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our passion for wood and top quality furniture. Because we love wood, we collaborate with the best regional and global designers who are familiar with. FURNITURE THROUGHOUT HISTORY The catalogues come complete with folders containing the different wood, marble and leather finishes, thanks to. We at Meuble El Chark can confidently boast of our pursuit of excellence and our long-term vision; for us, carving wood to make furniture is not just a profession.
This time, however, do not insert the end of the sidewall material under the form's metal strip. The clamping caul is visible on the right. A lap joint is be- ing cut on the bench extension.
Here, the glued lap joint is being clamped with the aid of the caul. Notice that the end of the sidewall material is not positioned under the metal strip as it was during its initial clamping for shape.
Screw a faceplate to a band-sawn turning blank with large y sheet metal screws. Then, install it on the lathe. Above the bead, notice the flange that will fit inside the box's sidewalls. Before removing the parts from the lathe, sketch pencil lines on the lid approximating the shapes to be created.
Then with gouges of various sweeps, define those lines shown above. Remove material below the line as shown above , and create the stippled texture by repeatedly tapping a nail set into the surface of the wood.
The repeti- tion of these angles—in addition to the consistent color of the walnut—unifies this piece.
Construction begins with the two sides the faces of the table showing the wide sides of the legs. Fasten the apron parts to the legs with wide tenons glued only halfway across their widths in order to minimize the potential for cracking as these cross-grained constructions expand and contract in response to seasonal changes in humidity. The creation of these joints is complicated by the com- pound angles at which the legs meet the tabletop.
The dovetailed ends of the stretcher are simpler to lay out, as these can be marked once the apron tenons have been dry-fit into their leg mortises. Once dry-fit, glue and clamp these sub-assemblies— each of which consists of two legs, apron part, and stretcher.
On the table saw, give the center stretcher a dovetailed bottom that extends from end to end. Then fit this into dovetail mortises cut into the side stretchers. Again, in order to avoid cracking as a result of this cross-grained construction, glue the tenon only across half its width. Screw glue blocks into place behind this joint to reinforce these stubby tenons.
Cut the two drawer-guide pieces to length and install them on the inside faces of the apron sides. The top is the next concern. If woodworkers stay in the discipline long enough, they inevitably become wood collectors.
My dad is no exception. Over the years he's put together a hoard of native hard- woods with an emphasis on black walnut, his personal favorite among American species. At the time this table was built, he had in his collection a number of short lengths of crotch-grained walnut he'd harvested several years before, and he selected four of these for the top of this table because the swirling grain in the walnut echoed the swirling figure in the onyx frame of the chessboard.
Once you have chosen the stock for the chessboard frame, give it a shaped outside edge, and rabbet the bottom inside edge to receive the base on which the chessboard will set. Cut the slots for the splines. You can cut these by hand with a tenon saw, but I find it much easier to perform this operation on the table saw with a Universal Jig. See 12 Please note, however, that in order to cut the slots for the splines on the frame of the chess table, the work would be aligned so that the mitered end of the frame stock sets flat on the saw table.
Thickness and cut splines, and assemble the frame. The moulding under the tabletop is not merely decora- tive—it's also functional, serving to fasten the top to the base via a number of wood screws passing up through the moulding into the top and passing through the apron into the moulding.
The drawer is a simple open-topped, butt-jointed box, to the front end of which a section of the apron and the moulding are affixed so that when the drawer is closed, both the apron and the moulding appear to run continu- ously around the table. Slide the runners screwed to the outside faces of the drawer sides into the grooves ploughed in the drawer guides.
Construct a drawer stop by screwing a strip of wood across the bottom of the drawer guides. When the drawer is opened to its greatest extension, a pair of screws turned slightly into the bottom edge of the drawer sides strike this strip, preventing the drawer from coming out too far and spilling its contents.
After finishing the table, set the chessboard into place on a felt pad. Note the shim between the drawer front and the apron. This causes the apron to be canted at the same angle as the table's legs.
Note also the spline set into the end grain of the apron. This prevents the corners of the apron from breaking off because of the grain runout on the apron's triangular tips. Screws passing up through this moulding into the top and passing through the apron into the moulding hold the top to the base. The drawer can be seen sliding in the groove ploughed in the drawer guide. When the screw turned into the bottom of the drawer side strikes the stop strip, the drawer is prevented from being pulled completely from the table.
This can be done on the band saw, but because of the length of the top, it is probably easier to cut this, at least, with a handheld jigsaw.
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Next, using a cutoff box on the table saw or crowded against the fence of the radial arm saw , form the dadoes on the underside of the top. Cut the through mortises cut using the method described in chapter twelve. Then, on the band saw, cut the through tenons at the tops of the legs. Then, fit them into their mortises. Next, cut the edge cross lap joints that will fasten the stretcher to the legs.
Two notches are required at each leg. Cut the other, 1" deep, into the bottom edge of the stretcher. Then cut the notches in the ends of the through tenons using a fine-toothed backsaw. This will prevent the tenon from splitting when the wedge is driven into the notch. After the parts have been dry-fit, glue the joints and assemble the bench. Then, dress down the glued-up panel to a flat surface and a consistent thickness.
In a shop with a big planer, this involves nothing more than feeding the stock into the machine; but in a small shop, like mine, this 15" panel must be flattened and smoothed with hand planes. If the boards used to create the panel were all flat and all aligned correctly at glue-up, you may not need to do more than scrape away the glue squeeze-out and make a couple of token passes with a jack plane. However, boards are rarely flat, often undulating along their lengths like bacon.
In such cases, more substantial plane work may be needed. I begin by exchanging the regular iron in my jack plane for one that's been crowned across its width.
