Paci ic

oodwor er
June/July 1983

$1.95

California
Crafts XIII
Show Review

Women in
Woodworking
Why so few?

AND:

Pelican Carving, Part 2

Curved Marquetry Panels
Wood Finishing
Lifelike Bird Carving

From the Publisher

tween associations to cooperate on

shows, seminars, and a region ~l
I
newsletter.
With overwhelming support for the
concept of the association, the task 6f
organization began. To handle que~
tions of structure and membership ctiteria, the woodworkers selected a steering committee to sound out sentiment
and produce a constitution.
The group elected officers (see
photo): Stuart Welch, Chair; Rdn
Ashby, Seminars; Mike Laine, Show~;
Chip Galusha, Marketing; To ln
McFadden, Treasurer; Crispin Hollinkhead, Communications; and Sand6r
Nagyszalanczy, Secretary.
Later in the week, after the show had
I
ended, we had a chance to spend more
time talking to Stuart Welch about ttie
new group. "We're interested in inp~t
I
from woodworkers," he told us, "And
we're not exclusive to people already
part of the association. Nothing h~s
I
been defined as yet; we're putting this
association together to make thinh
better."
The gallery display at the sho r
demonstrated the potential of this
cooperative venture. "Woodworkirlg
associations are viable organizatioAs
and can do this kind of thing," Stuart
I
commented. "We want to start to draw
I
on the resources of all the northern
California groups and use our cOllebtive energy effectively."
Pacific Woodworker looks forwa~d
to the success 0 f the new Northern California Woodworkers Association. I
Charles Harris, Publisher

In April Pacific Woodworker went

to the first "Working with Wood"
show at San Francisco's Fort Mason.
We enjoyed the opportunity to talk
with a number of Western woodworkers, and I attended the first meeting of
the Northern California Woodworkers
Association.
Stuart Welch presides over the first public
Within hours of its first official meeting of the Northern California Woodmeeting, the NCWA staged the largest workers Association at the Working with Wood
single exposition of quality woodwork- show at Ft. Mason in San Francisco.
ing on the West Coast. In reality, the
group began to form some months be- some of the season's record rainfall, orfore, when promoters of the Working ganizers of the new group worked hard
with Wood show offered exhibit space to make the exhibit a success. The disat a discount to a group of northern play that resulted was the highlight of
California woodworkers. The promo- the show.
And just before the show opened to
ters wanted a gallery-quality exhibit
for the new show. The woodworkers the public, about 30 woodworkers asinvolved needed an entity to negotiate sembled to give formal approval to the
with the promoters, collect entry fees, organization.
Those present mentioned some pospay rug and lighting rentals, and cope
with the myriad of duties required. So sible benefits of a strong, regional
the idea of a regional woodworking as- woodworking association: improved
marketing through a cooperative galsociation came about.
Under the leadership of Stuart lery, greater publicity, etc.; improved
Welch, the NCWA produced informa- standards for custom work , through a
tion packages for participating woodreference manual for architects and
working associations, which juried others; better communications beentries to the exhibit from among their
own members.
Putting on a show of this magnitude
was a major undertaking, and the
NCWA handled the expected-as well
as a few unexpected-problems well.
From negotiating with unions about
whether pedestals were furniture or
not, to hurriedly rearranging the exhibit when the roof failed to hold back

The newly elected officers of the No rthern

California Woodworkers Association.

Pacific Woodworker

t I made 10,000 Cuts with

theWorld's Finest Blade

.. . and You can inspect
I
everyone of them!'~
I

MR. SAWDUST .. . AMERICA 'S FOREMOST POWER TOOL PROFESSIONAL

MR. SAWDUST IS W.M. KUNKEL FOUNDER OF MR. SAWDUST SCHOOL OF
PROFESSIONAL WOODWORKING .

Here's what I did: I chose a M r. Sawdust blade at random. made 5,000 cuts in Red Oak. 2.500
cuts in Birch Plywood and another 2,500 cuts in High Density Particle Board - t hen I taped
th em all back together, each cut numbered in sequence, and built two cases to put them in.

I
.
II) The quality of the first cut made with one of my Signature blades is worth the price of the

I was out to prove two things I already knew:

blade. And 2) The thousands of cuts yo u enjoy over the years will be equally perfect.
!J ust to show you the results, we've taken the ends off the cases that contain the 10,000 cuts.
(lihe cuts were made !/:!" apart and every 175 cuts taped back together into 6' lengths.) We've
pulled a few lengths out of the ca ses to show you how they were numbered with an automatic
stamp before they were cut - and that every cut is identical in its quality. PE RFECT AND
POLIS H ED! From first to last.
ITO give you an idea of how much actual cutting was involved, my Mr. Sawdust blade made
th e equivalent of 1250 cuts across I x 12 Red Oak. 625 cuts across 12" widths of Birch Plywood
a rid another 625 cuts across 12" widths o f H D Particle Board - the most miserable material
that ever went through a blade!

I can't tell yo u the complete story here . The entire procedure is ava ilable in an 8-page folder if
yo u' ll use our 800-number - and the 10.000 cuts can be inspected at Forrest Manufacturi ng.
F6r certain. we'll bring them with us to every show across the country.
I

PHONE TOLL FREE! 1-800-526-7852

Ask for "1 0,000 Test Cu ts and What Th ey Mean t o Me!"
In N.J. : 201-473-5236 or write Dept. MS-52.

---,FORReSr

FORREST MANUFACTURING COMPANY, INC., 250 DELAWANNA AVE" CLIFTON. N.J. 07014

Calendar & Announcements

Events ofinterest to woodworkers...

Arizona Woodworking
Association
The Arizona Association of Fine
oodworkers serves woodworkers interested in developing their skills and
knowledge and becoming part of the
woodworking field. Benefits include
eneral meetings bimonthly, free
onthly demonstrations, member
shows & exhibits, a bimonthly newsetter, and some vendor discounts.
Membership fee is $20 annually for individuals only. More information is
available by calling 602-840-9341 or
end your name, address, and phone
number to A.A.F.W., PO Box 44264,
Phoenix, AZ 85064-4264.

Through June 12. Mendocino, CA.

June 11. Berkeley, CA.

Mendocino Woodworkers Association Spring

Show, Artisans Guild Store, 45050 Main St. More
information available from P .O . Box 991, Mendocino, CA 95460 or call Clyde Jones, (707)
937-5300.

Tool swap meet. Contact The Cutting Edge, 1836

Fourth St., Berkeley, CA 94710 (415) 548-601 1.

June 2. Los Angeles, CA.

"Hardwood Lumber in California: Efficient Use
in the Rough-Mill ." Seminar on lumber grades
and inspection, processing, rough-mill improvement, wood waste utilization. Contact Jesse Rios,
California Dept. of Forestry, P.O. Box 1067, Riverside, CA 92507 or call (714) 781-4163.

June 4. Palo Alto, CA.

Bandsaw workshop with Brian Burns, 1-5PM,
fee $25. Contact Palo Alto Woodworking, 820
Ramona St., Palo Alto 94301 or (415) 327-5335.

June 4, 5, 11. Bolinas, CA.

Weekend seminars by Baulines Craftsman's
Guild : Art Espenet Carpenter, Jim Bacigalupi,
Roger Heitzman, Don Braden, Dale Holub,
Stuart Welch, AI Garvey, Bruce McQuilkin. Fee
$4O/day. For details contact the Guild, Box 305,
Bolinas 94924.

June 7-12. Ventura, CA.

Pacific Woodworker will publicize

events of interest to woodworkers.
Send complete information to Pacific
Woodworker Calendar, PO Box
4881, Santa Rosa, CA 95402. Deadline/or Issue 14 is June 25, 1983. Let
us help publicize your events, shows,
and classes.

Second annual CRAFT-T-CARVERS campout

and meet, for Woodcarvers Recreational Vehicle
Chapter, Ventura County Fairgrounds. Selling
show Sat.-Sun. For information contact John
Ashe -Everest, 1525 W. Oakland Ave. #91,
Hemet, CA 92343.

June 10. Los Angeles, CA.

Tage Frid lecture and slides at The Cutting Edge,
3871 Grand View Blvd. Call (213) 390-9723 for
more information.

June 10-12. Eugene, OR.

"Works in Wood 1983" juried exhibit, WiIlamette Valley Fine Woodworking Association,
Hilton Hotel. For details contact WVFWA, PO
Box 285, Eugene 97440.

June 11. Palo Alto, CA.

Workshop, .. Building Your Own Power Tools,"

with Brian Burns, 1-5PM, fee $25. Contact Pltlo
Alto Woodworking, 820 Ramona St., Palo Alto
94301 or (415) 327-5335.

June 11-19. Santa Rosa, CA.

Sonoma County Woodworkers Association " Artistry in Wood '83, " juried exhibit. Luther Btirbank Center for the Arts, Hwy. 101 and Mark
West Springs Road , Santa Rosa. Contact SCW~,
Box 1334, Santa Rosa, 95402 or (707) 823-2822.

June 12. Los Angeles, CA.

Tage Frid workshop (joinery, veneering, and finishing) at The Cutting Edge, 3871 Grand Vi~w
Blvd. Call (213) 390-9723 for more informati on .

June 12-17. Corvallis, OR.

Wood Marketing Seminar sponsored by North

American Wholesale Lumber Association, hJld
at Oregon State University. Additional infomlation available from NAWLA, 2340South Arlirtgton Heights Road, Arlington Heights, IL 60005
or call (312) 981-8630.

June 17. San Diego, CA.

Tage Frid lecture and slides at The Cutting Edge,
7626 Miramar Road #3500, (619) 695-3990.

June 18. Palo Alto, CA.

Workshop , A Radical Approach ,t o
Woodworking," with Brian Burns. 9AM5PM ,
fee $50. Contact Palo Alto Woodwork ing, 820
Ramona St., Palo Alto 94301 or (415) 327-5335.

June 19. San Diego, CA.

Tage Frid workshop on joinery, veneering, apd

finishing at The Cutting Edge, 7626 Miramar
Road #3500, (619) 695-3990.

continued on page36

Pacific Woodworker

Pacific Woodworker (ISSN 0277-576X) is

published six times a year by Charles Harris,
Box 4881, Santa Rosa, CA 95402.
Copyright 1983 by Charles Harris. Reproduction without prior permission is
prohibited.

PaCific
W oodworkpr

Subscription rates $9.95 per year, $15.95

for two years. Single copy: $1.95. Address
subscription inqu iries to Subscription Dept.,
Pacific Wood worker. Box 4881, Santa Rosa,
CA 95402. Canada add $3.00 per year. Rates
for subscript ions outside North America on
request. Unless a claim is made for nonreceipt of an issue within six months of
mailing date, that issue will not be replaced
free of charge. Allow 6 weeks for address

Volume 3, Number 1
June/July 1983
Issue 13

changes.

IUnsolicited manuscripts, photographs, art

\vork and other materials are accepted, but
Pacific Woodworker cannot assume respon~ibility for these materials. Submissions
b ust be accompanied by a self-addressed,
stamped envelope for return.
I

The opinions expressed by the authors do not

necessarily reflect the policy of Pacific
Woodworker. Editorial correspondence is
encouraged, and may be edited for publication .
Direct all ad vertising inquiries to:
Advert ising Manager, Pacific Woodworker.
Box 4881, Santa Rosa, CA 95402
(707) 525-8494.

Deadlinejor lssue 14: June 25. 1983

Bulk mail postage paid at Santa Rosa, CA
Printed in U.S.A.

Staff
'Jean M. Davis, Editor
c ontributing Editors:
\I Spike Boyd
i Bill Farnsworth
I Sheldon Harris
Joan Granucci, Circulation
Book Reviews, Alan Marks
Cartoons, Bill Atherton,
Bill Horgos
Illustrations, Mark Hallock
Charles Harris
Advertising Manager
Typography
Nickds Graphics, Digi-Type
Barlow Press, Printing
Charles Harris, Publisher

Contents
2 From the Publisher
4 Calendar & Announcements
6 Women in Woodworking by Rosalie Hellen
Why So Few?
12 The Fourth Comer by Bill Farnsworth
Tips on Finishing
14 Nature Close Up by Deborah R. Upshaw
Lifelike Bird Carvings ofBob Roberts
18 Preparation of Curved Marquetry Panels by Martin R. Zschoche
A Methodfor the Small Shop
22 California Crafts XIII Show Review
24 Letters
26 The Making of Fred, Part 2 by Maurice Norman
Carving in the Round
30 Books: Reviewsby Alan Marks
32 Joy of Doing by Paul Gerhards
A Pacific Woodworker Profile of Tom Allen
37 News & Notes
39 Classified Market
40 Power Hand Tool Wood Carving by Spike Boyd
Lesson 11: A Bluebill Duck Decoy
42 Index to Volume 2, Issues 7-12
Co ver photography: Alan Marks.
Rosalie Hellen

~
(

"

====-= . -' .-. --

--

--

B LOCK.PLAtiE

J une/July 1983

Women in Woodworking
Why So Few?
by Rosalie Hellen

Visualize a workshop, with the

woodworker at the work bench. The
project in progress, the restoration of
an antique sideboard needing repair
due to weather damage, was salvaged
from an outdoor junk pile. There are
no plans or diagrams, so these will be
created using existing pieces as a guide.
Then proper woods will be selected,
cut, carved and molded like pieces of a
puzzle, restoring beauty and grace to
this fine old piece. Suddenly the shop
door opens and a young voice penetrates the woodworker's concentration . " Mom, I'm home!" This woodworker is a woman.
Traditionally, woodworking has
been a man's field. Even in the Mendocino/ Fort Bragg coastal area in California, where art galleries and craft
workshops are common, most woodworkers are men. But a few women
ha ve chosen to cross traditional lines

and find self-expression, satisfaction,

recognition-and sometimes financial
reward-as woodworkers.
What motivates these women in their
creative quest? What are their backgrounds? What influenced their drift
away from more traditional women's
crafts like needle work, sewing and
cooking into the world of sawdust,
power tools and splinters? And why do
so few women go into woodworking?
I talked with a number of women
woodworkers to find some answers.

