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Woodsmith杂志102-椭圆茶几 Thank You! You have successfully downloaded your Woodsmith project plan. 4Go to Page 1 We'll clear up the confusion in buying router bits with an in-depth look at how bits are designed, what types are available, and which projects are best suited for a pa...

Woodsmith杂志102-椭圆茶几
Thank You! You have successfully downloaded your Woodsmith project plan. 4Go to Page 1 We'll clear up the confusion in buying router bits with an in-depth look at how bits are designed, what types are available, and which projects are best suited for a particular style bit. Learn More About Routers...at PlansNOW.com Adjustable Dado Jig Perfect dadoes every time without using a straight edge! Queen Anne End Table Build a matching end table for coffee table featured in show. Pedestal Desk Early 1900s style adds classic beauty to your home office. 4Download Today at PlansNOW.com...$5.95 Bonus Plan: Build a Router Bit Cabinet! Step-by-step plans for building a router cabinet for your shop. Features a sturdy platform for making bit changes and router adjustments. A cutaway shelf lets you store your router in an upright position without removing the bit. You Can Build it...at PlansNOW.com Inside Look at Router Bits Top 5 Router Jigs Easy-to-build jigs for cutting circles, mortises, and more! Get the Most from Your Router! NEW from the editors of Woodsmith magazine! Discover the shop-tested tips and hands-on techniques that will give you the results you want. They’re all in this 100-page, softcover book — packed with hundreds of color photos and illustrations to guide you! 4Order Today at WoodsmithStore.com HEIRLOOM COFFEE TABLE © 2007 August Home Publishing Co. Heirloom Project coffee table This coffee table features cabriole legs, scalloped aprons, and an oval top. But the straightforward construction won’t throw you any curves. his coffee table is an elegant Queen Anne project. It features cabriole legs, a scalloped base, and an oval top with a hand-rubbed fin- ish. But don’t assume that this table demands a lot of time or highly spe- cialized skills. It doesn’t. The legs are the most involved part of this table. So to help out, we’ve included a step-by-step article on page 8. Or if you just can’t bring yourself to build the legs, you can buy them pre-made, see page 9. With the legs done, this project moves along pretty quickly. In fact, the table can almost be completed in a weekend. CABRIOLE LEGS. To build this coffee table, the first thing you need to do is to make the cabriole legs (A), as you can see in the drawing below. And as I mentioned before, you’ll find a pattern for shaping the legs as well as detailed instructions for making them in the article on page 8. RAILS & STRETCHERS. When the legs are complete, the next step is to con- nect them with 3/4"-thick side aprons (B) and front/back aprons (C). Both are the same width and have a scalloped profile cut on their bottom edges. But before cutting the decorative profile, I cut the tenons on the ends of the aprons to fit the mortises in the legs, see Fig. 1. Then after the tenons had been cut, I cut a groove on the inside T 1 2 a. a. a. 1 www.Woodsmith.com © 2007 August Home Publishing Co. All Rights Reserved. faces of the aprons, see Fig. 2. These grooves hold the simple Z-shaped fasteners that I used later to secure the top to the base. SCALLOPED PROFILES. Now the aprons are ready for their decorative profiles. The nice thing is the symmetrical profile is the same on both the side aprons and the front/back aprons. So I only needed to make a half template for each set of parts. To create each template, you’ll start with the scaled pattern shown below. Then simply transfer the pro- file onto a cardboard template. With the template complete, I began laying out the profile on the front apron, see Fig. 3. To do this, the base needs to be dry assembled first. That’s because the curve on the template must start where the transition block on the cabriole leg ends, see Fig. 3a. (It’s also important to keep the top edge of the template flush with the top of the apron.) Draw the profile; then flip the tem- plate over and draw it again, starting from the other end. The half tem- plate meets in a shallow curve at the center of the apron. The profile on the side aprons is the same as the front/back aprons — just shorter (Fig. 4). So I simply trimmed off the template. As with the front/back aprons, the curve starts at the transition block. You may need to adjust the centerpoint of the profile. After the profiles are laid out, the scalloped edges can be cut. The important thing here is to get a clean, sharp corner at the “point” of the profile. To do this, I started by cutting the point of each profile, see Fig. 5a. Then I cut from the ends along the curves to the point to remove the waste, see Fig. 5. Finally, I glued and clamped the base together. Then I sanded the scal- loped edges smooth, making sure the joint lines between the transition blocks on the legs and the aprons were flush, see Fig. 6. 