This shape eliminates the sharp corners on either side of the iron's width, corners that can dig too deeply into the planed surface when the craftsman is attempting to remove material quickly.
With this crowned iron, it's relatively easy to re- move significant amounts of thickness. It does, however, leave a rippled, rather than smooth, surface, so it must be followed by a plane fit with a conventional iron. Next, cut the grooves into which the scrollwork will be inset. But the grooves in the two end panels must be handled differently. Because the scrollwork is only two inches high, stopped grooves are necessary.
You can cut these freehand with a mallet and chisel or start them on the table saw and finish them by hand.
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The scroll is then thicknessed, ripped to width, and profiled on the band saw. Following the procedure discussed in chapter twenty- five, cut the through dovetails joining the end and top panels. Then, glue-up the riser around the strip of scroll- work, and plug the holes in the ends of the grooves. Due to the circular shape of the dado cutters, a bit of material will remain in the end of the groove.
This is removed with a chisel. Matching figure and color is the first step.
Here, two walnut boards with sapwood edges are being matched. These two pieces of cherry were both cut from the same board, assuring a consistent color. Also, making the joint at the edges of the board where the lines of figure cluster close together helps to pro- duce an invisible glue line.
Once you have matched or, as in this case, contrasted color and grain, form glue joints the lowly butt joints on the edges of each board. You can create the joint by hand, using a jack or jointing plane. However, this is fussy work requiring experience and a steady hand.
You can also create the joint on the jointer, a stationary power tool designed to perform this very task. After cutting the joints, coat each edge with glue and align them in pipe or bar clamps. These are necessary in order to bring the joints tightly together. Clamp arrangement should follow the pattern shown above. Position them no more than 12"" apart on alternate sides of the panel. After a couple of hours, you can remove them; within eight hours, you can work the panel.
This rabbet will ultimately receive the glass and the glass backing. Form a radius on the two front edges of the frame stock. Then miter the frame parts. You can do this on a miter box or a table saw or radial arm saw using a very fine- toothed blade. At this point, cut the slots for the feathers that will later join the frame parts. You can cut these by hand with a tenon saw or on a table saw fit with a hollow- ground planer blade, using a Universal Jig to control the stock as it is passed over the blade.
Precision is important in the cutting of both the miters and the feather slots as these joints comprise the entire inventory of joinery in the mirror frame. Any error in these processes is very difficult to hide. The feather stock is then thicknessed and slid into the slots, marked, and cut.
The frame is assembled with glue. The hanger consists of only three parts: Fashion the blade first. After cutting its shape on the band saw, facet the top edges. Do this by hand, guided by a marking system similar to that used in the hand manufac- ture of the raised panel in chapter one. First, draw a line down the center of each edge to be faceted. Then draw lines on the front and back faces of the blade adjacent to these edges.
Then, by using a wood file to create planes, join the lines down the center of the edges and the lines The walnut wedges in the mirror frame corners are not only beautiful, they also add structural support. You could create these planes freehand, but the reference lines make it much easier to produce regular shapes. Then profile the shelf front on the band saw and facet all except the top edges in the same manner as that used for the top edges of the blade.
Glue this to the front edge of the shelf. After sanding and finishing the wood parts, place the mirror glass and a matt board backing inside the rabbet cut in the back side of the mirror frame. Hold both in place with the protruding heads of a half-dozen wood screws turned into the sides of the frame rabbet. The same faceting is used on all but the top edges of the shelf front. Several of those—for example, hot melt glues—are available in different formulas for different applications.
These different formulas increase the actual number of choices to sixteen. Sixteen kinds of glue? Without devoting significant time to study and exper- imentation, no woodworker is likely to make the perfect adhesive choice for any particular application.
And who wants to spend hours studying adhesives? In my shop, except for specialized applications for example bonding Formica-like products to wood , I've reduced the adhesive inventory to three choices: Each of these three types forms a bond that is stronger than necessary for wood furniture. The primary differ- ences are the amount of working time they allow, the ease with which joints they've bonded can be disassem- bled, and the convenience of their application.
Hide glue allows for relatively easy disassembly when making repairs and also offers the woodworker the long- est working time. It's available in two forms, each of which, unfortunately, has its own set of drawbacks.
Then, after a few days, it must be thrown out and a new batch mixed because, once mixed and heated, it quickly loses its strength.
All of this is a signifi- cant inconvenience for the owner of a small shop. The other form comes premixed in squeeze bottles just like white and yellow glues.
Unfortunately, however, its shelf life is shorter than white or yellow glue and much shorter than the dry form of hide glue. In terms of convenience, both white and yellow glue are clearly superior to hide glue. They come premixed in easy-to-use squeeze bottles.
They have long shelf life if kept from freezing, and they form an all-but-unbreak- able bond between two pieces of joined wood. There are, however, drawbacks to their use. First, because the bond they form is all-but-unbreakable, a piece assembled with these glues is very difficult to repair.
If a yellow- or white-glue-assembled chair comes into my shop needing a new rung, I have to explain to the customer that I can't predict the cost of the repair. Whereas a chair assembled with hide glue can be disas- sembled by applying warm water to a tight joint, thus allowing a fairly predictable repair time, the same chair assembled with white or yellow glue may resist my best efforts at disassembly.
On more than one occasion, I've broken the slab seat on an old Windsor trying to break loose parts that have been joined with white or yellow glue. The second problem associated with the use of white and yellow glues is short assembly time. When using these products, a woodworker may have only ten or fifteen minutes to get parts aligned and clamped before the glue grabs and adjustments become all but impossible to make.
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