ens for other router
kits-come included with this one.
Visit a Sears store or craftsman.com
This kit has power to spare, and proves a dream to use with a comfortable
fixed base and easy-to-use, balanced plunge base. The controls are within
easy reach; the adjustments among the most accurate, repeatable, and
simple to make; and the plunge-depth scale easy to read.
877-267-2499, boschtools.com

A cordless drill/driver makes parts into projects

['oday's multitalented cordless
drills drive lag screws through
deck lumber as easily as they tease
tiny hinge screws into jewelry-box
lids. Accessorize a drill with a
good brad-point bit set and coun-
tersinks and you'll be well
equipped to transform that flat
stack of project parts into an
assembled piece of furniture.
A I2-volt lithium-ion (Li-Ion)
drill packs enough punch for
common drilling and driving
tasks, all while easily squeezing
into tight spaces. So you're not
interrupted by downtime, get one
that includes two batteries. Also
look for two speed ranges (for • Best value: Porter-Cable PCL120DDC, $100 • Upgrade: Makita XFD01RW, $200
drilling holes and driving screws), This compact 12-volt lithium-ion model, with its This Iightweight-3.3 pounds- and comfortable drill
stem-style battery, is comfortable in your hand, yet jumps to 18-volt power and slashes the charge time
and multiple clutch settings to powerful enough for most jobs around the shop. It to less than 30 minutes. That added power delivers
prevent shearing screws or strip- recharges in well under an hour, and an extra battery a whopping 480 ln-lbs, of torque. Internal circuitry
ping out their heads. comes standard. The %" chuck will handle most protects against overloading, over-discharging, and
standard bits, and two speed settings let you drive overheating. The h" chuck accepts larger bits.
For heavy-duty jobs, you'll screws or drill holes. It also has a built-in task light and 800-462-5482, makitatools.com
want to jump to an IS-volt model. belt hook. 888-848-5175, portercable.com

24 Get Started in Woodworking

Going around the bend
with a jigsaw
When a handsaw's not in the budget, a
jigsa.w:helps you cut affordable curves.
Don't worry about gimmicky add-ons=-a
laser won't help you track around a curved
corner. Stick to the basics: Quick, toolless
blade changes, easy bevel adjustments,
and a clean line of sight. Upgraded models
often include niceties such as sturdy blade
rollers to prevent deflection, a variable-
speed trigger, or a sawdust blower to keep
your cutline in clear view. Once again,
.•. Best value: Black & Decker JS515, $30 .•. Upgrade:BoschJS365,$130
upgrading to a premium blade, such as This bare-bones jigsaw gets the job done. The This jigsaw has a respectable motor and dual speed
Bosch's Xtra-clean (no. T308B, 5-pack $14, J5515 had one of the largest depths of cut (2 '1'32" controls. The handle and trigger are comfortable,
877-267-2499, boschtools.com), vastly with our 4" test blade), excelled at keeping the and it's easy to release a blade using the body-
cutline clear of dust, and sped through easy mounted lever, although the chuck does not eject
improves cut quality, reducing blade blade changes. the blade. The shoe tilts in both directions.
marks, splintering, and burning. 800-544-6986, blackanddecker.com 877-267-2499, boschtools.com

The next four machines

Random-orbit sanders prove more aggres- long while sanding, so choose an aggres-
sive at removing machining marks than sive tool that leaves a smooth, scratch-free to consider
t ei,r uarter-sheet orbital-only cousins. finish. And because random-orbit sanders Drill Press: If you
And they still provide smooth, scratch- create some of the finest, most breathable think a drill press is just
for punching holes,
free finishes as you work through finer sawdust of any tool, good dust collection
think again. While it
grits of sandpaper. counts. Finally, a sander should be com- does give you a much
But even with the added speed of a fortable, dampening the level of vibration greater level of control
power sander, nobody wants to linger too that gets transferred to your hand. and accuracy for
drilling clean,
perpendicular holes, it
.•••Best value: Milwaukee
can also be
6021-21, $70
This sander scored high marks
accessorized into a
in all of our key performance spindle sander or mortising machine.
categories: aggressiveness,
smooth finish, dust control, and Jointer and
comfort. Planer:
800-729-3878, These two tools
milwaukeetool.com will quickly pay
for themselves as
Upgrade: none you wean
You won't need a better random-
orbit sander than this.
yourself off of
expensive
presurfaced home-
center lumber and
start squaring and
• • &

• thicknessing rough-
cut stock.
FREE VIDEOS
• Precision Cuts with a Cire Saw Straightedge at
woodmagazine.com/straightedge
.6
RELATED ARTICLES
BasicSkillsEveryWoodworker
Should KnowAbout,
Bandsaw: Stepping
• Fine-Furniture Accuracy from any Tablesaw at woodmagazine.com/,WOOD183 $ up to a bandsaw not
woodmagazine.com/tssetup • The accessories: glue, clamps, and fasteners only gives you
• Perpendicular Holes Without a Drill Press at woodmagazine.com/bbaccessories increased control on
woodmagazine.com/perpdrilling • Find hundreds of power-tool reviews at curves, it also opens
RELATED PLANS woodmagazine.com/ptreviews up your options for
• Simplejigs and Shop Aids precision joinery,
woodmagazine.com/simplejigs ($ = Download this issue for a small fee.) and the possibility of
resawing.

woodmagazine.com 25
T
here's more to measuring and
marking than stretching a tape
across a board and drawing a pen-
cil line. By using the right tools and
accessories, you'll greatly improve your
precision and even speed up your work.
Fortunately, these improved results don't
require fancy gizmos or staring through
a jeweler's loupe.
Be sharp to make your mark
Let's focus first on the most basic item-
what you mark with-and how it affects
accuracy. The thick lead of a carpenter's
pencil draws a line Yl6" wide, below. Cutting
to one side of the line yields a far different
result than cutting to the other side. Accu-
rate layout of parts and joinery requires the
fine line drawn by a pencil with a SH lead,
available at office-supply stores. The harder
lead sharpens to a finer point and holds
that point longer.
Save your carpenter's and no. 2 pencils
for writing notes and marking machined
surfaces, below right, where bolder marks
are easier to spot at a glance. Those let you
know which operations are completed, and
which need to be done on a board.
Apencil won't leave permanent marks on
a workpiece; the marks erase or sand away
easily. To avoid leaving a mark in the first
place (such as when marking a finish-sanded
part), apply a piece of masking tape and
write on the tape.
When marking a line that will be cut
away or hidden by other parts, switch to a
marking knife, above. The beveled face
and flat back of the knife put the cutting
edge right next to a straightedge for a sur-
gically precise mark. And a sharp marking
knife severs the wood fibers, creating a
shallow kerf-the ideal starting point to
register the blade of a chisel or the teeth of
a handsaw. The kerf also creates a shadow,
which is easier to see on the workpiece
than a pencil line.
To use a marking knife, place a steel
rule on the "keeper" piece and, with the

I •
KEEPTRACK OF MACHINING
Mark a curlicue on the jointed face, a "V" on the
jointed edge pointing to the jointed face, and
an "X" on an end yet to be crosscut.

Jointed face Joint~dedge

,
Line from
pencil with ~ -:.~ •• face
SHlead

A carpenter's pencil leaves a thick, easy-to-see line, good for labeling parts.
A 5H lead makes a much finer line for precise layouts.
-. _ ...• , .
-
--j-~:. -
.

26 Get Started in Woodworking

 flat face of the knife against the rule,
draw the knife along. If the knife should
stray off course, the mark ends up on the
waste piece.

Establish a definitive rule

Every country has a bureau of standards,
which maintains a set of incredibly precise
measuring instruments against which
other measuring devices are calibrated.
Carry this concept into your workshop.
Choose a precise, finely etched 12" steel
rule for the bulk of your measuring tasks.
A quality combination square provides
not only such a rule; the head, with 90°
and 45° angles built in, increases the tool's
versatility. [See Photo A on page 30.] For
measurements longer than 12", use only
one 12' tape measure. Anything longer is
just extra bulk to carry. And check the Make your own marking knife
tape against the rule to make sure they You can buy a marking knife, but why not make your own? For plans to make
agree, below. this handcrafted marking knife, check out woodmagazine.com/markingknife.
Now that you've established which rule
rules the roost, make sure everything else
in your shop agrees with it; for example,
the rip-fence indicators on your bandsaw fourth, one-fifth, or three times 7W' brings First, select reference edges and faces
and tablesaw, below right, and any other out the pencil and paper compared with and measure from them as often as pos-
rulers. If other rulers don't measure up, working with its metric equivalent, 20cm. sible. For example, when laying out a
, relegate them to the house. series of drawer openings along a cabi-
A metric rule can come in handy, too, Put accurate tools to use net's stiles, always measure from the
especially if calculations with imperial After choosing quality measuring and same end' of each stile. After marking
dimensions give you a headache. For marking tools, use these simple techniques the locations, measure between the
example, determining one-half, one- to get the most accurate results . marks to double-check your accuracy.

Markings on this tape perfectly match those on the steel rule, eliminating any
error caused by switching between them. Check your tape occasionally to make
sure a bent hook hasn't thrown off its accuracy.
.1'
Using your reference ruler, check the accuracy of the tablesaw rip-fence scale.
Loosen the adjustment screws, adjust the indicator as needed, and then
tighten the screws, making sure the indicator doesn't shift.

woodmagazine.com 27

When marking, make sure you sight
straight down on the ruler. Working to
one side throws off what appears to be
an accurate mark, above.
To mark a dimension, draw a "V"
extending from the ruler instead of a sin-
gle tick mark. A single line can end up
angled, causing confusion over which
end is the real dimension. To extend a
line or transfer it around an edge, place
your knife or pencil on the tip of the "V"
and gently slide your square or ruler up to
it. Then use moderate pressure and draw
the pencil or knife across the workpiece
once. Repeated passes only widen the
mark, reducing accuracy.
Maintain the proper orientation of
nearly identical parts as you mark them
by indicating which surfaces are the top,
bottom, left, right, front, back, inside,
and outside as needed. For several pieces
needing identical layout marks, such as
matching mortises in opposing table
legs, save time and improve accuracy by
clamping the pieces together and mark-
ing across all of them at once, left.
•
Finding the center of a workpiece is sim-
ple: Measure the width, then divide that
number in half. To confirm your math,
measure in that distance from each edge
and make a mark, below. If the marks fall on
top of each other, you've found dead center.
If not, adjust the measurement by half of
the amount between them and try again.
In some instances, the most accurate mea-
surement comes from avoiding a ruler or tape.
For example, when fitting a divider between
two rails in a face frame, bottom left, measur-
ing and then transferring that dimension to
the workpiece invites at least two chances for
error to creep in. Instead, place the workpiece
against the opening and mark the dimension
directly onto the workpiece.
Apply these methods to your work and
watch the improvement. •
Produced by Craig Ruegsegger

Striking lines across several pieces with one setup

ensures that the marks align. Labels help you place
the marks on the correct faces.

Rest a knife flat against the rail, then press the Don't get hung up on difficult division of fractions. Instead, lock the rule at about half of the panel's width,
cutting edge against the workpiece. Use a square then measure in from each edge and make a light mark. Adjust the rule length as needed until you end up
to help transfer the mark to the face. with overlapping marks that confirm the center of the workpiece.

28 Get Started in Woodworking

 Tune Your Tools
Before milling lumber to size or cutting joints, tune your tools to cuttrue .

...- Tablesaw A ~ -

/'"
4. Check the miter-
gauge stops for 45°
2. Check that the rip _
f and 90°. Even slight
fence stands square -. errors here will throw
to the table and locks ~ / / off the squareness of
parallel to the blade. ~~ ajoint.

T
o get the most out of your tools,
they need to be tuned up periodi-
cally so they deliver accurate cuts. 1. Align the b
The owner's manuals should have details parallel to th
slot so that a
for making most of the adjustments listed
at the front 0
here. See More Resources below for addi- blade doesn'
tional help with proper tool setup. as it passes th
the blade.

Jointer 3. To square an edge to the face

of a board, the jointer fence must
sit perpendicular to the tables.
Set the drill-press table to bore dowel joints Edge-gluing two boards with
and mortises perpendicular to the surface of a out-of-square edges creates a
workpiece. Check the table by mounting a Z-shape cupped or uneven panel.
wire in the drill press and turning the chuck by
hand. The wire should make even contact at all ~ ~/,;t:-:---.
'1
points around the table. Then install the fence and
ensure that its face sits perpendicular to the table. 2. Set the outfeed tab~:----
to the same height as
the knives at the top
of their travel. This
__ ..•....1. To create flat
~ For a free article on truing up prevents snipe
stock, the infeed
jointer tables, go to (a deeper cut at the
end of a board). and outfeed
woodmagazine.com/truetables. tables must be
~ Watch a free video on tuning up parallel to each.
your tablesaw or drill press at -::::,""""""-j- __ other along their
woodmagazine.com/tstuneup lengths and from
woodmagazine.com/drillpress. side to side.

woodmagazine.com 29
 Start square.
---,
From tuned-up tools 'til you tighten the clamps,
it's hip to be square. Here's how to get there.
hether you build a jewelry box
W or a dresser, square assemblies
begin with square stock and
properly cut joinery. Apply these top-
notch techniques with finely tuned
tools; then use our reliable methods for
checking your work, and say goodbye to
off-kilter corners.
Check your standards
Square machine setups, workpieces, and
assemblies begin with an accurate square.
30
••
.. .to
finish
square ARE THE LINES PARALLEL?
A good combination square (see More
Resources, page 32, to find reviews of
squares) performs most checks. But keep a
4" engineer's square in an apron pocket to
fit in small interior spaces.
But how do you know your square is...
well, square? To find out, place the head
against the straight edge of a scrap. Draw
along the length of the blade, then flip the
square over and draw a second line about rlJl ----'"
Vt6" from the first [Photo A]. Parallel lines Use the factory edge of a piece of MDF or plywood
to perform this test. Draw lines with a sharp pencil
indicate a square you can trust. or marking knife.
Get Started in Woodworking
Cut parts and
joints accurately
With your tools properly tuned, focus
on producing the most accurate cuts
possible when milling project parts and
cutting joinery.
~ Use your jointer, planer, and tablesaw
to bring stock to size, following the steps
shown at right. For greatest accuracy,
crosscut pieces less than 40" long on the
tablesaw, as detailed in the next para-
graph. Use a mitersaw for longer pieces.
~ Assemblies, such as face frames, boxes,
and tables, require two or more pieces
crosscut to identical length-otherwise
the assembly ends up a trapezoid or worse.
To cut pieces to identical length, screw
an extension to your miter gauge [Photo
B]. The additional surface steadies a
workpiece far better than the narrow
face of the miter gauge. We prefer to use
medium-density fiberboard (MDF) for
extensions because it's flat and inexpen-
sive. Fences get chewed up with use; cut
several at a time so you always have a
fresh one on hand.
With the extension mounted, crosscut
one end of each workpiece to square it to
the edges. Then clamp a stopblock to the
extension, butt the cut end against it, and
crosscut the opposite .end to bring the
piece to finished length.
~ Miter joints are particularly fussy,
especially when cutting four mitered
pieces, as for a box or frame. To check
An extension supports a workpiece during the cut
and provides a surface for attaching a stopblock
for cutting pieces to identical length.
woodmagazine.com
SIX STEPS TO PERFECT STOCK PREP
STEP4
Plane the opposite face
to bring the workpiece
to finished thickness.
STEPS
Rip the piece to
width at the tablesaw.
STEP€;
Crosscut each end
to bring the workpiece
to finished length.
your tablesaw-blade angle, miter-cut
four identical-length pieces and dry-fit
them together [Photo C]. If each of the
eight cuts is off just 14°,that equals 2°
overall, and the error shows up as a gap
as you close the fourth corner.
~ Jigs can improve accuracy when cut-
ting joints [Photo D]. But just like your
tools, ensure that the jig keeps work-
pieces square to the blade or bit.
~ When using a jig or miter gauge on
the tablesaw, secure your workpiece to
Blue tape
holds corners
temporarily.
m m ,...-:;.~
Cutting and fitting a test box helps determine the
precision of your setup because any error will be
multiplied by eight.
STEP3
Joint one
edge square to
the jointed face.
STEP 2
Joint one face flat.
STEP 1
Cut to rough width and
length using the tablesaw,
bandsaw, and/or mitersaw.
the jig with clamps or double-faced tape
whenever possible to prevent the work-
piece from shifting during the cut.
~ After milling all the parts, check
them for square. When checking the
end of a workpiece, place the square's
head firmly against one edge and slide it
down until the blade just touches the
end of the workpiece [Photo E] (on page
32). Hold the piece up and sight against
a light source or white surface to high-
light any gap.
A saddle jig used for cutting tenon cheeks must
rest square to the table and ride smoothly on the
fence without wobble.
31
 ~

TOOL SKILLS AND TIPS

Jointer: The essential straightening machine

If you work with rough lumber, you really should own a good
jointer. It's the best tool for cutting a square, clean, straight edge,
as shown at right, as well as for cleaning and flattening a board's
face. Although a 6" jointer performs well, consider stepping up to
an 8" jointer. The bigger machine not only handles wider stock,
but also has longer infeed and outfeed tables to better support
long workpieces.
We don't recommend using auxiliary stands to add infeed and
outfeed support to jointers because boards with rough or crooked
edges can sometimes knock stands over and possibly cause the
jointer's knives to gouge the board. Rely on your iointer to machine a straight, squareedqe on a
relatively straight board in just a pass or two.

Best case: No crook ~--===-=~ ~ ~-- ""

Consider yourself ahead of the game if
your workpiece falls into this category.
Regardless of length, you should be able to
machine a straight edge quickly with a
jointer, above. If you don't own a jointer,
use your tablesaw to cut away the rough
edges, as shown below.
When cutting with this method, run the straightest edge against the rip fence to avoid potential kickback.
Cut away the opposing rough edge (left), adjust the fence, flip the board so the new edge is against the
fence, and rip the other rough edge (right).
A router will also help you machine a
straight edge onto this type of board. If it
has a rough-sawn face, use a guide board
with a smooth face and a straight edge on
top of your workpiece, as shown bottom,
left. Use a top-bearing pattern bit in the
router. Set the guide board slightly back
from the workpiece edge and equal to the
amount you want to remove. Make two
passes, if necessary.
With boards that have smooth faces,
clamp a straightedge (this can be a board,
shop-made guide, or commercial accessory)
onto your workpiece. The router-as it runs
along the guide=should remove no more
than Y16" with each pass, as shown bottom,
center. Make as many passes as-needed to
straighten the edge.
You also can cut a straight edge at your
router table, but it takes a little more setup.
First, chuck a straight or spiral bit in your
table-mounted router and set the height
for just a little more than the thickness of
the workpiece. Set the infeed fence so it
will remove no more than Y16". Align the
outfeed fence flush with the front edge of
the cutter. If you don't have a split fence,
simply clamp or double-face-tape a piece
of plastic laminate, equal to the amount of
material you want to remove, to the out-
feed side of the fence, as shown below.

Rest your router subbase on top of the guide board For this method, use either an upcut or downcut Sand a slight chamfer on the end of the laminate
and run the bearing against its edge. Trim no more spiral bit or a straight bit that extends beyond the nearest the bit so the workpiece won't catch as you
than 1f16" per pass. board's thickness. feed it through.

34 Get Started in Woodworking

Typical case: Slight crook
Many boards fall into this category when
they warp as they swell or shrink acclimat-
ing to the environment around them.
Plan your straight edge to give the board
the best grain direction in the project.
Boards like this will be machined in differ-
ent ways, depending upon their length.
Make quick work of boards
l' long or less
For short boards try the simplest options
first: jointer, table saw, or bandsaw. The
jointer proves quickest, even if it takes a
~:::-=::::;;;=4--_
An auxiliary fence allows the workpiece to follow
a straight path, which lets the bandsaw cut a
straight, wander-free edge.
woodmagazine.com
few passes to straighten anedge. You'll use
the same technique for the tablesaw and
bandsaw: ripping with the concave edge
against the rip fence. Edges cut on: the
bandsaw or tablesaw, although straight,
will have saw marks that clean up with
one quick pass at the jointer. The router-
table option leaves a jointer-smooth edge,
but takes more setup time than a jointer.
Choose from many options
for boards 1-3' long
Boards of these lengths offer you the most
options of any size stock. At the jointer
you've got two ways to handle these
boards. First, joint the edge as usual, con-
cave edge down, taking off a little more
Take several light cuts off each
end first; then joint the full
length of board.
For an auxiliary fence on your router table, cut an
opening in the center, along an edge, for the bit to
spin freely.
with each subsequent pass until flat. Or,
"nibble" several passes on one end before
spinning the board to do the same for the
other end, as shown in the drawing below.
Repeat until the crook is nearly gone, then
joint the entire length,
The tablesaw and bandsaw again pro-
vide good options, but with one important
change. For boards longer than I', add a
long auxiliary fence to maintain contact
between the end points of the board's con-
cave edge and the fence, as shown bottom
left. Make your auxiliary fence twice as
long as the workpiece, plus an extra 6" at
each end, and center it with the blade.
Clamp it to the rip fence, or adhere it with
cloth-backed, double-faced tape.
To use your router table for this length of
board, combine the extra-long auxiliary
fence of the tablesaw method with the nib-
bling action of the jointer, as shown bottom
center. Use a sharp straight or spiral bit
(upcut or downcut). Using a handheld
router and straightedge will take several
passes, but requires little space, an attrac-
tive solution for shops tight on elbow room.
Cutting a straight edge proves easy
when using a carrier or sled, such as the
one shown below, on the tablesaw. To use
this sled, place your board so either edge
hangs over the edge of the sled, aligning
the board to cut the most attractive grain
pattern. Secure it with the hold-downs, or
use screws at the ends. Raise the blade so it
cuts through the piggybacked workpiece.
Build this sled from the plans on page 36.
The hold-downs can grip a workpiece's sides or
ends. Hold the sled flat on the table and against
the fence when ripping.
35
 't> ~,,~ --- '~ ••• ~ _NO -- ') ~ ~;'t~;;;T

TOOL SKILLS &TIPS ",

CARRIAGE-BOLT
HEAD DETAIL
\4-20 ca rriage bolt
Worst case:
3W' long
TABLESAW RIPPING SLED
Severe crook

3" .' ,\--;-

File head of carriage ". o~
bolt flat on two sides,
/1;.,,,fender washer
.>: :\\·· Before machining a board like this, first
\4" holes determine how it can best be used. Remov-
ing the crook from a lO'-Iong board means
wasting a great deal of wood, as shown
below. If you really need a long board, try
to find one with a straighter profile. If you

"-I 2%"1
"
o

.
Y2" groove \4" deep
Y2")~
\4-20 ca rriage bolt
3Y2" long~
I the tablesaw; and third, use the bandsaw
Don't sweat straightening boards longer than 3'
You have four options with these boards:
jointer, router with a straightedge, circular
saw, or a tablesaw sled. If you have a 6"
jointer, use the "nibbling" method; if you
have an 8" jointer, you'll be okay to use
either method because of the support from
the longer tables.
Your circular saw provides yet another
way to cut a straight edge. You can do this
by using a straightedge, or by snapping a
chalk line to map out the cut, and then
ripping along that line, as shown below.
Laser guides, available on some saws, make
it easy to track a chalked or drawn line.
must get long workpieces from these
boards, you have three options: First, rip
with a circular saw; second, use a sled on
with an auxiliary fence-but only for
workpieces 3' or less. Longer boards just
create more difficulties on the bandsaw.
To use a straightedge, first determine the
crook's widest point by laying the board
next to a straightedge, as shown below. At
one end of the board make a mark equaling
the widest point from the crooked edge.
Measure the distance from the blade to the
edge of the saw base below the motor.
Clamp a straightedge to the workpiece that
exact distance from the mark you made.
With the saw base following the guide, rip
away the crook. You can make a reliable
straightedge guide-which also eliminates
chip-out and aligns quickly along your cut-
line-from the plans on the next page.