Deborah Doyle
Deborah Doyle lives in Greenbrae,
California and exhibits some of her
work in Mendocino. Throughout our
conversation, she projected a strong,
confident image. Here is a woman
who enjoys her work, producing beautifully turned rolling pins out o f
rosewood.
Deborah has some ideas about why
women woodworkers are limited in
number. She thinks that man y women
are intimidated by power tools. " And
sometimes women lack self-confidence when attempting somethi ng

Joan Gates once dreamed ofbecom ing an

architect. But "Girls just didn 't do thin gs
like that when I was in school. "

Dish cupboard ofredwood, stained glass

and copp er by Joan Gates.

n e w, such as woodwo rk ing . , '

Deborah thinks women may not be
cons ciou s of these feelings. "Th Iy
seem to be fighting an inner conflict j"
she said.
I

From Scientist to Woodworker.

I

Jo an Gates of Elk , California, likes

to use redwood in her work. She specializes in cabinet work, and she feels
I
.
power too Is are Important to women
woodworkers because women don' t
have strong upper arm development.
"With power tools I can do an~
thing," she comments.

Pacific Woodworker

Joan 's father was a builder and at

one time she dreamed of becoming an
krchitect. But "It would ha ve been
very difficult," she said . "Girls just
didn 't do things like that when I was in
school. I did take a class in drafting at
Stan ford. There were probably 100
students and I was one of two women
in the class!"
Instead, Joan studied physics,
worked for some years as a scientist
and teacher, and ra ised a family.
When she and her husband, Rusty, decided to move north and build their
own home, Rusty did the rough work
knd Joan did the finishing . She took a
I
short
workshop on how to use power
I
hand to ols, but otherwise is selfaught.
I Joan gets great satisfaction in figuring out how to build something. She
hses many " how-to" books; and since
she wor ks with stained glass as well as
wood, she has developed her own
technique for framing her beautiful
work .

Betsy and Co.

Betsy Hudson Pollard of Mendo cino, California, has been developing
her wood sculptures for the past ten
years, and earning a living from her
work for eight. Like Joan Gates, she is
self-taught.
I At first Betsy collaborated with a
local artist to create simple wooden
but-outs of animals . Since then she has
progressed to designing and constructing wood sculptures of Mendocino's
historical buildings, transforming
weathered redwood into charming,
quaint houses and villages, wat er
tanks, wharves, and windmills.
Tourists loved the idea tha t they
could stroll the streets of historic Mendocino, then take part of it home with
them in the form of a Betsy Hudson
Polla rd sculpture.
Dressed in a sweater and jeans,
Betsy is young and slight, and only her
work-worn hands give a clue to her
profession. "I've had people look at
my work then at me ... They seem

IlJune/ July 1983

I

Ferni COX, Power Carver

Pine Knots to Knotheads

One woman who has made wood
carving a business success carves with
power tools, not traditional hand
tools, and turns pine knots into Knotheads. That's Ferni Cox. This Fort
Bragg, California, resident started
" drilling" seven years ago as a hobby
and now sells commercially.
Her nine Dremel power tools, each
with a different sized bit, become artistic wands in her competent hands.
Ferni drills away 'til she finds her
man-shifty-eyed recluse, buccaneer
or helmeted warrior-in the wood.
Characters with open mouths, large
noses and long hair have real personalities. Buffed and stained, they come

by Kay Cooper

alive, almost members of the family.

Ferni uses the knots from each
branch where it attaches to the tru nk
of the tree. The branch part becomes
a hat or hairdo. The base of the knot
becomes a beard or chin . Somewhere
in between is a face. And such a face!
Ferni is the fire behind the wood, a
trim, bouncy grandmother with a
great sense of humor and a very mat ter-of-fact attitude about her artistic
ability.
She starts her creative process by
strapping the wood to a work table.
Tuning in her favorite radio program,
Ferni puts on her ear phones , and
she's almost ready. Her electric fan
blows the dust away as her drill seeks
the wood.
All of these Knotheads requ ire a
good deal of raw wood, with numerous trips to the back country for dead
falls and rotted trees. Ferni works
with her husband Burley to scrounge
for branches to fill the outside wood
pile. Wire brushing removes loose dirt
and anything that moves.
Ferni's inside supply cupboard
looks like a wood bin. But it's a carefully selected stash of wood with high
pitch content and no wood rot.
Off in a corner, covered with spider
webs and dust, is an early, somewhat
timid Knothead. Later Knotheads are
more forceful and sure of themselves.
True collectibles.

Betsy & Co. produce complex sculptures like the one shown above . From left to right,
JoAnn Clark, Stella Salo, and Betsy Hudson Pollard. Betsy, who has been creating sculpture/ora decade, is teaching her skills to JoAnn and Stella.

surprised, like they expect to find

someone older has done the work."
She compares the skills used to operate a band saw to those of using a sewing machine. The use of such tools,
she agrees, demands total concentration for safe operation and completion of complex projects. "My knowledge snuck up on me! Suddenly I
knew what I was doing ... I feel I can
do anything if I work hard and practice every day."
Betsy now feels the need to move on
in pursuit of other creative interests.
But she's teaching her "trade secrets"
to some other women, Stella Salo and
JoAnn Clark.
Stella has a background in needlepoint, crewel and latch-hook, and ac-

Work by the craftspeople mentioned

in this article may be seen at The
Melting Pot, The Mendocino Art
Center and Personal Expressions in
Mendocino, California; also at Todd
Farmhouse and Karen-Has in Fort
Bragg.

cording to Betsy, "She catches on really fast." Stella has been working with
Betsy for ' only seven months, a few
hours a week. Stella's family and
friends support and encourage her endeavor and she feels comfortable with
the nontraditional role she has
assumed.
JoAnn Clark, the third person in the
Betsy and Co. group, began woodworking by helping Betsy assemble the
sculptures. Although her childhood exposed her to typically feminine roles,
she literally sparkles as she talks about
learning woodcraft. "I love it when we
finish a piece and we can stand back
and see what we've accomplished! As
with Stella, her work has earned the admiration and respect of her family.
There is a warm camaraderie among
these three women. They are happy doing what they do well, and their being in
a minority is immaterial to them.

Dee Freeman, Woodcarver

The daughter of a lumberjack
wife of a carver, Dee Freeman
been carving wood for 15 years.
until recently she rarely sold or
played her work.

and

h~s
B~t
di~-

As a child, raised in the Northern

I
California redwood country, the ultimate was to have a pocket knift
She recalls making swords of redwodd
and even then loved the grains. She
I
was curious about how woods split,
their colors and their textures . She
laughingly suggests that, because hbr
father became a lumberjack when he
was 13, she may have sap in her vein~!
As she acquired more skill arid
I
knowledge of woods, Dee began refinishing and restoring antique furriiture. She used her wood carving skills
to replace damaged gingerbread carvings that can hardly be distinguishJd
from the originals.
Later she began miniature reproductions of family furniture and found
herself doing some of the same cirvings in 1/12 scale.
I

Pacific Woodworker

I Dee,s .interest

. carving
.
m
statues,
bellows and spoons began when she
married and her husband, also a wood
9arver, presented her with a pocket- .
~nife instead of flowers. The pocket
knife has since given way to a large
~ollection of carving knives and files.

Dee strives for perfection, spending

hours in preparation, especially when
t ing her miniature reproductions.

These successful women woodworkers have some things in common.

v nafraid of power tools, they respect
f hat such tools can do when used
safely. Unbound by traditional male/
~emale role restrictions, they enjoy de~eloping new skills and using them
creatively. And for most of these
I
.
f omen, other people in their livesparents, spouses, friends and teachers
t encouraged and supported their
ventures into woodworking.
Will these women always be a
rpino ri t y in woodworking? Are
~lented women nowadays being en-

r Uraged to explore a nontraditional

craft, and to develop skills in this

field? The secondary school programs
in the area provide a hint of what the
future may hold.

School Woodworking Programs

At the junior high school in Fort
Bragg, California, all seventh grade
students, boys and girls alike, are required to take one quarter each of
mechanical drawing, horne economics,
arts and crafts, and woodshop.
According to principal Jim Kirwan
the program was initiated five years
ago. In the beginning, some parents objected to their daughters taking woodshop or their sons taking horne economics. The cross-over into nontraditional roles for the students seemed to
be the main objection. Gradually, however, the program has been accepted
and is now successful.
When I visited the class of" Pepper"
Ball, mechanical drawing and crafts
teacher, I found the classes well organized but relaxed. Each student went
about the business of setting up her/his
project, occasionally talking quietly to
a neighbor. As I watched, students
drifted up to the desk for advice about

the current project. Each was given

guidance; there was a comfortable feeling of mutual respect flowing between
teacher and students.
Wooden quail and ducks in different
stages of completion, from rough cutouts to the emergence of fine feather
detail, line the walls of the classroom. I
had to remind myself that the craftspeople responsible for this work were
13- and 14-year-old 7th grade students.
"Woodworking is introduced after
mechanical drawing here," Pepper
Ball explains, "So the student has a
good foundation on which to build and
expand skills." He finds achievement
the same for both boys and girls in this
grade. "Girls have the same abilities
and apply their skills and knowledge as
well as boys . And some girls may excel
in the area of fine detail and finishing
work. Girls seem to be able to work
long hours on fine detail or repetitious
work better than many of the boys."
Good feedback is important, Mr.
Ball emphasizes. The reactions of the
instructor, other students, and most
importantly, parents, to a completed
first project may determine the student's attitude toward the next project.

Left, Bellows Dee Freeman

carved ofbirch. Right, Dee
carefully sands a piece of
her work. Her main work
area is her kitchen table.

June/July 1983

Seventh graders at Fort Bragg Junior High

taking theirfirst woodshop course. Comments
rangedfrom "I've been waitingfor this
all year!" to a casual, " My father has a
shop."

I found the same controlled but relaxed atmosphere in the woodshop.

Here shop teacher Don Winkler echoed
Pepper's opinions: ability and achievement between boys and girls in the 7th
grade are the same.
But as students pass on to upper
grades, the number of girl participants
declines. Three boys and ten girls are
currently enrolled in 8th grade workshop and thirteen boys and four girls
are enrolled in the 9th grade workshop.
At the high school, only one girl is currently enrolled in the woodworking
program. Because the junior high's
program started so recently, it's too
early to tell if the enthusiasm I saw at
the 7th grade level will carryover to the
high school level eventually.

The Future
What does all this mean ? Does tradition mean that we won't be able to
enjoy the talents of some fine woodworkers because, as women, they
can't participate fully in the nontraditional area of woodworking? Despite
the pattern of interest I found at the
secondary school level, I don't think
so.
Those adult women who are quietly
woodworking will continue to do so,
and will gradually get the recognition
they deserve. Their success will influence the attitudes of other women.
Young girls, like those at Fort Bragg
Junior High, who participate in woodworking programs, will carry their introduction to woodcraft with them into adulthood. Unlike most of their
mothers, these girls are at least being
introduced to working with wood.
And even if they don 't pursue woodshop courses in high school, their early
interest may surface someday to improve and enrich their lives.

10

AS THE CASE
UNFOL,r~
. .<.. -:.. :-.... '."~ .\j
,'
}J~
I &i:J

~~'

~'. -

).,

' 'I,

..,

. . : obviously my dear Watson

it's a great product. To find out
how great try this 12 piece set of
most often used drill bits from
Morris Wood Tool. Crafted of
only the finest carbon tool steel
available and packed in a solid
mahogany case. Sizes range
from lfs " to 7 1 6 " for a %" drill
chuck and from 112" to 1" to fit a
112" drill chuck.

$ 78. 00
including
shipping

.'
' ...... ~""'~

'IORRIS "OOD

. "

#fil/IIP

T6()LCO., ,,,.

Hwy. 11-E. P.O. Box 249.

Morristown. TN 37814

It's true that women woodworke rs

are still rare. But talented woodworking women are not only coming out of
the closets-they're building them!

About the author.' Rosalie Hellen is a

freelance writer who lives in Fort
Bragg, California.

Pacific woodworJr

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.
.
S
hO an d t h ei
instructions
are 10
pams
stuff must be thinned with essence df
llama.
Only recently have I begun to reI
search the complexities and perplexities of finishing, only recently am I
I
confident enough to move beyond
Watco oil. I understand there ar~
people with Ph.Ds in chemistry and
industrial engineering who specialize
in this field . Whole tomes have beeh
published on the subject (yet surprisingly few which are clearly writte n
and readily available"), As yet I am
far from an expert. But since m~
ignorance and anxiety over wood

THEV

FOURTH
CORNER

finishes is widespread in our craf~,

let me briefly share some of th~
salient do's and don't's of finishin g
I've thus far learned the hard way.

Tips on Finishing

by Bill Farnsworth
I have learned by trial and error
that there are better ways to learn.
Some woo dworkers are fortunate to
be schooled by or apprenticed to
master craftspeop le. Others learn the
fundamentals fr om shop instructors
or factory supervisors, then later
develop higher levels of expertise.
And then th ere is the rest of us, too
ignorant at the ou tset to know the full
depth of our ignorance, and too
stubborn to quit trying - and erring until we finally get things satisfactorily
right.
After nearly a decade of muddling
through, I can finally join boards so
they will stay joined, build projects
with right angles that in fact end up at
90, even cut a passable dovetail. I
even have learn ed the under-rated art
of scraping and sanding. But as has
been the case with so many of my trialand-error-schooled cohorts, the last
stage of woodworking remains a
lingering mystery and potential pitfall: applying the finish. It is always
the most anxious part of any job.

