Walnut Table

Walnut Table

 

Small Side Table

Maple Side Table

 

Fretwork & Dovetailed Musicbox

 

Fretwork Music Box in Cherry

Scrap Wood Lazy Susan

Turned Lazy Susan

Paul Seller's Clock

   

Seller's Clock in Cherry

 

Refinishing My Way To A Collection

 

 I love the feel of old furniture, the kind of stuff that my grandparents had. The kind of stuff my parents hated because it had fallen out of style or favor. The furniture made from the Depression era until the 1950's was typically hardwood and its joinery was often unique-good old fashion screws. Its manner of construction relied far more on mechanical fasteners than its predessor, but lacks the fastener widgets, do-dads, and pressboard of today. It was typically sparse, but made well, and generally affordable. I have three re-furbished pieces, two from this time period and one more modern. I want to share these because I think they prove that a well-used piece is not necessarily a throw away.

Platform Rocker

My grandmother had a chair almost exactly like this one. In fact, I recall many people owning a chair like this one as they were quite popular. I have seen similar chairs in old Ethan Allen catalogs, this one did not have a maker's sticker still on it. It is solid maple. As seen in the photo it was in dire condition when I obtained it. It had belonged to my wife's mother, which is a testament to their popularity. One arm was broken in half, several parts were missing, and the original cushions were like bags of sand that had been hand-sewn in an old pair of curtains. I think she offered us the chair as a second-thought before sending them to the dump.  

 I sent the cushions out to a profession reupholster to be remade and set about repairing and refinishing this old chair. I have seen so many of these chairs with broken arms. My impression is that the break has more to do with design than craftsmanship. People pull and sit on these arms. They were often used as seasonal chairs, where they were often kept on convered patios and such. This one certainly was no different, but the bottom of this chair is as solid as the day it was made. I finished it with a 50/50 wipe-on poly blend.

Walnut Coffee Table

The second piece I found in my son's attic. The table had been left behind by a previous owner. The top on it had been replaced with pine that had cuped so badly it was practically a bowl. The stain didn't match the base and again this piece was also headed for the dumpster. I stripped the old crackling varnish off the base and applied a black water-based stain. This was really for two reasons. The first is that the legs on antique furniture are always darker than the top, and the second is that with the base now black I didn't have to worry about matching anything. This is by no means an antique. The base was made of poplar, but solid. I obviously used walnut for the top, and a rickety piece it was. After cutting out the bugs and rot, I had just enough to cover the base. Sapwood, heartwood, who cares? Given the condition of the board I finished the table with a 60/40 wipe-on poly and then a finishing epoxy. The table was a gift for my daughter and her boyfriend; it is a piece they treasure.

Bed-side Table

 No piece I've ever done made me chuckle as much as this piece. My mother purchased a side table from a department store. It was ugly new, even before she beat it to death. It's legs were chrome, or some facsimile of chrome. The top was made of a dense pressboard with a contact paper-like wrapping, made to look like a gray marble. It was hideous. My mother used it so much she had worn a hole in it. My mother, subsequently, had to move to assisted living and while I was cleaning out her home my youngest daughter grabbed it. I yelled, "not that." She replied, "but I want it." You probably already know how the rest of that went. So, mostly because I couldn't stand looking at it, I reimagined it. I sized up a new piece of pressboard and cut some thin strips of maple to cover the sides and ends. The I covered it with a pecky maple veneer. I do own a small vacuum press.

It is quite affordable and is marketed toward skateboard makers. The transformation, however, was stunning. I finished this piece by spray painting the chrome legs metalic gray. I think it looks a world better, but I still chuckle every time I look at it.

The Point

 Simply, there is so much you can do with second-hand furniture. It takes a little elbow-grease and creativity but the end results can be stunning. More over, you can revitalize those pieces of furniture that in years past gave you so much comfort or bring up fond memories. But, the pieces don't need to be antiques or even old. You don't need to start with a neglected masterpiece, virtually any piece can be transformed. You don't necessarily need a big shop and countless tools. Additionally, the skills you acquire through refinishing are more than applicable to other types of woodworking. So, look around and find a piece you can give a second life to or drop us a comment and tell us about your refinished pieces.

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by Stephen Koonz

Scrapwood Birdhouse Clock

 This is one of my favorite builds. I made it as a gift for my wife. The clock is almost entirely ahandtool build with some help from a router and scroll saw. 

