Sewing Box with 3 Dr

Dark Chocolate and Sponge Cake (12)

In the last post I was sorta getting my sea legs again in regards to this project, and had spent a fair amount of time going over the previously done drawings and making sure I was completely understanding where things were at and where they needed to go.

That drawing work continues in regards to sorting the details out on the skirt and feet which fit below the cabinet sill, but otherwise everything seems to be worked out satisfactorily, including the somewhat complicated connection between posts and the sill and skirt/feet assemblies.

In this round, a bit of attention was devoted to the top and bottom carcase panels, both of which are edge-to-edge glue-ups of mostly quartersawn wood. I gave it a once over with a finishing plane in preparation for some joinery work to come:

I tend to get these sort of fibrous shavings from mahogany:

Once the surfaces were cleaned up – andI will give the upper surfaces a final pass before  assembly at a later point – I cut the sliding dovetail trenches in the underside:

I use a Japanese dovetail bit with a somewhat steeper angle than most bits found over here:

The other panel, which fits to the sill frame, came out similarly to the top, and it should since they are the same size as one another:

There’s one more panel yet to be dealt with, one of 3/8″ (9.5mm) thickness which covers the middle shelf with incorporated drawer bank. I have yet to glue up the two boards for that step.

Next, I got to working on the frame corner joints for the sill assembly. These are the same joints as were employed on the upper frame corners and described in earlier posts. The cut out is the same as before and while it might be repetitive, I decided to post some pics anyway. Hopefully readers will bear with me.

Here I’ve just cleaned an abutment to the line marked using a down-shear bit – and if you look closely you’ll see a trace of the knife line at the top:

I knifed the lines on the first pair of sticks but later realized that the down-shear bit was giving clean arrises so didn’t bother to knife the joints on the long side frame rails.

Another view, another corner:

No knife lines on that one to worry about.

A few more cutting operations took place, not pictured, and got these sill corner joints to the point today where a first trial fit could be ventured:

A look at one of the corners:

A look at the inside of a (nearly) completed joint half:

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This Scrappy Saturda

This Scrappy Saturday project is sliding bookends for open shelving. These sliding bookends are a great addition to any room with open shelving. This is a fun and quick project to complete! #bookends #openshelving

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If art is power then

If art is power then this power-carved piece packs a WHOLE LOT of it.

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Dark Chocolate and Sponge Cake (11)

Amazingly, to me at least, the last post in this series occurred on March 29th of this year. Where did all the time go? Well, that’s easy enough to answer – most of it went into the project work at Colgate University, and then a few other things came up. I had thought I might be away from this piece for a 2~3 month stretch but somehow more water has passed under the bridge than that. That’s how it goes.

So glad to be back on this project, and ready to dig into some more of that delicious Cuban mahogany. The parts previously cut have been sitting in my shop, strewed around somewhat as I juggled other parts from various projects, and now that I dust these pieces off I am pleased to find that the mahogany, of both varieties (Cuban and Honduran) has remained perfectly stable. The joined frame joints remain tight and clean, and the panels free of warp, bow, cup, or twist. That’s a benefit of having the parts ‘season’ in the shop mid-construction. The Cuban mahogany has oxidized a degree back to a chocolate color, so I feel like there’s no need to worry about applying dye to freshly cut sections to blend parts together for color/tone -it will all look uniform after a few months so I’ll make the piece intending to celebrate the variegation, knowing it is but fleeting.

One of the lessons that has come to be clear to me in recent years, when faced with a situation where a project is interrupted for a lengthy period, is that it sure pays to be doubly cautious when re-entering the fray. One can’t always step back into full flow and take up as if there has been no interruption, for as much as there has been a time break there has also been a mental one. Caution is merited on account of the precious nature of the wood I am working with, the supply of which really does not allow for those sort of mistakes which would necessitate that a stick or panel be replaced. But the other caution flag which comes up for me now relates to that getting one’s head back into the project and not making assumptions about next steps until one is thoroughly back into the very head space which shaped where things had been taken to in the previous design and build phase.

On top of all this are the factors which come up when you look at something with fresh eyes again and may well choose to do some details differently than previously envisioned.