Cutting this maple board, left, to remove the crook

With a line marked, use rigid foam insulation for a along the entire length wastes wood and leaves a
sacrificial cutting surface. Set the blade depth so the narrow workpiece. Instead, cut it into two pieces,
saw cuts slightly into the foam. right, to maximize its width.

36 Get Started in Woodworking·

 Make your own zero-clearance cutoff guide
You can construct two cutoff guides, a
4- and 8-footer, for use on different Line up saw against fence and cut to remove waste.
workpiece lengths. Made to custom-fit
your circular saw and router, both
r3"----j--2"- I • 6"
I JV2'
guides can be constructed from one
~~~~~~~~-J
sheet of Y:z" plywood. (We recommend
a sheet with sanded faces.) Here's how:
t=_41_!4_" __ 11,,3_V:_2"_----j ll
II Begin by snapping a chalk line along
the entire length of the sheet 11" from
the edge. Using your circular saw, rip
along that line. Exposed suface
II Use the factory edge of the cutoff forclaming
piece as a guide for your circular saw to to workpiece,
#8 x%" F.H.
make the rest of the cuts. From the wood screw
remaining plywood piece, rip two
strips 2" wide, two strips 8" wide, and %2" shank hole, i
r/
one strip 11"wide. countersurk i
II Cut the strips to the lengths shown
in the illustration at right, and assemble
the sleds, removing any glue squeeze-
out with a scraper or putty knife.
II Once dry, secure each sled to your
workbench, allowing clearance for the
saw blade. Using your circular saw with
the blade you would commonly use,
rip the edge on the wider side opposite
the fence, as shown below. Do the same
for the other side with your router.
Whichever diameter router bit you use 7/64' pilot hole
will be the size you should use in the v.," deep
future for making cut-offs. %2" shank hole, countersunk

CIRCULAR
SAW

FENCE

BASE

..

Produced by Bob Hunter with Jeff Mertz With your circular saw's base riding against the fence, rip the waste off each guide (left). To use the guide,
Illustrations by Tim Cahill and clamp it to a workpiece with the cutoff edge aligned on your mark. Set the saw blade to the appropriate
Roxanne LeMoine depth and make the cut (right).

woodmagazine.com 37
Eking Precision from
Discover shop-proven

3 Portable strategies to elevate

, "
your ore saw, Jigsaw,
and portable drill to

Power Tools the stratosphere of

performance.

M
anyseasoned woodworkers see the tools above as the
rough-work trio, not to be mentioned in the same
breath with the word "precision." Most woodworkers
rough-size wood materials with a circ saw and finish-cut them on
a tablesaw; or they rely on a bandsaw to cut out curved parts,
fearing they'd hack up workpieces with a jigsaw; or they view a
cordless drill as merely a convenience-not nearly as precise as a
stationary drill press.
But what if you don't own a tablesaw, bandsaw, or drill press?
What if you don't have the extra jack to buy these stationary
tools? Can you do high-quality work with the much-maligned
trio? The answer: Absolutely! With the right accessories, bits,
blades, and a shop-made helper or two, improved-if not flaw-
less-precision is well within your grasp. Here's how to turn these
"go-away" tools into "go-to" superstars.

Get clean, straight cuts with your circ saw

Crosscutting, ripping, and
making bevel cuts along a
straight line sum up the
circular saw's role. To ensure
success, equip the tool with
a quality blade, matching it
with the material and type of
cut (see right) and adjusting
the blade depth VB" below
the work.
Carbide saw-blade savvy
CD If you're cutting softwood, softwood plywood,
and MDF, or ripcutting hardwood, a standard or thin-
kerf 24-tooth, 7Y4" combination blade will deliver a
respectable cut. It has an aggressive 20° tooth hook
and costs about $15. CD For a fine finishing blade to
cut hardwood and hardwood veneer plywood, pay a . -----
few bucks more for a 40-tooth, hard-body, thin-kerf blade. Costing around $30, its 12° tooth angle
cuts less aggressively, leaving few splinters.CD A standard-kerf 40-tooth blade, with its 20° tooth
hook, delivers the cleanest cut, only at a slower rate. Price: $45.

38 Get Started in Woodworking

Troubleshooting problems
Alignment woes. Do a two-step to tune up your saw for spot-on
accuracy. First, square the saw's baseplate to the blade. With the
tool upside down (and unplugged), loosen the blade-depth lock.
Lower the blade and lock it into place. Then retract the blade
guard. Fit a square snugly against the blade body and baseplate
sole [Photo A). Adjust and lock the baseplate to square.
Also, using an adjustable square, check if the baseplate edge
is parallel to the blade [Photo B). If you detect a difference from
the front to back, adjust the baseplate of your saw. If you can't,
add a shop-made zero-clearance subbase discussed under
Splintering and tear-out, below.
Finally, using a drafting triangle, check the calibrations on the
blade-angle scale at 30° and 45°. If your scale is off, incise these
intersections with a sharp blade or nail for speedy reference later.

Kickback and wavering cuts. It's scary when a circ saw jumps
back during a cut. You fear injury and chewing up the workpiece.
Many factors lead to kickback: a lack of stock support, which
causes the material surrounding the saw to bind the blade; a
forced feed rate; or a hung-up cord. As shown in Photo C, it pays to
equally support material on both sides of the cutline and=-If
needed-clamp down the workpiece to prevent it from moving
when sawing. Using sawhorses and .sacrificial 2x2s under the
workpiece provides a cheap solution. Also, don't force the saw;
you'll know when the motor slows. And drape the cord over your
shoulder so it doesn't catch and yank the saw off course.
To'correct wavering or binding freehand cuts, make a straight-
edge guide customized to your saw, like the one at right. Another
option: Buy a clamp-on tool guide with a circ-saw subbase, as
shown previous page, top left. Such systems prevent the tool from
straying from the cutline. (See other guides in WOOD® magazine
issue 165, page 72, or at woodmagazine.com/toolguides.)

Splintering and tear-out. Unlike a tablesaw blade, the teeth of

a circ-saw blade cut from the bottom up, so it's the top face of a
workpiece where splintering typically occurs. For this reason,
place the good face of your workpiece down. Tear-out occurs
when the blade exits the edge of the workpiece, creating large
splinters. Several strategies can eliminate these problems [Photo
D). Beyond adding a sharp hade, they include pressing masking
tape over the cutline; securing a scrap backer block where the saw
blade exits the work; and attaching a zero-clearance, lJJ"-thick
hardboard subbase to the saw's sole, ensuring that the subbase
edges parallel the blade.
When sizing the subbase, make it the same length as your tool's
sole, but make the width equal to the distance from the blade-side
edge of the sole to the outside edge of the motor (to keep the
motor from bumping clamps or hitting the straightedge during a
cut). Better still, make the width between the blade and subbase
edge a whole number, such as 6", and you'll save time setting up
for a cut by not having to deal with fractions. Once you've cut the
subbase, secure it with countersunk screws, washers, and nuts, or
cloth-backed double-faced tape. Another strategy: Score the cut-
line with a knife [Photo E).

woodmagazine.com 39
 Make your jigsaw a curve-cutting specialist
When selecting blades, choose one 0000
Guide rollers
You can't make a good cut with a cheap
jigsaw, regardless of blade style or quality.
A good tool features guide rollers behind
the blade to provide support and keep it
from deflecting. Some jigsaws (see above)
also include precision control guides that
contain the blade along both sides. A lock-
on button, sawdust blower, variable speed,
and straight/orbital cutting options also
help deliver a quality cut when matched
with the workpiece thickness and material.
(The less orbital cutting action, the cleaner
the cut.) Still one more feature is an anti-
splinter insert in the baseplate, serving as a
zero-clearance subbase.
__ . _- ••.• --.
St"'jd•..'..
40
based on the material you intend to
cut, its thickness, and the type of cut.
The teeth per inch (tpi) of a wood or
plywood jigsaw blade ranges from 6
tpi (coarse) to 20 tpi (fine), with 6 tpi
blades being fast and aggressive.
Ground, close-set teeth yield clean,
precision cuts, while narrow blades
excel at turning sharp corners. Rely
on plunge-tip and not tapered-tip
blades for-what else?-plunge cuts.
Also, expect to find two styles of
upper blade ends: T-shank and T-shank U-shank
U-shank. This describes the part that
inserts Into the tool. Of these, the
T-shank blades hold more securely
in jigsaws that accept them.
Best blade choices
CD 6 tpi for fast, coarse cuts; CD 10tpi for straight,fine cuts; 010 tpi reverse-
tooth for straight, splinter-free cuts on the surface where the blade exits the
workpiece; 8) progressive-tooth with graduating tpi for fast, clean cuts in thick
and thin material; 012 tpi for narrow, curved cuts in woods; 0
20 tpi for fine,
narrow curved cuts in woods and plastics.
•.,...1
Troubleshooting problems
Blade deflection and saw marks. Deflection occurs when the blade
bends to the right or left of the cutline [Photo A), leaving an unsquare
edge and, in severe cases, ruining the workpiece. Saw marks leave rough
edges. Choosing the right tool and blade are part of the solution, as well
as using a straightedge to guide the saw along straight cuts. When cut-
ting curves, stay Y\6" outside the cutline. Clean up curved cuts with a
drill-press-mounted sanding drum (concave cuts), or with a disc sander
(convex cuts). Or, make a hardboard template of the cut edge and use it
along with a router and flush-trim bit to true the edge.
Splintering and tear-out. Cure these with the same techniques
described on the previous page used to reduce splintering and tear-out
with a circ saw. Score and/or tape cutlines, employ backing materials,
and use a zero-clearance subbase or anti-splinter insert.
Kickback. Culprits here: binding due to a lack of stock support, wrong
blade speed and feed rate, a bent blade, or a hung-up cord. Make practice
cuts in scrap to determine the ideal blade speed and feed rate; then use the
circ-saw tips on the previous page.
Rough field cuts. Simple solutions apply when you cut out an opening in
the middle of a workpiece. For fast plunge cuts, insert a plunge-tip blade into
the jigsaw, turn on the tool, and slowly tilt the tool's blade into the waste side
of the workpiece [Photo B). For more precision, drill blade-start holes at the
opening corners to accommodate the jigsaw blade. Next, clamp a straightedge
into place, insert the blade into a hole, and begin cutting [Photo C].
Get Started in Woodworking
 Bore splinter-free precision holes with your portable drill
For project building, a lightweight,
cordless 12- or 14A-volt variable-
,
speed drill with a keyless chuck
provides all the torque and freedom
you'll need. Having two is better,
allowing you to drill pilot holes with
one and drive screws with· the other
without the fuss of changing bits.
And while twist bits win the
popularity contest in most shops, you
can achieve splinter-free results,
greater accuracy, and more versatility
with the four precision choices shown
at right. Note, too, that to maximize
Four precision bits: CD Single-flute countersink (no. 145636, set of 4 for #4-#10
control, the larger the bit, the slower screws, $40, Woodcraft, 800-225-1153 or woodcraft.com); CD brad-point; 0 Forstner
for holes up to IVz"; and8) Vix for self-centered holes in hinge-mouting holes, (no. and
price vary, McFeely's, 800-443-7937, or mcfeelys.com).

Troubleshooting problems
Unintentionally angled holes. To err is human, and nothing proves
the point more than when trying to drill a hole at a right angle to a
workpiece with a handheld drill. You can, however, reach perfection
with a handheld drill using these two strategies. The simple shop-made
jig [PhotoA] offers a clear view of the hole location while guiding the
bit through the vertical hole in the jig's center. (You may need a drill
press to drill the 90° guide hole through the jig.) Or, buy an inexpen-
sive adjustable drill guide, page 36, top right (no. DG-3637, $55.25 at
Mcfeely's). Attached to the chuck, it lets you drill 90° or angled holes
and stopped holes, as well as centered holes in dowels and board edges
[PhotosBand C].Just be sure to have a firm grip on the guide's handle
before aligning the bit and drilling holes in the edge of a board.

Break out. There's not a single good thing you can say about splin-
ters. They're a thorn in a woodworker's ...let's not go there. Speaking
of backsides, backing a planned drill hole proves an effective deter-
rent here. To stop break out where the bit both enters and exits, make
a sandwich using scrap [Photo D].

Inconsistent hole depths. Many people use masking tape to achieve

repeatable-depth holes in wood. And although this puts you in the
ballpark, it doesn't knock it••out of the park if your goal is dead-on
accuracy. Unfortunately, masking tape slips. Your best bet: no-mar
stop collars [Photo E]. (Buy no. 908-298 for a set of 6, Ys"-Yz", $47.99
Woodworker's Supply, 800-645-9292, or woodworker.com.) These
secure to the bits using an Allen wrench. A polymer boot at the base
of the stainless-steel collar prevents burning or burnishing the wood.

Bit clogging. Drilling deep holes often causes sawdust to jam the
channels in brad-point or twist bits. Carefully dig the dust jam out
with a nail tip to avoid burning and polishing the hole sides, which
makes them less than ideal for gluing plugs or dowels .••

Written by Jim Harrold with Kevin Boyle and Jeff Mertz

woodmagazine.com 41

Precisely how precise?
uring a visit to a woodworking
D friend's home, my pal asked me
to check out his tablesaw. He was
having "issues" with the setup and
wanted a second opinion.
There in his garage shop was a nice
contractor's saw, complete with a shiny
top, perfectly lubricated handwheel
threads, and not a speck of dust on it.
While I admired the gleaming saw, my
friend passed me a board he had ripped
on it. I sighted down the cut edge and
noticed the smallest amount of rough-
ness on the cut. Trust me; you really had
to squint to see anything.
Next, he removed
the saw's throat plate "Itwas then that I
and blade, and went remembered what he
to a special drawer
where he stored his does for a living:
precision measuring
devices. Armed with friend is
My
his machinist's dial an engineer."
indicator, he mounted
it to the saw top, and
gingerly pushed the instrument to the
arbor flange. "There," he said, his voice
heavy with disappointment, "The arbor's
off by .002", and I'm having a bear of a
time getting it perfect."
I looked at the board, noted the mea-
surement, and studied the board again,
"Looks good to me," I said.
He sighed, reassembled the saw, made
another test cut and held the result up
close' to my face. "You see?!?" I looked
again, and if I squinted just right, turned
my head to the side, and positioned the
board in the proper raking light, I could
barely make out some roughness.
"I dunno ... still looks good to me."
He turned, shook his
42
unvarnishedadvice
by Tom Iovino
head and said, "You just don't get it, do
you?" It was then that I remembered
what he does for a living: My friend is
an engineer.
Wood is pretty amazing stuff. It seems
so substantial, yet it constantly moves in
response to changes in temperature and
humidity. Woodworkers for centuries
have understood this and adapted their
methods of work to account for it.
I get a kick out of woodworkers who
routinely turn to machinist's tools to
perfect the thickness of a tenon or the fit
of a set of dovetails. If you cut the joint
on a rainy day and assemble it on a
sunny one, you'll wit-
ness the magic-and
feel the frustration-of
our preferred medium
of work. Hey, we aren't
machining parts for the
space shuttle.
And, getting back to
my buddy's beef: Trying
to get a perfect "glue-line
rip" right off a tablesaw is an act of magic
you don't need to attempt. Many experi-
enced woodworkers will joint a board, rip
it an extra 1/32" wide, then joint the ripped
edge to smooth it and bring the board
down to finished size.
Remember, when wood is involved,
"close enough" is usually close enough.
It's more fun to build projects than to
worry about thousandths of an inch .•
Tom Iovino of Tampa, Fla., blogs prolifically at
tomsworkbench.com.

~ ing should bear both inscriptions.
Healthy
Woodworking
Know what you need to protect your sight, hearing,
and lungs. We'll help you choose the right gear,
keeping you on the cutting edge of shop safety.
S
hopsafety includes a whole lot more
than leaving the guar in place on
your tablesaw. There's your eyes,
ears, and lungs to think about. To protect
these, .select the right gear, then make a
habit of using it.
Don't let hindsight
become blind sight
All safety eyewear must be officially
approved. That approval comes from the
American National Standards Institute
(ANSI), a voluntary organization that
looks after the development of standards
used in business, industry, government,
wocdmaqazlne.com
and educational institutions. ANSI wrote
the standard for safety eyewear for the
industrial workplace, but your workshop
differs only in size. The possible hazards to
your eyes, such as flying chips of metal or
wood; dust; or contact with harmful liq-
uids; remain the same.
ANSI sets the standard
for protection
All quality protective eyewear, including
face shields, that complies with ANSI stan-
dard Z87.1 (of 2010) will have that letter
and numbers stamped or molded into the
frame or shield. Lenses (usually of hard
polycarbonate) that comply will bear the
manufacturer's initials (AO for American
Optical, X for UVEX, etc.) somewhere out
of the line of sight. Any manufactured
protective eyewear you consider-purchas-
What does the ANSI standard mean to
you? For one thing, the frames and lenses
work together for protection. Industrial
safety glasses have lenses that withstand
nearly four times the impact of regular
impact-resistant lenses. Compliant frames
have inner retention lips that keep
unshattered lenses from being driven
into your eyes under the force of heavy
impact. They also meet the standards for
pressure and impact that regular frames
can't match. And for complete protection,
all industrial safety glasses should come
equipped with side shields.
You'll find, though, some contemporary
styles of one-piece, wraparound safety
glasses that might not carry the ANSI
Z87.1 imprint or the initials of the maker.
They may meet or exceed the standard,
but due to their one-piece construction,
they don't comply with ANSI's lens-and-
frame stipulations.
Your eyes determine
your eyewear options
Depending. on your eyesight, you have
several options in safety eyewear. If you
don't require corrective lenses (or wear
contact lenses), you may select prefabri-
cated safety glasses with clear lenses in
place; safety frames in which safety lenses
are inserted; or goggles. (There's also a
combination eyeglass/goggle available.) If
you have to wear corrective lenses while
woodworking, you can don prefabricated
safety glasses or goggles over your normal
eyewear; use a flip-up face shield; or have
prescription safety glasses made.
Flip-up
face shield
43
 How much does ANSI-compliant eye-
wear cost? Not much, considering what
you're protecting. You can buy a pair of
prefabricated Z87-level safety glasses for as
little as $5 or as much as $50 or more.
(Lens quality gets better as the price goes
up.) Goggles run from about $8 to $25;
face shields, $24 to $60. The cost of pre-
scription safety glasses varies with the
fashion and quality of the frame, as it does
with regular corrective lenses.
With safety glasses, always check (or
ask) for scratch-resistant lenses. And to
prevent them from fogging when you're
wearing a dust mask, have them treated
with an antifog coating. Many companies
offer permanent antifog coating on non-
prescription safety glasses.
You say you've
lost your hearing?
If there is one thing to remember from
reading this, it's that hearing loss is cumu-
lative and permanent. Hearing protection
can't restore what you've already lost, but
it can halt further deterioration.
If you value your hearing, you'll want to is 10 times as loud as 80 dB.
wear ear protection for any noise over 85
decibels (dB), and for very loud noise, such
as that made by a chainsaw, you'll need
added protection, such as earplugs under
earmuffs. (See the chart, next page, for tool . mendations to manufacturers for quieting
loudness ratings.) Permanent damage to operations. You can do a similar thing in
your hearing ability can result from expo-
sure to over 100 dB for 2 hours
or even less. magazine's tool comparison tests usually
Band plugs
Foam
earplugs
44
How to "Look" at Noise
Intensity comparisons with NIOSH
recommended permissible
exposure time.
Note: For every 3dB
the noise energy doubles.
85 dB - 8-hour exposure
88 dB - 4-hour exposure
91 dB - 2-hour exposure
94 dB -l-hour exposure
97 dB - 30-minute exposure
100 dB -15-minute exposure
103 dB -7.5-minute exposure
106 dB - 3.75-minute exposure
Note: The decibel scale by which sound
is measured happens to be logarithmic,
not linear. As demonstrated in the chart,
above, that means that a 100 dB noise is 10
times as loud as a 90 dB noise. And 90 dB
In industry, the federal Occupational
Safety and Health Administration (OSHA)
helps reduce noise at its source by doing
site-specific studies and giving recom-
your home shop by purchasing. low-noise
power tools and equipment. WOOD®
provide noise ratings when applicable.
Even with quieter tools, though, you'll
still need hearing protection when noise
exceeds dangerous exposure levels, such as
when you're routing. So how much do you
need? You first must understand how
hearing protection is rated.
Hearing protection manufacturers assign
each of their products a laboratory-based
Noise Reduction Rating (NRR), and by law,
it must be shown on the label of each
hearing protector sold.
The NRR supposedly equals the
drop in decibels (attenuation)
provided by the device. For
example, an NRR of 20 would
reduce a 100 dB noise to an
audible 80 dB. In the real
world of your shop, however, the actual
NRR proves to be somewhat less. That's
why you should select hearing protection
with an NRR of at least 25.
The best protection
is what you'll wear
According to a 1997 study by the National
Institute of Occupational Safety and
Health (NIOSH), laboratory data show that
earmuffs provide the highest real-world
noise attenuation values, followed by foam
earplugs. However, other data from OSHA
and industrial sources, such as 3M, find
that properly fitted foam or flexible plastic
earplugs offer the greatest protection-
ranging from an NRR of about 29 to 33.
More generally speaking, NIOSH states:
lithe best hearing protector is the one that
the worker will wear."
Basically, you'll find three types of hear-
ing protectors. Foam earplugs that mold to
fit your ear canal (below center) offer the
highest NRR and cost the least (about 35
cents a pair). Band plugs, similar to foam
ones but made of flexible plastic and
joined with a head/neck band (below left),
come next, and cost a bit more. Earmuffs,
usually with the lowest NRR (17-23), have
prices around $14. Top-of-the-line models
can have an NRR as high as 31, but cost as
much as $30 a pair.
What happens when
hearing protection fails
Researchers at 3M, which manufactures
several styles of hearing protectors, have
studied why hearing protection frequently
fails in the industrial workplace. Some of
their findings:
• Improper sizing and insertion. The
wearer tends to fit plugs too loosely, even
though they're available in various sizes. If
fit too tightly, they are a discomfort and
the wearer removes them. Also, a person
can have different-size ear canals, so each
must be sized separately.
• Incompatibility with other protective
equipment. Earmuffs often don't seal
properly over safety glasses. Long hair or
caps can also interfere.
• Poor communication. Hearing protec-
tion tends to attenuate high pitches, typical
of voices. Wearers loosen, alter, or remove
protectors to hear others.
Get Started in Woodworking
 Woodworker's Noise Exposures
120
115
110
ABC D E F G H I
Tools & Tasks
• Wear and tear. Seals wear down on
muffs. Foam plugs become less flexible
and. unable to properly mold to the ear
canal. Premolded plugs shrink. Ear wax
and perspiration also build up on them.
Earplugs should be checked frequently
and pushed in. Even the act of chewing
gum can shift them out of position.
Finally, here's a test to see if earplugs fit
properly: After inserting the plugs, cup your
hands over your ears, then take them away.
If you hear a difference, they're not being
worn correctly. Remove them, refit, then try
again. And don't forget to wash them in
mild soap and water after a few wearings.
Dust can take
your breath away
Exposure to wood dust in excess of 5 mil-
ligrams per cubic meter of air is hazardous
to your health, says OSHA. It's even more
so from Western red cedar. Because that
very common wood has been linked to
respiratory problems, OSHA limits its dust
to 2.5 milligrams per cubic meter.
woodmagazine.com
Legend
A. Orbital sander
B. Mortiser
C. Tablesaw
D. Planer
E. Belt sander
F. Router
G. Metal shear
H. Hand drill
I. Circular saw Dust mask with
J. Tile saw exhaust port
K. Mitersaw
L. Impact wrench
M. Chop saw
nuisance masks run about 50 cents each.
N. Chainsaw The next step up is the woven-cloth or poly-
O. Hammer drill
ester mask with two elastic bands and an
J K L M N 0
exhaust port. Although they're still dispos-
able, they're NIOSH approved and can cost
around $3 apiece. Costlier variations of
How much is 5 milligrams? It's actually these are washable for years of wear.
less than two ten-thousandths of an ounce. For prolonged exposure to fine dust,
(A dime weighs eight-hundredths of an mist, or dangerous fumes you'll need an
ounce!) So according to OSHA standards, a air-purifying respirator with changeable
woodshop measuring 15x30' with a 10' filters that remove specific, unhealthy con-
ceiling would reach the exposure limit taminants from ambient air. These half
when there are two-hundredths of an masks, because they're made of rubber or
ounce of wood dust in the air. Granted, silicone, are flexible to fit your facial con-
that's not much dust. But OSHA cares about tours. Several straps ensure a tight fit. This
it because exposure to wood dust has been type of protection can run you $25 or more.
associated with a variety of adverse health And you'll have a choice of filters, depend-
effects that include dermatitis, nonaller- ing on the kind of protection needed.
genic and mucosal respiratory effects, High-efficiency particulate air (HEPA)
allergic respiratory ailments, as well as filters are 99.97% efficient in removing
cancer. You and your home shop don't fall particles of 0.3 micrometer in diameter. A
under OSHA's scrutiny, but for your own set of them may cost as much as the respi-
well-being, you'll want to do all that you
can to cut down your exposure to dust.
rator itself. NIOSH (standard 42 CFR84)
designates them as follows:
• NlOO, not resistant to oil particulates;
What to do when • RlOO,resistant to oil particulates;
you can't collect all of it • PlOO, oilproof.
The highest degree of dust control requires Here's a tip concerning air-purifying
a three-prong approach. Installation of a respirators: Never simply store one on a
collection system that captures dust at the shelf. Keep it in a sealed plastic bag; other-
source is the primary consideration. The wise it will filter the ambient air and clog
second prong is .an air-filtration system the filters while it just sits there.
that pulls out airborne particles. And the To test the respirator, put it on and
third is the use of personal dust protection. cover the air outlet with one hand. Then
Of course, most woodworkers typically blow gently. Anywhere your other hand
start with the latter, then add the rest as can feel air escaping around the mask is
their shop activity and hobby grow. So where it will leak when you inhale, so
we'll look at dust masks as yourfirst line of readjust for fit. 4'
lung protection.
Dust masks fall into two main categories: Note: All equipment shown in this article was
nuisance-protection masks and respirators. provided by Woodcraft. For more information
For occasional light sanding that won't about these products, visit woodcraft. com.
generate heavy dust, you can opt for the
common paper throwaways with the single Written by Peter J. Stepha no
elastic band and the metal nose clip. These Photographs: Baldwin Photography
45
 Shop Safety Checklist
You can never take safety for granted. Here are a dozen things to ponder
before you begin any woodworking project.
1 DOyou know exactly what you're
going to do, and feel like doing it?
Think through the operation and the moves
you must make before you make them. And
don't do anything with power tools if you're
tired, angry, anxious, or in a hurry.
2 IS your work area clean? Keep your
. shop area uncluttered, swept, and well
lighted. The workspace around equipment
must be adequate to safely perform the job
you're going to do.
3 What are you wearing? Don't wear
. loose clothing, work gloves, neckties,
rings, bracelets, or wristwatches. They can
. become entangled with moving parts. Tie
back long hair or wear a cap.
4 DO you have the right blade or cut-
ter for the job? Be sure that any blade
or cutter you're going to use is clean, sharp
and undamaged so it will cut freely without
being forced.
5 Are all power-tool guards in place?
Guards and anti-kickback devices also
must work. Check to see that they're in good
condition and installed correctly before
operating equipment.
6 Where are the start/stop switches?
Ensure that all the power equipment
you'll use has working start/stop buttons or
switches within your easy reach.
7 Arethe power cords in good shape?
Don't use tools with signs of power-cord
damage; replace them. Only work with an
extension cord that's the proper size for the
job (see chart, right), and route it so it won't
wind up underfoot.
46
8 DO you have your power tools
properly grounded? Tools that aren't
double-insulated come with three-wire
grounding systems that must be plugged
into three-hole, grounded receptacles. Never
remove the grounding prong from the plug.
g Do you know what safety equip-
ment you need for the job? Around
cutting tools, always wear safety glasses, gog-
gles, or a face shield. When sanding, add a
.dust. Wear hearing protection when working
with loud or high-pitched tools.
10 Where are the chuck keys and
wrenches? Check that all chuck
keys, adjusting wrenches, and other small
tools have been removed from the machine
so they won't interfere with the operation.
11 Have you checked your stock?
Inspect the wood you're going to use
. for nails, loose knots, and other materials.
They can be hidden "bombs" that may
injure you or damage your equipment.
12 where's your pushstick? Keep a
push stick or pushblock within reach
before beginning any cut or machining
operation. And avoid getting into awkward
stances where a sudden slip could cause a
hand to move into the blade or cutter. •
MINIMUM EXTENSION-CORD WIRE-GAUGE SIZE
Small wire gauges and long cords create resistance, which can starve an electric
motor and cause the motor and the cord to overheat. Use the shortest cord
possible and make sure the wire gauge is heavy enough for the tool's amperage.
Cord Length
Nameplate Amps 25' 50' 100' 150'
0-6
6-10
18
18
16
16
16
14
14
12
10-12 16 16 14 12
12-16 14 12 (not recommended)
Get Started in Woodworking
How to Master Dadoes,
Grooves, and Rabbets
Eliminate sloppy fits, uneven edges, and splintered wood from these common cuts.
All you need are tools already in your shop, and these shop-proven tips.

D
adoes, grooves, and rabbets form whether the resulting joint will be seen in can cover up some joints with face frames,
the backbone of so many wood- your final project. (For a comparison of or make a merely good dado better with
working projects, from a simple the pros and cons of these tools, see the special cleanup tools. (See Dado-cleanout
picture frame to the classic bookcase on chart on page 48.) Keep in mind that you bits remove tablesaw blemishes, page 51.)
page 82. Fundamentally and structurally DADOES, GROOVES, AND RABBETS: WHAT'S THE DIFFERENCE?
sound, they're reliable standards in case
construction and any project that features
shelves, drawers, or dividers. We'll walk
you step-by-step through the techniques
so you can produce flawless, tight-fitting
joints on your projects.

Select your tools of choice

The tools and methods you choose to cut
dadoes, grooves, and rabbets will vary
based on which tools you own and
Shoulders
Although similar in structure, these cuts differ due to their placement within a board. Rabbets form an
L-shaped recess along an edge or end. Dadoes have two shoulders and run across the grain. Grooves also
have two shoulders, but run with the grain.

woodmagazine.com 47
 BASIC JOINERY
Comparing five ways to cut dadoes, grooves, and rabbets
Tool Performance results Cost Other uses
Stacked Pros: Cleanest cut of saw blades; can be Cons: Leaves triangular grooves in bottom $80-$250 Cutting tenons, box joints,
dado set shimmed to exacting widths corners; needs backer board to avoid tear-out half-laps, shiplaps, and
across grain tongue-and-groove joints

Adjustable Pros: Quick and easy to adjust width; Cons: Uneven bottoms; needs backer board to $50-$80 Cutting tenons, half-laps,