"Two coats of Watco works unfailingly ," say some of my cohorts,

"With maybe a coat of wax over that
if you want high luster ." Oh if only
it were that simple every time! They
do not have clients asking for cheap,
Phillipine mahogany to look like
ebony, with a mirror finish no less.
Or interior designers who specify
FAS hardwoods and then demand an
eighth-inch thick build of desert beige
or elephant gray spra yed over it. And
there is always the innovative architect who specs out a product he heard
about from a colleague in Peru: its

The quality of the final finish isI

directly proportional to the fastidiousness of your f inal sanding and
surface preparation. For oil finishe~,
sand to 4OOX, for surface-build firiishes like varnishes and lacquerJ,
aim for at least 220 grit. Dust ever~
thing meticulously after sanding, then
again, then again. Surface flaws irivariably are compounded, not cori-

artJ

One exception is an excellent

entitled "Finishes", by John Ingalls,
in The Wood Book by Jan Adkin ,
Little, Brown & Co ., 1980.

Spray lacquers produce high gloss finishes

quickly and easily, but don 't omit the vapor
mask.

12

Pacific Woodworker

Led,

by finishes. Some putties,

fillers, caulks and spackling com~ounds chemically react to certain
finishes,
and you are ahead of the
I
game if you don't need to use them
in the first place. If you do, read their
labels, consult your dealer, and always
do a test on a piece of scrap before
bommitting yourself.
Never wax a piece (or use waxbasedproducts like putty sticks) until
you are certain you are finished finishing. It is wise to wait until your
work
, is installed in its permanent
home before waxing, as shipping and
delivery can cause dings and scratches
I hich may need re-touching. Amost
no
wood finish will lay down satisI
factorily over waxes. Lacquer over
k ax, for example, turns into a dis~sting goo that will have you scraping the entire finish off and starting
I
over (Farnsworth's horror story #173).
It is probably wisest of all to avoid
wax entirely. Waxy yellow build-up is
~ fact, not advertising hype. A corollary: always thoroughly clean pre~ouslY finished furniture with a waxdissolving agent (tri-sodium phosphate
works well) before refinishing. The
piece undoubtedly is imbued with
years of Pledge.
I
As always, simplest is usually
best. For most woods and applications,
I
two or three coats of Watco, tung
6il, Seafin, Profin, or Sam Maloof's
~ecret sauce (l/3rd Tung oil, 1/3rd
bolyurethane varnish, 1/3rd boiled
linseed oil-my personal favorite in
bil finishes-see Pacific Woodworker
Issue 7) all work fabulously. Wipe or
I
brush on generously, let them set-up
for awhile, then wipe off. These oils
and resins chemically bond with
~obd as opposed to straight varnishes
~nd lacquers which only coat over the
k ood surface. Penetrating oil finishes
tend to be harder to ruin and easier
to repair.
I Higher technology finishes, such
as modem spray lacquers, build quickly to as high a gloss as desired,
two coats for a mirror finish.

r uaUY

:Tune/July 1983
I

your home. Lacquer thinn er, which

atomizes in the spraying process, contains noxious chemicals like methylethyl-ketone (MEK), and at best gives'
you headaches and at worst could
eventually damage your nervoussystem.
Always wear a respirator around this
stuff! Your exhaust fumes should
not be aimed towards your neighbor' s
bedroom window or the cafe next
door to your shop, either . Consult an
industrial safety equipment supplier
about safe and sane spray booth setups.
For a first coat , a sanding sealer
Equipment for spray lacquer finishing includes should be sprayed on to seal the pores
the compressor, hoses, spray guns, filter and of the wood. This sealer coat is
respirator mask.
then sanded with 220 grit paper to
The big advantage to spray lacquering provide a smooth base for the lacquer.
is the unsurpassed speed with which Wipe the sealer and succeeding coats
large surfaces and production runs of of lacquer to remove dust for a flawmany pieces can be finished. Drying less finish. It is also best to maintain
time between coats usually is an hour your finishing area at 65 OF or higher;
or less. Lacquers also can be tinted lacquers tend to crinkle like orange
to any hue, or pigmented to any color peel at lower temperatures. Various
of the rainbow, eliminating the heating systems are available, but
staining process and providing a su- again consult your local fire code
perior alternative to paints. But you about what is permitted . And for
will need a compressor, air hoses, heaven's sake, don't smoke around
spray guns, an effective oil/water fil- these highly flammable areas!
I use spray lacquer often , as it is
ter, and good vapor-proof respirator
time-and
cost-effective for much of
masks. A relatively dust-free environment with excellent ventilation (ideally the commercial work I do. The better
up to stringent explosion-proof fire catalyzed lacquers are extremely hard
codes) is a must, and should be walled- and water/chemical resistant, but are
off from other non-masked, air- not resistant to thinner-based chemibreathing humans. Lacquer and lac- cals like nail polish remover. For
quer thinner fumes can travel through smaller, finer work, however, I still
stud-walls, plasterboard, etc., so prefer oil finishes, which have a far
don't use them in a room attached to
contin ued on page 38
Bill Farnsworth is a custom cabinet/
furniture-maker and Contributing
Editor. His address is Lens and Ham mer Woodworks, 4349 Leary Way
NW, Seattle, WA 98107. Replies to
The Fourth Corner and information
of interest to woodworkers in the
Northwest should be sent to The
Fourth Corner, Pacific Woodworker,
P.O. Box 4881, Santa Rosa, CA
95402.

13

Lifelike Bird Carvings ofBob Roberts

Nature Close Up
by Deborah R. Upshaw

A pair of great blue herons glides

silently over the glassy water. They
come to rest along the river bank only
twenty yards from my concealed position. What rare and elusive creatures
they are. Impossible to approach,
much less hold. Yet we can get a lasting
sense of their beauty from the wonderful, realistic carvings of Bob Roberts.
A visit to his home and workshop in
Trinidad, California reveals a large col-

lection of nature's winged delights. I

see and touch colorful bufflehead
drakes, mergansers, dancing grebes
and chickadees. Common backyard
birds like flickers, robins , and bluejays
poise dynamically. A bright red-orange
cardinal stands ready to snat ch up a fat
earthworm. Two hum mingbirds
dangle from the air, supported by
threads and wooden handles, with
wings in a fluttering pose.

A carver of both miniature and fullI

scale models, Roberts, age 70, tran sforms rough blocks of wood into nurrierous ornamental birds (land an d
shore) and decorative decoys (wate~
fowl replicas that have not been hollowed out). More than thirty years ago
Roberts read a woodcarving book by
John Lacey. The author carved miniature birds and Roberts was inspired. "I
went through the book and carved all
the ones Lacey carved, " the self-taught
woodworker explains.
I
After Roberts retired from his job as
a design engineer at McDonnell
Douglas Aviation, his hobby turned irito a stimulating second vocation. Tdday he shares his knowledge and experience with others by teaching bird car+
ing at Humboldt State University's
I
Continuing Education Department in
Arcata, California.
I

About the author: Deborah R .

Upshaw is a freelance writer and fr Jquent contributor to Paciji b
Woodworker.

(left) Bob Roberts holds an upland plover,

from his large collection of carved birds.
(right) California quail-tung oil on redwood
finish gives a natural touch . (far right) kingfisher-basswood body, legs of solder, and beak
made from 3/4" dowel.

14

Pacific Woodworker

He remembers the first class he

taught about two years ago. "I only
had five students at first. After the
irord got around, enrollment jumped
tb a full class of thirty students or
rhore."
.
In his lO-week course, students begin
with a block of wood that has been
ioughed out on a band saw. "I give
{hem a booklet of instructions I wrote
I
up,
but real know-how only comes
I
from
hands-on experience," he says.
I
By the time the class ends, they comI lete a bird carving.
"At first students tell me, 'Oh, I can
never do this,' and I tell them, if you
9an peel a potato, you can carve a bird.
It's true!" says Roberts, grinning. He
~oints to a block of redwood that faintly resembles a bird, "This one here is
$oing to be a sandpiper."
I The main tools used are carving
knives. "You don't need a lot of expenJive tools to carve birds," he says.
I
r y ou can carve 900/0 of the whole bird
with just one blade."
The novice gets a set of six different
blades in a vial and one handle. The set
[
costs $lO.OO, ordered from the Warren
I
Tool Company of Rhinebeck , New
York. Roberts brings out a knife that

June/July 1983

he's used for thirty years (one which

came from the Warren Tool Co.), "It is
still as good as the first day I used it,"
he says. He believes it's important to
invest in good quality knives.
Roberts handcrafts some of his own
knives: one was made out of an old
hack saw blade, another he fashioned
from a jig saw blade. He has more than
fifty knives, yet he relies mostly on a
straight knife or a sloyd knife-two of
the best bird carving tools.
Knives must also be kept razor
sharp. " A dull knife is utterly useless,"
he explains. So students learn how to
sharpen and care for their tools. "I
make a little stick for them. On one side
is a very fine emery cloth, about 600
grit. On the other side is a heavy ticking, which is heavy canvas . You rub
jewelers rouge into it and then rub the
blade back and forth."
Cheap, dull knives result in poor
craftsmanship and injuries. "I would
be carving with an inferior knife and
the blade would snap on me," he says.
"Either I got cut, or ruined what I was
trying to carve."
When it comes to selecting wood for
carving, his first choice is basswood.
Basswood, however, is expensive and

harder to get than some other woods.

Old growth redwood is his second
choice.
"A lot of people say you can't do detail on redwood. That's not true," he
says. "You can do all the detail work
you want with old growth redwood; at
least, I've found that you can." Unlike
second growth redwood, he explains,
"Old growth redwood is soft all the
way down . Second growth redwood is
harder on the rings and soft in
between ."
His third choice for wood is an Eastern white pine. Many students select a
laminated Western pine which is
accessible and affordable. They use
large pine blocks to carve wood ducks,
mallards, and buffleheads. Roberts
teaches them how to follow the right .
direction of the grain and how to use
the knives correctly .
Some bird carvers use wood burning
tools to get detail and texture on areas
where the feathers are more pronounced, such as the wings and tail.
Others carve individual feathers, up to
1/ 16" thick or less, and then glue each
one on separately. Roberts prefers to
hand carve details directly onto the
wood.

15

Besides the band saw mentioned

earlier, a contour sander is the only
other power tool he uses. In lieu of
hours of hand sanding, the contour
sander beats itself into tiny crevices you
couldn't get to by hand.
At this point the birds are left
natural, finished with tung oil, or
painted. Roberts laughs, "My wife
likes the ones left natural. I like the
painted birds. If I make a mistake, I
can fill it with plastic wood and paint
right over it. "
The painted ones first get a coat of
gesso and dry overnight. He prefers oil
paint to acrylic. "I've never had much
luck with acrylics," he says. "I'd get
one side of the bird painted and by the
time I got to the other side it was dry.
Oil paint dries slower and you can
blend colors more easily." He studies
photographs and illustrations to get
colors and markings as true to life as
possible.
What about the odds and ends like
beaks, eyes, and feet? The beak he
usually makes out of a piece of dowel
glued into place, then carved to the
desired shape. Some beaks or bills are
carved directly on the original block of
wood. The eyes are made of glass obtained from a taxidermy company.
Legs and feet are made out of nails,
solder or thread. Solder works very
well since it bends easily.
The final step is mounting the bird to
a base with glue. It's not surprising that
Roberts uses natural saltwater driftwood for most of the base, since he
lives only a mile from the Pacific
Ocean. He often spends a relaxing
afternoon collecting driftwood for his
bases or just observing the many birds
and waterfowl found near his home.
Though originally from Boston,
Roberts and his wife, Marie, decided
that Humboldt County was an ideal
retirement spot after a brief return to

Bufflehead drakes-showing both miniature

and full-scale models,

the East coast in the early 70's. "The

day we moved back to Boston it was 17
degrees below zero," he says. A few
more reminders of what New England
winters were like quickly convinced
them to return to the Pacific Coast.
But while back East, Roberts made
the acquaintance of nationally famous
bird carvers like the husband-wife
team, the Warfields, and Peter Peltz,
owner of Cape Cod's Bird Bar.
He also discovered that bird carvers
in the East get ten times the price that
Western carvers do. Still, he successfully sells his birds here. While most of his
prices range from $50 to $100, he can
get $600 for a full-scale bald eagle-a
project requiring several months of
work.
Roberts also carves reliefs, wall plaques, and costume jewelry. Earrings

and pins he cuts from lattice wnolI

(basswood, redwood, or pine) which is
1-1/2" to 1-1/4" wide and 1/4" thic~,
and sells at modest prices of $4.50 uJ..
"Any kind of wood can be used fdr
jewelry," he states. "Pin clasps a+
simply glued onto the birds with Duco
household cement, clamped with ~
clothespin, and set to dry overnight.'
A member of the National Wood
Carvers Association, the National
Audubon Society, and the National
Wildlife Society, Roberts finds ideas
for his many projects in the volumes 6f
literature they publish . He also browses
through magazines to get ideas. His
birds have been displayed in banks, arts
and crafts shows, andexhibitions at t~e
Humboldt Cultural Center in Eurek~,
California.
Through his experience in carving
birds, Roberts has become quite familiar with the appearance, habitat, add
peculiarities of numerous specie~.
Some of these facts about them enliveb
his creativity-like knowing how 'a
woodcock dances, taking three steJs
I
forward, two steps backward, then
stepping forward again.
I
Furthermore, the finished bird, one
of nature's charm s, willalways be thete
' It may not sing,
.
h oot , or
I
to enjoy,
quack, but it will never flyaway!
I
I

Student's materials: six blades, and rough

block of redwood.