Assumptions can be a real drag sometimes if they do not prove to be correct. Every woodworker knows this, and I would venture to say that making erroneous assumptions is one of the most common sources of error in projects, along with plain old inattention and/or obliviousness.

When I start in on a drawing for a project, I tend to work first in big (digital) brush strokes, coming up with appropriate massing and configuration for the piece to suit the intended purpose. Once I have shared these initial ideas with a client, the direction forward hopefully becomes more established, and eventually I am rendering the piece in fairly close detail.

I say ‘fairly close’ detail rather than ‘exact’ detail because, with more complex pieces especially, certain areas of a drawing such as joinery details (if they are not a visual feature), or uncertainties about the final form of a molding profile, or any spacing/number errors which may crop up in SketchUp drawing that indicate there is a problem somewhere (a problem however which would require significant backtracking and analysis to parse out), tend to be left for later. In such cases I tend to continue forward with the sketching of the piece, the goal being to produce a drawing which conveys all of the visual detail the client needs in order to make the decision to proceed.

Others might only take their drawings as far as the concept sketch phase in their interactions with their clients, but I find that with joinery-based solid wood pieces a lot of the constructional detailing is going to be apparent in the final product, so it makes sense to define it fairly thoroughly so that the rendered drawing is very close to what will be made. The look of the piece comes partially from how it is made, not from what is applied to something otherwise to make it look like something it really isn’t.

Once I have reached the ‘go-ahead’ phase with the client, wood and other materials are sourced and I go about producing any necessary templates I might need. Once the wood is in hand and ready to be worked, I start breaking down the material as per a cut list, prioritizing the critical pieces first. When it comes time to cut joinery, I go back to my drawing and go over the component in question with a fine-toothed comb looking to correct errors, flesh out details, make minor changes as required.

So, at this phase, I grab rendered components in my drawing and duplicate them, and then in the same sketch make the duplicate white in color so that I know it is a revised and ‘final’ part.

After a while the overall sketch becomes cluttered with various components which have been dragged out, made white and revised to a detailed level. My main drawing looks like this right now, for example:

Sometimes I put things on different layers, toggling layers on and off, but I don’t always bother with that for single pieces of furniture.

I also start new sub-drawings dedicated to particular aspects like doors, back panel framing, drawers, etc., copying parts over and then going through them in detail, again rendering to white. Once the part is finalized in the drawing I print take-offs of various parts and their details, with dimensions, which I then take with me to the shop. It’s like a road map. Until recently we have not had a family laptop, so taking the drawings to the shop has become what I am used to, as opposed to keeping a computer at the shop. My shop lacks an office or dust-free space, so I tend to be averse to bringing a laptop into that – and my wife certainly is not keen on that either.

And, where I last left off in the build I had just started the fabrication process with this futon storage cabinet, having prepped most of the stock, and having constructed the frame for the top and the 4 sets of latticework which comprise the sides of the cabinet:

I could have re-started pretty much anywhere, but I chose to continue on with the fabrication of the top frame and panel. So far I have prepped the stock, cut the corner joints, cut the interior edge dado for the panel, and molded the outside. See post 6, post 7 and post 8 if your memory needs refreshing. I know mine did!

The frame of the top has the thickest section height of any stick in the cabinet, and I was only able to squeeze out the four frame members I have from the 8/4 stock I obtained. There were only two boards out of the pile which yielded material of the required thickness, so if something goes south with joinery cut out on the frame, which is a bit on the complicated side so it is rife with opportunity for errors, then I have nothing with which to replace it. It’s not like I can go and get some more Cuban mahogany at the hardwood lumber outlet. So, I’m super careful. Well, a bit paranoid too! It seems that you can’t so freely use the term ‘it’s only wood’ when what you have to work is in actuality virtually irreplaceable.

One of the tricky areas with frame and panel work is that of joining the frame outer corners together with their supporting post. The three way connection in other words. There are various solutions of course, and I’ve wrote about them extensively in the past, and I have written two joinery Monographs which deal with this topic exclusively. Yet, with a new project comes new particulars, and I sometimes need to come up with new configurations of three-way connections to satisfy the requirements. I find this a lot of fun actually and relish the challenge.