dado blade inexpensive prevent tear-out across grain and shiplaps, but quality
of cut suffers

40- or 50-tooth Pros: No need to purchase or install Cons: Repeated passes could create inaccurate $10-$80 Ripping and crosscutting
combination blade dado set; creates clean rabbets when widths; saw marks need to be cleaned up; time- in regular use of tablesaw
machining in perpendicular cuts consuming; needs backer board to prevent tear-
out across grain

Straight Pros: Clean cuts with square shoulders; Cons: Deep cuts require time-consuming multiple $5-$20 for a single Mortising, plunge cuts,
router bit accurate when bit size matches size of passes; needs backer board to avoid tear-out bit; $ 0-$100 for template routing, and
channel needed across grain a set of 6-9 bits of flattening rough stock
various widths

Rabbeting Pros: Machines clean rabbets, in router Cons: Deep cuts require time-consuming multiple $10-$40 for single No other uses
router bit table or hand-held router; quicker setup passes; needs backer board to avoid tear-out bit; $20-$60 for recommended
than straight router bit across grain; lifts veneer on sheet goods multi-bearing sets

Tablesaw delivers quick, accurate channels

In the WOOD® magazine shop, we turn
first to the tablesaw for cutting dadoes,
grooves, and rabbets. Typically, it takes less
time to install and adjust a dado set than it
does to prep a router. And, we prefer the
tablesaw's ability to quickly cut channels
and handle most sizes of boards or panels.
You have two options in dado sets:
stacked or adjustable. The stacked sets-
which we prefer-reliably deliver square,
clean cuts. Of course, higher-priced sets
typically produce the cleanest cuts, with
flat bottoms and square, no-tear-out shoul-
ders. Most stacked dado sets, however, leave
tiny, triangular "earmarks" in the bottom
corners caused by the beveled teeth of the
outer blades.
Adjustable dado· blades (sometimes
called "wobble" blades) offer low prices
and quick setups, but come with serious
drawbacks. They create concave or ridged
bottoms and unsquare corners that need
considerable cleanup.
You also can make all three cuts with a
good quality 40- or 50-tooth combination
blade. For dadoes and grooves, cut both
shoulders first, and then nibble away the
remaining waste with successive passes.
Clean up the rough bottom with a sharp
chisel or dado clean-out bit.
You can cut rabbets the same way, but we
prefer the following two-cut method. First,
make: the shoulder cut; then, using a tall
auxiliary fence (5-8", depending on work- To avoid possible kickback, be certain the
piece height), adjust the blade height and cut waste side is not trapped between the fence
the bottom perpendicular to the shoulder. and the blade.
Tips for top-notch table saw results
• Tip 1: Adjust your saw for clean, accurate cuts.
To ensure accuracy and squareness before lel to the blade, and the miter gauge must
making any cuts, first make sure you have be set perpendicular to the blade. Even the
your tablesaw set up correctly. The miter slightest deviation will affect the fit and
slots and rip fence must be perfectly paral- finish of the joint.
• Tip 2: Choose a good dado set for best results.
Outside blade
Stacked dado sets contain two outside o~~s~~e
blades, several chippers, and metal or plas- Chipper
tic shims. (Ifyour set doesn't include shims,
make your own from thin paper or card
stock.) To match the channel width, add
the requisite number of chippers between
the outer blades (see illustration, right) on
the arbor. If the arbor washer won't fit-
leave it off. It's more important to get the
arbor nut tightened to full threads.
Freud bridges gap between stacked sets and wobblers
Freud's Dial-A-Width dado set (model SD608; freudtools.com)
combines the shimless conveniences of a "wobbler" with the
clean cut of a stacked set. You stack chippers between the
outer blades, just as on a regular stacked set. To fine-adjust
the width, simply loosen the arbor nut and turn the hub on
the outer blade, as shown at right. Each "click" on the hub
changes the width by .004", much like inserting an actual
shim. One caution, though: At its maximum width of lV16",
your saw's arbor nut can only tighten to about half threads.

48 Get Started in Woodworking

 Tip 3: Test and adjust your dado set
for dead-on cuts.
For dadoes and grooves, cut a test scrap
:;rieceto check for fit. Adjust the fit by add-
ing or removing shims and chippers. We
like to cut dadoes and grooves slightly
undersize (within a few hundredths of an
inch), then sand the inserted workpiece
until it fits snugly. Be sure to sand the
entire workpiece to the same grit, or your
finish will reveal where you stopped sand-
ing. Be careful not to sand through the
veneer face on plywood.
• Tip 4: Use a zero-clearance insert for
tear-out-free cuts.
To make a zero-clearance insert plate for
your saw's blade throat, adjust the dado set
to exact width and lower it below the
table. Install a planed and shaped wood
insert flush with the table surface. (See
woodmagazine.com!zeroclearance to make
insert blanks.) Clamp a board to the saw
table across the insert's length-to one
side of the blade-to hold it in place. Turn
on your saw and slowly raise the blade,
cutting through the insert, until it reaches
the approximate height to match the
depth of your joint. Turn off the saw and
check the blade height.
• Tip 5: Resharpen your entire
stacked dado set.
The carbide teeth of stacked dado sets dull
over time and need resharpening. When
having a set sharpened, always include
each blade and chipper-even those
you've never used-so the teeth remain
identical in height. .If the teeth don't
match exactly, some chippers will cut
deeper than the rest. ••
• Tip 6: Prevent veneer chip-out with
painter's tape
When making cuts in veneered sheet
goods, chip-out always looms as a possibil-
ity. To keep a veneer face from chipping,
apply painter's tape over the cutline-and
at the opposite end to maintain a level
surface when machining. Make a shallow
scoring pass first; then, with the tape still
on, raise the blade and finish with a cut to
final depth, as shown at right. Slow your
feed rate accordingly when removing a
large amount of material.
woodmagazine.com
• Tip 7: Defeat end-grain tear-out with backer boards.
Machining cross-grain joints
on a tablesaw results in tear-out
when the blade exits the wood,
as shown at right, unless you
take some precautions. Install a
wood extension to the miter
gauge to back up the cut, as
shown in the photo for Tip 8, or
We cut these '/.on dadoes in red oak with a scrap board to back up
hold a backup piece between the cut (left) and then without (right). The backer board eliminates
the workpiece and miter gauge. tear-out.
• Tip 8: Use the rip fence as a stop.
For dadoes and end-grain rabbets, use the
rip fence and miter gauge in conjunction
with each other, as shown at right. Because
you're not cutting entirely through the
board, it will not pinch and kick back. Add
an auxiliary fence for rabbets to keep the
blades from touching the rip fence.
For a quick auxiliary fence, clamp a
board to the rip fence. Set up the dado
stack wider than your intended rabbet.
Cut an opening for the blade in the auxil-
iary fence (see illustrations, below). Adjust
the fence to the desired width of the rab-
When cutting across grain, use the rip fence as a
bet, allowing for the auxiliary face, and stopblock and a wood extension to reduce tear-out.
cut the workpiece. Sandpaper grips the workpiece.
STEP 1 STEP 3
Securely clamp auxiliary Slowly raise blade
fence to tablesaw to cut opening in
rip fence. auxiliary fence.
STEP 2
Slide auxiliary
fence halfway
over lowered
blade.
Scoring ';'''' deep cleanly shears the veneer, above left. After cutting the channel to depth, peel away the
tape gently to avoid lifting the wood fibers and reveal a flawless veneer face, above right.
49
 BASIC JOINERY

Router offers versatility, cleaner channels

For joints that will be seen on the finished
project, you can't beat a router, because it
cuts square, clean, flat-bottomed dadoes,
grooves, and rabbets. Whether you use
your router by hand or in a router table,
you'll get great results either way. And
routers excel at machining stopped chan-
nels (those that do not exit the workpiece
on one or both ends of the channel). With
a router, you can see the start and stop
marks as well as the bit. On a tablesaw,
however, the blade is hidden beneath the
board, making it more challenging to start
and stop precisely at a mark.
Rout great rabbets by
hand or in a router table
You can use rabbeting, straight, or spiral
bits to machine perfect rabbets. Purchase
rabbeting bits individually or in a set
with multiple bearing sizes (see photo,
below left) to achieve different widths.
When routing a rabbet by hand, move
the router counterclockwise around the
outside edges of a workpiece. Keep one
handle over the workpiece to maintain a
level cut. To avoid tear-out when
approaching a corner on end grain, use a
backer board or stop an inch short and
rout carefully from the corner backwards
(known as climb-cutting).
When routing in sheet goods, rabbeting
bits fray end-grain veneer rather than
shear it cleanly, as shown, below. To handle
this, first rout the rabbet to correct width
and depth. Then, using a square-edged
sanding block, sand with the grain toward
the rabbet to knock down the frayed grain.
Rabbeting bits also work great in router
tables, which offer a distinct advantage
over rabbets cut with handheld routers:
You don't need to change bearings to vary
the cut width. You can adjust the table's
fence so it aligns with the bearing's front
edge for full-width cuts, or bring the fence
forward for a shallower cut, When you
allow the bearing alone to guide the cut, a
rabbeting bit follows the exact contour of
the workpiece edge-even imperfec-
tions-and duplicates that on the joint.
If you don't have a rabbeting bit set,
straight bits and spiral bits also machine
great rabbets. Use them with the fence on a
router table, or with an edge guide with a
handheld router. Avoid dull bits that burn
the wood or cause it to "fuzz" instead of
cutting cleanly.

CUTVARIED SIZES WITH A SET

This set cuts rabbets to different widths with one Rabbeting bits lift veneer when cutting rather than shear it cleanly (left), so we rely on a sanding block to
bit. Smaller bearings produce wide rabbets, and remove the stringy fibers (right). If any fibers bend into the rabbet, simply use your sanding block to sand
larger bearings, narrower ones. the vertical face of the cut. Take care to not round the edge.

Sheet-goods sizes don't always add up to the label

Sheet goods, such as plywood or medium-density fiberboard
(MDF), almost always come up short of their stated
thicknesses. For example, a sheet of W' plywood typically
measures only 2Y32" thick (right). So what does this mean?
Well, if you plan to cut dadoes, grooves, or rabbets in sheet
goods, you'd better measure everything first. Thicknesses can
vary even in sheets from the same stack. Always make a test
cut and check the fit. Use specially-size plywood router bits %" router bit %" plywood
that come in cutting diameters such as '%4", 0/32", '1'32", '132",
2Y32", and 21'32". your shims (such as A, B, C, etc.) with a permanent marker or
Or, to get dead-on results, use straight or spiral bits etch them with an engraver. Now set up your saw with the
narrower than the thickness of the plywood and make two appropriate blades, chippers, and shims to get a precise cut.
cutting passes with shop-made or manufactured jigs. Make When you remove the stack, make a note indicating which
your own with a free jig plan at woodmagazine.com/dadojigs. chippers and shims you used. The next time you need to cut
If you're like us, however, and prefer to use your tablesaw a joint for that size sheet, just put together the same
with a stacked dado set, here's a helpful trick. First, label all combination. But don't trust it completely. Test your cut first.

50 Get Started in Woodworking

Dado-clean-out bits remove tablesaw blemishes
Dado-clean-out bits do just what they say:
They shave imperfections from the bottom
of a flawed cut to leave a perfectly flat,
square joint, as shown below.
Here's how to use them: First, machine
your cut to width on the tablesaw, but
leave the blade height about 1;16"short of
the final depth. Machine all your
The outside blades of stacked dado sets leave
tiny ear marks in the corners (top). Aclean-out bit
removes those blemishes (bottom).
Take advantage of a router table's benefits when routing dadoes, grooves, and rabbets
For router-made channels, we'll choose
the router table over a handheld router in
most instances because of the additional
safety and control offered by the table's
accessories, such as a fence, featherboards,
miter gauge, and dust collection.
For best results, know the limitations of
your router and bit. Routing W' grooves %"
deep in red oak puts a lot of strain on your
router and speeds dulling of the bit. So
make the cut in two passes, cutting away
half the depth on the first pass.
Sometimes, chips build up in the joint
or get under a board and lift it slightly,
Rely on straightedge guides when routing dadoes and grooves by hand
Channels located too far from the work-
piece edge for your router-tame fence call
for handheld routing. You've got two
good options: Run the router base along a
straightedge or use a bearing-guided pat-.
tern bit and straightedge.
For option I, chuck a straight or up-cut
spiral bit into the router and set the bit's
depth. Measure the distance from the
router-base edge to the nearest point of
the cutter. Clamp your straightedge that
exact distance from the marked channel,
set the router against it and realign it as
needed. Run your router against the
straightedge to machine the channel, as
shown at near right.
woodmagazine.com
channels. Chuck the dado-clean-out bit
into your handheld router, and set it to
machine to the finished depth. Run the
router bit through the channel, with the
bearing riding against one shoulder and
then the other, as shown below.
Don't confuse these bits with similar-
looking mortising bits, which have taller
Dado-clean-out bits pare away the final Y,6n
of channel depth to bring the joint to its final,
flawless state.
creating an uneven cut. After you've
routed the full channel, blow the dust and
chips off the table and workpiece, and
make one more pass-without making
any changes-to ensure a clean joint.
Down-cut spiral bits, like the one at
right, can lift the workpiece when routing
grooves and dadoes on a table. It's best to
use these solid-carbide bits when making
through-cuts, where the debris falls
through the opening created. Up-cut spi-
ral bits, conversely, pull debris out of the
groove, but also can lift the veneer slightly
on plywood. Our advice: Use an up-cut
Pattern bits-option 2-eliminate set-
ting the straightedge-to-cutter distance.
They have a bearing on the shaft above
the cutterhead that rides against the
straightedge, so you clamp the guide right
_ .;c.;"",,,;,,,' .•'-""
For a straight and consistent channel, maintain the
same point of contact between your router base
and straightedge. . eliminating offset measurements.
cutters (1'8-112" tall). This puts the bearing
above the shoulders of a Va"-deep
channel, requiring a guide board or
straightedge. Wood line's clean-out bit
(800-472-6950; woodline.com) has just a
Va"cutter height, and MLCS bits (800-
533-9298; mlcswoodworking.com)
feature V,6"-tallcutters, as shown below.
These dado-clean-out bits excelled in our shop
because they cut well, and their cutter and bearing
fit into a 'Ian-deep groove.
spiral bit unless your cut has an open side
or bottom; then use a down-cut spiral bit.
I
Down-cut spiral bits cut great but pack the waste
into the groove rather than eject it. Remove the
debris and make another pass.
at your cutline, below right, and the bear-
ing keeps the cut aligned .••
Produced by Bob Hunter with Chuck Hedlund
Illustrations by Roxanne LeMoine and Tim Cahill
Because the cutter aligns with the bearing, you
clamp the guide right on the line of the joint,
51
 BASIC JOINERY
Half-lap Joints
Plenty strong and easy to make
Four easy steps to lap-joint success
1 Installyour complete dado set so you
get the widest cut possible with it (typi-
cally 1¥J.6"). Raise the blade above the table
(exact height isn't important yet). Adjust
52
S
ure, you can find woodworking joints more beautiful
than the half-lap. And, one or two joints might be
stronger. But few woodworking joints match the
•.s before we
half-lap for all-around usefulness and ease of construction .
Just a few wor
make this joint
As you can see by the photo at left, a half-lap joint consists of
two workpieces reduced to half their thickness where they
lap over each other. This provides a face-grain-to-face-grain
joint with plenty of gluing surface. Simple butt joints, on the
other hand, rely on an end-grain-to-edge-grain bond that
can break easily. Even a dowel-reinforced butt joint won't
prove as strong as a half-lap.
Half-lap joints do reveal end grain on both sides of the
joint, so avoid using the joint where such an appearance
proves objectionable. We often use half-laps for shop-cabinet
door frames, workbench leg frames, outdoor furniture, and
internal web frames for furniture such as dressers.
You need only a tablesaw to make a half-lap. We prefer to
use a dado set for fast and smooth results.
If you don't own a dado set that will cleanly shear across
the grain and leave the sawn surface smooth and flat, we
suggest you use a router table outfitted with a straight bit.
Here, we show how to make corner and T-joints with a
tablesaw, but you easily can adapt these techniques to your
router table.
your rip fence so one edge of your workpiece
butts against the fence and the opposite
edge aligns with the side of the dado set
farthest from the fence (as shown at left).
If all of your workpieces are the same
width, you can leave your fence at this
position for all the following cuts. If
you're working with pieces of different
widths, keep in mind that you use a
workpiece's adjoining piece to set the
fence for its half-lap cut. For example,
with a door frame use the horizontal
workpieces (the rails) to set the fence for
the cuts in the vertical workpieces (the
2 Set the .cutting depth of the dado set
so it removes precisely one half of the
workpiece thickness. Test your cutting
stiles), and vice versa. depth with two pieces of scrap stock of the
Get Started in Woodworking
same thickness as your workpieces. After
cutting the scrap pieces, lay them on a flat
What you need to
surface and align them, as shown on the know to make a
previous page. The top and bottom faces
should be flush.
half-lap T-joint
Sometimes, you may have to place a half-
lap joint somewhere other than at the end
of a workpiece. In that case, follow these
two easy steps.

handscrew clamps, simply clamp two

3 Markthe face sides of your workpieces

so you don't get them confused. Keep
in mind during this step that you need to
place the face side of one piece up, and the
face side of the adjoining piece down. Set
your miter gauge for a square cut, and
attach a wooden extension to it.
Now, position the workpiece with one
edge against the auxiliary fence and the
end butted against the rip fence. Turn on
the saw, hold the workpiece firmly against
the auxiliary fence, and pass the workpiece
over the dado set. Make successive passes to
complete the half-lap cut.
1 First, mark the position of the overlap
on the edge of the workpiece that will
be cut in its midsection. For accuracy use a
sharp pencil.
2 Set the unmarked edge against the
miter-gauge auxiliary fence. Align your
pencil marks with the sides of the dado set,
and position two handscrew clamps as stops
on the auxiliary fence. (If you don't have
blocks of wood with C- or bar clamps.)
When positioned correctly, the stops
will limit the area of removed stock to the
space between the pencil marks. You sim-
ply butt one end of the stock against one
stop and make a cut as shown below. Then,
butt the other end of the stock against the
remaining stop, and make another cut.
Finally, remove the material between the
two cuts. With the stops set up this way,
you can make multiple pieces that will all
turn out the same .••

4 TO clamp the joint, first apply wood

glue to all mating surfaces. Draw the
workpieces together with bar or pipe
clamps and check the assembly for square.
Then, bring the glued half-lap faces tightly
together with a small clamp. Placing a
scrap of wood on the joint faces can pro-
tect them from the clamp jaws.

woodmagazine.com 53
 When using a jig
like this one, take a
minute to mount it
on a plywood panel.
Then, you can easily
clamp the unit to your
workbench.

Save Time with DUSING THE JIG

Set depth-stop collar to control
depth of counterbore.

Pocket Holes Pocket-hole

jig

You won't find a faster way to build basic cabinets,

and they're handy for assembling tricky joints, too.

Pocket-hole joints at a glance

W
ith all of the great woodwork-
ing joints at our disposal, most
of which don't require hard-
ware of any kind, a woodworker has to
wonder: Why use a pocket-hole joint? The
answer_ is simple: Pocket holes offer the
quickest way imaginable to build a face
frame, assemble a cabinet, or join parts
that would be difficult to clamp. And they
provide plenty of holding power, too.
Of course, you could try to drill the
pocket holes freehand, but a commercial
jig helps you do it far more accurately
and efficiently. Let us show you -the
basics, using a Kreg K2000 jig, pictured
above, as our primary demonstration
tool. (Kreg's entry-level Mini jig is repre-
sented in Drawing 1.) To learn more
about pocket-hole jigs and techniques,
see More Resources.
A pocket hole enters wood at an angle of
about 150 to the workpiece surface, allow-
ing you to drill toward the end or edge of a
project part, as shown in the photo above.
A specially designed drill bit equipped
with a stop collar [Drawing 1] creates a
hole large enough to accept the head of
the screw, while also drilling a small hole
for the screw's shank.

54 Get Started in Woodworking

- A clamp, such as this specialized version, keeps the
joint members flush while you drive the pocket-
hole screws. Use 1\4"pocket-hole screws for %"
stock. A 2x4 platform holds the assembly off the
bench to make clamping the joint easier.
Use screws with coarse
threads to join softwood,
medium-density fiberboard
(MDF), or plywood and fine
threads for hardwoods
left). Pocket-hole screws
have self-tapping auger
points. These points,
combined with
Coarse
threads
the unta-
pered profile
of the screws,
allow you to drive the screws into the
adjoining parts without pilot holes. Even
dense woods, such as oak, should not split.
The screws also feature round washer
heads (so named because they have extra
bearing surface built into the bottom of
the heads). This design prevents the heads
from being pulled into the wood and
guarantees a tight connection.
Drill at least two holes to resist twisting.
Add glue to the mating surfaces if you
don't intend to disassemble the parts later.
Use clamps to ensure flush surfaces [Draw-
ing 2]. Now, insert the screws, and drive
them to their full depth, drawing the two
parts snugly together.
DDRIVING THE SCREW
Square-drive bit chucked into drill
, woodmagazine.com
Youcan drill into panels of any size;just provide
level support. Ifyour jig doesn't include a wide
base, cut scraps of wood to suit. Drillon the
inside face of each panel ifthe outside will be
visible, or on the outside face if it will be hidden.
(at
ml__ --L...........•...
Rather than struggling to clamp these mitered
joints tightly together during glue-up, we used
pocket-hole screws to draw them snug. Drill
holes from opposite sides of each joint for extra
strength, slightly offsetting the holes.
Let's put it to use
Face frames come together quickly with
pocket-hole joinery, as shown in Photo A.
As you can see, we built a support platform
out of 2x4s to make the process go even
more smoothly.
Pocket holes save a lot of time when you
build basic cabinets, as shown in Photos B
• and C. Pocket-hole joinery also stands out
as a way to assemble angled, hard-to-
clamp joints, like the ones found in a
multiple-sided frame [Photo DJ.
Pocket-hole joinery creates long,
unsightly surface holes at each joint.
That's not it problem for concealed sur:
faces. For sometimes-seen ,surfaces, you
might decide to fill the holes with com-
mercially available plugs, as shown in
Photo E (or make your own plugs from
dowels). The result might not be accept-
Pocket holes make cabinet construction quick and
easy. Usethem not only to join the sides, back, and
bottom, but also to attach a cabinet's face frame,
as shown here. Clamps help you keep large pieces
aligned as you drive the screws.
Ifyou choose to use plugs, brush glue on each one,
and tap it in place with a wood block and hammer.
You'llhave to plane or sand the plugs flush, which
eliminates some of the timesaving advantage of
pocket-hole joinery.
able on highly visible _project surfaces,
though. In such cases, another joint type,
say biscuits, might give better results .•
Produced by Jim Pollock
___ 2 ~"' ~ ~ •• _
More Resources
~ Drill pocket holes without a jig using
this technique: woodmagazine.coml
nojigpockets
~ More tips for how to use pocket-hole
joinery: woodmagazine.coml
pocketpointers
~ Read more about pocket-hole jigs
in WOOD issue 221 (October 2013).
You may purchase a copy here:
woodmagazine.com/221
55
 Master this basic
technique before you
move on to the fancy
stuff. You'll start with
a few boards, and end
up with a panel that's
worthy of a tabletop.

N
otall boards are created equal.
Some boards follow the rules and
stay straight and flat. Others may
rebel by warping and twisting. If you take
time to find the cooperative ones when
you set out to make a panel, the task will
be much easier.
Here's what you need to consider when
you visit the lumber rack at the home cen-
ter or wood supplier: straightness, color,
and grain figure. Sight down the edge of a
board and you'll quickly spot any bowing.
Look down the face to check for twist.
Once you've found some boards that
you might like to take home, stand them
up side by side to make sure they get along
with each other visually. We used red oak
for this project, and found significant.
color variations. Some boards had a pink
tinge. Others looked brown, and a couple.
were almost white. Stick with boards of
the same color.
Grain matching isn't as straightforward
as color matching, but think ahead. Can
you see similar patterns on all the boards?
If so, you'll have an easy time making
joints that seem to disappear instead of
ones that stand out.

Cut them down to size

If you buy lumber that has been stored
inside a store, you can start to work it as
soon as you get it into your shop. Lumber
that's been stored outdoors or in an
unheated, uncooled warehouse will need a
few days to adjust to your shop's humidity.
Before making any cuts, double-check
your tablesaw and jointer to make sure
they're set at exactly 90°.
You might have been told that boards
with slightly rough surfaces create better
glue joints. Not so. Smoother is better, but

56 Get Started in Woodworking

if you use a high-quality ripping blade on
your saw, you can produce edges suitable
for gluing even without a jointer.
You'll probably buy stock surfaced on
both sides and one or both edges. If it has
one rough edge, rip that away on the table-
saw. Then crosscut the boards to length
Reading the grain
It's not a jigsaw puzzle, it's a lumber puzzle. Here's an example of nice matching
grain, and an example of a match that would annoy you for years to come.
GO WITH THIS ONE
These boards feature grain lines of similar
direction and width, so they blend well.
After cutting your stock to size, lay the boards on your workbench and begin looking for the perfect
match.as WOOD" magazine's contributing craftsman Jim Heavey does here.
wood magazine. com
plus a few extra inches. That allows for
planer snipe and also comes in handy when
you're searching for the best grain match.
Now take those wide boards and rip
them into pieces no wider than 4".It seems
like a shame, but doing this virtually elim-
inates a wider board's natural tendency to
LET THIS ONE GO
Different grain directions and shapes doom
these boards to ajarring visual effect.
cup. Even if you rip a board in half and
wind up gluing those two halves right
back together again, you have relieved
tension within the stock. That will help
keep your panel flat.
Get ready to glue
Here's your chance to imitate nature. Lay
the boards on your workbench, as in the
photo below left. Look for an arrangement
in which the grain on each piece seems to
flow visually into the adjacent piece. (See
Reading the grain at left.)
Again, consider color. For example,
you'll get a better-looking result by placing
a couple of light boards at the sides of the
panel, rather than alternating them with
darker pieces.
Some woodworkers swear by flipping
every other board to alternate the growth
rings that you see on the end grain. How-
ever, you can ignore that factor once the
boards are ripped to 4" wide. After you've-
decided how' the boards will go together,
mark them in alphabetical order with
chalk, as in the photo at the top of the
next page. The chalk rubs off easily after
glue-up.
Check the fit one last time. If any gaps
show, go back to the tablesaw or to the
jointer, or get out a long, sharp jointer
plane. Make the edges as straight as you
can along the length of the board and
keep them square with the face, too.
When the boards fit tightly, place waxed
paper on your workbench to catch any
stray glue drips. Set bar clamps or pipe
clamps on the paper, spaced about 12"
apart. It wouldn't hurt to put waxed paper
directly on the clamps, too. The waxed
paper will keep the clamps clean and
won't stick to your glued-up boards.
We used four parallel-jaw clamps under-
neath our 36x24" assembly. The jaws stay
parallel to the workpiece and keep the
assembly flat. Other kinds of clamps might
need alignment help from two more
clamps placed on the top side to keep the
assembly from racking.
Our finished panel ended up six boards
wide. But we glued up just half of the
panel-three boards-at a time. Other-
wise, it takes some scrambling to 'keep all
of the joints in perfect alignment. This
method also allows you to run each three-
57
 --- ~ --- ~--

BASIC JOINERY

When you've figured out the best grain and color arrangement, mark the Here's another marking method: Jim pencils in X's and O's "because I love my
boards with chalk. work." Write them on masking tape and you won't have to sand them off.

board assembly through a benchtop planer

after the glue dries.
Lay the three sequentially marked
boards on the clamps between the jaws
and reach for the glue bottle. We recom-
mend yellow woodworker's glue, though
realize that it does set up fast, so be pre-
pared to work quickly.
You don't need special tools to spread
the glue. Simply lay down a bead from
your glue bottle, then spread it into an
even coat with a finger, as shown in the
photo at right-you'll develop a feel for the
right amount. And you only need to apply
glue to one of two mating edges. If you
spread glue on both boards, you're certain
to overdo it.
Rub the glue joints together and line up
the boards for the grain effect you planned.
Don't worry about getting the ends exactly
even; that's one reason you cut them a lit-
tle longer than necessary. Snug up all of
your clamps, but don't apply much pres-
sure yet.
Starting at one end, make sure the joints
are flush on top, and tighten the first
clamp. Overtightening will just force glue
out of the joint, so take it easy. You're
assembling a panel, not engaged in an
arm-wrestling match.
Work toward the other end of the assem-
bly, checking the joints and tightening the
clamps as you go, as shown in the photo on
the next page. If you applied the perfect
amount of glue, it will show up as tiny Applya bead of yellow glue to just one board per joint, and spread it evenly with your finger. All it takes is
beads squeezing out along each joint. enough to coat the surface. Anything more gets squeezed out.

58 Get Started in Woodworking

Clean up, repeat, trim
Let the glue set up until it's rubbery. Then
skim it off the wood with a putty knife or
a scraper, as shown below. Leave the clamps
in place for an hour or so.
For a panel 24" wide, we glued up
another three-board piece, then ran both
pieces through our 13" planer to take
down any high spots. Then we joined the
two halves with the same gluing and
clamping procedures as above.
The final panel won't fit through the
planer, but that's not a problem. You can
easily clean up that single, middle joint
with a scraper or a random-orbit sander.
Trim the ends square on the tablesaw, if
your panel isn't too wide for comfort. A
crosscut sled makes that job easier and
safer. (Get a free plan at woodmagazine
.com/crosscutsied.) Otherwise, clamp a
straightedge across the panel and use it as
a guide to make the cut
with your circular saw
or router. (See how on
page36.).

Produced by Jim Pollock

Photographs:
Baldwin Photography
Illustrations:
Roxanne LeMoine

Working quickly, jockey the boards up and down as necessary to get them
Rather than make a mess trying to wipe up wet flat all along each joint. You can clamp a troublesome joint to the bar clamp
glue, let it set up for a while, then scrape it off. sitting underneath.

4 other ways to align edges

All you need is glue to make superstrong edge joints. However, long stock can be tricky to keep lined up while clamping. You
can reduce your stress level with one of these methods.
Biscuit