16

Pacific woodworkJ

The Industry's Premiere International Showc~-+See the latest innovations in products and services in the woodworking ,
upholstering, bedding, cabinet , furniture manufacturing and related
industries. Over 600 exhibitors from more than 25 countries.
The Los Angeles Woodworking Show offers you the opportunity to see
the most extensive display of machinery and supply exhibits: fabrics,
fasteners, adhesives, upholstering supplies, material & equipment ,
hardware, tools, computers , plastics, textiles, plant & packaging
equipment, laminating equipment & supplies , fixtures, metal & metal
parts, finishing products, wood & wood components and robots , as well
as the most up-to-date machinery available.
THE WOODWORKING FAIR ALSO OFFERS :

15 Fact-Packed Educational Workshops

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FREE ADVANCE REGISTRATION: Fill in the coupon below and mail

before August 15, 1983. Your badge of admission will be mailed back to
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SPONSORED BY
THE ASSOCIATION OF WESTERN FURNITURE SUPPLIERS ,
Los Angeles Convention Center, 1201 So. Figueroa Street.
Open to the trade only. No one under 16 admitted .

Woodworking,

Please photocopy this form

for each additional registrant

Furniture
Supply Fair

Check on8 box In each category

Primary Services
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1 0 Manufacturer
8 0 Furniture, Wood
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13 0 Cabinets
7 0 Other
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I Machinery and
I
I

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18 0 Plywood-Veneer
19 0 Industrial Wood Products
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10

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eo

tIt. Wi !~J.~t. }?mMi WA ~$J

Your Name , First, Last

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J une/July 1983

17

Preparation of
Curved Marquetry Panels
A Method/or the Small Shop
by Martin R. Zschoche

Large commercial shops prepare

curved marquetry panels by building
up veneer lamination with the use of
heated hydraulic or pneumatic presses
to maintain the curvature as the glue
cures. The small shop, unequipped
with large machinery, may be hard
pressed for ways to create curved furniture panels. This problem presents an
even greater challenge to the marquetarian desiring to overlay such work. I
found that the use of specially built
cauls and the standard homemade
veneer press will produce satisfactory
results.
I will illustrate this method with the
example of a mahogany church tabernacle measuring IS" x IS" x 21-3/4" .
Each of the three stationary sides and
the door panel have a shallow bell curve
with a I" deflection from level and
measure approximately 13" square.
Quartered panels with the same curvature deflection as the sides form the
roof of the tabernacle. All remaining
structures are made from solid
mahogany.

About the author: Martin Zschoche

is a professional woodworker in Vista,
California, who specializes in marquetry, custom woodworking, and church
projects.

18

The completed mahagony tabernacle.

I built' two identical curved cauls, or

sets of forms, for the purpose of building curved panels with the intent of
overlaying marquetry. Each set consisted of concave and convex halves cut
to the exact curvature (though larger in
dimensions) of the final panel. One
caul was reinforced for use in the
veneer press, while the other was built
to cradle the marquetry facing during
construction and prior to overlaying.
I constructed the marquetry design
in its 1I2S" veneer thickness on the
convex half of the non-rein forced caul
to avoid the undue strain on joinery
which would occur if attempt were
made to glue a flat marquetry face onto
a curved surface. Marquetry built on a

curve naturally has more dimension to

each piece around the curve than the
same design created on a flat surfac~.
When lifted, it shows a built-in curve
and if laid on a flat surface, would disintegrate. Therefore, it should remain
in the caul, trapped between upper arid
J
lower halves. You may work on tile
underside of the marquetry, if nece~
sary, by simply assembling the tJo
halves, sandwiching the marquetr~,
and inverting the whole caul. Remo~
ing the convex half reveals the unde~
side of the marquetry which is conti~I
ually supported by the concave half.
When not working on the marquetfy
itself, assemble the three part sandwich
to stabilize the veneer against humidi y
changes.

Making the Cauls

I started work on the cauls by makI
ing a cut-out card template of the
curves to be used . Note that the raditis
I
of curvature of the concave caul is
greater, by the thickness of the fih-

A source 01 additional ;nlarmaJn

about marquetry is the Marquet~y
I
Society of America, formed in 1972,
which includes experts and beginners,
professionals and hobbyists. You cJn
I
contact the MSA at P.O. Box 224,
Lindenhurst, NY 11757.

Pacific Woodworker

The kerfed core of the panel flattens out

when removed from the veneerpress.

Adding soft veneer to both sides ofthe panel

locks the curve.
The curved panels are cut to size and shaped
for assembly.

ished panel, than that used for the

I
convex caul. These curves then
I
became the standard for both sets of
I
cauls.
I nailed four pieces of I" x 4" x 15"
pine together in a stack for each caul
and then transferred the curves to the
t6p piece, centered in both directions
d ee Figure 1). Additionally, I marked
five symmetrical, widespread positions on the face board and drilled
through
the stack with a 5/8" spade
I
bit. These holes will eventually hold
I
dowels which define the length of the
caul. I then cut the stack on the line of
the curves with a bandsaw yielding
t~o halves (see Figure 2).

After removing the nails and inserting dowels in the holes, I spaced the
caul parts equally along the length of
the dowels and secured them with finishing nails. The cauls now assumed
their final dimensions (see Figure 3). I
attached heavy non-corrugated cardboard over the open lattice cauls with
small nails or staples. To further
strengthen the surface, I glued two or
three layers of white oak veneer with
the grain running from top to bottom
on the cauls. (You could also use thin,
flexible plywood, which would be easier to assemble and stronger as long as
you could get as much curvature as
needed; I used the cardboard-veneer

Figure 1: Nails temporarily hold the caulframes for cutting and

drilling.

'-.

layers because the materials were readily available and because I could
achieve the exact curve I wanted.)
Each half caul also received two
cross supports on its outer side. The
caul set to be used in the veneer press
received three support pieces on each
side of the half caul to assure even
pressure on the final panel (see Figures
3 and 4).

Preparing the Panels

Each panel began with a piece of
5/8" particle board cut to exact
dimensions from top to bottom and
overlapping dimensions from side to
side. I rabbeted the top and bottom

Figure 2: Two identical sets ofcauls speed assembly.

- -- -

curveprofiles

June/ July 1983

19

edges of the stationary panels with

tongue joints toward the upper side of
the panel. The door panels were cut
square.
The back of the panel to be bent
must be slotted with numerous parallel
cuts from top to bottom on a radial
arm saw. I made my cuts to two-thirds
of the panel thickness and approximately 3/16" to 1/4" apart. The series
of cuts should cover the entire expanse
over which the panel will be bent. I left
two inches on either side unslotted to be
trimmed and rabbeted for tongue
joints later . The panel will naturally
lose some of its dimension from side to
side when bent in the press and final sizing is best left until later .
I then dampened the newly slotted
panel slightly on both sides and loosely
centered it between the two halves of
the reinforced caul which had been
lined with sheets of wax paper. Next I
placed the assembled caul in the veneer
press and applied gentle pressure from
two clamps on the cross supports.
When completely compressed, the
panel sat for an hour in the press, before being removed and air dried. The
unveneered panel will not yet retain its
final configuration and will spring

add cross supports ~

to top and bottom

'~n =h 'd'

----,rr-- :.21..

---o

._- . -. "

Figure 3: Dowels separate the frames while cross supports add strength.

ter's aliphatic glue to both sides of thl

particle board core and then loosel~
sandwiched the core between the tW6
veneers. Then I quickly placed thb
sandwich between the reinforced caul~
and into the veneer press. I slowly a~

back somewhat when released from the

press.
Then I prepared two cross-banding
veneers of soft texture so that their
grain would run from side to side over
the curve of the panel. I applied carpen-

Figure 4: The completed caul is ready for the first panel.

...

_---~-__tl"

cross supports
"---...........~ _....,.._ _......,......,.....

"'7,.......

end view

2x4

r:

I-.........- - - - - - . . - - -.......----e-~~~_r---l
-"-- -. .: -_..-

Ix4

. . ~. ~ '"

1'' '', 1'...........

cross supports

20

Pacific WOOdwork..!

The finely finished tabernacle.

Contact cement bonds the marquetry layer to the completedpanel core.

plied gentle pressure, making sure that

a:ll parts remained centered until the
I
press was fully compressed. After curihg overnight, I trimmed the veneer
edges and the panel to final dimensions
I ith rabbeted tongue joints. At this
point the three layer lamination retainits final shape and was ready for a
I
front and back face veneer or marquet~y with grain running from top to botfor stabilization.

dI

tbm

Next I constructed the face veneers,

applying the pieces with contact cement
to assure accurate locating. I pressed
each assembled panel, now a five-part
lami nation , between the reinforc ed
caul halves in the veneer press. The
final panels I jointed on all four sides,
except for the door panels which were
square cut.
The work is now ready for assembly
and finishing.

A homemade veneer press provides the slo w, gentle pressure to bond the panel.

New Interest in Old Craft.

Readers unfamiliar with the craft
of marquetry may find the following
definitions helpful:
marquetry - the art of wood inlay
in which patterns or pictures are built
from naturally colored hardwood
veneers and overlaid onto a wooden
background.
veneer press - in this article, a device containing heavy, commercially
available metal screws designed to
press marquetry pictures against
their background during gluing (see
photo, page 21).
caul - a set of shaped, mirrorimage frames used to press and shape
curved panels.

June/July 1983

21

California Craft
A Pacific

Last March and April, the Crock'er

Art Museum in Sacramento provid~d
the site for California Crafts XIII,I a
juried exhibition of outstanding crafts
I
by artists throughout California. The
exhibit gained added prestige becausd it
was juried by Lloyd E. Herman, DirJctor of the Renwick Gallery of the

Morgan's "Writing Desk and Chair"

(Detail: "impossible" bend is clever illusion).

/'

22

Pacific WOOdworkl

~III
odworker
I
how
Review
I
Smithsonian Institution in WashingI
ton, D.C.
i Of 601 entries, only about one in
four was selected for the show, and the
Jxhibit included crafts in a variety of
media-metal, fiber, clay, and glass as
I
well as wood.
I The show was presented nicely in a
'l'high-tech" environment, which the
Creative Arts League, sponsors of the
biannual show, designed to contrast
~ith the handcrafted pieces chosen.
Both traditional and contemporary deJigns were represented in the exhibit.
Woodworkers earned about a quarter of the show's awards, including the
I
Aerojet Strategic Propulsion Com~any ' s special award for James
Taylor's wooden clock (see photo).
Woodworkers who won Creative Arts
League awards included Richard
Silvera of Durham, CA, for a folding
. screen of claro walnut and stained
~lass, and Michael Pearce for an inlaid
occasional table.
Helge B. Olsen and Michael Murphy
crafted
their "Library-Ladder & Chair
I
from 3/4" baltic birch plywood. Their
design dates far back into European
history, but their use of Baltic Birch
~nd modern cut-out form is new. The
seat is hinged in the middle and its back
flips over to make a ladder. In traditional design, the two back legs would
teach down to the floor. Here they are
I

truncated, and one might ask whether

or not two inlaid butler's tray hinges

can support body weight by themselves
when the piece is used as a chair.
"Writing Desk and Chair" by
Robert Morgan is made of cherry,
zebra wood, and koa. The framework
for the matched pieces, of bent laminated cherry, creates an impression of
having made an abrupt ISO-degree
reversal at the apex where front and
back legs meet. At first one wonders if
it is really wood at all, but close examination reveals separate front and
back legs have been glued and shaped
to create a clever illusion.
"Executive Chair" by Alan Marks
of Pacific Grove, of rosewood and
leather with ebony accents. Commissioned by a couple in Menlo Park, the
design is a contemporary interpretation
of a traditional Arts and Crafts
mainstream.
James D. Taylor, a retired carpenter
from Sacramento, built his "Wood

_ l

t"!'" 0

~-

"Library-Ladder and Chair" by Olsen and

Murphy .

Clock" of cherry, alder, redwood, walnut, and lignum vitae. Most contemporary wooden clocks break decisively
with tradition; Taylor's masterpiece
not only tips its hat to tradition but carries it one step farther. The clock's

Marks's "Executive Choir"

I
I

June/July 1983

23

wooden escapement and gear train are

Taylor's own design. Taylor carefully
calculated ratios, diameters, and tooth
sizes, then laboriously inlaid into a
cherry groundwork each individual
gear tooth made from lignum vitae for
its strength, lubricating qualities, and
resistance to wear. Separate dials from
top to bottom display the hours,
minutes, and seconds. All pivots in the
eight-day movement are of lignum
vitae, including those in the wooden
chain links. Even if the incredible accuracy and disciplined workmanship
were not impressive enough, one could
not remain oblivious to the clock's harmonious proportions and tasteful
decoration. And where accuracy is concerned-Taylor says the clock gains or
loses only a few seconds a day.
Eben Warren Haskell's "Equalizing
Dictionary Stand" (42" x24" x 16", of

Photo by John MN

Haskell's "Equalizing Dictionary Stand"

macacauba) was a birthday present

I
from a client to his wife. His client had
asked Haskell to produce the stand fOF
his wife's birthday on two weeks 'l
notice. Haskell begged off, but had it
ready a year later for the next birthday J
As much a piece of sculpture as a standJ
it is designed so that the two uppermost
pages of the open book will always re1
main on the same level. The two halves
of the book rest on independently pi1
voting shelves connected by a seesa"j
lever. As the seesaw tilts, the shelf su"!
porting the greater number of pages
I
presses down against a cantilevered
weight which compensates like a spring
for the downward pressure, maintain1
ing the status quo relationship between
the book halves. While the design prin J
ciple is old, the freshly sculpted, funci
tional beauty of Haskell's solution is all
his own.