Materials:

• Red oak (top and bottom, sides and rails for the panel frame)
• White oak (top and bottom)
• Maple (faceplate)
• Cherry (bird)
• Clock insert
• Construction Paper

Top & Bottom:

 The top and bottom were sized up and prepared. Then I used the router to add a simple edge. I hand-cut four quarter-inch stopped dados, 1/4" deep, using a Japanese saw, a chisel, and my router plane. My only regret is I allowed my mind to wander and I mistakenly cut the dados straight. That is, these should have been made to accept a sliding dovetail. Nonetheless, the final joints proved strong and tight.

The Remainder of the Body:

 The clock is difficult to glue up, given it must be done so together, As mentioned, the clock has two stiles that are attached to the top and bottom by four sliding dados. In the front, grooves were cut in to accept the top and bottom faceplate rails, as well as the maple panel. The back of the clock has the rails but not the panel. Therefore, the grooves were not necessary and the dados for the back rail needed to be stopped, or they'd be running down each side having no purpose. In the front there is a bead running top to bottom on the sides, and horizontally on the rails. I made this by inserting a large flathead straight-slot woodscrew in a block of wood--a Paul Sellers trick. I ran the screw head as a cutter and used the block as a guide. The comfort bird decoration was cut 3-D style on the scroll saw.

The Faceplate:

 The faceplate was cut to size. I cut the opening for the clock face, as well as the geometric design, with a scroll saw. While I like the visible mechanism of the clock, despite its size it can be, unfortunately, difficult to read. Directly behind the geometric design I taped a small piece of red construction paper, sufficient to cover the holes. This reflects a dull reddish hue is certain light.

Finish:

 The pieces were sanded and finished prior to glue-up. Before applying finish, I like to sand to about 220 grit. I mixed premade shellac with alcohol about 40/60, respectively. Then I, typically with a ball made from clean rags, apply about seven coats. My general routine with shellac is to sand lightly with 220 grit after the first coat, and then after every two to three coats with 320 grit. I always sand after the last coat (whatever you decide the last coat is) with 400 grit. Then I often apply a paste wax.

Final Thoughts:

 This was a fun project which included a lot of handtool work and incorporated several power tools. As mentioned, if I were to build another I would use sliding dovetails in the dados for the top and bottom. Hand cutting sliding tenons and dados, dovetail or otherwise, probably seems daunting for some. While they take a bit of work, they are not as difficult as they appear. The other thing I would likely change is the thickness of the sides. This was a scrapwood project and I grabbed what I had, but I think it would've looked a little less clunky had I brought that down to 5/8ths. Doing so would likely cause a corresponding thinning of the top and bottom. Let me know what you think?

 

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by Stephen Koonz

Restoration of a Stanley #45 and Cutter Box Build

 

 There is a thrift store near us that specializes in previously owned superannuated tools, which is just a nice way to say old and worn. It is similar in all respects to a used tool shelf in a flea market. There are some gems and surprises mixed in with the illimitable junk. Most times I go there I leave empty-handed. Sometimes I find something inexpensive and useful, and other times expensive and broken. I see these minor victories and disappointments as a requisite part of the adventure. That is, a part of doing business. I walked in to this store, a few weeks back, only to find, to my surprise, twelve, rather rusty, Stanley #45 combination planes. All were just sitting placidly there as if awaiting an orphan train. Each was made to wear a sign that read "Open Your Doors." It broke my heart. I felt morally compelled to intercede. I mean, what's one more tool to oil around the shop. The sad truth was plain enough, a woodworking enthusiast, tool-collector extraordinaire, or, um...hoarder out there in the mystical walnut forest had passed away. I mean no disrespect. I am myself a hobbyist hoarder, engaged in similar pursuits that yield no results, benefits, or profits, and who aspires, if not, dreams of expanding his own rusty collection. I looked out upon this lugubrious transfer-station and beyond the plastic-covered electric drills and concluded one of these octogenarian decrepit contraptions were destined to return with me to my shop in some form of foster care. For humanitarian reasons, of course.