A plate (or "biscuit") joiner rates as the easiest and quickest way to line up mating pieces.
Matching slots cut in each edge receive a biscuit, which helps align the boards. Read
more at woodmag.azine.com/biscuitbasics.

Spline
Equi'p your router with a slot cutter to make short grooves along both mating edges,
then use your tablesaw to rip wood splines to fit. That's easier than dealing with one long
slot and provides a cheaper alternative to biscuit joinery.

Dowel
Oh-so-convenient biscuits are pushing dowels out of the picture. If you still prefer
dowels, which make a stronger joint than biscuits, make sure they're straight and fit the
holes perfectly.

Routed profile
You can rout a tongue on one piece and a matching groove on its mate. Two drawbacks:
the cost of a special bit, and the challenge of keeping long stock perfectly flat as you run

woodmagazine.com 59
Putthe
Squeeze-on
Excess
Glue
Miss a spot and your
project loses style points.
Here's what to do before
and after glue-up.
A
little bit of glue squeeze-out is a
good thing. It shows that you
used enough glue to produce a
strong joint. However, it's also a potential
finish wrecker, so be sure to remove every
bit of it before you proceed.
Effective glue removal is a matter of
timing. If you wait and scrape the glue
off after it hardens, you might pull out
chunks of wood. You're also more likely
to miss a spot, only to see it show up
when you apply the first coat of stain or
finish. If you wipe squeeze-out with a
damp rag immediately after glue-up,
you might smear glue into the surround-
ing wood. pores, which makes your
cleanup task much more challenging.
The easy, effective way to deal with
squeeze-out is to assemble and clamp your
Applying masking tape along joints will keep glue
from getting on the wood. Peel off the tape after
the glue is partially or completely dry.
60
Use a common paint scraper to remove glue squeeze-out; just make sure the blade is sharp.
project, then wait 30 minutes and check
the glue. When it has reached a rubbery
consistency all the way through, you can
quickly take it off with a scraper, as shown
in Photo A.
It pays to take extra steps before you
apply glue to areas that will be tricky to
scrape. Photo B shows masking tape being
applied to both sides of a butt joint, and
the same technique works on the inside
corners of a box, for example.
Or, for really tight areas, go ahead and
apply finish to those surfaces that will be
visible in the completed project. Yellow or
white glue won't adhere to the finish, so
you can let the squeeze-out harden, then
easily pop it loose with a putty knife.
Photo C shows a special technique that
you'll appreciate. When you're building
Cut glue-stopping grooves Va"deep with your
tablesaw or with a straight bit and router table,
then apply glue as shown.
up pieces by gluing them face-to-face, cut
a pair of shallow saw kerfs near each edge
of the piece that will receive glue. Apply
glue only between the kerfs, and they'll
capture any excess before it can ooze to
the edge and squeeze out. If the ends will
be visible in the completed project, use
your router table and a Va"straight bit to
make stopped grooves.
Finally, despite all of your precautions,
always double-check for dried squeeze-
out before moving on to your finishing
procedures. Wipe mineral spirits over
the project's surface, as shown in Photo
D, and any dried glue will show up.
Remove it carefully with a chisel or a
well-sharpened cabinet scraper. •
Photographs: Baldwin Photography
Mineral spirits or paint thinner will reveal any dried
glue. The spirits or thinner evaporate quickly, and
won't affectthe finish.
Get Started in Woodworking
 unvarnishedadvice
by Tom Iovino
Joint Decisions
L
ooking back on my first projects,
they seem like test boards to see
how many metal fasteners I could
drive into a joint.
However, the more I learned from other
woodworkers, the more I got the impres-
sion that "fastener-enhanced" joints were
inferior to all-wood joinery. I started cut-
ting dovetails to hold plywood casework
together, and I routinely attempted to use
hot hide glue to attach moldings without
the need for brads. It got so bad, I started
hiding my need for metal fasteners from
my buddies-I was afraid my work would
be considered cheap. Is that really the case?
Noway.
Many joints so common today-
mortise and tenons, dovetails,
and dadoes-
evolved over hun-
dreds of years of
trial and error and
were traditionally
cut laboriously by
hand. These joints
have tremendous
strength, and the old masters
used them because wood
was really all they had to
work with.
Metal fasteners weren't out of bounds
back in the 18th century, just out of
reach 15ecause of their cost. Forged nails
and hand-threaded screws were so valu-
able, in fact, that old homes were often
burned down, ith the fasteners
screened from the ash to be used again
in new construction. Using these scarce
nails and screws in woodworking proj-
ects was an acceptable and time-saving
skill. Yes, I said "skill."
However, as manufacturing processes
improved, nails and screws were spit out
agazine.com
by the millions in factories. That meant
that as long as the average wood butcher
could drive a fastener, homeowners and
budding furnituremakers could build
whatever they wanted. No Wonder skilled
woodworkers rebelled and began to hold
all-wood joinery in such high esteem. Cut-
ting precise joints-whether by machine
or by hand-is a mark of accomplishment.
Now that I have experience with most
forms of joinery, I think this metal vs. all-
wood argument is off base. Both joinery
forms have merit. When I build plywood
cabinetry, cutting dovetail joints to join
the carcase has little if any advantage over
a well-executed dado joint reinforced with
screws. Using a pneumatic pinner
to tack molding onto a
project? I do it all the
time. Pocket screws
to join parts of a
face frame? It's
fast, easy, and
strong enough.
Does this mean you
should give up on all-
wood joinery? Of course not. In
fact, to help keep my skills honed, I
try to build two or three projects each
year with absolutely no metal fasteners,
just to challenge myself. But for most of
my projects, I just don't have an issue with
turning to brads or screws. I move easily
between the two forms of joinery, select-
ing the best of them in turn for their
strength or ease of use, based on what I'm
building. Ultimately, as a skilled wood-
worker friend once told me, "Pick the best
method for the situation."
I think he hit the nail on the head .•
Tom Iovino of Tampa, Fla.. blogs prolifically at
tomsworkbench.com.
 . A straightforward strategy
for f9ster, smoother results
,.~;>;; ~ '." r: -oJ·... I~' .~ ~ '" .•.••.••.
-';!\~':"'f;:~~!t''??,.\'t.·u:r"' ··~.y:t~~::?.,p H ••••••
~~.'

e're all for power-sanding, but In this article, we'll tell you how to cre- smooth finish also means lightly sanding

W once the heavy work is done,

corded tools can't compete with
a little elbow grease. That's because power
sanders leave small but detectable scratches
that can show through your finish.
In contrast, a final hand-sanding (even
when using the same grit as the power
sander) produces a finer, grain-aligned
scratch pattern that disappears under the
first coat of stain, oil, or film-forming fin-
ish. Plus, hand-sanding offers you the
flexibility and control you won't find from
the corded competition. For smoothing
curves, corners, and other small or delicate
under-sanded spots, a custom-made sand-
ing block is hard to beat.
GRIT 'ER DONE: A SIMPLE HAND-SANDING
TYPE
ate an economical hand-sanding starter
kit. This selection of abrasives, blocks, and
other materials-and the proper tech-
each coat with 320- or 400-grit paper, then
polishing the final coat.
H you're using a random-orbit sander,
nique-help you tackle raw wood, you don't need to buy a lot of extra sand-
mid-finish, and final polishing chores. paper. For sanding raw wood, buy a few
rolls of aluminum-oxide sandpaper (ISO,
Selecting sandpaper: 180, and 220 grit) to complement your
Stock up to sand less existing collection of sanding discs. Trash
Good news! Your first goal is to sand as lit- that box of partially used sandpaper
tle as possible. Usually, you can stop sand- scraps. You may think you're saving
ing at 180 grit before applying a film-form- money, but overused scraps cut more
ing finish, such as lacquer or poly, and at slowly, and can leave an uneven scratch
220 grit before oil. (Some woodworkers pattern or burnish the surface. In either
prefer working up to 320 grit. Test a sample case, you wind up with an uneven looking
piece of wood to see and feel if the extra finish. With the rolls, tear off only as
sanding is worth it.) Getting a super- much as you need and toss it when you're
done. (For larger areas, buy a hand-sanding
KIT COVERS EVERY STEP pad, below, equipped with hook-and-loop
GRITS TO
discs from your random-orbit sander.)
KEEP ON NOTES
HAND

STEP 1: For faster sanding,

150, 180, 220 replace worn paper
Raw wood
frequently.
For dry-sanding only;
320,400 don't use on
STEP 2: water-based finishes.
Between
finish coats Best for water-based
320,400 finishes; tends to clog
when dry-sanding.

Ultrafine Before sanding, make sure

(gray) finish is fully cured.
STEP 3:
Final polish This flexible pad uses hook-and-Ioop sanding discs
Nonwoven Great for
Nonabrasive from your power sander, yet conforms easily to
synthetic pad applying paste wax.
curved faces. The elastic strap reduces hand fatigue.

62 Get Started in Woodworking

 Carpet-
-•• pad
YOU'LL FIND SOFT STUFF EVERYWHERE
Why spend when you can scrounge? We rounded up these sandpaper backers in
just a few minutes rummaging around the house and shop.
Lightly sanding a finish between coats
smooths our nubs and other imperfections
before applying subsequent coats. Because
power sanders cut through a finish in no
time flat, it's best to sand finishes by hand.
And here, you have two choices: dry- or
wet-sanding. Dry-sanding offers more
control than wet-, plus it's easier to see
what you're doing. However, the finish
can quickly clog the paper, especially if
the finish isn't fully cured. To prevent this,
use a zinc-stearated .abrasive. The stearate
coating resists clogs by lubricating the
paper, but the soaplike residue that
remains after sanding may cause bonding
problems with some water-based finishes.
To be safe, dry-sand those finishes with
silicon-carbide paper, or switch to
wet-sanding.
In wet-sanding, use just enough liquid,
such as mineral oil, mineral spirits, or
soapy water, to provide lubrication and
float off debris that otherwise would clog
the sandpaper. For this, you want sili-
con-carbide wet/dry sandpaper that stands
To sand the rule joint on this drop-leaf tabletop, we
used a scrap cutoff from the mating leaf to create a
perfect-match sanding block.
woodmagazine.com
CREATE YOUR OWN FILING SYSTEM
Glue heavyweight sandpaper to hardwood strips to make "files" for getting
into narrow spots and tight corners. Mark the grit on the stick.
up to wet work. One disadvantage of
wet-sanding, besides the mess, is that the
liquid creates the illusion of a thicker fin-
ish. To avoid accidentally cutting through
the finish, periodically wipe off the residue
to check your progress.
Finally, buy some nonwoven synthetic
pads for final polishing. The ultrafine
(gray) pads contain just enough abrasive to
remove minor imperfections without cut-
ting through the finish. Use a nonabrasive
(white) pad with a little wax; then buff
with a rag for a showroom glow.
Save big by making your
own sanding-block set
Good backup is as important as the right
sandpaper. By keeping the sandpaper in
constant, even contact with the wood, a
sanding block helps you finish faster and
prevents unintentionally dishing or
rounding-over your work. Luckily, you
don't need to spend big bucks for good
backup. Before you buy anything, search
your shop for scraps, such as ceiling tile,
Foam insulation provides firm backup, and is easy
to cut or sand to shape. An inexpensive offcut
provides enough sanding-block stock for years.
sheet foam, and cork (see top left photo),
that might provide firm support with just
enough flex to prevent the paper from
prematurely wearing out.
Because hardwood blocks don't allow
the paper to flex, they tend to wear out
paper in record time and leave wood look-
ing more scratched than smooth. But by
gluing sandpaper to hardwood strips, as
shown above, you can make wooden files
that excel at shaping corners and smooth-
ing tight spots. Or, wrap a scrap of mating
joint stock with self-adhesive paper that
perfectly matches the profile, as shown at
bottom left. For wet-sanding, choose blocks
that don't warp, swell, or disintegrate
when wet, such as sponges, rubber erasers,
or even old mouse pads.
Size matters, too. Smaller blocks-no
bigger than a quarter sheet of standard
paper-offer more control and a better feel
for what you're sanding. Make the blocks
about an inch narrower than your sandpa-
per so you can wrap and comfortably grip
the paper along the sides.
When it's time to sand complex profiles,
small sanding blocks really shine. In most
cases, it's faster and easier to smooth a
tricky curve in parts, simply by using a few
smaller blocks, as shown previous page,
than it is to make a custom-shaped block.
For broad curves, try using rigid foam
insulation. Shape the foam to fit the curve,
and then attach sandpaper and sand the
profile, as shown at near left.•
Source
5" Flex Hand Pad/H&L no. FR22150,$5.95;RawWood
Sanding Kit no. RWS-001,$24.95;from Klingspor's Wood-
working Shop, 800-228-0000 or woodworkingshop.com.
Produced by Joe Hurst-Wajszczuk
63
The StaItt
of a GreetFinish
T
hey call it finish for a reason. It's
the final step in a project and if you
do it right, it will showcase all your
hard work. To help you achieve finish suc-
cess, here are some tips from the guy who
quite literally wrote the book on finishing.
7 rules to finish by
• There are only three tools used to apply
finishes: spray guns, brushes, and rags.
You can use anyone of these tools with
any type of finish.
• Products sold as "sanding sealers" don't
seal the wood any better than the first coat
of any finish. Sanding sealers just make
sanding easier.
• Dye dissolves, so it penetrates into the
wood everywhere the liquid does ..Pigment
suspends and settles, so pigmented stain
lodges only in pores and scratches that are
big enough to hold it.
• The thinner you make any finishing
product, the easier it is to apply. But thin-
ning reduces the film build, so you might
have to apply an extra coat or two.
• The basic rule for using a spray gun:
Keep the gun moving while the trigger is
pulled. (Pull the trigger before you swing
the gun over the wood, and release it after
passing the other edge.)
• Finishes bond to one another in two
ways: chemical and mechanical. Chemical
bonding occurs when the applied coat dis-
solves into the existing coat of the same, or
similar, type of finish. For example, thinned
lacquer will dissolve into lacquer or shellac.
Mechanical bonding is made possible by
scuffing a surface with an abrasive; it's
required when the new coat is not likely to
dissolve into the existing surface. Varnish
needs to be scuffed before you add another
type of finish-or even another coat of var-
64
nish-if the original coat has had time to
cure thoroughly.
• A finished or painted surface must be
clean and dull for successful recoating.
Clean it with soap and water; clean it fur-
ther and dull it by rubbing with steel wool
or sandpaper or washing with trisodium
phosphate (TSP),ammonia, or alcohol.
Staining secrets
• Stains that clean up with water are
water-based; they'll raise the grain of the
wood. Before applying them, wet the sur-
face, let it dry overnight, and sand it lightly
with fine, used sandpaper.
• Use gel stains to reduce splotching on
woods such as pine, birch, and cherry.
• If a piece includes both plywood and
solid wood, stain samples of both to check
the color. Veneered plywood usually turns
out lighter because the glue under the
veneer blocks deep penetration, so it needs
more stain to match the solid wood.
Keys to varnishing success
• Varnish in a different room than the
one where you sand, if possible. Other-
wise, let the dust settle, then wet-mop the
floor so that you don't kick it up again.
• Hit the brush against your hand to
knock out any loose bristles.
• Wipe the wood with a clean cloth or
remove dust with a shop vacuum just
before you start brushing on the varnish.
• Whenever possible, reposition the piece
as you work so that the area you're var-
nishing is horizontal. Varnish the most
important surface (usually the top) last.
• If you have trouble with air bubbles
remaining in the finish and not popping
out, thin your varnish with 10 percent to
20 percent mineral spirits.
• Always position your workpiece so that
light bounces off the surface toward you,
so you can see any runs, sags, or other
flaws, and remove them as you work.
The truth about oil
• Be sure to wipe off the excess after
applying oil to the wood. That step is espe-
cially important when you use straight
linseed oil or straight tung oil-they cure
slowly and stay soft.
• Many "oil" finishes are varnish thinned
with mineral spirits, and more accurately
are called "wiping varnish." Some are
blends of oil and varnish. Choose a wiping
varnish if you want to build a glossy finish;
choose an oil/varnish blend to produce a
satin look with little build.
• To figure out which type you have, pour
a small amount on a piece of glass and let
it start to cure overnight. An oil/varnish
blend will appear wrinkled the next day; a
wiping varnish will be smooth .•
The Finishing Expert
Bob Flexner wrote
Understanding
Wood Finishing, a
book that has sold
more than a quar-
ter of a million
copies; he was the
editor of Finishing
and Restoration magazine; and he fre-
quently appears at seminars and work-
shops across the United States. Flexner
and his wife, Birthe, make their home
in Norman, Oklahoma. He became a
member of WOOD® magazine's Wood-
working Hall of Fame in 2000.
Get Started in Woodworking

W
hether you're new to finishing
or just want a fuss-free way to
protect a project, a wipe-on
mix of oil and varnish brings out wood's
natural glow while building a shield
against humidity and wear. And you can
repair most minor damage in minutes
with just a light sanding and a touch-up
coat of this finish.
Although commercial oil-varnish mixes
are available, you can save money by mix-
ing ingredients in your shop. Jo create the
finish we applied to the cabinet shown
above, we mixed three parts oil-based gloss
Increasing the percentage of varnish builds protection faster without sacrificing grain-enhancing benefits
from the boiled linseed oil (BLO). The mix on the left produced the same color and depth as the one on the
right, but added 50 percent more varnish with each coat.
woodmagazine.com
polyurethane varnish to two parts each of
boiled linseed oil and naphtha, which
evaporates faster than mineral spirits. The
oil penetrates the wood's surface, deepen-
ing the grain of such species as walnut,
and adding grain contrast in curly maple,
as shown top right. The varnish leaves a
thin film finish, while the naphtha makes
the mixture easy to spread with a soft
cloth. Together, the oil and varnish give
light woods, such as maple, a warm amber
color, as shown above right.
Many oil-and-varnish recipes call for
equal amounts of boiled linseed oil, var-
By penetrating deeper into porous areas of curly
maple, an oil/varnish finish brings out the beauty
of the grain figure.
Both the oil and varnish in this finish add amber
color, as you can see on this pale maple. Also, both
ingredients will darken with age.
nish, and mineral spirits. But as the sample
below left shows, you can get the same
results and build a film finish quicker by
increasing the percentage of varnish until
you notice wiping marks.
Apply a flawless finish
To prepare the wood, sand up to 180 grit.
Then vacuum off dust, or blow it from the
pores with compressed air before you wipe
down the surface with a soft cloth.
Wipe on the finish with a cloth until
you saturate the wood surface. Then
remove excess finish with a clean cloth,
especially in recesses and corners, where
finish may pool-it will turn soft, gummy,
and tricky to remove. After an hour, check
for signs of oil bleeding out of the pores,
and wipe it away before it cures. Allow one
full day for the finish to cure.
Then lightly sand the finish with a 320-
grit sanding sponge. Clean the surface and
apply a second coat, again wiping away
the surplus. Wipe on as many coats as you
want-with 24 hours and a light
scuff-sanding between each-but usually
four is sufficient .•.
65
 FINISHING

A
ttractive finishes don't always have to be difficult ..
Sometimes, you can get the look you want in a couple

3 Easy Oak of simple steps. To demonstrate these three easy fin-

ishes, we tried them on three small red-oak tables. (See Sources
on page 68 for plans.) Except where noted, we followed these

Finishes basic finishing rules:

Forgetfinicky finishes. Try these
three techniques to bring out
red oak's different personalities.
V' We sanded all parts to 120 grit prior to finishing, then vacu-
umed and wiped them free of dust.
V' Dyes and water-based stains dried for 4 hours, and oil-based
stains dried overnight before we applied any topcoats.
V' We waited 2 hours between coats of water-based finishes, and
overnight for oil-based finishes before recoating.
V' Between each topcoat, we scuff-sanded with 320 grit.
Now, let's start with the easiest finish:

1. Pure simplicity
Have we got a no-flaw finish for you: boiled linseed oil followed
by wipe-on polyurethane. This combo gives wood pores subtle
emphasis, and the surface a natural look that protects the wood
against moisture and abrasion. What's more, you'll have no prob-
lem finding or applying both of these inexpensive finishes.

Ingredients and application. First, flood the surface with gener-

ous amounts of boiled linseed oil: Reapply oil anywhere it's
absorbed by the wood, then wipe the surfaces dry. As oil dries, it
may bleed from the wood pores and harden on the surface. Wipe
away these deposits every hour until you no longer notice them.
Allow the project to sit 4 to 7 days while the oil dries.
• Topcoat: Mix two parts polyurethane with one part low-odor
mineral spirits, and stir. With experience, you can increase the
percentage 'to three parts polyurethane to one part mineral
spirits for thicker coats with each application.
• Topcoat application method: Use a clean cloth to wipe on
this finish. Remove any excess before it runs or puddles.
• Number of topcoats: Apply at least three coats.

Speaking from experience. Compared with brushing on

straight or lightly thinned poly, this technique avoids a host of
problems with dust nibs and brushstrokes.
• Take your time. If you rush the first coat of poly before the
boiled linseed oil dries, the added mineral spirits will reacti-
vate the oil and cloud the finish.
• Project parts, such as the vertical panels in the table, can be
finished before assembly for consistent color.
• This film finish builds slowly, partly because you'll scuff-sand
(and wipe clean) the already-thin coats between applications.
Then, consider adding two additional coats where needed to
protect the project: the top, the outside of the legs, and any
surfaces likely to be marred or scratched.
• Cover up minor scratches by lightly scuff-sanding the dam-
aged area and wiping a coat of poly over it.
• As always with boiled linseed oil, lay oil-soaked rags flat on a
nonflammable surface to dry before discarding them.

66 Get Started in Woodworking

 . A low-odor choice for indoor finishing
-~_ oor workshop gives you a welcome
~ from winter-that is, until it's
==-:: -0 apply a finish. Your only choices
~ to be either wait for warm weather
••••. s:a-inwith a circular motion to work pigments into the pores. Then, with a clean cloth, wipe with the
~lI:ilExfremove any surplus.
_c::ag.a.zi·ne.com
to use solvent-based finishes outside or
spread finish fumes throughout your
house. You have a third choice, though:
water-based stains and film finishes.
Ingredients and application.
• Stain: General Finishes Early American
water-based stain in semigel form.
• Stain application method: Wipe stain
on with a soft paper towel; then remove
it immediately with a clean towel, as
shown below.
• Topcoat: ZAR Ultra Max water-based
satin finish.
• Topcoat application method: Brush on
or spray on with a touch-up sprayer for
less overspray than a full-size spray gun.
• Number of topcoats: One coat to seal,
followed by two additional coats.
Speaking from experience. Water-based
stain can be a challenge to apply. Leave it
on a few seconds too long, even under ideal
conditions, and it quickly dries. Dry air
only exacerbates the problem.
• Sanding up to 220 grit reduces blotch-
ing. But the smooth surface traps
fewer stain pigment particles result-
ing in a lighter color.
• Work quickly in small areas, but keep
overlaps to a minimum to avoid lap
marks. Stain long project pieces, like
the legs on the table shelf, using gen-
erous amounts of-stain in long,
smooth strokes.
• To slightly darken light spots, remoisten
the towel used to apply the stain, and
gently wipe the light section until it
matches the surrounding area.
• To remove dried excess stain, make a
couple of passes with a moistened
coarse cloth, such as burlap, as shown
below, until the color evens out.
• Take care when staining projects that
mix veneer plywood and solid oak. The
plywood may require additional stain
applications because it absorbs less
stain, producing a lighter color.
• Should the stain raise the grain slightly,
make three light passes over the stained
areas using 320-grit abrasive. Do not
sand through the stain.
• Water-based finish dries quickly, even
inside a spray gun. Clean spray equip-
ment between coats to prevent finish
from clogging the sprayer.
A moistened, coarse cloth can be used to remove
dried deposits of water-based stain. Then, re-stain
for an even color .
67
 FINISHING
3. Deep and dark, but not difficult
Going just one step beyond a basic stain
and topcoat produces an elegant ebony
finish. The secret? Start with an applica-
tion of water-soluble ebony dye followed
by a dark oil-based stain. Unlike black
paint, this finish still reveals red oak's
grain lines as a matte color that contrasts
against the smooth surrounding wood.
Ingredients and application. Because
missed spots stand out against a dark finish,
dye, stain, and finish parts before assembly.
• Surface preparation: Sand to ISO grit,
then raise the grain with a damp towel,
and lightly scuff-sand to remove raised
nibs. For a solid glue bond, tape off joint
areas before finishing each part.
• Dye: Mix ebony dye (see Sources) at 2
tablespoons of black dye powder to 6
ounces of water. Generously apply the
liquid dye using a cloth or sponge
brush. Allow the dye to dry, then
Ebony dye lays the groundwork for a dark finish, but it doesn't fill oak's deep pores. For that, you need a
stain with pigment particles.
68
'
remove surface dye residue with a clean,
dry cloth. Note: The dried dye will
appear flat and lifeless, but don't fret.
Applying the topcoat adds depth.
• Stain: With a cloth, apply a dark wal-
nut stain in a circular motion to fill
the pores. Wipe away excess stain
with the grain. Again, the color may
seem bland after applying stain over
dye. But the film finish will bring it to
life.
• Topcoat: Brush on semigloss water-
based poly to seal the wood, followed
by two additional coats.
Speaking from experience. Vary the
dye concentration and choice of stain to
customize the color from all black to a
medium-chocolate color. The dye and
stain should be roughly the same degree
of darkness for best results .•
Sources
Stains: EarlyAmerican water-based stain, General
Finishes,800-783-6050, generalfinishes.com.
Varathane Darkwalnut (No.211807)oil-based stain,
800-901-0411, rustoleum.com.
TransTint black dye: No. 128490, $20 for 2 oz.
Woodcraft, 800-225-1153,woodcraft.com.
ZAR Ultra Max water-based satin finish:
United Gilsonite Laboratories, 800,845-5227, zar.com.
Table plans: The tables used to demonstrate our
finishes are modified versions ofthe smallest of a set of
three mission nesting tables, plan No. DP-00015.Toorder,
go to woodmagazine.com/nesttables.
More Resources
~ We have lots more finishing tips
and techniques on our website. Go
to woodmagazine.com/finishing to
browse a variety of free articles.
Get Started in Woodworking
 Understandin
Drawings and Pans
Drawings and plans present a graphic set of instructions that you use
to build a project. All the lines, views, dimensions, and abbreviations
serve as a road map to your woodworking success.

he designers and technical illustra- Dimensions rate as the most important

T tors who produce the project plans

and drawings you see in WOOD®
magazine have a big job to do. Their task:
Illustration
Abbreviations
O.c. = On center
element in any drawing. The sketch below
shows the many ways illustrators present
dimensions on their drawings.
Provide you with a plan that's accurate, WI = With
clear, and complete enough fOFyou to fol- W/O = Without
DIFFERENT WAYS OF
low without confusion. •• PRESENTING DIMENSIONS
I.D. = Inside diameter.
That's a tall order. And even the best of O.D. = Outside diameter [-%"-1 --j 3,4" r- --j 1--%"
their work still can be confusing if you - = Approximately
don't fully understand their graphic Ian- .! ± %" = %" tolerance either way ~ ~ ~
guage. Hopefully, the information here <t = Centerline 3ft u (3,411

will help clear up any questions you may F.H. = Flathead (fastener) ~ --j ( "r-
3ft "
--j ( 41 r+
have about this sometimes perplexing R.H. = Roundhead (fastener) ~ ~ ~
aspect of woodworking.
als, arcs, and other graphic devices substi-
Reading the tute for words of step-by-step how-to. The Available space usually determines
illustrator's shorthand trouble is, many of us haven't been where the dimension numbers fall-
Theoretically, the drawings that illustrate schooled to understand this special illus- within the line, outside the line, or away
a woodworking project should be all the trator's language. See the box above for from it with an indicator called a leader.
instruction you need to build that project. commonly used illustration abbreviations There's another style variable you should
The abbreviations, lines, symbols, numer- and what they mean. know about, too. Those little delineators

woodmagazine.com 69
 PROJECT PREPARATION

on the ends of dimension lines can assume they differ from hidden lines, which bring the drawing, they condense the view of
several shapes, as shown below. to your attention those surfaces, edges, or long, uniform sections or parts. Break
But, regardless of the symbol-arrow- corners of a part that lie directly behind lines allow an illustrator to scale up a
head, half-arrow, slash, or dot-they all the part you're viewing. Often, you'll be drawing and show you much greater detail

,~
indicate the distance between two points. able to see these parts more clearly in in the same amount of space. But, just so
another drawing on the plan. you always keep the whole object in mind,
TYPES OF DELINEATIONS you'll find total length dimensions used in
conjunction with break lines.
-I· -, "I
t t t
Radii and angles, shown below,can also
appear in different forms. Generally, the
t --.~ INDICATING MOVEMENT

illustrator will use a consistent style, at

least within the same drawing.

Lift door and

INDICATING A RADIUS slide back.

The thick, curved arrows used in the

Assembly lines, above, show you the storage-unit section view above, signal
relationship of one part to another in a part movement. Where arrows used by
completed object, such as a tenon that fits themselves might not explain enough, the
into a mortise. An arrow indicates the illustrator will add a few brief words of
direction of part movement. explanation. In our example, the arrows
Break lines, illustrated in the part show you which way the cabinet door
drawings, below, represent another swings and then slides, and the words help
often-confused or misunderstood aspect you get the complete picture.
of illustration shorthand. By abbreviating
INDICATING AN ANGLE
Symbols that identify
materials
The drawings in WOOD employ a variety
PART SHOWN WITH BREAK LINES
of symbols to represent the different
materials being used in a project, such as
solidwood stock, plywood, composition

L-
30°
---.-_
L 30°
. board, glass, and the other materials
shown on the next page.
Should grain direction be important to
the design or construction of the project,
you'll see it sketched in, as on the illustra-
tion for solid wood. If critically important
Centerlines mark the middle of parts PART SHOWN WITHOUT BREAK LINES to the project's structure, the drawing will
and the hub of circles, usually to aid in include a notation saying "grain direc-
_...-------72"-------1.
your dimensioning. As you can see below, U tion" with an appropriate directional
1-1 I

,
arrow. End grain, where it's necessary to

t,"",,", =$= 1
be indicated, is drawn to look just like the
end of a board.
Other nonwood materials used in proj-
ects will have their own design or pattern
1- H'dd"i;;;,--------------------------- - - --I and coloring to set them apart, and will
have separate callouts.

70 Get Started in Woodworking

 COMMON WOODWORKING THREE-DIMENSIONAL DRAWINGS
MATERIALS SYMBOLS

g/<c(~////////~/<;/j
" " " " ,,',S',>,:'<''' "" ",,-
Plywood (as seen on large-scale drawing)

/---<>.,
",.-"" •..

",.-,... , •.... "

Plywood (as seen on small-scale drawing) , .. ',,"' .

........

Et --I%t-J
Solid wood, face or edge grain ISOMETRIC
,,; .... '

PERSPECTIVE