Just in case it might not be clear, here’s the connection I am using in this cabinet to join the top’s corners and posts together:

It’s a form of half lap, but one which needs to incorporate the size and position of the post tenon amid the lap’s dual locking pin mechanism, shachi-sen, plus accommodate the molded front profile, and the interior dado for the panel. Pushing the design configuration is the intended assembly sequence involving the latticed side frames and bottom frame. Also pushing on the design is the fact that the post tenon’s visual exposure means that the position of the rear post tenons need to be the same if at all possible to the front tenons, and yet the form of post used at each location is different. The rear posts accommodate the clip-in back panel assembly, while the front posts are shaped to partner with the door stiles in such a way so as to allow the doors to swing 180˚ open. Finally, there was the design decision to use a joint which showed a bit of it’s mechanism, instead, say, of a joint with a fully mitered appearance. This decision was made in light of the piece overall and wanting to walk that fine line between showcasing the material and showing the virtues of joined work too. The corner joint with shachi sen is becoming a frequent feature of my work, part of the design language.

So, there’s a lot going on in a tight space and a lot to consider. Of course I fully recognize that I do bring this on myself though the desire I have to build, insofar as possible/reasonable, without any recourse to glue or metal fasteners and using joinery which is, to whatever extent it seems sensible to push it, demountable. It would all be vastly simpler and quicker, to be sure, to join everything together with glued butt joint and miter joint connections with dowels, biscuits, dominoes, etc., and maybe even tack on a little joinery simulacra. I’ve seen in some pieces of furniture the look of through tenons simulated by simply burning rectangles on the surface for instance. How these pieces are not outright laughed at and withdrawn from consideration for sale at the furniture outlet is beyond me, but of course there are price points to consider. Anyway, I’m not tempted by those easier routes though it certainly offers what it from many sides a more pragmatic way to proceed, that is, from a manufacturing and profit/loss perspective.

Anyway, back to the top frame detailing. The relative simplicity of the core of the joint, that of half-lap pierced by single tenon, appealed to me, but wringing out the details took a while. I think that’s one of the key things to realizing a design successfully: sitting with the design until it is truly done to the last detail and not giving into the strong temptation to just get on with the cuttin’. Sometimes those little tiny details that seemed better to gloss over, the ones your choose to mentally abbreviate, can come back to bite you – this certainly has happened to me enough times.

When I got my head back into the drawing after the long break, I discovered that I had left off working on the drawing in the middle of finalizing certain details. Some things were not pencilled in fully, and some parts were annoyingly off their marks for reasons which were unclear. About three days were absorbed in straightening everything out and getting to a point of being ready to fabricate.

Back then to the cutting, I decided to mortise the lap joints for the tenons, and thought it made good sense to mill these mortises with the joints tightened and in an aligned position. In the past I have tackled such joints with chisel alone, by hollow chisel mortiser, and by router with edge guide. Now my weapon of choice, more often than not, is the Zimmermann pattern mill. I’ve gravitated, therefore, to the tool that tends to produce the most precise results, with the safest way to produce the cuts, with the cut area clearly exposed to view, the cleanest way to produce the cuts, and with the most reliable fixturing. That, in a nutshell, is the pattern mill.

I used a pair of Bessey clamps to dial each corner joint in tight and dead square, before clamping the assembly down onto the work table of the mill:

The mortises had been marked out months ago, but a last double check revealed one of the mortises was in the wrong position (!), so I’m super glad I took the time to re-check that and make the correction.

The mortise is roughed out initially with a under-size cutter and the location of the mortise defined by that cut’s position checked with a caliper in situ:

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man I just really wa

man I just really want a yarn bowl

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A Minor Project

I’m finally completed some work that was under a N.D. Agreement, so I can return to regular programming, blog-wise. Look for another post in the Dark Chocolate and Sponge Cake series soon!

Meanwhile, I can talk about a small project I tackled over the last couple of afternoons in my frozen cold shop: a wooden serving tray. Maybe it is hardly worth writing about, given that it took less than 6 hours to put together, but it did allow me to explore some fun joinery that came as a result of considering various options for connecting some sort of feet to the tray top.