 As a side note, some would argue that we adopt abandoned tools, but not. While we have power of attorney, we bring these corroded elders home, provide needed medical care, and then await the arrival of those who enter our shops and judge us. These venerable carpenters and woodworkers then articulately mansplain our lack of knowledge and prowess in the custodial arts. Who among us has not heard the bone-riving, yet mind-numbing, words, 'that's not how you're supposed to do it"? All I can say to that is judging by the condition of most of these tools, the previous owners didn't know how to do it, either.

 As I surveyed this junkyard on a shelf, I found at least one Stanley No. 45 in reasonable condition. They were both marked $25. By reasonable condition I mean parts are present and minimal pitting. They were both heavily covered in rust and grime. I lamented to the clerk that buying such tools was always a risky endeavor and he responded, "Take two." At that point he grabbed one off the shelf and put it in my hands, yelling over his shoulder, "I'll give you both for $25." Feeling like I had just got away cleanly from a bank heist I paid the man and ran to an unmarked car in equally rusty condition.

As said, both were in rough shape. The one given to me more so. One blade between the two and few missing, non-required, parts. The handle, wooden skate, and knob will require repair or replacing. And speaking of that knob... Some rodent appear to have mistaken the rosewood for a walnut. The handle of the second was also cracked, but generally the wood parts were in much better condition. 

 Both, in fact, cleaned up nicely. I do a pretty basic cleaning, I first soak the parts in a degreaser, then soak in a rust remover, and then scrub with a a wire brush and wash the plane in water, ending with a scrub down of the parts with #0000 steel wool. I then lightly coat all parts with 3-in-1 oil. I lightly sanded the savable wooden parts and coated them in a 50/50 mix of tung oil and gloss polyurethane.

 I was not looking for an old combination plane. I am left-handed, which makes them a little awkward to use, and I feel the price of used specialty planes, on sites like eBay, had become both fantastical and unreasonable. I had previously resigned myself to spending the $450 or so for a Veritas left-hander plough. To be fair, the cost in a Stanley is often in blades, and this experience was no different. I wound up obtaining parts for a third Stanley 45 with a mostly complete set of blades for $75. Which blades were missing? The ones that are used the most, silly! So, I wound up having to order a 1/4" blade from Veritas, bringing my total cost to around $145.

 I managed to restore two of the Stanley 45's to working order. At present they share blades, but after cleaning them up and doing all that sharpening I realized I have no where to store them. So, I set about building a couple blade boxes. I wanted something that would take up minimal room, or fit inside a larger toolbox, while keeping different types of cutters separate from each other. I settled on single holders for each type, using a piece of poplar. Poplar made sense as it wouldn't dinge as quickly as pine, wouldn't be as heavy as something like red oak, and it's a traditional wood used in the inside of cabinets. 

 The design is pretty straight-forward. I first ripped cut about a 1' strip across the bottom of a 3/4" piece of 5-1/4" poplar. I then cut dados across the larger board the size of each blade going from 1/8" to 1-1/4", leaving ample space on each end. Next, I glued the 1" piece I had cut off back on where it had been. I used a piece of 1/4" poplar to cover the dado face, covering them except for the top. I then ripped 1" wide pieces of 1/4" poplar to cover the top and the two sides. I chose to miter the top and sides. I then burned No. 45 in the face of the box. Then I laid a cutter on the box starting from the top of the 1" strip and marking about 1/2" down from the top of the cutter. I used this mark to cut the box in half again. I finished it with a wipe-on poly. 

 It is a little fiddly when putting the cover back on. There is about 1" free space from where the cutters start to where they finish on each end. In those spaces I plan to drill a hole big enough to hold the Stanley 45's short rods, using them, as one would dowels, to keep the top from slipping around.

by Stephen J. Koonz

Mahogany Bowl

 

Will I need a lathe or a special pattern? 

When I hear someone say they make bowls, I immediately think of the lathe. However, nice bowls... Let me say that again. Nice bowls, indeed very nice bowls, can be made in any number of ways, Bowls can be carved, cut with a router, or made on a band saw, to name but a few. There are, in fact several ways, and several styles of bowls that can be made on the scroll saw. The bowl pictured here was made with a 7-1/2" square, 3/4" thick piece of mahogany. That's it; that's all the wood that was used. Patterns are available from several books, online stores, and catalogs, such as Steve Good's site, but honestly you really don't need a pattern at all. If you can draw circles with a compass, drill a hole using some type of angle guide, and tilt the table of a scroll saw, you got this! You can decide how big the base of your bowl will be and then you need only extend each ring 1/4" beyond the last, similar to a target. The width and the height of your bowl is determined by how many rings are cut. You can also decide the angle of the pitch. Most are between 20 - 30 degrees, This bowl is angled at 20 degrees. 