I
I

More on Lasercraft

Letters . . .

Where can I get more information

I
on Lasercraft (mentioned in "Model
Making in the Space Age," Issue
February/March 1983)?
Alan A. Marriage
Mt. Home, ID

III

More On Bill Horgos

faced wood plane made by A.

Mathieson & Son Glasgow and
marked with a star and a crescent
moon (1853-1894). This plane is also
marked with a professionally made incise stamp in four places as follows:
"McLaren High School."
Does someone know where
McLaren High School is, or was?
Does the school still exist, or if not,
when was it an active high school?
Any assistance will be very much
appreciated.
James Lynn
Camarillo, CA

It seems to me that the people who

complained about Bill Horgos's carvings missed the point. It's not pornography, it's a humorous commentary
on pornography. But as someone said,
explaining humor is like dissecting a
frog-no one much cares and the frog
dies.
The Tool Guy, Dave Paling (see
Brian Burns
.
Classified
Market orcall 415-334-7295)
Palo Alto, CA

Help Needed
In my collection of antique tools is a
"3/8-inch match grooving" iron-

24

Lasercraft suggests that your best

bet is to call them at 800-358-8296)
mention the article, and ask for Ad
Specialty Customer Service, whd
handled the architectural model pro~
ject we covered. Pacific Woodworke'!
plans to provide more coverage ot
Lasercraft and their specialized teCh-I
nology in a future issue.
I

Pacific Woodworker welcomes

I
your comments, pro or con, about
articles and information we PUblish.1
Send your letters to Editor, Pacific
I
might know. Or perhaps another Woodworker, P.O. Box 4881, Santa
l
reader can help. If you've heard of Rosa, CA 95402. Letters may be
McLaren High School, please drop us edited for publication.
a note and we'll get the information to
Mr. Lynn.

Pacific Woodworker

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r nelJU(Y1983

25

The Making Of Fred

Carving in the Round:
A Pelican, Life Size

Part 2

by Maurice Norman

After the preliminary steps are

done, carving Fred involves several
stages: 1) heavy wastewood remo val,
2) rough carving, 3) trim carving, and
finally 4) finish carving. Each stage requires different techniques , positions
and tools.
Carving is a pretty physical occupation, whether you're an amateur or
professional. So it is important to
keep the block (layed-up or solid) in
the best position for carving (See
Figure 4).

j
iii

Heavy Wastewood Removal

!oj

i ~~~
~

Fred Two in the author's workshop.

In the last issue of Pacific Woodworker, Maurice Norman discussed

the preliminary steps involved in carving a layed-up, full-size pelican in the
round-from choosing the subject, to
layout, outline cutting, and gluing up.
Part Two of this two-part series explains how to carve and finish this
project.

26

In heavy wastewood removal, by

far the most physically demanding
step, I use the largest tools practical,
the heaviest mallets , and keep the project positioned for the best practical
arm movement.
I am right-handed, and have the
most arm leverage swinging downhand from right to left, keeping the
mallet in my right hand, and the tool
in my left. Also, in this stage, I use special gloves to reduce bruising of my
hands. A tight-fitting "mountain
climber's" glove is the best. These
gloves allow me to feel both my tools
and the wood being carved, while giving me maximum protection. I've
never had a sliver pierce this leather.
I use my heaviest mallet for heavy
wastewood remo val -a weight ed

lignum-vitae 22 oz. mallet, 4" in dia-I

meter at the head by 10" long, 6"0~
which forms the handle. This mallet
gives me plenty of work leverage. "It i~
I
heavy enough to do the work, but
short enough to give me plenty of wrist
action. Wrist action lets the mallet
the work, not my arm.
The tool I use is usually a gouge,
1-112 to 2" wide, numbers 6 to 9. M~
choice will vary according to the
wastewood.
Cross-grain strokes are harder to
cut so less wood can be taken witti
each stroke. With-the-grain strokeJI
can take more wood, but be carefulI
that every stroke cuts wood instead ofI
splitting it out. Splitting out pieces of
wood, no matter where, is dangerous .I
There is no control to a split-out, and
splits never seem to stop where yoJ
think they will. Also, splitting out us~
ually means wedging out the piece
with the tool. This is the best way irl
the world to break off a piece of thd
tool edge.
Most carvers, when instructing for
Carving-in -the -Round-which iJ

dd

I
I

Maurice Norman of Woodstock.

II.!

linois, has taught wood carving and

wood sculpture at the ChicagoAcade-'I
my ofFine Woodworking in Chicago.
and has carved avocationally fOTi
many years.

Pacific Woodworker,

l at we are doing with Fred-state

I

that carving should always be done

J ith the project in its upright position.
IIdo not agree with this. I think it is
much easier to carve downhand and
ftom right to left (or for a left-hander,
ftom left to right), through stage one
a'nd much into stage two.
I must use care, though, when laying Fred down on one side to accomdlish downhand carving. I must make
sbre
all of him is supported (See Figure
I
4) so I don't break off parts by hammering. I also must use care to carve
I
only
, the heavy stuff, and not go too
far.
So I don't carve too much while
Fred is lying on one side; I carve only
dne area, say the neck-line, then set
him up in place, check what I have
done, then lay him on the other side to
get the neck-line on the other side.
This means a lot of moving the project, but the effort to move and clamp
him a dozen or so times is nothing
dompared to standing on my head to
arve the underside of his belly!
Now I have the heavy wastewood
out.

Cedar shingle
'----'- ==t~~,.,-..----.

scrap block

~~rhr..jI~

bench

I
I

I
I

block

cedar shingle

Figure 4. above . shows blocking ofproject

during carving. (Note: Figs. 1-3 appeared in
Part 1 of this article. in the last issue.)

Below. Fred Two with mallets and tools

used.

Rough Carving

I The next stage is rough carving.

I
still lay Fred on his side for easier carving, following the same idea as before.
I
I carve a particular area, lay Fred on
his other side and get the same area
there. This makes for easier carving,
~hich is my main purpose, but also,
the more you move him about and the
I
more
, angles you view him from , the
better proportions you'll get during
the actual carving.
For rough carving, I use a lighter
mallet, a lignum-vitae, close to the
arne size, but about 16 oz. The tools
are gouges 3/4" to 1", numbers 3
I
through 6. I keep my gloves on bebause a 16oz. mallet is still bruising to
the hands. I take a tighter grip on the
tool, because I'm getting into closer
lines and tighter details. A tighter grip
~auses
left-hand cramping and bruis ,
ing, and the gloves ease the pain.

~UneIJU1Y

I
I

1983

27

Fred One (right) was painted white. Fred

Two (left) is shown before finishing,

numbers 3 and 4 for convex curves,

and 6 and 7 for concave curves. I use d
lighter mallet, mostly a beech head ,!
unweighted, 3" at the head, about
long, with total weight 14 oz., but balanced well to the head.
In trim carving I also get the details
down to size. Fred's fish is brought td
size, his feet and wing ends are finishi
ed off. Fred looks pretty much like
Fred by now.
Trim carving requires a lot of sitting
and looking. Seldom do I take a carv1
ing past this point without laying of~
for several days or longer. My habit is
to go out to the shop first thing in thd
I
morning with my morning coffee. I
just sit and stare. I make mental notes ,!
and sometimes actually draw on th~
.
.
carving,
noting
areas t hat must beI
taken down a bit farther, just to gerl
that final line I'm after. But remem J
ber: always ease into a curve or line.!
It's not hard, a week later, to take an J
other bit off the breast, to get that pro~
per line. But, once bit too far, the total
effect can be lost.
The main idea of "stage-carving"
is: ease into it.

10"1

I
I

In neither stage, rough nor wastewood, do I carve for more than 45

minutes without a break. On the average, I carve consistently for about 15
minutes. By that time usually I need to
change the position of Fred, or I stand
back to make sure of my lines. A
"break" after 45 minutes means sitting down to relax or do something
else for awhile-or to go get a cup of
coffee.
It seems the only times I really goof
-by carving too far, too deep, or
breaking tools-are when I get so excited over my work that I work extra
long without a break. I have never

28

hurt myself, but I have ruined many a

potential carving by just staying at it
too long.

Trim Carving
The first two stages should have the
lines of Fred pretty well down. Trim
carving involves trimming off groove
lines from the gouges, and getting details trimmed down to size.
The final carving will have a "toolmark" finish (no sanding or rasping,
except in special places), so even for
trimming the subtle curves of Fred's
back, wings and breast, I use a gouge,

Finish Carving
Finish carving means the detailing
that is done after Fred is Fred. This is:
the time to sand down areas that are to,
be smooth. Fred One has a smooth bill
and smooth feet. Fred Two has al
smooth bill, but I left the feet with
tool-marks.
These details I apply as I develop the l
final character of the carving. Most o ~
them have been worked out in sketch-I
es or in my head before I reach this
point, but usually I get more or different ideas as I go along.
For finish carving, I use my lightest
mallet, an English Beechwood, 3"

Pacific Woodworker

diameter, 9" long, weighing about 13 chromed," as some people say. Fred
ounces. My tools vary: I use veiners One, I painted. Fred Two, carved of
a'nd parting tools for lining, and spoon white oak , has a natural finish, with
gouges for the deeper details. Seldom only two coats of tung oil.
The parts that are to be sanded,
do I use gloves at this stage. I like to
' ;feel" the tool and the carving too such as Fred's bill, should be carved
down cleaner than the places where
much to let gloves get in the way.
the tool-marks are to be left showing.
On convex surfaces, many times I use
!
Finishing
a straight carpenter's chisel-In" to
It's alwaysa good idea to have made
?l4". Concave surfaces still need
up your mind about finishing before
~ou get to this stage. I talked about the gouges, but I try to keep the diameter
s~yle of finish during the earlier stages of the gouge's cutting edge slightly
sharper than the curve I'm working
df carving. In doing Fred, I had decid~d that I wanted to have a "tool- on. This enables me to ease the curve
to my liking, and not be dependent on
rhark" finish.
the curve of the gouge. With care, surEven with tool-marks showing,
faces to be sanded can be brought so
Fred can be painted, or "poly-

close to finish, that sanding won't be a

big deal.
When I apply tung oil, I stick close
to the manufacturer's directions. I
find they usually know what they are
doing. Tung oil on a soft wood soaks
in, so several coats are needed. Tung
oil on hardwood, such as the white
oak in Fred Two, does not smlk in
much at all, and a light toweling is required about ten to fifteen minutes
after application. Tung oil brightens
the grain, so I add a second coat only
to obtain the brightness that I desire.
Fred One now stands regally, overlooking the swimming pool, right
there on a fence post. Fred Two stands
quietly (after all, he has a fish to eat)
alongside the fireplace in the library.

7'~~~~~~~~
I
I

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ITune/ITuly 1983

I
I
I

29

baluster back or box seat chair, and

then leaves us dangling. Dunbat
doesn't take up the challenge at allJ
But you and I know that the tradi J
tional Windsor chair has a slab sead
four splayed, turned legs, turned
spindles supporting back or arms)
I
and turned stretchers. Moser defines
his chairs as Windsors even though
I
they all lack the last feature. He tells
us stretchers loosen and serve no usel
ful purpose. If you "must" use them,
pin them, he recommends. Dunbat
says: "Pinned joints are fine on a tabl~
but to do so to a chair socket onl~
Reviews by Alan Marks
makes for future difficulties." By thisI
he means that havingto unpin a pinned
Thomas Moser, author of one of mortise and tenon joint for a repaiIilj
the books, seems to agree with my can be an unpleasant experience.
conclusion about the subject. A small
Each author approaches boring
workforce of 15 employees assembles holes for legs and spindles with ~
chairs in his specialized shop. Moser different end in view. Moser devotes
frankly admires mass production and great space and many photos to desl
" ... the skills, inventiveness, control cribing how the necessary jigs are conj
of material and the artistry exhibited structed, jigs capable of producing
in almost all furniture factories."
many thousands of seat blanks. He
But Michael Dunbar has a bone to uses eleven types of drill bits, each best
pick with Moser. Dunbar on mass suited to its application. Michael
production: "Just as the factory Dunbar uses a traditional "spoon
method is hostile to craftsmanship it bit" for all of his because it enables
is hostile to good design." Dunbar's him to redirect the angle of a hold
pieces are traditional, Moser's, con- in mid-stream if it wanders. He use~
temporary interpretations, and Duncontinued on page38
bar relies largely on hand tools. Dunbar's book will inspire the collector
ALSO RECEIVED: From Van
and instill in him an understanding
and appreciation for the process of Nostrand Reinhold Co., Inc., Ne..J
making a traditional Windsor using York., 2011 Woodworking Project1
I
traditional methods. He writes with for Indoors and Outdoors, ed. Jean
warmth and feeling for his subject Paul St. Michel, 1983, $15.95. Fro,,}
and, though never stated in his book, Sterling Publishing Co., Inc., Ne~
he appears to work alone. Dunbar York: Better Than New, A Practical
prefers to keep himself in the back- Guide to Renovating Furniture, b~
ground for the most part, concen- Jackson and Day, 1983, $8.95,' The
I
trating on the demands Windsor chair- Doll's House Do-It- Yourself Book, by,
making make on the skill of the crafts- Venus and Martin, 1983, $9.95; carvJ
man. His knowledge of history seems ing Horses in Wood, by Zimmerman, 1
intimate and he injects a good deal of 1983, $6.95,' Making Wood Decoys,
personal enthusiasm into historical by Patrick Spielman, 1982, $8.95.
facts concerning milling and con- From Sun Designs, Delafield, WI, Gaj
struction practices.
zebos and Other Garden Structure DeIn defining the Windsor chair, signs, by Janet A. and Richard H.
Moser says it is not a ladder-back, Strombeck, 1983.