4 5 a. a. 6 APRON TEMPLATE 3 2 www.Woodsmith.com © 2007 August Home Publishing Co. All Rights Reserved. QUICK AND EASY GRID Table Top With the base complete, I set about to build the top. This is pretty simple really. The top is just a glued-up mahog- any panel cut in an oval shape. To do this, I began by making a paper pattern first. Then I created a hardboard template from this pat- tern and used the template as a guide when cutting and routing. PAPER PATTERN. As I mentioned, the first thing to do is create a pattern for the top, see Fig. 7. The oval shape of this table isn’t a true ellipse. So it has to be drawn “freehand.” This may sound a bit intimidating, but it really does require less artistic skill than you might think. You just draw a grid, plot some points, and connect the dots, see box below. There’s one more thing I want to mention: You don’t even need to make a full pattern; a quarter pattern will do. And it will give you more a more consistent template. HARDBOARD TEMPLATE. With the paper quarter pattern complete, I used it to make a full-size template out of 1/4"- thick hardboard, see Fig. 8. There are a couple advantages to creating a hardboard template for this project. For one thing, if you happen to make a mistake when cutting or sanding the template, it’s no big deal. Hardboard is cheap compared to mahogany. But even more important, it’s much easier to shape and sand a 1/4"-thick 8 7 9 a. a. I’m not an artist and don’t feel com- fortable drawing freehand curves. But recently, I was shown a quick way to draw freehand curves by first creating a rough grid. All you need is some paper for the pattern, a pencil and a tape measure, and a table with a square corner. GRID. To do this, I made a 2" grid using a trick I’d been taught by a carpenter, see left and center pho- tos. To draw the lines, hold the tape firmly with one hand and “hook” the pencil on the end of the tape. CONNECT DOTS. With the grid drawn, plot the points of the curve on the grid. Now, drawing the curve is just a matter of “connecting the dots.” TABLE TOP QUARTER PATTERN 3 www.Woodsmith.com © 2007 August Home Publishing Co. All Rights Reserved. hardboard template than a panel made from 3/4"-thick solid wood. Plus, I was able to use the template to guide the router bit as I shaped the edge, refer to Figs. 10 and 11. To make the template, I started by cutting an oversize blank and drawing centerlines on the top to create “cross hairs,” see Fig. 8. (The blank was 30" x 48".) Next, I drew the pattern on the blank, flipping it around the center- lines from the quarter section until the layout was complete, see Fig. 8a. When cutting out the hardboard template, I used a jig saw with a fine tooth blade, staying 1/16" from the layout line. Then I sanded the template up to the line. OVERSIZE PANEL. Now that the tem- plate is complete, the next step is to glue up a 3/4"-thick blank for the top. This blank starts out the same size as the template blank (30" x 48"). When the glue is dry, remove any excess glue and plane and sand the panel flat. Then carpet tape the hard- board template to the bottom face of the panel, see Fig. 9. Like the template, I rough cut the panel with the jig saw. But this time to get the panel flush with the tem- plate, I used a flush trim bit in the router, see Figs. 10 and 10a. However, when routing the edge of the table top, you’re likely to run into some chipout. The solution is to backrout the edge, see page 5. Next, I routed a profile along the top edge of the table, see Figs. 11 and 11a. (This requires the same procedure as the flush trim routing.) There are a number of profile bits you can use. I chose a special Freud bit (product no. 99-011) designed especially for table top edges. Note: This bit didn’t fit the opening on my router base, so I replaced it with an auxiliary base, see Fig. 11. Once the profile was complete, I hand sanded the bottom lightly to remove the sharp edge, see Fig. 11b. Before attaching the tabletop to the base, I applied the finish. First, I put a coat of stain on everything. (For more on staining end grain, see page 6.) Then I applied a couple coats of varnish. It’s a good idea to add a third coat to the top. This way, there’s a thicker film of finish so you can “rub out” the finish to a high gloss. When the finishing is done, the one thing that’s left is to attach the table top to the base with Z-shaped fasten- ers, see drawing below. W 10 a. a. b. 11 b. 4 www.Woodsmith.com © 2007 August Home Publishing Co. All Rights Reserved. a. tiPs from our sHoP talking sHoP One of the cardinal rules of routing is that you should always move the router (or the workpiece) so that the stock is fed into the cutting edge of the bit. There’s a good reason for this. DIRECTION. When routing in the normal direction (moving