~~~~~
Solid wood, end grain
VIEW DRAWINGS

~1,):::\<;~·~\~·:·,~f;1-~.·::::·j
I:; ·:H.:),:~::~·~:·::;::~:
Particleboard or hardboard
/:.1
%"1\
r,
2"
0 c:::n

\"
Glass or plastic (any shiny surface)
EXPLODED VIEW

0 c:::n

Glass viewed from edge

CUTAWAY VIEW

Pictures worth a
thousand words
Your eyes see objects in thre dimensions
-height, width, and depth. When an
illustrator attempts to duplicate what your
eyes see, he or she draws an object pictori-
ally, using either isometric or perspective
techniques, as shown above right.
If an isometric drawing is done to scale,
you could take measurements from it
because all parallel lines remain parallel.
In perspective, the parallel lines seem to
converge at a distant point, like looking
down railroad tracks to the horizon. Most
WOOD magazine drawings are done in
perspective. Therefore, you should rely on
the dimensions shown. If you find dimen-
sions missmg, check the Materials List at
the end of each project article.
Three other pictorial techniques, shown
above, help you understand a project. The
exploded view or assembly drawing sepa-
rates the parts.
Many projects are too complicated or
have too many parts to be shown with just
an exploded view. So illustrators some-
times use a cutaway view, with all the
parts intact but some material "cut away"
to reveal hidden details.
If necessary, the illustrator will add
detail drawings to provide you with an
enlargement of a specific part or aspect of
joinery that otherwise would be difficult
to see or comprehend. It also provides lay-
out dimensions that would be hard to
depict in a larger-view drawing.
Exploded, cutaway, and detail views
each provide different types and amounts
of information about a project's construc-
tion. That's why they're often used in
connection with each other.

woodmagazine.com 71
 PROJECT PREPARATION

You also can find detail TIel:S drawn in

FLAT-PLANE
(ORTHOGRAPHIC)
DRAWINGS
Flat-plane drawings do away
with the third dimension
Three-dimensional project drawings may
look more realistic to you, but for simple,
easy-to-read, easy-to-transfer dimensions,
illustrators rely on the orthographic or
flat-plane approach.
In flat-plane drawings, you look at the
project straight on-usually from the
front, the top (sometimes called a plan
view), or the side. The drawing above
shows you how an illustrator would graph-
ically take a three-dimensional object
apart for each view.
A section view, shown below, provides a
peek into a project's interior along a sin-
gle, identified plane, as if the project had
been sawn apart down that plane. By
SIDEVIEW
visually sawing the project in half, you
can see the relationship between the parts
in the finished project.
The vertical lines on the front-view
drawing identify the cut plane from where
the view (section A-A) was taken. The
short lines with arrowheads indicate
which direction you're looking when
viewing the section. Section. views show
details too complex to depict with just
hidden lines.
FLAT-PLANE
DETAIL
DRAWING
the flat plane, bottom center. They give you
an enlargement of a part, or joinery, that
otherwise would be difficult 0 under-
stand. Dimensions, arrows, and instruc-
tions or descriptions support the illustra-
tion as necessary to provide darity.
Project patterns
for you to copy
On a project plan, designs or parts with
irregular lines, such as a curved chair back,
show up drawn as patterns. You can copy
full-siz patterns without reduction or
enlargement. But books and mazazines
can't always devote the space eeded for
full-size patterns, unless the ~ happens
to be very small. So the tlhzsrraror uses a
less-than-actual-size grid lien, below.
Drawn on a grid of squares, wtth each
square representing a full-size area, the
pattern must be enlarged iffi _' a use it.
You'll find the amount IX enlarzement
given as a scale, such as fad; squme = 1".
That simply means that you should draw
the pattern on paper \ jfu -: squares for
faithful reproduction.
When a part has two t' teal halves,
the grid may show only be''': - e part, as
with the chair back illcs . After
enlarging the pattern, art IT O'~ Craw one
half of the part, and flip tne ~zrtern over
for the other half of the par., ••
Produced by: James R. Downing ~
Peter J. Stephano
Illustrations: Bill Zaun and Ro LeMoine

SECTION VIEW
\'\6' glue pocket
at each end

JOINT DETAIL
SECTION VIEW

A~
FRONT VIEW SIDE SECTION FRONTVIEW
VIEW A-A

72
 1. Look ahead.
Don't waste tifi.1e and effort by cutting a part too
small, or J€ilHzing' too late that your hardware
doesn't fit quite the way ours did. Avoid problems
by noting the asterisks in the Materials List, which
designate parts to cut oversize. If you decide to
substitute different hardware for the items shown
~ in OU( Supplies or Sources, plan for any corre-
spending changes in construction. Whether you
substitute or stick with our recommendation, buy
the hardware before you start building the project.