I’ve made many sushi geta previously, which are simple wooden tops with transverse battens, held in to the top with full length sliding dovetails, and serving as feet. If you google the term you’ll see what I’m talking about.

The issue with that sort of construction, even with a top as narrow as 6″ (155mm) across, is that seasonal movement in the top across its width will leave the end of the dovetailed battens either protruding or slightly recessed at different times of the year. It’s no big deal, considering what they are used for, but it is nonetheless a drawback to that form of connection. The exposed dovetail joint is also a decorative feature on the geta, a sort of message most people will get, if that’s going to be part of it, design-wise. If you’re not interested in such messages, then it’s a drawback to have the joint exposed.

Also, while a flat-bottomed batten is a relatively simple thing to produce, in order to have a piece that will be less prone to rocking from bottom surfaces that are not co-planar, or are bowed slightly by movement of the top, one might resort to hollowing out a mid-portion of the batten undersurfaces to produce, in effect, a pair of ‘feet’ at either end. This is what I’ve been doing anyhow, and on recent pieces I’ve taken to more deeply machining out a hollow in the bottom surface which leaves much more pronounced 2-footed look.

With a wider top board, even if one were to employ quartersawn material, the dimensional difference between the width of the top (which shrinks and swells) and the length of the battens (which hardly change length at all) would be evident at both the driest and the wettest time of year, so it is an even less ideal solution when you get into wider tops.

And if you’re going to shape a batten’s undersurface to produce 2 contact points widely apart, then you’re well on your way to another form of feet for the tray altogether, one consisting of 4 separate feet instead of 2 battens. That way the feet can float back and forth with the movement of the top board. The batten doesn’t serve much purpose besides that of a foot in a sushi-geta, so though simple, I thought more about having 4 independent feet on the tray.

Along those lines, I considered different ways one could connect those feet to the top. There are plenty of options, and in thinking about placing feet so that they meet the perimeter of the top in some locations, one consideration that came to mind was thinking ahead as far as the chamfering is concerned. It’s an issue with the regular exposed end of the sliding dovetail batten form of construction – it is a joint interface which doesn’t lend itself well to chamfering unless you also partially house the batten sidewalls into the surface.

So, with those considerations in mind, this is the solution I decided to explore, by all means not the only one, but one which I think may have a certain usefulness.

I’m lucky to have an off-cut chunk of quartersawn Honduran mahogany, and that seemed like a good piece with which to make a large serving tray. In preparation for the layout and joinery, I leveled the bottom surface:

Despite a clean appearance, the board had a 3″ (76mm) long slightly scalloped band in the surface, which you can faintly see in the above photo after the first round of passes, and there was no point taking many shavings to get rid of that dip when just 3~4 heavier passes, one of which you see above, did the job. Obtaining a clean, tool mark-free surface is the goal regardless of how many passes one takes, and that was managed somehow.

Then, entirely on the mill, using a sequence of cutters and operations, I produced some double-dovetailed sliding trenches at four points:

A closer look reveals the double dovetail trench:

Then some chisel work followed to clean up the interior abutment:

A small block of tight-grained cocobolo, 4″ (105mm) square and 1.25″ (30mm) thick provided enough for the four feet:

As the run of the grain is aligned between the top and the sliding dovetailed feet, I could have glued without the usual concern for seasonal movement working over time against the connection. But instead I decided to do the connections dry, using just the friction of fit between the parts, and trust that to hold up over time:

This piece will be in use in our home, so I can observe how this dry fit joinery approach plays out over the years. I’m not much concerned though, as I’ve plenty of other pieces with dry-fitted joinery in my living room and they’re doing fine.

Besides, cocobolo, being an oily wood, it tough to glue and my strong preference in that case would be a special epoxy that I have for oily woods. While mixing a bit of glue is no big deal, after a brief mulling over I concluded ‘some other time perhaps’ for that way of doing things. Let’s try something else this time.

The foot starts its journey, a hand press-in to start:

Then a mallet does the persuasion:

I know there should be final ‘all the way in’ pic inserted here, but I forgot about taking a picture, so…

…and there we have it, four feet fitted:

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