the router left to right), you’re pushing the cutting edge of the bit into the wood (or vice versa on a router table). This gives you a lot more control over the cutting action. As soon as you stop pushing, the bit stops cutting. If you rout in the oppo- site direction (backrout- ing), the feed direction is the same as the direction the bit is rotating. So the bit pulls itself forward as it digs into the workpiece. On a router table, this can be disastrous. The router can actually pull the work- piece (and your fingers) right into the router bit. For this reason, I avoid back- routing on a router table. Backrouting with a hand-held router is another story. Since the workpiece is clamped down to a bench, the bit tends to pull the router forward (instead of the workpiece). This makes it difficult to control the router, but you don’t have to worry about your fingers coming into contact with the bit like you do on a router table. So even though it’s a little tricky, there are times when I backrout to get better results. Take the top of the cof fee table, for example. END GRAIN. Because of the oval shape of the top, it’s impossible to avoid routing across end grain. In this case, if you rout around the top in the nor- mal direction, you run the risk of ripping out large splinters of wood as you push the router bit past the end grain, see Fig. 1. But by backrouting the top, the router bit pulls itself into the grain rather than pushing against it, see Fig. 2. So I was able to backrout around the entire edge of the top without any tearout. SAFETY. But even with a hand-held router, back- routing can be risky. So I usually take a few extra safety precautions. First, I always maintain a firm grip on the router in case it kicks back. And I clamp the workpiece down to my bench so that it doesn’t shift or go flying off. Start off by practicing on some scrap pieces of wood to get a feel for how the router reacts. At first, the router will feel like a dog on a leash that’s just spotted a cat. It will have a tendency to kick back from the workpiece and to skid along the edge. But keeping your elbows tucked into your body and your arms and wrists locked in place should give you a little more control. Finally, I take several very light cuts when back- routing instead of trying to make the cut in a single deep pass. Then, after I’ve removed all the material, I make a final pass with the router in the normal direc- tion. This removes any chatter marks left behind by the backrouting. W 1 2 Backrouting 5 www.Woodsmith.com © 2007 August Home Publishing Co. All Rights Reserved. staining end grain When finishing a project, end grain can create some unique problems. Here are some quick solutions we’ve come up with in our shop. here’s one finishing problem that doesn’t get a whole a lot of atten- tion: end grain. Often after staining, the end grain will look much darker than the face grain. Maybe the reason why this prob- lem doesn’t get much attention is that woodworkers have just learned to “live with it.” Still, there are a few steps you can take that will prevent this from happening. But it helps to know why it happens in the first place. OPEN PORES. End grain naturally looks a little different than face grain. But it also acts differently too. The reason for this is simple. The end of a board is made up of open pores that work like a bunch of straws. Whatever is put on the surface of the board won’t penetrate very quickly. But any liquid substance (like glue or stain) applied to the open ends will be pulled deep into the wood. STAINING END GRAIN. Applying a stain creates a real problem for end grain. Again, the open pores suck up the stain like a kid at a soda fountain. But that’s only part of the explana- tion; after all, end grain sucks up clear finishes just as deep as stains. What makes the stain different is that it isn’t clear. And the deeper the stain gets pulled into the wood, the darker the color at the surface will be. The result is ends that are noticeably darker than the face of a piece. Getting the end grain to match the rest of the project is a matter of stop- ping the stain from penetrating so deep. That way, the end grain and face grain end up with roughly the same amount of stain. Fortunately, there are a number of ways to do this. GEL STAINS When you’re staining a project with a lot of exposed end grain, the easi- est way to get a consistent color is to use a gel stain. A gel stain is like any other stain — it’s just a little thicker. So instead of spilling over the surface of a workpiece, a gel stain will just sit there, like a glob of pudding. LIMITED PENETRATION. Because a gel stain is thick, it won’t penetrate very deep into the wood, whether it’s face grain or end grain, see photos at left. The result is that the end grain and the face grain end up with an even, consistent color. You might think that gel stains are all alike; a magical formula that an expert