2. True up your stock.
When you need absolutely flat parts-for
door frames or tabletops, for example-
always face-joint each part and then run it
through the planer. The jointer makes one
face flat, and the planer makes the oppo-
site face both flat and parallel to the first
one. Before moving on to shaping and
assembly, thickness all of your solid stock
without changing the planer setting.
3. Get the best out of the grain.
Beginners treat all lumber as equal, but
experts use each board to its best advan-
tage. Look for an interesting figure to
make an eye-catching box lid or cabinet
door panel. Set aside straight, even grain
for making panels, rails, and stiles. When
edge-gluing boards, take time to find an
arrangement in which the grains seem to
blend together at the joint lines.
4. Rip slightly overwidth.
When you're cutting parts to final
width, leave an extra );'32" as you rip
them to size on the tablesaw. Make light
passes on your jointer to remove the
saw-blade marks and trim the parts to
their final widths. Make sure your
jointer is properly adjusted (see wood-
magazine.com/jointertips) so you don't
wind up with snipe on the workpiece.

woodmagazine.com 73
5. Double-check sheet goods.
Before you cut rabbets or dadoes to receive
plywood or other sheet goods, measure
the thickness of finish-sanded pieces, and
make a test cut in scrap. Don't assume
that the sheet material is exactly }4" or
some other nominal dimension. Shims
can fine-tune the width of your stacked
dado blade to the exact width needed.
6. Start using stops. 7. Sand and stain' ceo
Most projects call for twoor more iden- =~dand
tical parts, or parts of 'the same length. finish some parts. You cz:: - --~ d the
Just use a stop to guarantee perfect inner edges of the frame ~ .--'=::_ file of
matches. In most cases, all you need is a a panel before assemb ~~ s: ~- i-panel
simple block clamped to a tablesaw door. If you're usinz ~ =-- ~_ it to
miter-gauge auxiliary extension, your the panel before zss- -:... avoid
mitersaw fence, or your router-table unstained areas that :::.:~ later
fence, as shown above. when the panel con

8. Dry-fit before gluing. 9. Glue with care. 10. Give the g e - e.

Halfway through a major glue-up, noth-
ing's more frustrating than realizing two
parts won't quite go together. Test-fit each
joint as you cut the mating pieces. Then
test-fit the entire assembly, using only
clamps. If that's not practical, dry-fit the
sub-assemblies to make sure those units
fit together properly, and eyeball align-
ment .or double check measurements
between sub-assemblies. If everything
checks out, take things apart and glue
and clamp the pieces together.
If every joint you make becomes a glue- In 70-degree corrr- -,- ~ ::dlow-glue
gusher during assembly, you're using too joint requires an;" _ - - - ~- a and a
much adhesive. Spread an even coat of day of drying to .+ ~_s=c::Jrth. But if
glue on one piece of each joint. You're you're workin ir; - '': .s"'-'.c.Qe in the
using the perfect amount when clamping winter, double d drying
produces a line of small glue beads along times for each ::- =-.: i±: ~ below 70
the joint. Wait about half an hour until degrees. Ordinary _~ a e works
the squeeze-out becomes rubbery, and down to the mid : _ - -'-", temperature
remove it with a sharp paint scraper. of the wood is - - e " than the air
Clean the scraper frequently with a paper temperature. 1:; ~ ~ aas been in
towel to avoid pushing a glob of glue freezing condtti --= L -=:::- et it warm
across the surface. up before starting --:..."=ss.=r-bty .•

74 ='" ~ - inoodworking

Corner or straight bench:
it's your choice
This article shows you how to make the
corner bench shown in the top photo.
Ifyou prefer a straight bench (above)
follow the same instructions, but make
two right bases (A),two ends (C), and
the long top (D). Omit the biscuit slots
in (D). Use the cutouts from the right
bases (A)to make two long base shelves
(F). Fityour straight bench with
optional shelves at each end by making
the long and short cleats (H, I) and the
long and short shelves (L K)from the
extra particleboard.
woodmaqazme.com
Cheap as dirt, solid as a rock
nexpensive.material and ingenious
I design work together in this sturdy
bench project that's a cinch to build.
Cut out the bench parts
1 TempOrarilYfasten 4'-long 2x4 exten-
sions to a pair of sawhorses, and lay a
sheet of %" particleboard across them. The
extensions will support both the workbench
parts and the cutoffs as you work. Referring
to the Materials List on page 78, mark the
width of the right base (A)on the sheet.
2 Measure the distance from the right
edge of your portable circular saw's
shoe to the right side of the blade. Lay a
second sheet of particleboard on the first,
offsetting it from part A's marked width
. I
I
the distance you measured on your saw.
Clamp the second sheet to the first, and
cut part A to width, as shown in Photo A.
3 USingthe cutoff from the first part A
as a straightedge, clamp it to the other
sheets, allowing for your measured ci~cu-
lar saw offset distance from the parts'
dimensions. Cut the rest of the parts A, B,
C, D, and E to size [Cutting Diagram].
4 Lay out the end and center cutouts on
the right bases (A) and left bases (B),
where shown on Drawing 1. Drill blade-
start holes and jigsaw the cutouts, or see
the Shop Tip on page 78 on making inside
cuts with your circular saw.
5 Trueup one edge of the four base cen-
ter cutouts. Cut the upper and lower
75
 STARTER PROJECTS

short shelf for each end. Lay the long

shelves on the long cleats. Drill pilot and
countersunk shank holes, and screw the
long shelves to their cleats. Lay the short
shelves in place .•
Written by Jan Svec with Chuck Hedlund
Project design: Cameron Campbell and Chad Veach
Illustrations: Roxanne LeMoine; Lorna Johnson
Photographs: Marty Baldwin
Making inside "plunge"
cuts with a circular saw
To get arrow-straight edges when
making inside cuts, like the ones
needed to remove the cutouts in the
workbench bases, use your circular
saw, a straightedge, and a technique
called plunge cutting. Here's how.
Measure the offset from the edge of
your circular saw's shoe to the side
of the blade. Clamp a straightedge to
the part, offsetting it that distance
from the cutout's layout line. part, as shown in the photo, above.
With the saw's depth adjustment Keepi g the saw's shoe against the
loosened, raise the blade above the straightedge, continue your cut,
part's surface. Starting at one inside stopping at the next corner's
corner, hold the shoe against the intersecting layout line. Repeat with
straightedge, and swivel the blade the other three sides of the cutout.
guard out of the way. Switch on the Finish the making the cuts at the
saw, and lower the blade through the . corners with a handsaw.

Interlock the slots in the left bases (B)with the Cutting Diagram
right bases (A).
--------------------,

Q)! Q) !®l®

% x 48 x 96" Particleboard (2 needed) % x 48 x 96" Particleboard

Interlock the slots in the ends (e) with the bases.

Add the lower base shelves (F, G).
Materials List
FINISHED SIZE
Part T W l MatI. Qty.
® A right bases W' 38" 98' P
B left bases y,," 38" 98'
~ C ends y,," 30" 38"
% x 48 x 96" Particleboard (2 needed) y,,"
D long top 30" 96" P
E short top *" 30" 00" P

F lon~ base ¥" 25" 47''''"

she ves
G
short base ¥" zs: 41%" P
Drill pilot holes, and screw the upper base ® shelves
shelves (F, G) in place. H long cleats ¥" H2" 23j(," P 4

I short cleats ¥" Ii<,," 16l'2" P 4

J long shelves ¥" 16)('- 2314" P

% x 48 x 96" Particleboard
K short shelves ¥" 16W 16l'2" P

Slot Material key: P-partideboaJd.

template Supplies: #8xl \1,," flathead wood screws,#8xl y,"
flathead wood screws, ii8x2" flathead wood screws,#20
biscuits.
Router bits: y," flush-trim,~' round-over.

Position the long and short tops (0, E).Drill pilot % x 48 x 96" Particleboard
holes, and screw the tops in place.

78 Get Started in Woodworking

 Low-tech, High-appeal
icture Frames
If you can turn
on a router,
you can turn heads
with these
eye-catching displays
for your photos.

off life's most

And when Follow these tips for best results on both frames
~ Toavoid workpiecetear-out and burning, rout ~ Leave the protective covering on acrylic
frames yourself,
in Ys"-deepincrements. leave )32" for the final until it's ready for installation.
- on the cake. pass to ensure a smooth, dean finished cut.
rectangular ~ Finish each frame with three coats of
and a few ~ Sand individual parts, induding all routed spray lacquer, sanding lightly with 320-grit
....,..--=-;;..- •.••.. s;;::::;:roullld your pho- profiles, before assembly. sandpaper after each coat.
craftsmanship.
etails, you'll
turn to for;::: w, or band- Add pizzazz with laminated wood and splined miters
saw for a ~ ::::::~:sEIIl:U cuts. After Contrasting woods-in both then joint away that Y3Z" to remove the
that you'll ~ _-to your router the laminated stock and the saw-blade marks. If you don't own a
table. Don ~ ~
from a 1
a simple one
rood with a ~
miter splines-give this frame
spectacular depth and flair.
jointer, you can do this at your router
table using a straight bit. Shim the out-
router mourzz; ~-",---=. ••....... :md a plywood feed side of the fence to offset the
fence, clar::::;'f:=.;- =
edge. (Or ~
.corn/simpler;
_ 1
workbench
magazine
Begin by machining a 41" length of
cherry to W' thick x 1 W' wide. Also,
machine a 41" length of maple to Ys" . 3Rout
amount of material removed. Or, use a
handheld router and a straightedge.
a W' cove V16" deep with a
The fraczs - hold Sx7" thick x 1Yz" wide. Laminate the two roundnose bit along one edge of the
photos, bffi::'::.::t;::-::::t:::::::l::;o.:-:sused in mak- together, and then crosscut that piece maple face of each blank [Drawing 1a].
ing the uc~e<"
smaller phcces
board; for ~~
_ anv size. Fit _into two 20"-long blanks. Mill an extra
es with mat
snnply extend
piece of Ys"-thick maple 1" wide and13"
long for the splines.
4 use the same roundnose bit to rout a
Yz" flute Yl6" deep on the maple face
[Photo A].
the frame --
Check out :i;.: :::;;s
let's get c••,-,---,,-~:::-
2
- your photo.
and then
When the glue has dried, joint one
edge on each blank, rip them to Y32"
greater than the 1W final width, and
5 Rout a Va" rabbet ¥J6" deep on the
back of each blank on the same edge
that you routed the cove.

79
 STARTER PROJECTS

D EXPLODED VIEW FRAME #1 lEI FRAME SECTION

r . 7"_~1 1-·>----114"--~

'Is" rabbet
5116'deep
E5E
~ Va x 53116 X 73116"
3H
~ ~8"SPline

BACK 3;16"
clear acrylic Va x 50/,6 X 70/,6"

rr=~~~---n -fr
SUPPORT

Turn-
button

o SPLINE-CU

18" £'d or MDF

6 cut the frame sides to length [Drawing

1] with 45° miters at each end. Glue
and clamp the frame using a band clamp.

7 While the glue dries, build the spline-

cutting sled from W' hardboard and %"
and tight against both stops, rout the
slots in all four corners [Photo 8]. 11 cut the ~_
1] with - =- - ~_
g

plywood or medium-density fiberboard

(MDF) [Drawing 2].
g cut the maple spline blank into 3"
lengths. Glue and insert the splines
Glue that bE'E-=
frame bottom ::=::. .-=-=::":::-

S NoWinstall a Vs"slotting cutter in

your router table, centered on the
cherry portion of each frame side. Adjust
into the frame slots. After the glue dries,
trim the excess [Photo C). Then sand the
splines flush to the frame.
12 APPl:
will ~ 0--
to the frame
- ~'._".=~_

the fence so it's flush with the bit's bear-

ing. Then, holding the frame in the sled 10 cut the back and acrylic to fit
inside the frame's rabbet.
on the back
acrylic, pho

80
 s::::~1etrying to cut
., Then bypass
your joinery at

Start h::-
1' to din::=r-..-
Attach =.
rails and stiles
3].

2 to your miter
gauge ~ -_1'"""\':="-r ..••""'J1iIJT when rout-
ing the rill - a straight bit,
cut 11,4" ~ on the back face
of both rails =:P.III_I~_

3 Routl~ -
test pieces
rail dadoes.. _-'-<-. .•.•u.....s.
stiles shouIE .:t =-
as needed.. -.:c:::: ,:;;a::r:e~
of the stiles =-PiII=-,,£_

4 Ro{lta!~
the rail -
sand) 1!J6" 1
ft_. ~__
- inside corners of
.ext, rout (or
the front edges
and ends of zre

5 Rout J,oS
the stiles
Sand each ~
front edges of
in Drawing 3a.
S!Il::aJ~ then glue and
clamp the fzaze ;

6 0nce tb:::-
'YJ.6" deec
using a rabt
rout a %" rabbet
of the frame
G]. It's not 0
%" cove bit

necessary ill - _ corners with a

chisel. Cut =e acrylic to fit the
rabbet by rre:::c:~~!:::
IIEXPLODED VIEW FRAME #2
7
,
Cut tb:
edge bB= - - - _
the botton; ==
V2"

,lIly.." STILE
'Is" radius

side-to-side, lv.."dado

8 Finish~
buttons == =r
Y16" deep

Produced by
Project desig:::::Ke •••••••
Illustrations: a:a:••• _,l.II __ e:: Lorna Johnson ----~---- ..•

ED SH:T1(J1N VI EW
~ Vax 5'116 x 73116"
~routed clear acrylic
- assembly

114"rabbet
'116" deep

woodmagcm::oc.:= 81
STARTER PROJECTS .

Classic
Bookcase
Build a basic box, the add
a drawer and a door 0
create this bookcase at can
double as a display case.

his classic cherry ~ features

T simple constructior: ~ custom

touches such as the rro " -\,er and
an optional glass door. If _~_ ~leS run
more country or traditiona, _~_ ~ easily
adapt the plan to fit your ~" See More
Resources on page 88 for de

Craft a carcase

1 GIUeup panels for ~

fixed shelves (B) = -
-.=-;; _-\.1 and

- but do
not plane the shelves to -3--'=''' ---K:kness
yet. After the glue dries ~_::=,;: - -es and
fixed shelves to the s!-=- --- _ in the
Materials List. Now, IOU: - __ '='-- • deep
along the rear, inside -~ ::=c --= ies (A).

2 construct the
Drawing 2. To

~ ~ -

Project Highlights
~ Approximate materials cost: $240
~ Dimensions: 35"W x 60"H x 13"0
m
Clamp the dado~- ~ j-(1 PllilC:iIIi!!!l1!I!!!:
mark, then rout akxJg :::e i!!!1I!I=;:F :;lIE :;r.Di: an
back along the OPPIQ5I;;;:;DIm:.

82
 Spacer
DCARCASE %" %x 'l'8X 1y," EJDADOJIG
7!i<"

28%"

l/:
4014"

V: 3~ A
59%"

_'-''''-~=and Yz" spiral the jig's alignment plate alonz a layout line, Position the bit in the dado, butted against
1th the router then rout the dadoes [Photo A]. the shoulder nearest the end of the side
~ r a %"-deep
- -- e fixed-shelf
;:I:'!:iD:r::. - e notch in
3 TOrout the groove for the bottom rail
(C), clamp the dado jiO" in position on
a side (A),and place your router on the jig.
[Photo B]. Double-faced-tape a stopblock
against the router base to stop its travel at
this point, then rout the groove.

4 Draw lines across each side (A) to

locate the top shelf-pin hole in each
set of three [Drawing 1]. Make a shelf-pin
drilling jig [Drawing 3] and transfer a line
through the centers of the top hole's and
around the edge of the jig. Use this line to
align the jig before drilling the fa"-deep
holes [Photo C]. Flip the jig face-for-face to
drill the rear sets of holes.

5 Plane the fixed shelves (B) to fit snugly

in the dadoes in the sides (A),then sand
the shelves and the inside faces of the sides
to 220 grit. With a squaring brace (see More
Resources to get a free plan) helping to posi-
tion the parts, glue a fixed shelf to a side
[Photo DJ. After the glue dries, add the see-

wood mag - - 83
 STARTER PROJEG:TS

I
® Squaring
brace

ond fixed shelf, then glue the remaining

side to this assembly .' Carefully check the
carcase for square.
the back and centered side-to-side. Trans-
fer the figure-8 fastener locations to the
bottom face of the top [Photos E, F]. With
5 screw the 2Vs"-wide sE:: ~ ;-. place
driving the screws neG::-~F =<-=sc with
the rabbet [Drawing 4aj. - -,= -"-~ next

6 Cut the bottom rail (C) to size [Drawing

1]. Layout and bandsaw the profile and
finish-sand the rail to 220 grit. Glue it in
Forstner bits, drill %" and 1¥J6" counter-
bores in the top to accept the fasteners
[Drawing 4b].
slat in place so the rabbets T--=- -- - then
place a )Is" spacer betweer;
shoulders and screw the Sd~
== rabbet-
- slat in

==
place below the bottom fixed shelf (B).

7 Finish-sand the outside faces and

edges of the sides (A),easing the sharp
3 RiPand crosscut the back slats (F) to size
[Drawing 4]. Note: Instead of making slats
(F) you can cut the back from 14"plywood. Set
place [Photo G]. Repeat
install the remaining s'~
last slat to width if needed,
p:ncess to
u the

corners, and stain the assembly, if desired. up a 12" dado blade in your tablesaw, and
(We wiped on General Finishes Antique attach an auxiliary face to the rip fence. Build a drawer
achieve a good -=-- ==
Cherry oil-based stain.)

Add a top, shelves, and a back

Position the fence and set the blade to cut
a %" rabbet ¥J6" deep. Test your setup on
scrap before cutting the rabbets on the
1 TO
carefully measure ~
-=-.c drawer,
~h
=-
height of the drawer opc:::.2:::s <he car-
and

1 GIUe
up panels for the top (D) and
three shelves (E) and cut them to size
back slats [Drawing 4a]. Rip one slat to 218"
wide, then finish-sand the slats to 220 grit.
case (A-F). Rip the -.c. = -=---unt and
back (G) and sides (I-t::. ~=~r than
[Drawings 1 and 4].

2 screw two figure-8 fasteners to the top

of each side (A) 2W' from each edge
4 Stain the top (D), shelves (E), and back
slats (F)to match the carcase (A-C). After
the stain dries, attach the top using figure-8
the opening's height. C~:he front
and back )Is"shorter ~ ?~ -=--= opening's
width [Drawing 5].
[Drawing 4] and position them perpendic-
ular to the outside face of the side. Place
the top (D) on the carcase (A-C) flush at
fasteners. Set the shelves aside for now. Note:
if you made a plywood back, screw it inplace
and skip the next step.
2 With a W' dado bIaCe i-- :;our table-
saw, cut the gr~
H) to accept the drawer - _
=- "'~,:...
piece (G,
~ . I ext,

With the top (D)centered side-to-side and flush at Extend a centered line perpendicular to the end
the back, trace the exposed hole in each figure-8 through each hole location. Position a figure-8
fastener onto the top. fastener and trace around it.