What tools will I need? 

Obviously, a scroll saw. Specifically, a modern pinless scroll saw equipped with a #5 Reverse Tooth blade. Painter's tape. You will also need a drill with a 1/32 bit, and sandpaper. I do recommend different types of sanding equipment for this project--whatever you have that will work. You will also need a couple of shop made jigs. The first is a press. Cut out two 12' x 12" pieces of 1/2" plywood. Drill a 5/16" hole in each corner. Two pieces of 1/4" threaded rod, cut in half, eight 1/4" wingnuts, and 8 washers finish the press. The second jig is a 1/2" thick by 3" long block with the angle you plan to use cut on one end. Any drill attachment that creates accurate angles or a drill press are better options, if one is available to you. Small diameter drill bits easily break, so they are often short. Using a block thicker than 1/2" would likely prevent you from drilling all the way through your piece.

Cutting out the rings and bottom. 

Your bowl blank must be flat. There is a lot written on this topic elsewhere and too big to delve into here. But, if your board isn't flat, your bowl will rock Keeping in mind which side will be used as the inside bottom, cover the top and bottom with painter's tape. You're asking why do I need to do this if I'm not using a pattern? First, you are using a pattern; you're just making the pattern yourself. Second, the cut will ultimately be cleaner if the piece is protected from tear-out with tape. Place the piece bottom-side down on a table, as in what will be the outside of the bowl should be face down on the table. Draw your base. A three-inch to four-inch base is sufficient. Draw the rings, by increasing the size of the compass 1/4". Remember, each ring is increasing the overall height by 3/4" So, one ring makes a 1-1/2" tall bowl, two rings make a 2-1/4" tall bowl, etc. I usually find four to five rings to be sufficient for most bowls. Alternatively, you can simply draw what will be the outside ring first and then work in using the ring just cut to mark the outside of the next. This may sound odd but it will produce the most accurately aligned rings because it is custom cut.

  You are looking at the inside of your bowl. Which way should the bowl pitch, toward you or toward the center? Toward you. Place your angle guide on the board so that it aligns the outside line of the bowl with the drill bill angling toward you. Drill the hole following the slope. Do the same for the inside of the ring. The drill bit will leave an impression. Some bowl makers off-set the drill, while some drill all the holes in line. I prefer in line on a circular bowl. Accuracy reduces sanding time, but will not eliminate it.

  The table of the scroll saw needs to be tilted down 20 degrees to the left and the pattern cut counter-clockwise. Start with the outside ring. If you have any difficulty threading the blade through the hole use a small finishing nail or dental tool to clear the debris. A scratch awl is too big and will enlarge the hole. It's helpful to make a mark on each ring before cutting so they can be lined up again for the glue up. Cut out each ring in your pattern the same way, leaving an adequately sized base.

The glue-up. 

Glue the rings together without the base and set it inside your press. After 1-1/2 hours remove the rings and scrape off excess partially dried glue. Return the scraped rings to the press and allow to fully dry. Now sand the rings smooth, inside and out. Glue on the base and return to the press. Follow the same procedure. That is, scrape after the glue has set up, return to the press until dry and then sand smooth. 

The fancy dip. 

If you'd like a fancy dip in one side like this bowl then return the table of the saw to a zero setting. Draw the dip in one side. Stand the bowl on its side and cut the dip. Because the bowl's sides are flared the side that's up it usually not in the way to cut a small dip. 

Sanding and finishing. 

Round over the top and bottom edges and sand thoroughly through 320 grit, removing all imperfections and glue residue. Apply three coats of spray shellac and lightly sand with 400 grit. The apply five coats of wipe-on polyurethane. I make my own using a 50/50 mix of odorless mineral spirits and polyurethane. Allow the polyurethane to dry at least five days before applying a paste wax. What? That's not food-safe? This is not a soup or cereal bowl and virtually all finishes, once dry, are reasonably safe. Have you ever eaten a French fry that fell off your plate onto the table? Are you okay? 

  

by Stephen J. Koonz