concocted. Although all gel stains are definitely thicker than reg- ular liquid stains, they’re not all the same. When it comes to end grain, the biggest difference is their thickness. T { A gel stain is just a thick stain. Its thickness limits the amount it penetrates, so I usually work it into the pores with a brush. { After it’s wiped off, you can see that the lim- ited penetration of a gel stain means the end grain is the same color as the face grain. WoodWorking tecHnique 6 www.Woodsmith.com © 2007 August Home Publishing Co. All Rights Reserved. WOOD CONDITIONER I’ve used some stains that were the consistency of thick cream. Others were like a thick paste. Remember, what you want is a stain that’s not going to seep into the end grain. So when choosing a gel stain, just keep in mind that a thick stain will tend to penetrate less and give you a more even color. DRAWBACKS. Of course, gel stains aren’t the answer in every situation. There are times when I want the stain to penetrate as deep as possible. When I have a piece of figured wood, like bird’s eye maple, I’m not going to use a gel stain because I want to highlight the figure of the wood. The gel stain isn’t necessarily going to “hide” the grain. But it will even out the color more than I want it to. The other time I don’t use a gel stain is when I can’t find the exact color I want. Here, I usually end up choosing a traditional (liquid) oil or water-base stain, so I take a different tack to handle the end grain. LIQUID STAINS When I work with a traditional liquid stain, I usually get a more even color if I do a little extra sanding on the end grain — to 600 grit instead of 220, see photos above. The reason this works is because you’re burnishing the end grain. The pore openings are being polished so they’re smaller and don’t soak in as much stain. CURVED SURFACES. With the coffee table, the stain with the color I liked happened to be a traditional oil-base stain. The problem was the table was curved. In fact, this table threw me more than one curve. For one thing, the cabriole legs have end grain at the top of the knees and the feet. But there’s no “hard” corner where the end grain starts and the edge grain stops. So instead of sanding finer, I’d recommend using wood conditioner, see below. But the oval top was a different matter. Wood conditioner applied to this narrow edge would seep into the face grain. I didn’t want light streaks around the edge of the table, so I went back to the sanding solution and sanded the whole edge to 600-grit. TOP COATS When it’s time to apply a top coat, end grain isn’t nearly as much of a problem. The finish penetrates just as deep, and in fact, you may notice that the end grain gets slightly darker. That’s because oil and varnish tend to add an amber tint to the wood anyway. But I’ve never thought this was very noticeable, so I haven’t gone to the trouble of sanding it any finer. About the only thing you will notice about putting a clear finish on end grain is that it dries out a lot quicker. So I sometimes end up applying an extra coat of finish. One final note: I’ve talked to wood- workers who sand all end grain to 600 grit, even if they’re just applying a clear finish with no stain. They do this because the end grain looks and feels so much better after it’s been sanded so fine. But I think this is a lot of unnecessary work. After you build up a film of finish on the wood, you won’t be able to tell a difference. W What can be a little confusing about end grain is that it isn’t just limited to the ends of a board. It can show up on the face of some boards, too. This is especially true of woods like pine, cherry, and maple that tend to have wild, wavy grain. When the grain turns up toward the face of a board, you end up with a small patch of end grain. When staining, these areas of end grain can end up as dark blotches, see the left half of the board above. But you can avoid this. One solution I often use is to apply a wood conditioner (or wash coat) before staining. This is usually just a solvent that evaporates slowly (although it can also be a very thin finish). Because the conditioner is applied underneath the stain, it limits and evens out the stain’s penetration, see the right half of the board above. When staining the cabriole legs, one way to ensure an even color is to brush a heavy coat of wood conditioner on the entire leg. After letting it set a few minutes, wipe off any excess and apply the stain. { When staining end grain, a regular stain will soak deep into the pores of the wood, darkening the ends much more than the face. { One solution to evening out the end grain is to sand it finer than the rest of the board. Here, I sanded the end grain to 600-grit. 7 www.Woodsmith.com © 2007 August Home Publishing Co. All Rights Reserved. abriole legs look more like sculp- ture than woodworking. And while some d
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