84 GetSta..--terl i:n Woodworking

 -....••~ #6 xl" F.H.wood
"
screw
I-~...........:- ---""'3V2__"

--I I ~2'l'k
/ ..•. IIITOP MOUNTING DE_T_A_IL_
s;." counterbore
VB'deep lv."
F

(Bott~f'''' ~

13h6" counterbore
Vs"deep

55%"

lEI SLATTED BACK (Top view)

r-
~~~~~t;~~~~3=V:2='-=-=-~
" ®
'/8" rabbet 'M' deep 2'l's/l .1

DDRAWER
m DRAWERJOINT

~ 1,4"
~W
1,4"

--11,4" W' bL--t---

I-- lj."

~"hole
)N
"t-- - 20/,6'

woodmaq •••.•.
~- _ 85
 STARTER PROJECTS
IICUTTING THE DRAWER JOINT
attach an auxiliary wood fence to the rip the door in the case, creatmg "" as uni-
fence and cut the dadoes in each drawer STEP 1 form as possible. Mark tiu ~ then
side (H) [Drawing 5a and Step 1 in Drawing plane and/or sand them rreare even
6]. Next, raise the blade to match the Also cut the groove gaps [Photo I]. Save the 7rr-<; for use
thickness of a drawer side, and cut a to accept part CD later when mounting the ~
with this setup.
groove in each end of the drawer front , 4Cut the glass stops (L, ~r c-r- ~ rnuntins
Outside face
and back (G) [Step 2 in Drawing 6]. Lower (N, 0) to size [Drawing = :=..::.:a. a sili-
the blade slightly and trim away the cone sealant is used to secure -::::::rruntins
inside ends of the front and back [Step 3 to the glass, so to capture ~~ I cut
in Drawing 6]. Ys" grooves in the rear face c: =----= rmmtin

3 DrY-fitthe drawer and check its fit into

the carcase. Cut the drawer bottom (I)
to size [Drawing 5] and glue up the drawer.
; [Drawing 7b]. Set these pieces - --==

5 Stainthe drawer (G/H/T _"'- .: .:: • "lass

stops (L, M), and illlllIi:::5 _ ~ _ After
the stain dries, apply a topcre::::: :-;32 pieces
Add a door if you like and the carcase (A-F).(We11-.=-"' ~~sh
1. Cut the door stiles (J) and rails (K) to
. size [Drawing 7]. Set up a %" dado blade
water-based polyurethane.
'6Insert shelf pins to ~ ~=- elves
and auxiliary rip fence on your tablesaw where desired and p ~ -=--= ';-=':n>s (E)
and cut a %" rabbet on the inside edge of in place. Slide the drawer :::::;:~ zzrcase.
each piece [Drawing 7a].
Quick Tip! Set up your tablesaw carefully,
and a half-lap joint squares itself during assem-
bly. Set your miter gauge exactly 90° to the <,
blade, and make sure that the rip fence clamps 14"dado blade
parallel to the blade.
STEP 3
2 Cut the half-lap joinery [Drawing 7a]
as shown in the Shop Tip below. Glue
and clamp the stiles (J) and rails (K)
Auxiliary
wood fence

together, and check the door assembly for Outside

face
square and that it lies flat.
t
3 TO achieve an even Yli' gap around
the door, lay the carcase (A-F) on its
back. From %" MDF or plywood, cut two
spacers to place inside the carcase and
support the door flush with the front Mark the amount, if any,
from each corner of the d
edge of the sides (A) [Photo H]. Position marks with a straight line.

Take the confusion out

of rabbeted half-laps
Typically, when cutting a half-lap joint
in equal-width pieces, you cut both
halves of the joint with one blade and
fence setting. However, rabbeting the
stiles (J) and rails (K) to accept glass
changes things. When cutting away
the front face of the rails right, you also
remove the rabbet, which dictates
a narrower half-lap on the stile
[DraWing 7a]. [t's easy to get confused,
so follow these foolproof steps to cut in this case (the 2W' width of the rails
this asymmetrical joint. and stiles minus the %" width of the
Start with the rip fence at the setting rabbet). Cut a half-lap in both parts, then
for the narrower half of the joint, 1%" dry-fit the joint, above right. It will be

86
 t·

Cardboard

~~!~::::.~:
'}
edge, clamp the
'Out on the stiles (J)
After drilling Y16" pilot holes, put the glass stops (l,
M) in place, protect the glass . thin cardboard,
and drive the brads with a tack ammer.

EmMUNTIN GROOVES
Mount IIDOOR (Viewed from inside) ---\ 1" '6-%"
1 Cut ~
in th= -
and the g
::Bi:.U' of W' glass to fit
::::ne door facedown
_ ' 'on the vertical Va" grooves
Va" deep,
glass st =- _Mark and drill Va" from
H6" plio "- to the stops with edges
#17xW " the horizon-
tal glass " \ 'ay, 1~' ring pull
Qu;ckr:::!'f.:~:_IIt* •• the glass in place
with a be '
glass this - -
the edges, but for
ding power of 1"
\---- ~
M

nailed-in ~::r.;;;:::m!!;., ~ 1-12'l16" J

~

2 Place - :.
up, arx; ~-
[Drawing = -
. outside face
tins (N, 0)
tins in place
21V4"

during da=.:=;- s lOYzxWto '

fit between -_~I=""<=",. rail (K) and
the honzrszr ::::::::::::I~ K].Also cut
four spa - between the
L L
bottom rrr::::::::!:::.i:::I:. rail. Apply a 49')t,6'
light bead ::;:;-:-
:i:::::::u::J:rxaIant between
the gr lace of each
muntin arz; ::: muntins in
place. , cure for one
hour be ps.

n
#17 x 3,4" brads

Partial-wrap ~x 269A6X 45%" !

glass ,
hinge

woodmag:a:z:c:i!.=1IIl 87
 STARTER PROJECTS
- -
MARK THE HINGE LOCATIONS More Resources
3 screw the hinges to the door as shown in
Drawing 7. Rest the carcase (A-F) on its
back, retrieve the spacers used earlier, and
rest the door a-O) on them. Transfer the
hinge locations to the sides (A) [Photo LJ,
then have a helper hold the door in position
while you screw the hinges to the sides.
Remove the tape, stand the bookcase upright,
and test the door swing.

4 Attach the ring pulls to the door

[Drawing 7]. Install the door catch -
where shown [Drawing 4], and the book-
Traditional
Using the same basic constns
case is complete .• techniques, you can alter the s;:-:;;, s: the
Apply painter's tape to the sides (A)adjacent to bookcase to suit your tastes:
the hinges. Mark the top and bottom of the hinge Produced by Craig Ruegsegger with John Olson
barrels on the tape. Project design: Kevin Boyle
Illustrations: Lorna Johnson
.~ Get the full plans for all---==:::oo'
cases at woodstore.ne -:::'-0 - I. $
l'
~ Get a free squaring brace c =- at
Materials List woodmagazine.com 0 c e,
FINISHED SIZE ~ Find more bookcase p --- ~ d
Part T W L Mati. Qty. magazine.com/storag::.. :
Carcase ($=Download this article for a s-"" '-
A sides %11 12" 5914" EC

B* fixed shelves %" 11%" 31W' EC 2

C bottom rail %" 3y," 31W' C Cutting Diagram

0 top %" 13" 35" EC

E shelves %" 10%" 30%" EC

F back slats %t 3)/''' 55%" C 10

% X 714 X 96" Cherry (5.3 bd. ft.) (4 needed)
Drawer
G
H
front/back
sides
I bottom
%" 4%"
y," 4%"
30%"
11W'
C

C
2

%X 714 x 72" Cherry (4 bd. ft.) (2 needed)

[J
Door
J
K

L
stiles
rails
vertical glass
%" 2]4" 49')16"
%" 2W' 30%"
1411 ¥Sll 45 1l6"
C

C
% x 7", x 72" Cherry (4 bd. ft.) (2 needed)
c
stops '
horizontal glass 1411 %"
M 251'8" C
stops
% X 5V2 x 96" Cherry (4 bd. ft.)
N vertical muntin %" 1" 45V,6" C
horizontal %" 1" 12Y16"
0 C 6
muntins
'Parts initiallycut oversize.Seethe instructions. % x 5% x 96" Cherry (4 bd. ft.)

Materials key: EC-edge-glued cherry,C-cherry,

CP-cherry plywood.
Supplies: Ysx26o/J6X451'B" glass,#17x%"brads, ]4"shelf
pins (12),figure-8 fasteners (4),magnetic door catches (2),
P®~----=---~D
% x 714 x 60" Cherry (1.7 bd. ft.) (5 needed)
#6xl" flathead wood screws (20),clear siliconesealant.
Blade and bits: Dado blade; W'self-centering, )16",
Y8" drillbits;%", 1V,6" Forstner bits;]I,"spiral downcut ®
router bit.
V2 X 5V2 x 96" Cherry (2 bd. ft.)
Source
Hinges and pulls: Partial-wrap hinges (3)no.
01H31.92,$4.30; 1Ys" ring pulls(3)no. 01A28.44,$3.20,
LeeValley,800-871-8158,leevalley.com.

14x 12 x 36" Cherry plywood *Plane or resaw to the thicknesses listec - -- ,...,..~."''' ..'S..

88
 cture
5:::i:;!!~st pressure-treated
Iyou can find,
e needed length
D EXPLODED VI

to r your area. (Check

with _"'~'-'l~~department for
the -=- The minimum
lenztr; . ts of 87" above
grade - for safe support
of the S;:::-~==='011_-'1].

2
to r
'1~_--
"
of each post (A),
::!:!::!:S::::!!: - - rabbets %" deep
- ill). Using your
portabe the rabbets, as
expl -~=-- next page. Then
lay our e technique to
form a:: - ill the inside face
of each _ ioned.

3 For
ro
posts (_-'-
nee, rout Va"
the edges of the
evenness. Then
sand the ~_.---

4 Fro:- .;
ana ~~-~~-
Then, ~
iCtUal) cedar, rip
s (B) to size.
deck boards, rip
and cr·""":~-""''''' size.
%" shank hole
Note: 1:= _ of the structure with a
joists (C _ - Jftlt center rails (G)
5;\6' pilot hole
==--- 2" deep
on 5/4 - - - that measure 1" in part®
thick. If', ~~;;'-"..,..,.;__ lIIfwure the same
Concrete
thickness, the spacing of footing
these par: assembiy.
3W'i
S Lay -:.
each =--
sioned [
-
oes 1" deep at
where dimen-
- crossarms (B). 5\4" dado Yo-
%" lag screws
3W'long
ii ii
.u
Clamp ~~
with the
er on edge
- e, Now kerf
*111"
minimum
~
!LU
"'~-----_/
47W'
and clean _ using a rafter
square to ~ ss the parts.

6 TO == -

and seat
CUrRS
drawing the
B), joists (C),
_ and enlarge
24"
*Note: Increase length
of posts ® as needed to
reach your local frost line.

;:~V51"
-' imum
the joist ~ on page 95.
Spray-adze _ a piece of W~
hardboar - v the hard-
board d sand the -~,
edge proff ~~~

7~::-~ late at each

d joists (C),
Project Highlights
~ OveraD diE_I5iI_,iI'E!80Y2" wide x 41 %n deep x 9214" high (above ground level)
where d draw the
curve [0 ...••.
~".,r::T~-i·;ng
one end ~ Materials eated 4x4 posts, dimensional cedar lumber and decking, found
of each to mark the at YOULioc; • .;J:J::I:' ;;::l1JlH'
other end, ~ d the parts ~ A patt'!'rr.:::z.·::",,;3':I::1O board template makes laying out the curved parts a snap.
to the J.il.CL..lio:O-.-'''''''''='' ~The = easily using wood screws, lag screws, and nails.

wood'IDa!;a::iae.::= 91
 - -
SHOPTIP
A safe way to form rabbets and dadoes in large parts
Using your tablesaw to cut rabbets
and dadoes in large parts, such as the
posts (A) and joists (C), can be
awkward and unsafe without proper
workpiece support and guidance.
Here's a simple and safe method for
forming the joints using your circular
saw. Keeping the saw tight against a
guide, such as a rafter square, cut a
series of kerfs to the needed depth
and approximately Va" apart across the
part along the length of the rabbet or
dado, as shown. Break away the thin
pieces of waste with a hammer. Then
pare away any remaining material
with a chisel to smooth the bottom of
the joint.
8 From S/4x6 cedar deck boards, cut the
battens (D) to size. Mark a I" radius at
each end of a batten [Drawing 1]. Jigsaw
and sand to shape. Using this part as a
template, mark the remaining battens.
Now jigsaw and sand them.
Make the seat
1 Cut the crossarms (E), front/back rails
(F), and center rails (G) to the sizes
listed. Align the template at each end of
the crossarms (E) [Drawing 2] and mark
out the curve. Jigsaw and sand the curves
to the lines. Then rout lis" round-overs on
TEMPLATE ALIGNMENT FOR CURVE MARKING
Template
STRUCTURE CROSSARM
j ",
2" overhang
SEAT CROSSARM
4 TOmount the center slat r}{ to the seat
frame, mark centerlines on the top
edges of the crossarms (E) and ends of the
slat. Position the slat on the frame. centered
end to end with thecenterlmes aligned.
Drill the 10 mounting holes, wi ere shown,
but cirive only five screws along rne length
to temporarily secure the slat. _- -position
and mount the outer slats (I the frame,
overhanging the crossarms 2 ~ ar each end
[Drawing 3a] and spaced *~ :Drawing
3, Photo A]. Again, secure e;:r:- with
only five screws.
5 TOround the ends of the - slats (I)
[Drawing 3], align the ta::;;~ where
shown [Drawing 2] and draw -- - curves.
Remove the outer slats and ce:::c:- slat (H).
Jigsaw and sand the outer 5EIS to the
marked lines. Then, us:i..c; z :50-grit
sanding block, round 0\6: _"O.~ - ds and
the crossarms and front/back rails, where
shown [Drawing 3].
corners to blend with the ~ _
along the edges. Set the sea; ~- e and
-overs
2 Assemble and clamp together the cross-
arms (E), front/back rails (F), and the
center rails (G), positioning the front/back
slats aside for now.
Stain or paint the
and center rails where dimensioned [Draw- Apply a stain or primer ;=~-= _ - ill the
ing 3]. Drill the mounting holes, and drive parts. We applied two ClJC._ ::r - - - i-color
the mounting screws. oil-based stain on the !XES _- .::ossanns
3 Cutthe center and outer slats (H, I) to
the sizes listed. Rout a lis" round-over
along all four edges of the slats [Drawing
(B), seat frame (E/F/G . ~ -= =ames
OIK/L), and a transparer; _ _ see stain
on all other wood parts,
3]. (You'll need to hand-sand round-overs
on the ends of the slats after cutting them Assemble the strl[]ct:n:re
'=== -
to shape.)
1 Center the crossanns ~
the rabbets in the ::
mounting holes thnY_::"'-- ---.= =ussarms
end in
_~ Drill
and into the posts, ago-
nal hole locations ill -~.= - >< cros-
sarms to prevent ;=; 5...-
[Drawing 1]. Drive
washers, leaving the 5.-:_ s..:-::-
to allow for easier ass.=- ';...- _ - --= - -
2 TOmount the - 5:s L
post/crossarm --==.--
47W' apart, across ~ _
- --
=- -
- soaced
the
"'iorses.
(We placed a 60 - _~ - -= =----=- on
top of each of our SG - IT the
assemblies.) Starting = =:c ~_~_ damp
SEAT
OUTER SLATS
a joist to the crossazrs ? =- <:::ends
[Drawing 1]. Toenail --=-", --'" eros-
sarms with 8d ~ ~ - -- nails,
sinking the n . h=-- the
remaining joists ::: ~
spacers to positi
_ ,; : -long
_-ow
reposition and c1;= _ =:c _
 to keep them Mount the seat
.l:S~so.::cotthe battens (D). Attach the center and outer s1m (H, I) to
across the joists the frame (E/F/G), drtvmg - e screws into
ends and centered all of the mounting holes, ~on the seat
overhang [Drawing in the dadoes in the posts _" [Photo OJ,
through the bat- and clamp the seat' ': between the
ten a::::L:::::"::IE":~ il:Jt:W:_ the joists. Drive the posts. Then drill m~g screw holes
=::'e::.::::::i::J:iI::I::~- remaining battens through the crossarms 'E 2:lC centered into
spacers [Photo CJ. the posts. Slip flat wascers onto the lag
Leave the struc- screws and drive the lag ~ in place, but
SiiW!JorseS. don't over-tighten them.

• I •

Working from the center slat (H) out, mount the

outer slats (I) to the seat frame using o/s"-thick
spacers to position them.

Os

%4' pilot hole

\18" deep

-=
<~:~. =E . :2 _- stainless steel
<,
--<::~ ;t screw

7/64' pilot hole 1'h" deep

ont)

With an outer joist (C) in place, use 9W'-long

spacers to position the remaining joists for
toenailing to the structure crossarm (B).

93

From the outer batten (D),position and screw-
mount the remaining battens, using 7Y2" spacers to
position them on the joists.
I • ••
Spread the posts (A)just enough so that they fit
into the center openings in the seat ends. Slide the
seat into the post dadoes.
94
Install the structure
Caution: Before you dig the postholes, dial
811, the "One Call" phone number for your
state or province, and ask to have the buried
pipes and wires on your property located and
marked. You can also find information for
your state at call81l.com.
On flat ground, mark the centers for two
holes for the posts (A) spaced 51" apart
[Drawing 1].
2 using a posthole digger or an auger,
dig/drill 1O"-diameter holes, centered
on the marked locations, to the needed
depth to reach your frost line plus another
6" for a gravel base [Drawing 4]. Pour 6" of
gravel into each hole.
3 With a helper, set the structure in
place. Plumb the posts (A) and level
the unit, adding or removing gravel as
needed. Then brace the posts [Photo E].
Now fill the holes with concrete.
Use a level to check that the pas::;- -
4 After the concrete cures, remove the
lx3 bracing. Fill the screw and nail
holes with acrylic caulk, and touch up
Then stake and brace them
with 114" flathead screws.
with stain or paint. Now put in some
plants and flowers, step back, and admire
your amazing handiwork. •
Produced by Owen Duvall with Dave Grieve
Project design: Jeff Mertz
Illustrations: Roxanne LeMoine; Lorna Johnson
•
IIPOSTHOLE SECTION VIEW
® As an option, installl.atfice.:i:s:i:3l= ::i
seat for a prlvacy-screee ;lIi:c:::::iIis.
o • For plans, go to w
gardenbench.
< , Concrete
Depth of hole : : o
must be at .'
least 24" •0
; ,: 10"-diam.
plus 6" fa; '~,: c hole
0
a gravel base. • ~ ::/
0, '
Gravel
C:uttitog IlliII••• Materials List
FINISHED SIZE
@ 7
Structure T W l MatI. Qty,
A posts 3h" 3h" PT 2

B crossarms lv," 514" 34Y2" C 4

C joists 1" 4%" BOh" C 4

D battens 1" lY2" 41%" C 10

Seat
E crossarms lh" 514" 24" C
,,"""---j
F front/back rails lY2" 214" 46" C

G center rails 1" 214" 19" C 3.

:1 I H center slat %" 314"· 47h" C

I outer slats %" 314" 54Y/ C

[The minimum length is 111" for posts (A). This includes a

below-grade minimum length of 24" for safe support of the
C!)\-----------, structure. Increase the length of the posts as needed to reach
your local frost-line depth.

Materials key: PT-pressure-treated pine, C-cedar.

Supplies: Spray adhesive; #8x1J4", #8x1%", #8x2",
#8x2Y2", and #8x3" stainless steel flathead wood screws;
%" lag screws 3" long (8);%" lag screws 3Y2"long (4); %"
flat washers (12);8d galvanized finish nails; 50-pound bag
More Besc- .: : -= s - of gravel; concrete (one 60-pound bag per 12" depth
of posthole); acrylic caulk.
RELATED ARTICLES Bits: Ys" and %" round-over router bits.
~ Learn how to beco .•....
cstmaste r"
when digging post•.••uo.= ces
~t;::.:'"E":::Dllrtstraightedge. or outdoor stru '
woodmagazine.c aster

($ = Download this artide fora ~

1--- ----------14- --------c----------I

- edge of parts@and E v,"
--------------------------r--------------------r------------
1---------- --= --
Top ed9!~
JOIST ICROSSARM
End ofJl?=~ HALF-SIZE PATTERN
andtC
~
- rI\
zsof parts\.!.; 4
--";JGrtC!) (enlarge 200%)
-----------~ ----~--------- ---~-----------~~
514"

. I 23;'''

U
woodmagal==.c~ 95
 ~ Overall dimensions are
48" long x 14"deep x ~:-lW,J.,
~ Materials needed: 6 feet
of 3;4" cherry and a CJUalI'tEF-sbeet
of 3;4" cherry plywood
~ Learn how to cutconsisbml~
laps using a router.
~ Create a mo . look
that's easiel 0 •.••••••••
fi•••••.•
tN>
real thing.

Easy and Elegant T hose may look like ~ff mortise-

. and-tenon joir::::s;::: -=-.::: '~ of this
table, but we'll:6:: _ _ =--- on a little
secret: You can make -"'-3= ~ using

Hall Table
Beautify your home with this stylish piece built using
only basic woodworsrr 5 S!::CS ::>~e screws.

Start with stretebers

and shelves
1 Cut a 4x34Yl b>-.. 1 for the
upper stretchers r-, ::. -= - _:= blank
(blank 2) for the ~ ::- -"'-.-- 13)and
fuss-free joinery and easy-to-find materials. six end stretchers C :=:: ~ -= c~? blank
(blank 3) for the _~ ~ =.:. -belf trim

96 orkinq
 AND TRIM BLANKS

%" rabbet?~O~~~~ *7"

3/8" deep ~
B 4" D
V V3V2" Cut here to form parts
BLANK 3 @and®.
BLANK 2 Cut here to form --:s ©.
Note: *lnitiallyC'_~~ see instructions.
D Yellow indiGLS ~

EJUPPER STRETCH'
~'::'_""ram on page 100.)
GIr::I'I_,...tswithonepass. To ASSEMBLY ~ 34" " A--=---":O-
save __ .JIEI:II_:y., cut rabbets and
..••..••••.

a:;;:E·:SII_~.~cutting the blanks

. g technique
W' straight bit
--.- .•.•••.- .••,..;r, end of blanks 1
. 3 [Drawing 1].
s 1 and 3.
upper stretch-
ge 100]. From
3e~ :il1laI:hers (B) and two
cut the end IIEXPLODED Vl

-.-"""" .....,~-
four ¥I"-wide
stiles (D) by
dadoed end so
_-wide and %"-
~~~~~~~~~~§~~~i~~ Figure-8
tabletop
:
i!
'\. ::
fastener ~
h~o~le
14" deep
with a countersunk
'h," shank hole
centered inside
l'
of the strips T
:a..if~.•••..(E). ~
#8 x 114"
. of upper " F.H.screw
.If stiles (D) .,j
r the other
stiles. Then
.""'~:)
'Is" plug
~ 'Is"long,
. hand Yz" • trimmed
flush after
strips cut assembly
trim (E) a G
::1IIES!!t' in length. ,I %" rabbet
on the 31"
I 'Is"deep
rip fence
to cut the
on one
fence to
.E;i~::1ies -." final length.

3,4" rabbet 'Is" deep

woodmaga:z:lli!£.::= 97
 STARTER PROJECTS

Because the shelf trim (E)doesn't extend to the end

of the shelf (F), you can cut the shelf assembly to
length with parallel ends.

Build mortises into the legs
1 Rip the outer legs (G) Yt6" wider and
Yz" longer than shown [Materials List,
Drawing 4]. Rip the inner legs (H) to
same direction for consistent grain and color leg with the ends flush. ~ ~ 4 and
5 for the other three legs, ::::c:::. -=:::' each leg
along the leg. Cut a 2" piece from each
filler (I). Glue and clamp one of these to
the top end of each leg (G/H) where
to width [Photo E].

width and Yz" longer than shown. Rip the shown [Drawing 4]. IILEG ASSEMBLY
filler blanks (I) Yt6" wider than shown.
Then cut a Ys"-deep glue-relief kerf in the
inner leg [Drawing 5].
4 From a filler (I) blank, cut a piece to fit
between the upper stretchers (A). Hold
an upper-stretcher assembly (AID) in posi-

2 GIUeand clamp an inner leg (H) to an

outer leg (G) with the ends and one
edge flush [Photo B]. Scrape off glue
squeeze-out before it dries. Repeat for the
other three legs. After the glue dries, cut
the legs to length. Note: Label each leg
with its position on the finished table. You'll
add filler pieces to make mirrored legs at
each end of the table.
tion on the leg (G/H/I). Glue and clamp the
filler to the leg as shown [Photo e], and
remove the upper-stretcher assembly. After
the glue dries, cut a 19%"-long piece from a
filler. Reinsert the upper-stretcher assembly 'AI" hole 14"deep
on outside face
to position the filler, and glue and clamp it with a countersunk
in place. Repeat for the other three legs. 'hi' shank hole
31"
centered inside
5 Near the bottom of a leg (G/H/I), use a
lower stretcher (B) as a spacer and tem-

3 QUiCk Tip! Keep grain the same. Useone

filler (I) blank for each leg and mark one
outside face. Then orient the marks facing the
porarily clamp the last filler (I) piece in
place. Mark and cut the filler to length
[Photo D]. Glue and clamp the filler to the

Drill plugs without

a drill press
Most plug cutters require a drill press to Note: Part positions
hold the bit steady as it cuts. In a handheld will vary with the
drill, their cutting prongs would catch on leg orientation.
See the instructi -
the wood and skitter across the surface.
But the %" tapered plug cutter shown here
(see Sources, page 700) eliminates the DLEG {TOP VI
need for a drill press. A center spur
steadies the bit as its cutting edges enter
the wood, but retracts as you push. After
cutting plugs, pry them loose from the
bottom of the hole using a screwdriver. In
addition to the %" cutter shown, you can
also buy self-centering cutters to make VJ6"
and Y16" plugs.

