Tim introduces the sideboard and shows the membership the source for his drawings as Plate 65 from Verna Cook Salomonsky's "Masterpieces of Furniture".
Tim describes his process of importing the drawing into Sketchup and producing an electronic plan that specifies every detail of construction, including the details of all marquetry and jointwork.
Detail of the beautiful sideboard showing the stringing, banding, inlay, and veneering details. The primary wood is Mahogany and Mahogany Crotch. The stringing is made from Holly.
View of the cabinet interior. Secondary wood is locally grown Monterey Pine which Tim explained has many wonderful woodworking properties.
The deep bottle drawer has some tricky construction that was required to produce the illusion of two stacked drawers. The drawer components were also made from Monterey Pine.
Detail of Bottle Drawer front showing the veneering and banding details as well as a the dovetails.
Some of the hammer veneering tools and the printout of the Sketup pattern showing all the veneering and banding details. Tim's detailed Sketup drawings mean that every step in the woodshop is planned ahead of time allowing one to work extremely efficiently.
The process of hammer veneering the drawer fronts begins by slathering hot hide glue onto the ground. The toothing plane shown on the left was brought by Joe Jerkins to discuss the process, but Tim does not go over the surfaces with a toothing plane. Toothing is typically only necessary for evening out the thicknessing of sawn veneer when a thickness sander is not available, or for roughing the surface of the ground so that the veneer does not slip around during the hammer veneering process, which is sometimes necessary.
Tim also brushes glue onto both sides of the veneer. It's necessary to work quickly at this point or the glue will cool down too much.
Applying the veneer to the ground using the veneer hammer. He starts at the center working out towards the edges. The idea is to push the excess glue out from under the veneer.
After the veneer has had a chance to set for some hours, Tim slices the edges to make room for the edge banding. Tim uses the Lie-Nielsen tool developed by Steve Latta for this purpose. The cut line at this point does not have to be super clean since the 1/32" wide stringing that will be applied later will cover up any imperfections.
Detail of the cutter.
The waste side of the sliced veneer is removed. It's best to do this within a day or so of applying the first piece of veneer so that the glue has not had a chance to bond fully and the waste can be removed easily.
Using the radius cutter to cut the corners.
Detail of the radius cutter.
Applying the banding. Hide glue is used here as well.
To produce the miter at the corners the banding on one side is first layed down. Then the miter is cut using an Xacto knife with a #11 blade. After the cut, the banding on the other side of the miter is trimmed and applied. Joe Jerkins pointed out that inexpensive, unsterilized #11 scalpels are a much sharper substitute for Xacto knife blades and are capable of super clean cuts.
How it looks at this stage. The joint between the banding and the center veneer will be cleaned up when the stringing is applied in a subsequent step.
The grooves for the stringing are created by simply rerunning the two cutters along the veneer faces after all the veneer has had a chance to setup.
Cleanup of the corners is done using dental picks and a home made right angle cutter.
Detail of the clever home-made right angle cutter.
The finished groove, ready for the stringing.
The holly for the stringing begins as thin strips sawn from solid Holly using the table saw.
The sawn Holly veneer is sliced using the Lie Nielsen cutting gage on a specially made board. There is a fence at the front of the shooting board. The veneer is held against one side of this fence and the cutting gage rides on the other side of the fence. This is far more accurate than trying to run the fence of the cutter directly against the veneer.
The cut piece of stringing.
The stringing is easily and accurately thicknessed by simply pulling it through the thicknessing gage.
For applying the stringing, Tim prefers to use regular yellow glue. It works better for this purpose than the traditional hide glue.
Pushing the stringing into the groove.
Running a scrap piece of wood along the stringing to ensure it is evenly and deeply in place.
Once in place the stringing can be immediately cleaned up using a cabinet scraper.
The stringing for the curved portion is heated and bent using a modified soldering iron.
Applying the heat bent stringing around the rounded corner.
This is Tim's current project - a heavily carved Philadelphia style low boy. As with all his projects the process begins with importing the research material into SketupUp and generating complete, highly detailed drawings.
Tim shows details of the double dovetails holding the corners together.
Sketup was used to create working drawings of the corner dovetails.
Sketup was also used to produce the carving templates. Using Tim's highly organized method *nothing* is left to chance!
The carving in process side by side with the plan drawing for the carving.
Detail of the highboy.
Arnie shows us a mockup of a recent project he completed on commission. He tells us how the mockup could have saved a great deal of effort had the customer been open to comments from him before construction had begun.
Listening to Arnie's travails.
Joe shows us a James Bay casting for an English style smoother he is working on. He is asking the membership for comments on how to cut and fit the cocobolo infill.
Detail of the casting.
Two beautiful Clarke and Williams smoothers that were brought in to show the membership. The one on the left is an almost unique cocobolo example.
The antique veneer toothing plane, showing the toothed blade.
Alan unwraps a package from Olde Street Tools (formerly Clarke and Williams) he had just received that morning. It contains a rabbet plane he ordered two years ago!
The blade on this plane is not skewed as is common on extant antique examples. The straight blade is easier to guide in the work when using the plane to rough out mouldings.
A beautiful Maloof style rocker Tim created from drawings in a Fine Woodworking article authored by Sam Maloof.