Books . . .

Windsor Chairmaking by Thomas

Moser, Sterling Publishing Co., Inc.,
Two Park Avenue, New York, NY
10016,1982,$8.95.
Windsor Chairmaking by Michael
Dunbar, Hastings House, Publishers,
10 East 40th Street, New York, NY
10016,1978,$12.50.

Two books on a subject rarely turn

up with precisely the same title. When
they do, a sensitive nose feels compelled to sniff for differences. In
this instance the differences are substantial. My never having made a
Windsor chair may qualify me as an
impartial judge, since I have no preconceived opinions .
To me, Windsor chairs are quite
beautiful, but making them requires
specialized skills, knowledge and
equipment not commonly used in
cabinetmaking. Among these you have
to include woodturning, steaming
and bending equipment, special
drilling jigs and lots of trial and error
experience. The outlay of time, money
and effort needed to accrue all of these
can be warranted only by specializing
in the field. And if small-run production is the aim, you would want to
be one of several people on the project-definitely not something for a
broad-spectrum loner like myself. Or
so my reasoning goes.

30

Pacific Woodworker

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Frequent catalogs issued. For one-time only

subscription charge send $1.50 to:

R. SORSKY
BOOKSELLER
Box P2
3845 N. Blackstone
Fresno, Calif. U.S.A. 93726
Member American Booksellers Assn.

June/ July 1983

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31

Joy of Doing
A Pacific Woodworker Profile
Tom Allen ofSilverton, Oregon
by Paul Gerhards
Sitting on the six-foot stump of what
once was a 200 + -foot Douglas fir that
yielded more than 10,000 board feet to
frame his house and shop, Tom Allen
discusses the personal philosophy
which brought him to his solar-heated
home in the Cascade foothills near Silverton, OR.
"There is satisfaction in thinking up
something-imagining somethingand building it," Tom says. "Seeing
something in its finished form is satisfying. When you get that, money is
secondary."
A bold statement from one who
earns his living creating works of art in
wood, but one that a lot of woodworkers may agree with. "If I didn't make
money at it, I would still do it," he
asserts. Tom indeed finds joy in the doing, even to the point of naming his
woodcraft business, J(W of Doing.
Tom has developed a sculpturalinlay system for use on cradles, boxes
and mirrors. His inlay designs are simple in idea, but complex in execution.
Using five or six different varieties of
wood in each design, he gives careful
attention to grain and color and how
they relate.

About the author: Paul Gerhards of

Silverton, Oregon, was a carpenter for
ten years before turning to freelance
writing.

32

The themes and subject matter for

his designs reflect Tom's surroundings.
He feels that we Americans have picked
up on some Eastern thinking-seen in
the conservation and back-to-nature
movements. These influences, says
Tom, "Make me live where I live and
use the sun to heat my house. My surroundings show up in my work. Trees,
flowers, mountains, animals and
shrubs are the dominant things in what
I do."
Tom sells his work out of more than
a dozen galleries from Issaquah, Washington to Los Angeles to Coeur
d' Alene, Idaho. He and his wife, DebTom Allen sits on the stump of the fir tree
that yielded 10,000 board feet to frame his
house.

bie, have set high standards for the

stores and galleries where his work is oJ
I
display. They visit new stores whe~
they can and carefully inspect references of distant galleries where visiting
is impractical.

Background
A woodworker-of-all-trades, Tom
has designed and built furniture l
spiral staircases, trunks, boxes,. bast
relief puzzles and hand-carved sIgns. ,
He began his long affair wit~
woodworking while at college, when
an art teacher suggested he give woo~
sculpture a try. So he spent an Easter
vacation carving an idol-style hea1
from a log. The mallet he used then he
made out of a maple bowling pin-hi~
. su11 servesI
first lathe project-and It
him well.
While at Michigan State, Tom
.
. I
turned away from the engmeering
I
trade of his father to art, psychology
and advertising. His first job in adverl
tising in southern California earned
I
about a fifth of what he would have
made as a starting engineer, but Torri
didn't regret his choice. Soon he had
his own graphics art studio.
Eventually, though, the high-pressure life of the advertising worldI
began to take its toll. Tom realized
I
that a career in graphic arts was no
longer what he wanted. His reallov~
was working with wood.

Pacific Woodworker

(left) The name of Tom's shop expresses his

attitude toward his work. (right) Tom still
uses this maple mallet, his first lathe project.

Career Change

June/July 1983

Was he worried about changing

careers? Not really. He says that if
you're good at what you do, most
occupations that serve people can earn
you a living. "I have always done what
I like to do and got paid for it." Not
always very much, he admits, but
enough.
Tom still does some graphics work
from time to time, to help make ends
meet. But as time goes by, he finds it
harder and harder to sit down at the
drawing table. His small art studio
collects dust from disuse while his
shop gets dustier by the day from constant use, even though he says he can
make twice as much money in the
studio.
Tom developed his sculptural inlay
techniques over the course of several
years. "I always imagine it better than
I can do it. Once in awhile I'll do a
piece that turns out better than I
thought it would, but that doesn't
happen very often. When it does, it's
like taking a giant step."
But after each of these steps, he has
to work all the harder to maintain that

level. "Most artists don't want to take

the time it takes to learn to be good
craftsmen," he contends. "To be a
good craftsman, you have to train
your body. There is no substitute for
practice. "
And practice has its rewards. "One

33

(left) Each piece is cut from one of a variety

of woods, then fitted and shaped with care.
(right) A sample of some of Tom's many inlay designs.

of the things about being a good

craftsman," Tom believes, "is doing
an excellent job fast. One of our most
important concerns is to increase
quality whenever possible," he says.
Practice also teaches the craftsman
how to recognize quality. "If you don't
know what quality is, you can't make
it. But if you do a quality product, you
can sell it. Quality is very important,"
he stresses.

Hard work and attention to detail is

the mainstay of Tom's business, and as
he works he keeps this ancient proverb
in mind: "Whatsoever thy hand findeth to do, do it with thy might."

But for Tom Allen, another line

might be added. The saying could easi1
ly read, "Whatsoever thy hand findetti
to do, do it with thy might, .. , and dd
it with joy."

Looking For That

Hard To Find Fumiture
Hardware Part?
The answer's elementary: Send for Kemp Hardware's extensive
furniture and woodworking hardware catalog , A supplier to furniture
factories for over 00 years. Kemp Hardware inventories over 2300
specialized furniture hardware items. until now only available to the
large furniture manufacturers.
In stock: table slides . furniture lights. trim hardware grills. industrial
woodwork ing glue. European hardware. table locks. waterbed
hardware and much more , Send $3,00 for a complete catalog. and

TABU SUDES

34

FURNITURE UGHTS

TRIM
HARDWARE

Pacific Woodworker

WHEN YOU BUY TOOLS...

SEE WHAT YOU ARE BUYING!

And, when you buy at The Cutting Edge, you can examine and compare and have
them demonstrated for you. See over 4,700top quality hand tools, power tools, books ,
magazines, and exotic hardwoods . Take woodworking classes. We carry: INCAHEGNER-HENNIKER "Versatile" Saw - ZYLISS Vise - LEIGH Dovetail Jig - Plate
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PLUS... EXCITING EVENTS AT ALL STORES

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Replaces Most Sikes Flotill

COMPlm MECHAHISM

BUILD A PIECE OF FURNITURE with SIMON WATTS & JOSEPH

BAVARO, Summer Woodworking in the Woods - Aug . 22-27
or Aug . 29 - Sept. 2
A DAY AT SAM MALOOF'S WORKSHOP - Sept. 17
MICHAEL DUNBAR, BUILD A WINDSOR CHAIR " hands-on"
Workshops, Sept. & Oct. at all stores.
- CALL STORE NEAREST YOU FOR DETAILS-

IL
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LOS ANGELES, CA 90066, 3871 Grand View Blvd.

(213) 390-9723
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3 HP single or 3 phase
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Dual pulleys & belts
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Machine size 3D" x 35" x 37"
Cast iron chippers

185lbs

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blade Included
14" I 14" square
cut Irontable
tilts 45'R, 10'l
Adjusting blade
tension wheel
& tilt adjustment
Cut wheels,
rubber tired,
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Adjustable blade guides
Approl. 6" high
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PlOOF 12" Planer - $1350
Fl000A 12" Planer/6" Jointer - $14-40
B600A 14" Resaw BandSlw - $14-40

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5699.95

Accessories available:
FOB York
$31.95
519.95
549.95

Cast Iron 8" Deluxe Hand Jointer

LEASE
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'It HP1101220VAC
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7" I 42" llbl. liz.
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4500 RPM Iplndl.
wtth11"1 I1Ind
SEND '1.00 FOR MACHINERY SALE CATALOG

PRICES & SPECIFICATIONS SUBJECT TO CHANGE WITHOUT NOTICE

June/July 1983

35

duct s Laboratory, 47th & Hoffman Blvd., Rich- I

mond 94804 . For information contact Janice l
Montano (415) 231-9404.
I

Calendar & Announcements

Aug.22-26. Idyllwild, CA.

"Build a Piece of Furniture" workshop with l

Simon Watts and Joseph Bavaro. For information contact The Cutting Edge, 3871 Grand View
Blvd., Los Angeles 90066 or call (213) 390-9723' j

continuedfrom page 4

Aug. 27. Berkeley, CA.

June 24. Berkeley, CA.
Tage Frid lecture and slides at The Cutting Edge,
1836 Fourth St. , Berkeley, CA 94710 (415)
548-6011.

June 25. San Diego, CA.

Tool swap meet . Co ntact Th e Cutting Edge, 7626
Mirama r Road , #3500, San Diego , CA 92126,
(6 19) 695-3990.

June 26. Berkeley, CA.

Tage Frid workshop on joinery, veneering, and
finishin g at Th e C utt ing Edge, 1836 Fourth St . ,
(4 15) 548-60 11.

July 9-Sept. 10. Los Angeles, CA.

Stuart Welch, Al Garvey, Bruce McQuilkin. Fee

$160. For details contact the Guild, Box 305,
Bolinas 94924.

July 23-24. Berkeley, CA.

Grew-Sheridan Chairmaking Seminar at The
Cutting Edge, 1836 Fourth sr., (415) 548-6011.

Aug. 6-7. Alameda, CA.

Second Annual Woodcarving show, sponsored
by East Bay Woodcrafters Chapter and by
Wood line The Japan Woodworker, 1731 Clement Ave ., Alameda 94501. All carvers welcome.
For more information call Dick Compton (415)
531-6455 or Nancy (415) 521-1810 .

Aug.12-14. San Francisco, CA.

Bruce Britton on making your own carving tools. ]

at The Cutting Edge, 1836 Fourth sr., (415)
548-6011.

Aug.29-Sept.2. Idyllwild, CA.

"Build a Pie ce of Furniture" workshop with
Simon Watts and Joseph Bavaro. For information contact The Cutting Edge, 3871 Grand View
Blvd., Los Angeles 90066 or call (213) 390-9723.

Sept 10-0ct 8. Mendocino, CA.

Western States Invitational Wood Show (third
annual), Gallery Fair. Details from Bill Zimmer,
P.O. Box 263, Mendocino 95460 or call (707)
937-5121.

Sept 11. Livermore, CA.

Tri -Valley Woodcarvers Annual Show, Concannon Winery , 4590 Tesla Rd ., IOAM-5PM . Free
admission to public, demonstration s, sales, carving competition. More in fo rma tio n available
from Liz Finigan (415) 447-3186.

Free Sa tur day to ol and woodworking demonstratio ns, 10 AM-3 PM at The Cutting Edge, 3871
Gr and View Blvd . Call (213) 390-9723 for more
information.

tPacific States Craft Fair, Fort Mason, sponsored by American Craft Enterprises, Box 10,
New Paltz, NY 12561.

July 13. San Diego, CA.

Aug.12-19. Berkeley, CA.

San Diego Fine Woodworkers Association meet ing . For mo re info rmatio n contact SDFWA, PO
Box 99656, San Diego 92109 .

Boatbuilding series . Aug. 12: Bob Darr on traditional boatbuilding -milling your own lumber;
Aug . 13: Don Gerrard on traditional oarmaking;
Aug. 19: Gordon Nash on trimming out small
rowing boats at The Cutting Edge, 1836 Fourth
St ., (415) 548-6011.

Workshop, "Design and Operation of Circula r

and Band Saws, " U. C. Cooperative Extension
and Forest Products Laboratory, 47th & Hoffman Bl vd . , Richmond 94804. Information l
available from Dr. R. Szymani, (415) 231-9582.

Aug.20. Berkeley, CA.

Sept.17. Los Angeles, CA.

Chester Wilcox on decoy carving, The Cutting

Edge, 1836 Fourth St. , (415) 548-6011.

A Day with Sam Maloof at his Workshop, sponsored by The Cutting Edge . 3871 Grandview
Blvd ., (213) 390-9723.

July 15. Berkeley, CA.

Joseph Ba varo lectu re and slides, " The Furniture
of Gu sta v Stickley," at The Cutting Edge, 1836
Fourth St. , (4 15) 548-6011.

July 15-18. Sacramento, CA.

Wildfowl Art s Festival. Annual carving competitio n, Pacific Flywa y Deco y Association. For info rm at ion co nt act Susan Nesb it, Box 536, Qu incy, CA 9597 1.