98 ~ =-- ""'oodworking
 3 Make 12 _ ~
Tip on the .:
(We used % -~<-::;-;:j-~
~=:::2!'::.
- e Shop
scrap.
atives,
see the Shop z- _ the plugs
loose with a =~===
4 GIUe an -
counte
After the
into the
(G/H/I).
- - plugs off
close to the -=-== ~ [Photo J].
cher (C) Then hand-sari - flush with
A) rabbet the legs = sandpaper
wrapped ~.- ~ :=Z:'.iiiI!OOitng block.
Quick r~ - inate plug
bumps. A works faster
than hand ;hIe pad can
leave the p _ of the wood-
piece surface. sanding by
the upper- hand-sand' Q flat sanding
_.,.''- L". and drill block and used on your After you glue and damp end stretchers (C)to the
upper stretchers ,check for square by measuring
~4" pikx -- msdlJer assembly powersand _ diagonally ee:n corners.
[Photo leg to the
stretri; =0;- manner,
attad; -=-:c- l..""1I"~-',;;;:::Ejr.::!E~.-.-iIOe (B/C/E/F)
and -"'-~ ===z=::::r creatiVl! ll1i1b plugs
~rrr"..,....or buy them, plugs
screws. To add a 3-D
P l on plugs, like the
top m b9' es.) These also hide
. about 1" hole .
•••••• 3]. After the with the wood
top to size species that contrasts
~_ ...••
_ouing wood. Store-
provide a slight color
this project, while
greater contrast.
with the plug grain
the leg (center) for
surrounding wood. For
the plug with the grain
).

woodmag<m::.ou:= 99
 STARTER PROJECTS

©
D~ ,,-- D~ ...
~
Use the countersunk shank holes in the leg (G/H/I) Clamp a scrap block to the leg (G/H/I) to prevent To avoid marring the leg (G/H/I) surfa old a
to position pilot holes in the upper-stretcher tear-out while drilling the counterbore over the scrap of cardboard beside each plug before sawing
assembly (A/C/D). edge of the leg. it nearly flush.

5 sand the top and l?ase to 220 grit and

ease the edges. Also, sand a slight
chamfer on the bottoms of the legs to keep
6 screw a figure-8 tabletop fastener to
the top of each leg and lay the top (J)
upside down on your workbench. Center
Materials list
Part T
FINISHED SIZE
W L Mati. Qty,
A* upper stretchers 14" 111ft 34--" C 4
them from snagging carpets and rugs. the base on the top and drill pilot holes
Apply a coat of boiled linseed oil to all into the top for each figure-8 fastener.
8* lower stretchers 14" 111" ~-=" C 2

C* end stretchers 14" 111" 7?p." C 6

parts and allow it to dry'. Then lightly sand Then screw the base to the top. Now move
with a 320-grit sponge, remove the dust your new table to a hallway, where it will
D* stiles 14" 111" ::1"=" C 4

with a vacuum and soft cloth, and apply a greet your guests .• E* shelf trim %11 y,," r: c 4

second coat of oil. Safety note: Oil-soaked F* shelves 14" 12" r: CP

G* outer legs %11 2" 3" C 4

rags can spontaneously combust when wad- Produced by Bob Wilson with Jeff Mertz
H* inner legs %" 1y,," 31" C 4
ded up and discarded. Instead, first lay them Project design: Kevin Boyle
Illustrations: Roxanne LeMoine; Lorna Johnson 1* fillers %11. 111" 31" 4
flat to dry. C

J* top %11 14" 48" EC

*Partsinitiallycut oversize.Seethe instruclioffi.

Materials key: C-cherry, CP-cherry pIy\~ EC-

edge-glued cherry.
Supplies: #8x1)4"flathead wood screws figure-8
tabletop fasteners (4).
Bits: Vi'straight router bit, 14"Forstnabit

Sources
Self-centering plug cutter: %" plug cutter no.
31115,$13,Rockier,800-279-4441, rodder.com.
Plugs: Ya" oak button plugs no. 20503, $4for a package
of 50,and Ya" oak plugs no. 20842, $4.50for a package of
50, Rockier.Alsoavailable at many home centers.
I
I

~~~~-="~~=~=====~~===!J
%x 5'12x 48" Cherry (2 bd. ft.) (3 needed)
FREE VIDEOS
I
I 1\ I ~ Gluing and sanding a flat panel:

I I,\ :' woodmagazine.com/panels

i r i\ I ~ Tablesaw ripping fundamentals:

I' ' woodmagazine.com/tsripping
I I \ I·
I' ,
®! J
i
1\ j
, ' I
RELATED ARTICLE
~ 6 Steps to Perfect Plugs:
\\J
%
® i I(
x 24 x 48" Cherry plywood
\
woodmagazine.com/perfectplugs

100 Get Started in Woodworking

 REFERENCE GUIDE
Must-Have Screws
FLATHEAD
Today's flathead
screws use square and
Torx/star driver bits
instead of just Phillips
drives. Most have
straight shafts with
deep threads, and
enough unthreaded
shank to help the
head pull the top
workpiece tight
against the lower
piece. Some have
serrated threads or
augering grooves at
the tip (detail) to cut
through wood fibers.
around the pilot hole
for easier driving.
PANHEAD
Use panhead, or sheet-
metal, screws to attach
hold-downs and other jig
fixtures plus project
hardware such as drawer
slides. The threads extend
up to the head. When
joining two pieces of
hardwood, you may need
an oversize shank hole in the
top piece to keep the
threads from pushing pieces
apart. A flat-top panhead (or
"pocket-hole screw," named
for its primary use) comes
with fine threads for
hardwoods, or coarse
threads for softwoods.
STAINLESS STEEL
Stainless steel resists
corrosion and discoloration
on outdoor projects. Look
for "300 series" steel, with
18 percent chromium and
8 percent nickel, that resists
corrosion under normal
circumstances. A 316
stainless adds molybdenum'
for greater protection
against salt-air corrosion.
An auger point doesn't
eliminate the need for pilot
holes, but makes driving
the screw easier. Some
types have colored heads to
blend better with deck
boards or trim.
104
. .
Drilling accessories
Specialty Screws for faster fastening
TRADITIONAL WOOD SCREW
The tapered shaft of a Whether you use tradi 'o~- or
traditional wood screw modern screws, today's ersink/
requires drilling one counterbores drill a pilot - e, shank
hole for the shank, a hole, and countersink ~ 0 ce.
smaller pilot hole for the
threads, as well as a FOR TRADITIONAL
countersink. Or use a WOOD SCREWS
tapered bit, shown at ;. Tapered drill bits with movable
far right, to drill all three countersinks match a rra ional
at once. Keep these screw's shape and lengt-
screws handy for
restoring or re-creating
antiques. To drive brass
screws, drill pilot holes,
and cut the wood fibers
for the threads by 'k
driving and removing a
steel screw of the same
size. Then drive the
brass screw.
WASHER-HEAD
The wide, flat underside
of the washer-head
screw disperses force
over a larger area than
even a panhead screw.
Use #10 versions up to
3" long to hang
cabinets. For attaching FOR MODERN SCREWS
drawer fronts or Use a countersink/cou:nterbore
mounting wooden combination sized s: ~ =- =6, #8,
drawer and door pulls, or #10 screws. To irt-- ~-E ilot-
versions with extra- hole depth to the s , just
wide washer heads let shorten or extend
you make minor Counterbore diame
adjustments within an or W' for standard w,-,,-,,-,.=-.
oversize shank hole.
CABINET-CONNECTING
Developed in Europe
Countersink
during the 1970s as the
Confirmat screw, these Counterbore
fasteners grip medium-
density fiberboard (MDF)
or particleboard without
splitting it. The 7x50mm
size handles most %"
materials. A stepped
pilot-hole bit made for
these screws drills a
wider hole for the shank
plus a countersink. When tersink/
appearance matters, hide ey,
the PoziDrive screwheads 800-871-8158, lee'. =:.co ;
(see Common drive or McFeely's, 800-3-- -:;137,
types, next page) with mcfeelys.com .••
plastic caps.
Get Started tn ""'oodworking
 and Panhead Screw Specs at a Glance
Flathead Screws Panhead Screws
4 6 8 10 12 14 4 6 8 10 12
~2" %2" 0/,6" ¥a" 2~4"

Pil
%4"
•
~4"
• • •
%" %4"
~

%2"
•
•• •
~4" %" %4" %2"

•
Oi Y,6" %2" ~4" %" %4" %2" ~4" %" %4"
\II
• • • • • • • •• •

#0 #1 #2 #3 #0 #2 #2 #2 #3
#1 #'1- #2 #3 #1 #2 #2 #3 #3
* Sha:- -n:::'31;o-===,''''!!!!!II=!!for today's screws. Ifthe screw needs to

mmon DriveTypes pendable to Difficult

•• 1Et1lil ••.•• slippage Someslipl-""~~_ ,••.••
~.applications You're in for slippage

§~E~~==$aror
drive (Robertson)

design is
square-
o o
Phillips Slotted
Because of these drives, woodworkers have
long experienced screwdrivers jumping
offlathead and loose from screwheads, a condition
~ commonly known as earn-out.
 REFERENCE GUIDE

Twist
drill bit I
DRILL-PRESS SPEED CHART
Recommended operating speeds (RPM)

I
i Softwood Hardwood
Accessory Acrylic Brass Aluminum Steel Notes
(Pine) (Hard Maple)
~ I
Twist drill bits*
V,6" - 3A6 11
3000 3000 2500 3000 3000 3000 Lubricate bit with oil 'men cutting
r= Black & Decker lfil" - 3/s" 3000 1500 2000 1200 2500 1000 steel Ys' or thicker.
Bullet pilot- 'l16" - 5/a ll
1500 750 1500 750 1500 600 Use center punch on all holes to
point bit I lYi6" - 111 750 500 NR 400 i 1000 350 prevent drill from wandering.
11

II
W [] Black & Decker Bullet pilot-point
Ye"- 3;\6"
Y4 3/8
V2"
11
-
11
3000
3000
3000
bits*
3000
3000
1500
3000
2400
1600
2000
1500
1500
1500
1000
750
3000 Good all-around bit
2QGtl Cuts more quickly ihan a brad-
1200 point and a twist dri .
IV Brad-point bits*
Vall
V!1 1A."
1800 1200 1500 NR NR NR
1800 1000 1500 NR NR NR
~ %" 1800 750 1500 NR NR NR
V2 11
1800 750 1000 NR NR NR Raise smaller bits ofulrI to clear
~ 5/a ll
1800 500 750 NR NR NR shavings and p ~ eat buildup.
Brad-point bit 3,411
1400 250 750 NR NR NR
11
7/8 1200 250 500 NR NR NR
~ 1" 1000 250 250 NR NR NR
Forstner bits

~ 1,4" -3/S" 2400 700 NR NR NR NR Raise v.."-%" b" ::=-- ill clear shavings
~ V2" - 5/8" 2400 500 250 NR NR NR and prevent heat ;
3A 1"
II
- 1500 500 250 NR NR NR Make several - u ges with larger
""
"=;' 1Ye"-1v.."
1%"-2"
1000
500
250
250
250
NR
NR
NR
NR
NR
NR
NR
-
bits; allow bit to .. • een passes.

Glass-and-tile bits (Listed speeds are for glass and tile - not softwood.)
rp
Forstner bit Ya" 750 NR NR NR NR NR
Wear safety g _~.o&JsG.in drill press
I 31i6" 600 NR NR NR NR NR
1,4" only. Do not ap;:;.y. ~ive pressure.
500 NR NR NR NR NR
Lubricate \' . - .- il drilling.
511611 400 NR NR NR NR NR
Reduce quill ;n~;:-i~en bit tip
3/S11 350 NR NR NR NR NR
,~..a V2" 200 NR NR NR NR NR
emerges from -

~VI Holesaws*
Do not use w:;:; '"= -.aluminum
1" - 1%" 500 350 NR 250 250 NR thicker than ~._
15/8"- 2" 500 250 NR 150 250 NR
Glass-and-
2Ye" - 2%" 250-500 NR NR 150 250 NR Avoid dense ~ .- such as hard
tile bit

,.
maple.
MUlti-spur bits*
Smaller sizes ~ ~~Ie;
2Ye" - 4" 250 250 NR NR NR NR use Forstne ;:-=--
Spade bits*
=
1
V4" - Y2 11
2000 1500 NR NR NR NR
Clampwo -----
- -
- rove quality
5/a" - 1" 1750 1500 NR NR NR NR
of hole.
I" 1Ye"-1%" 1500 1000 NR NR NR NR

- Multi-
spur
bit
- - 9
n~
c::<i ~
I; Circle
Polishing wheel ~ ~
1',
~l
cutter
~ V ~ ~p
~ Holesaw ~

106 Get Sta:rta:: - 9

 Noles

Spade bit

Ideal for deep holes and end-grain drilling.

Drill one side, flip material over, place Spade bit

center bit in its hole, and resume cut. with spurs

Raise and lower frequently for quicker Stanley

cutting.
Powerbore bit

Clear twist drill often.

Clear bit often to prevent heat buildup.

Cut to full depth so bit chamfers plug. Shear-cutting

countersink '

750 1500 750 NR NR NR Avoid load-up and overheating.

500 750 750 NR NR NR
1750 1750 1750 NR NR NR Decrease air pressure for fine contours.
750 500 500 500 NR NR Adhesive-backed discs work best.
Countersink
1500 1500 1500 1500 2000 NR Use light pressure.
2000 2000 2000 2000 2000 2400 Hold work firmly.
NR NR NR NR NR 3000 Use 6" or smaller wheel.
R Not recommended * Back material to prevent chip-out. Always wear a face shield for optimum protection.
Countersink
otes
• Recommendations are based on visual and-tactile tests under shop conditions. screw-pilot bit
• Drilling faster than recommended can cause overheating.
• Speeds slower than those recommended may cause poor-quality holes.
• All testing done on face grain. Reduce speed when drilling into end grain.
• Speeds based on new bits from the factory. !

Plug
cutter

woodmagazine.com 107
I'

: REFERENCE GUIDE

WOOD . guide to choosing and a~Plying clear finishes

FINISH TYPE BEST USE

...-0>

sand
bciled
_01 BOILED Furniture and other interior projects where
5 6 12 saturated
CJ LINSEED OIL protection against water and wear isn't a concern.
coats hours hours
through
sanding2
rag
Z As an additive to other finishes (see comments). 220 grit

~ sand
Et TEAK OIL Exterior wood projects except decks. 4 4 6 through saturated brush or
I- coats hours hours 220 grit sanding2 rag
W
Z sand
W OIUVARNISH Furniture and other interior projects where 3-4 4 6 through saturated brush or
11. BLEND protection against water and wear isn't a concern. coats hours hours sanding2 rag
220 grit

WIPE-ON sand
All interior wood, including tabletops and cabinets. 4-5 3 4 through saturated rag
POLYURETHANE coats hours hours 220 grit sanding2

sand
All interior wood, including tabletops and cabinets. 3 3 8 through 220 grit brush or
coats hours hours 150 grit spray

sand
All interior wood, including tabletops and cabinets. 3-4 1 2 through 220 grit brush or
coats hour hours 150 grit spray

Furniture and other interior projects. Because of sand

4-5 20 30 rag, brush.
SHELLAC fast drying time, shellac is a traditional favorite of
coats minutes minutes
through 320 grit
or spray
woodturners. 220 grit
CJ
z
-:E LACQUER~ Furniture and other interior projects.
3-4
coats
20 30
minutes minutes
sand
through
220 grit
320 grit brush or
spray
Et ~
0 sand
IL BAR FINISHI Countertops and other flat surfaces requiring a high 2-3 10
I 8 through none pour
:E 2-PART EPOXY degree of water and chemical protection. coats hours hours 150 grit
..I
u:: sand
SOLVENT-BASED All wood floors. 2-3 3 4 through 80 grit
app\. pacJ3
FLOOR FINISH coats hours hours 80 grit or brush

WATER-BASED sand
3-4 1 2 through app\. pacJ3
All wood floors. 80 grit
FLOOR FINISH coats hour hours 80 grit or brush

sand
Exterior wood projects except decks. 2-3 4 6 through 150 grit brush or
coats hours hours 100 grit spray

sand
WATER-BASED Exterior wood projects except decks.
3 1 2-3 through 150 grit brush or
SPAR VARNIS.H coats hour hours 100 grit spray

1 Variables include temperature and humidity. 4 (E+) Excellent plus- Toughest protection against damage.
2 After first coat dries, apply finish generously. Then wet-sand with 4/0 steel wool, 320·grit wet-dry (E) Excellent· High degree of resistance to damage.
'sandpaper, or an abrasive pad such as Scotchbrite. Wipe off the slurry with a rag. (G) Good· Acceptable protection against damage.
3 8"· to 12"·wide application pad. Lamb's-wool pad recommended for solvent-based floor coating; (F) Fair· little protection against damage.
synthetic material recommended for water-based coating. (P) Poor- Damaged easily.

110 Get Started in Woodworking

 r{~;'': ~I: I
. .. ....

I I
2:~~"" ••.•.• ••••
Q~ ~I.IJ I.IJ I.IJ
:E ;:: ,.. (;.:) ~ (;.:) it)'
f:Es:$
::l"'t"'t ::2:
{:;! t:z:;!
""'2:
2:;! :5$
...•. e
..•..
~
i~Q. (;.:)'"
~~ ~~ ~~ ~~ ~ "'"
:EQ.jE
q ,.. CI)
II:
~I.IJ
II:
Q'"
CI)
II:
~I.IJ
'" II: cS B COMMENTS
Low sheen. Often mixed with varnish and mineral spirits for a custom wipe-on finish
40°F P F P E mineral spirits $ or as the first coat to film-forming finishes. Easy to apply, but periodic maintenance is
recommended. Excels in accenting grain on highly figured pieces.

Formulated for oily, dark woods including teak, rosewood, and mahogany. Used in
50°F P E G E mineral spirits $$ many marine (boat) applications above the waterline. Low sheen. Requires periodic
maintenance. May contain UV and mildewcide inhibitors.

Also known as Danish oil. Easy to apply. Satin sheen. Also available in colors.
50°F P G G E mineral spirits $ With additional coats, finish can be built up. Imparts a natural look and feel to wood
surfaces.

Available in gloss and satin sheens. Thinned-down version of polyurethane. Offers

40°F F G E G mineral spirits $$ better protection than penetrating finishes, but not as much as standard polyurethane.
Easy to apply in thin coats that won't run or sag.

Available in three sheens (gloss, semigloss, and satin). Adds a warm, amber tone to
50°F E E E F mineral spirits $$$ wood. Because of high protection qualities, this is one of the most popular indoor
finishes. Exterior grade also available.

Available in three sheens (gloss, semigloss, satin). Final appearance is crystal clear;
WF E G F G water $$$$ will not yellow over time. You can complete a project in one day. To avoid water
raising grain, wipe bare wood with a damp rag, then sand off fuzz. Don't prepare
projects with steel wool; water in finish will rust steel fibers left on surface.
Pre-mixed (about 14 percent solid material) has 6-month shelf life. Also available as
60°F F F P E alcohol $ flakes so you can blend your own consistency. Dewaxed shellac used as a sealer or
first coat for film-forming finishes. Two color choices: clear (blonde), amber (orange).

Available in three sheens (gloss, semigloss, and satin). Also protects metals.
60°F F G G E lacquer thinner $ Apply in a well-ventilated area. Cures rapidly so you can complete a project in one
day. Multiple coats create the appearance of a deep finish.

65°F E+ E+ E+ P xylene $$$$$ Only available in high gloss. Must apply on level surface. Thickest of all the finishes.

F $$$$ Available in three sheens (gloss, semigloss, and satin). Imparts a warm, amber
65°F E+ E+ E+ mineral spirits appearance to wood surfaces. Not appropriate for vertical surfaces.

$$$$$ Available in three sheens (gloss, semigloss, and satin). Dries crystal-clear. Fast dry
65°F E+ E G :~ F water
time allows you to finish a floor in one day. Not appropriate for vertical surfaces.

Available in three sheens (gloss, semigloss, and satin). Not designed for interior use.
60°F G E+ E G mineral spirits $$$$$ Some contain UV and mildewcide inhibitors. Formulated to remain flexible in a range
~ of temperatures. Requires periodic maintenance.

Available in three sheens (gloss, semigloss, and satin). Not designed for interior use.
60°F E E G F water $$$$$ Dries crystal clear. Easier cleanup than solvent spar varnish. Some contain UV and
mildewcide inhibitors. Formulated to remain flexible in a range of temperatures.
To avoid water raising grain, wipe bare wood with a damp rag, then sand off fuzz.

5 (E+) Excellent Plus - Least effort to repair. Blemishes may be spot-finished. Sand top coat and apply new finish. Rag disposal The rags you use to apply or remove oil and oillvarnish blend finishes are a
(E) Excellent - Spot repairs a challenge, but overall effort doesn't require removal of existing finish. serious fire hazard because they will spontaneously combust (catch fire) under certain
(G) Good - Sand and refinish. circumstances. The reason they ignite is because they heat up as they cure during the
(F) Fair - May require sanding or stripping of existing finish. drying process. The recommended disposal method is to put all used rags into a water-filled
(P) Poor - Damaged finish 'difficult to remove. metal container, seal the lid, and dispose of the container properly. It is important to
6 Relative cost per ounce . One dollar sign ($) represents least expensive; $$$$$ is the most expensive per ounce. remember that all of these products are perfectly safe when applied and disposed of properly.

woodma.9azine.coni 111
 REFERENCE GUIDE

~~=~ Y32
Ye4 .0156

.0313 .
.397

.794 1Y'32
3%4 .5156

.5313
13.097

13.494

%4 .0469 1.191 3%4 .5469 13.891

Yi6 .0625 1.588 %6 .5625 14.288

%4 .0781 1.984 3Y'64 .5781 14.684

%2 .0938 2.381 1%2 .5938 15.081

1'64 .1094 2.778 3%4 .6094 15.478

}Is .1250 3.175 % .6250 15.875

.%4 .1406 3.572 4Y64 .6406 16.272

%2 .1563 3.969 2Y32 .6563 16.669

1Y64 .1719 4.366 4%4 .6719 17.066

¥16 .1875 4.763 1Yi6 .6875 17.463

1%4 .2031 5.159 4%4 .7031 17.859

Y'32 .2188 5.556 2%2 .7188 18.256

1%4 .2344 5.953 4Y'64 .7344 18.653

}4 .2500 6.350 % .7500 19.050

1Y'64 .2656 6.747 4%4 .7656 19.447

%2 .2813 7.144 2%2 .7813 19.844

'1%4 .2969 7.541 5Ye4 .7969 20.241

0/16 .3125 7.938 1¥16 .8125 20.638

2Ye4 .3281 8.334 5%4 .8281 21.034

1Y32 .3438 8.731 2Y'32 .8438 21.431

2%4 .3594 9.128 5%4 .8594 21.828

% .3750 9.525 Y'6 .875.0 22.225

2%4 .3906 9.922 5Y'64 .8906 22.622

1%2 .4063 10.319 2%2 .9063 23.019

21'64 .4219 10.716 5%4 .9219 23.416

116. .4375 11.113 10/16 .9375 23.813

2%4 .4531 11.509 6Ye4 .9531 24.209

...
1%2 .4688 11.906 3Y32 .9688 24.606

3Ye4 .4844 12.303 6%4 .9844 25.003

~ .5000 12.700 1.0000 25.400

112 Get Started in Woodworking