Aug 22-26. Richmond, CA.

Lumber Drying Workshop, U.c.

Sept.12-16. Richmond, CA.

Forest Pro-

July 16. Berkeley, CA.

" Ma king Sim ple Mu sical Instruments" by Daniel
Scm idt , at The Cutting Edge, 1836 Fourth St.,
(4 15) 548-6011.

July 18-21. Bolinas, CA.

Intensive st udy co urse, Baulines Craftsman's
Gu ild: Ar t Espenet Carpenter, Jim Bacigalupi.
Ro ger He it zman, Don Braden, Dale Holub,

~;;;;,.

36

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begin with
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Send for your free copy of Woodcraft's new

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satisfaction Guaranteed. Write today for
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Woburn, Massachusetts 01888

Pacific Woodworker

News

and Notes

Freud USA Opens

West Coast Office
Freud USA has opened Freud West,
a warehouse and sales office in Costa
Mesa, CA. "We're seriously interestcid in better serving West Coast woodJ,orkers," said Nino Ruggiero, GenerI
al Manager of Freud USA. Freud
West is managed by Dave Morton,
Jnd provides product information and
sales support to distributors and con~umers.
Contact Freud West at 1570
I
<Corporate Dr., Suite G, Costa Mesa,
<CA 92626 or dial 800-555-1212 to obtain their toll-free phone number to be
Jnnounced soon.

Free Kit Catalog

New Products

April Fool

A Way to Measure Wood

Moisture in Stacked Lumber
Handcrafted Wood Toys Sought

I Creative

Woodcrafts of Miami,
Florida is compiling a mail-order cataI
log for handcrafted wood toys that
rrieet Federal Toy Safety regulations
dnd can be backed up with a guarantbe. Creative Woodcrafts plans to adJertise the catalog nationally, and will
~ail the catalog to all day care centers
J nd kindergartens in Florida. For
more information write to them at
9350 SW 55 St., Miami, FL 33165.

June/July 1983

The 1983 Woodcraft Kit Catalog

Spring Supplement is available free
from Woodcraft Kit Supplement, 41
Atlantic Avenue, Box 4000, Woburn,
MA 01888. Some products included in
the kit catalog supplement: decoys
and decoy blanks, furniture, toys and
toy parts, models, woodburning supplies, craft tools.

If you kiln dry, air dry, or season

lumber, Lignomat suggests taking

consecutive core moisture readings
from the center of the stack by using a
moisture meter and their PK probe
system. For more information, contact Lignomat USA, Ltd., Moisture
Detection and Control, 14345 N.E.
Morris Ct., Portland, OR 97230 or
call 503-257-8957.

A number of sharp-eyed readers

spotted our April Fool's joke in the
April/May 1983issue of Pacific Woodworker's Classified Market:

NEGATIVE KERF BAND SAW Eliminate saw dust, replenish wood

supplies, correct cutting errors, save
$ with this amazing tool. Information: Dept. AF c/o this magazine.
Too bad it was only April Fool. Think
how useful such a tool would be.
And other tools with the same idea:
Negative sandpaper, negative planes
and joiners, a negative table saw for
converting sawdust into 4/4 lumber!
Among the first readers to spot the
joke wereDale Gaisford of King City,
CA and Mike Graetz of Valley Creek
Woodworks, Lakeland MN.

37

Books
continued from page 30

a hand brace. To carve a seat, Dunbar employs a drawknife, an adze,

and a scorp. Moser mentions the fol- .
lowing: a portable circular saw, overhead router, electric chainsaw, portable power drill, side grinder, seat
carving machine, table saw, spindle
shaper, and finally, a gouge and
mallet. (In my experience, however,
gouge and mallet are a poor hand tool
choice for this purpose.)
Moser's machine tool production
techniques are creatively inventive and
valuable contributions to any small
production shop . As a simplifier and
shortcutter, he represents Yankee
ingenuity at its best. Those who wish
to reproduce Moser's contemproary
creations will indeed find drawings
with dimensions. It would, however,
be quite difficult to duplicate the
curves, since no background grid is
given for reference layout, and the
drawings are at best sparsely dimensioned. Some are little more than
crude outlines of shapes scaled down
to 115 size. His book succeeds in
convincing me that the only practical
means of owning a Moser chair
would be to order one.
Nor does Dunbar's book enable the
reader to step-by-step make a Windsor
chair, though the more creative and
enterprising might be able to do so
from his descriptionsand from photos.
But this book contains not a single
drawing or pattern. (Taunton Press
informs me that their reworked version
of this book slated to appear next
Spring will include drawings and
detailed construction information.)
So any similarity between these two
books ends with the title page except
for one other feature the authors share.
Both have curly hair, as can be plainly
seen from their cover photos. Should
we conclude that people with curly
hair have an affinity for Windsor chairs
and a need to write books on how to
make them? Probably not.

38

The Fourth Corner

continuedfrompage 13

more pleasing fragrance than lacquer

thinner, and are a sensual experience
to rub into wood with the fingers.
If you have any lingering dust
and bump problems in your final
coat, remove them from almost any
type of finish with a pumice and oil
slurry rubbed over the surface with a
felt pad (I use linseed or lemon oil).
This process also will remove minor
scratches and marks left by brushes,
steel wool or carelessness. 1 have even
I
removed wayward mosquitos from a Your local supplier can provide invaluabl~
final coat with this method. For pol- guidance through the maze of finishing pr
ishing back to a high gloss, repeat the ducts.
rubbing process with rottenstone and
oil on a felt pad, then buff with a takes. One Seattle supplier, The Rudel
buffing wheel or by hand with a piece Company, actually has chemists oA
their payroll to answer tricky quesL
of clean lambswool.
Above all else, get to know your tions.
I
localpaint/finish suppliers. I've made
And Don, my personal expert at
it a habit to learn all their first names Miller Paint Company, not only can
and areas of expertise. Some of these distinguish a hundred shades of grayl
folks have been plying their trade for but 1 think he could even lay his
30 or more years, and they know all hands on a can of essence of llam~
the horror stories and how to fix mis- for me if 1needed it.

SPIKE BOYD's Professional Kit for

....
Wood C arvers

..

Spike Boyd's Wood Carvers' Supply, Route 1, Box 416, Highlandville Missouri
'
.
65669
- . .
.
Send Check or Money Order

S1399 5 TOTAL .

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Pacific Woodworker

(tASSIFIED MARKET~

COCOBOLO and Bocote as low as

$6.50 per board foot. Custom cuttittg available at reasonable rates.
Chstom cut lignum vitae at $3.50
p~r pound. C. Hutt 15861 32nd
At.e., Surrey BC V4B 4Z5 CANADA.

SHOPSMITH customized model

.ERI0, with accessories: 1 HP motor, jack shaft, reversible multiple
speed latho swings 24 In. Excellent
condition $750. Tel. (707) 4645942. John Bowman, 2440 Elk
Valley Crs. Rd., Crescent City, CA.

FOR SALE Black Walnut, 2 pieces.

(1) 3 3/4" x 19" x 8' finished,
(1) 4 1/4" x 11" x 6' semi-finished.
Correspondence invited. David R.
Hadden, 8260 Highway 193, Garden Valley, CA 95633. (916)
333-1988.

DESERT IRONWOOD LOGS. 5

td 18 inch diam. sound, high color
a~d figure. $1.50 lb. quantity discounts. We are a direct importer
of exotic woods. Logs, lumber, full
burls, rare species. See our showrJam in Pasadena. St. John's Wood
(213) 441-1067.

THE TOOL GUY - Used tools

of all kinds - specializing in
woodworking tools. 16" Walket'Turner Band Saw, Stanley 55 with
cutters. Over 600 planes in stock,
500 chisels, 100 hand saws,
braces, bits, wood rules, etc. Call
for appointment or come by. Dave
Paling, (415) 334-7295, 227 Ney
Street, San Francisco, CA 94112.

FREE LATHE DUPLICATOR with

purchase of 5 in 1 Multi Tool
import $1,000, Complete Shipped
Freight collect. Duplicator also fits
Mark V and two new attachments
just developed. Full line of new
clamps, write: UC Corporation,
6905 Cedros Avenue, Van Nuys,
California 91405.

EBONY logs, 6" to 10" diameter,

up to 7' long, $1.95/lb. One lb.
sample, $6.00 ppd. James Rudholm,
2300 Sierra, Kingsburg, CA 93631
(209) 897-2757.

ROCKWELL JIGSAW Model 40440, 4-speed with factory motor,

stand, and many blades. Little
used, everything perfect, $600. Call
(408) 476-5390 eves. P.O. B. 36,
Santa Cruz, CA 95063.

HIGHLY FIGURED (Quilted) WestJrn Maple. 900 BF available $3.25

BF off top, $3.75 BF selected.
quantity discount available. Bill
Harriff, Cabinetmaker. Ashland,
Oregon (503) 482-9412.
WOODCARVERS
61 pc. Ashley-lies carving set $75.
We carry a complete line of high
I
quality woodworking tools and
shpplies. Price list $1 (refundable
~th order). Open Air Cabinets,
Box 501 Batavia, IL 60510.

1.0.

.----:

.......1lJNDREDS 01-

Wood ~I:.s=r-'
working :::;_ht:
Books ~~,:.:~

BARK ServIceCo.

28186

MAKE TOYS - Plans, Kits Hardwood Wheels, Parts, Dowels Catalog $1.00 - Cherry Tree Toys,
Belmont, Ohio 43718.

las~ified Market Information: Rate: 25 cents per word, minimum of 25 words. Payment must accompany all classled ~ds. Border, $3.00. Deadline for ads for Issue 14 is July 1, 1983. Padfic Woodworker, Box 4881, Santa Rosa,
A ~5402 (707) 525-8494.

IMr. Fix-It'sHelpful Hints . . .

..DATI N6, AND GLOfN6 W

BEAR \i1::l-P5
NE"'i6~BoR TRiM FRU~rT'REf:. A R::W SELCT C.jUNI(S.,

FRIE: NDl-Y

June/July 1983

AH.... A GOOD %AR...

39

Power Hand Tool

Wood Carving
Lesson 11

Carving a Bluebill Duck Decoy

by Spike Boyd

In my last lesson, this Ozark Mountain hillbilly promised a lesson on how

to power carve a bluebill duck decoy.
In addition to these instructions, I am
including an illustration from my
book, a universal pattern from which
you can carve a Bluebill, Redhead,
Canvasback, Black, or Mallard Duck.
As far as wood is concerned, I always use black walnut for my decoys.
First, transfer the pattern to your
rectangular block of wood. The gridlines provided should facilitate enlarging the pattern to your own taste.
Next, cut out the side and top views
with your bandsaw. Most carvers
carve the head and body separately
and glue the head on later. I prefer to
carve the decoy as one piece. Always
turn the duck's head slightly to one
side for a more interesting pose.
To remove those square corners and
most of the excess wood, I suggest using a 6" aluminum disc mounted on a
Y3 HP motor. Use a 36-grit peel off
aluminum oxide sanding disc on the
metal disc. It takes about ten minutes
to round off the duck's body and
head .

40

Now, using a Merit coarse Grind-OFlex flap sander mounted on a 3,500

RPM motor if possible (even though a
1,725 RPM will do the job) , smooth
out where the 36-grit scratched the
piece.
Cut in the wing line and the line
across the eyes with a tungsten carbide
structured teeth cutter (No . 9933).
Round off his head, neck, and beak
with Carbide Nos. 9931, 9932, and
9934.
Then cut in the fine head feathers by
stroking with a hollow-ground alum inum oxide 964. (For instructions on
hollow-grinding see Pacific Woodworker Issue 8, August/September
1982, page 34, or see my Handbook,
page 24.)

...

1& &mI

I never incise more than the main

wing grooves into the decoy. Instead
of laboring with all those feathers and
feather barbs, I find that walnut grain
left unscathed adds immeasurably to a
carving.
Carve the nostrils and circle his eyes
with a sharpened aluminum oxide 997.

Cutters and accessories

Pacific Woodworker

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BluE bill
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Pacific

1982 by Spike Boyd

1" s.Q~are~~
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MasterCa rd _ _ or VISA _ _ one)
Card Nurnber
_

Decoys

Expirat io n Date
Signa ture

Burn in the pupils with a sha rpened

I
953.
Using a Sand-O- Flex with fine or
medium grit insert , sand your decoy
J ntil all scratch es are remove d and it is
I
velvety smooth .
Finally, spray your finished decoy
with
four coats from an aerosol can of
I
Deft Clear Wood Finish. Spray using
I
light coats which will dr y in 15 minutes
I
each .
With practice and the power acces sories mention ed , you should event~allY be able to produce a highly
J olished, full-sized black walnut dedoy duck in four hours .

_
_

(Requi red for charge sales)

Send this fo rm and you r payment to:

Pacific Woodworker

Spike Boyd is a power carver and

author of The Complete Handbook

of Power and Hand Tool Wood Carving available for $8.95 at Route 1, Box
416, Highlandville, MO 65669. Spike

also owns Wood Carver's Supply; for

afree catalog of woodcarving supplies
send him a stamped, self-addressed 4 x
9-inch envelope at the address listed
above.

11

Bo x 4881
Santa Rosa, CA 9540 2

Murphy's Laws of Woodworking:

The best dust collection system in a workshop is
the still tacky finish on your latest project.

June/ July 1983

41

Back Issues Of
Pacific
Woodworker
Volume 2, Issues 7-12, complete set $5.00, while supplies last.
$1.95 each or complete set,
twelve issues for $10.00,
postpaid.
#12: Carving a Pelican in the
Round, How to Miter and Bevel,
Bud Vases, Henniker Versatile
Saw, Butte County Woodworker's Association, De Cristoforo.
#11: Woodcarver Bill Horgos,
Laser Woodworking, Wood Finishes, Mail Order Woodworking, Router Guide, Part 2.
#10: Router Guide Part I, Wood
Box Design, Interviews with Bobby Briggs and Clay Johnston,
Sealacell test report.
#9: Wood Sculptor Ed Lombard,
Mendocino and Del Mar shows,
Tsumura Saw Blade, Wood Staining.
#8: Establishing a Woodworking Business, Amazonian Hardwoods, Rockwell Sander test report.
#7: Interview with Sam Maloof,
woodworking in Maui, restaurant
woodworking.
Volume 1, Issues 1-6, complete
set $5.00, while supplies last.
Table Saw guide, Wooden Boxes,
Sanding Belt cleaner test report,
Chair Design, Rima Sharpening
Jig Test report, Profiles of sculptor Lucius Upshaw and carver Bill
Booras, Stanley dovetail fixture
test, special issue on dust, noise
prevention, tests of Carter band
saw guide and Milwaukee electric
chain saw.

-~

~-

Send your check or money order,

name and address to:

Pacific Woodworker
Box 4881
Santa Rosa, CA 95402

42

INDEX
This index covers Volume 2, Issues 7
through 12 of Pacific Woodworker,
from June/July 1982 through April/
May 1983. Each topic listing is followed by Issue Number: page number
where the topic mention begins. The
index to Volume 1, Issues 1 through 6,
appeared in Issue 7 (June/July 1982)
of Pacific Woodworker.
Amazonian Ha rdwoods, source , properties,
and uses 8:22; engineering properties 9:24;
goncalo alves and massaranduba 10:30;
ipe 11:34
American Inst itute of Architects, San Francisco, spon sors exhibit including large wood
model s at San Francisco Museum of
Modern Art II :14
Apprenticeship in Japan 9:23
Aqu ilina, Steve, on choosing your product
7:24
Architectural Crafts, book review 10:I8
Auto body restoration 12: 4
Band saw, spacer kit available for Inca Model
.025 10:29
Bardo Flex Abrasive Wheel 8:30, 10:32
Beveling techniques, see mitering and beveling
techniques 12:I2
Book reviews 8: 2; 9: 4; 10:18; I 1:28; 12:II
Books, woodwo rking 7: 14; list of sources and
publishers 7:15
Box design 10:10
Boyd, Spike on power hand tool wood carving, use of cutters 7:30; use of aluminum
oxide grinders 8:34; recommends power carving products 9:40; power carving a bear in
full round 10:40; power carving a pelican in
relief II :40; carving the lace-up boot 12:40
Brazilian hardwoods, see Amazonian
hardwoods
Briggs, Bobby, successful woodworker in
Rancho Santa Fe, California 10: 6
Bringing ' Em Back In Wood (auto body
resto ration) 12: 4
Bud vases, stack laminated, 12:27
Butte County (California) Woodw orker's
Association 12:22
Buttons and plugs to cover countersunk
screws 12:34
Cabinet hardware, by Amerock 7:23
Calendar featuring prominent woodworkers
9:30
California black oak available 8:30
California Carver s Guild tenth ann iversar y
10:19
California College of Arts and Crafts wood
sculpture project 7: 4; Creation Pole raised
on campus II :25

Capotosto's Woodworking Techniques and

Projects, book review 12:11
Carving in the round 12: 7
Cancer linked to exposure to wood dust and
chemical fumes I I:42
Century of Chair Design, book review 9: 4
Chainsaw standards a 1983 priority for
Consumer Product Safety Commission 9:42
Chainsaw mill, lightweight, address of
supplier 7:22
Chairmakers Jeff Dale and Dennis Young of
Petaluma, California 9:20
Computers, designing cabinets for 7:24
Creation pole carved and raised at California
College of Arts and Crafts II :25
Crib design regulations amended by U.S.
Consumer Product Safet y Commission
10:29
Cutting Edge, Los Angeles, store reviewed
II:33
Dale, Jeff, chair maker 9:21
Danish oil finish II :20
Day with De Cristo foro . A, 12:14
De Cristoforo, R.J. , inter view with, 12:14; his
advice to beginning woodworkers 12:16
Del Mar Fair, California, woodwork ing
exhibit at 9:28
Design, as part of a woodworking business
8: 4
Durability, of Amazon ian hardwoods 8:22
Dust collector, Murph y-Rodgers 12:34
Ebony and Icarus, profile of sculptor Edwin
Lombard
End grain , in woodturning 12:27
Eng/ish Period Furniture book review 8: 2
Establishing a woodworking business 8: 4
Estimating and bidding tips I I: I7
Excellence in Woodworking trade show, Los
Angeles, 19827 : 5, photographs and review
8:28; 1983 Los Angeles show postponed
12:18
Farnsworth, Bill, interviews Sam Maloof 7: 6;
on restaurant woodworking 7:32; on
woodworking in an Oregon prison 8: 12; on
recovering from a fire in his woodshop
9:32; on woodworking, practical and
impractical I I:30; on trend iness in cabinet
styles 12:24
Finish, Sam Maloof's " recipe" 7:13
Finishes, types and uses I I: I8
Fire destroys Bill Farnsworth's woodworking
shop in Seattle 9:32
Fourth Corner column on the Northwest, On
Doing A Restaurant 7:32; on woodworking
in an Oregon prison 8:12; on recovering
from a woods hop fire 9:32; on North west
Gallery of Fine Woodworking exhibit in
Seattle I I:30; on the return of plastic
cabinetry 12:24
From Craftsman to Artist, inter view with
Bobby Briggs of Rancho Santa Fe, California 10: 6
Full Circle, Pacific Woodworker Profile of
Carver Clay Johnston 10:24
Furniture of the American Arts and Crafts
Movement , book review I I:28

Pacific Woodworker

1";,"~

~,;<W

G&'",

of
St ickley, book
11:28
Furniture restor ati on , Bobby Briggs works
Iwith muse ums 10: 9
1

G~ml:hl Lumber ' s 1982 C hristmas

Gift Faire,
lA naheirn, Ca lifo rni a re viewed 12:30
Go ncalo Alves (a Brazilian hardwood) 10:30
Goo dfe llow crafts ca ta logs seeking
part icipants 8:30; applications for 1984
11:29

Hand ca rving in the round 12: 7

Maui, Hawaii, wood sculpto r Bruce Turnbull

7:16 ; other woodworkers 8:18
Mendocino , Ca lifo rn ia , woodworking exhibits
in 9: 12; 10:22
Mendo cin o Woodworkers Association 9: 12
Missen , Stan, restorer of wooden delivery
wagon s in Rohnert Park, California 12: 4
Mr. Fix-It ca rtoon 12:44
Mitering and beveling tech niq ues 12: 12
Model Maki ng in the Space Age II: 14
Moi sture meter, pocket size, by Lignomat 9:30
Murph y' s Law s of Woodworking 8:32; 9:43;
10:35

Handcraft ed Doors and Windows, book

Ireview 10:18
Hayward, C ha rles H . , review of his book
IEnglish Period Furniture 8: 2
Henniker Versatil e Saw , product report 12:36
Horgos, Bill, Pacific Woodworker profile of
Il l : 4
How To 's of Work ing with Wood trade and
consumer sho w sched uled for 1983 in San
Fran cisco 10: 4; Woodworker's Foundation
ma y ben efit from show, Pacific
Wood worker publisher' s comment s II : 2
Humboldt Co unty , CA Made With Wood 11
IShOW8: 8
Ind ex to Volume 1 (Issues 1-6) 7:34
lrisurance, impo rta nce of adequate co verage
19 : 32
Ipe (a Brazilian hard wood) 11:35
IJ Thi s Man PUllin g You On ? Pacific
Woodworker pro file of ca rver Bill Horgos
II : 4

J ~welry bo x design 10: II

J ohnston, Clay , wood carve r 10:24

Lace-up oo t, power carving techniques 12:40

Lacq uer finishes II h 19
dser technology, used in model making II: 14
d the tool s, purchasing and grinding 12:28
L6mba rd , Ed win, wood sculpto r, Pacific
Woodwork er profile 9: 6
L mber mill, portable, by DupliCarver 7:22

Made With Wood 11 show, Eureka (CA) 1982

18: 8
Mail order suppliers, publisher' s co m ments 9:
guide to suppliers II : 9
Mai l-O rder Woodwork ing: A Guide to Woodwo rking Supplies by Mail II : 9
Ma king o f Fred, The, (Ca rving in th e Round :
IA Pe lican) 12: 7
Ma lloff, Geo rga nna, wo od sculpto r, and
Creatio n Pole 11:25
Ma loof, Sa m, Pacif ic Wood worker int er view
7: 6; advic e to lledgling woodworkers 7: 9;
how to mak e a Maloo f table pedestal 7: 10;
ho w to create a Mal oof finish 7: 13
Ma rketing ad vice, choos ing yo ur product
7:24; promoting yo urs elf and your work
8: II; de veloping a mail order catalog 9:31;
promoting custo m furniture by exhibiting in
restored homes 10:17; estimating and
bidding II: 17; improving portfolios 12:32
assaranduba (a Brazilian hardwood) 10:30

15;

June/July 1983

Narrow-ker f sa w blade d iscovered in Japan

9:18
Nat ional Carver s Mu seum, Monument,
Co lo rado 8:35; free workshop offered 1982
10:42
Oil fini sh 11:20
Oregon School of Ar ts and Crafts, sponsors
Maloof workshop 7:29
Oregon State Penitentiary, woodworking
program 8: 12
Penetrating o il fini she s 11:38
Pl ane r, exten sion table available for Inca
Model 090 10:29
Planes, wood bodied 9: 15
Port fol ios 12:33
POllS, Don, a nd wood models of San
Francisco a rc hitect ural landmark s II: 14
Power hand tool wood carving co lumn 7:30,
8:34; 9:40; 10:40; 11:40; 12:40
Power sa w, product report on th e Henniker
Versatile Saw 12:36
Pri son woodworking sho p , in Oregon 8: 12
Promote yo urself, marketing advice 8: 11
Rayco woodworking machinery brochure
12:34
Recessed sq ua re head wood screws, available
from The Woodworkers' Store II :42
Relian ce Rug-Roller casters 8:30
Renovation, book review 12: II
Restaurant woodworking 7:32
Rockwell Speed Bloc Sander test report 8:26
Rollf', Richard, inmate woodworker 8: 12
Routers, portable, Pacific Woodworker's
guide to , 10:14 and II :26; how to select a
portable router 10: 16
Safety, im po rt a nce of fire pre vention 9:32
Sa n Diego Fine Woodworkers Association ,
exhibit a t Del Mar Fair, Ca lifo rn ia 1982
9:2 8
San Joaquin (Califo rn ia) Fine Woodworker s
Associatio n fo rma tio n 12:18
Sander, Rockwell Speed Bloc Sander tested
8:27
Sandpaper, types and uses 9: 10
Sealacell Wood Fini sh, test report 10:20
Shellac II :19
Shop layout a nd workshop efficiency, one
example 8: 6
Sonoma County (CA) Woodworkers
Association 1982 show 7:20 and 7:36;
members discuss estimating and bidding
11:17

Sorsky, Rich ard, woodworking bookseller

7:14
Southern Californi a Expo woodworking
exhibit 19829:28
Spiral maker, devi ce developed by Bobby
Brigg s 10: 8
Staining wood 9:10
Store reviews : Wood Tool Center, Me View,
California 10:36 ; The CUllin g Edge, Lo s
Angeles II :33 ; Th e Woodworkers' Store in
Seattle, Wa shington 12: 17
Table pedestal, how to make Sam Maloof
style 7:10
Table saw maintenance 8:21
Table saw, tip on quick shuto ff 9: 17
Test reports: Rockwell Speed Bloc Sander
8:26; Seal ace II Wood Fini sh 10:20
Tool catalog, Fair Price Tool Company 9:42 ;
Woodcraft Tool Catalog Supplement 12:34
Toy parts ca talog, Cherry Tree Toys 7:22;
Love-Built Toys 9:30
Toy chest lids, Consumer Product Safety
Commission rule s 7:23
Trade shows for Western woodworkers, why
two in California on the sa me weekend?
Publisher's comments II: 2
T sumura circular sa w blade 9: 18
Turnbull, Bruce, wood sculpto r in Maui,
Pacific Woodw orker interview 7: 16
Varni sh II :20
Ward, John , Pacific Woodworker interview

8: 4
Watco Dennis new wood fini shes 9:30, 10:32
West Marin (California) Woodworkers
Association 11:24
West Marin (California) Woodwork ing Show
reviewed 11:22
Wood Finishes II : 18
Wood Tool Center, Me View , California
10:36
Wood types: Amazonian hardwoods series
8:22, 9:24 , 10:30,
Wood without Metal, the Evolution of an All Wood Box Design, article by Ray Jones
10:10
Woodturning Conference, First Western ,
Oakland (California) 1982 II :29
Woodworker's Dictionary 11:37
Woodworker' s Foundation, Pacific
Woodworker Publisher' s co m ments II : 2
Woodworkers' Store, Seattle, Wa shington
12:17
Woodworking in P aradise (Mau i, Hawai i)
7:16 and 8:18
Woodworking sup plies ca talogs ,
Woodworkers' Store 10:29 ; Albert
Constantine and Son, Inc . 10:32 ; guide to
mail-order su ppliers II: 9
Work in Progress sho w, Sonoma (CA) 1982
8: 7
Workbench available by mail from Tennessee
Hardwood Company 12:34
Young, Dennis, chair maker 9:20; on design
9:21

43

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