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SEPTEMBER/OCTOBER 1983, No.42, $3.50

! I I I 1

or ing

Making Cabriole Legs

ing aagaZine frona Las Vegas entrepreneurs�

Hicl.ard �alott and Junior Sealey

WE HIT THE JACKPOT

IN LAS VEGAS

WHEN E BOUGHT THE AUSTIN HARDWOODS FRANCHISE

• Started August, 1980 in the depths of the recession

• Doubled our warehouse capacity July, 1983 from 6,000 to 12,000 square feet

• Sales this year (projected via pro·ration) $1,000,000 plus!

Opinions

We couldn't have done it without the flexibility and expertise provided by the Austin Hardwoods program. The parent company

has worked hand·in·hand with us, keeping us abreast of changing market conditions , new products, and effective marketing

techniques. Their program allows the franchise owners to tailor their operation towards any ratio of retailjwholesale and

hobbyist/commercial sales, and to grow as fast as they are able. Sure there was a lot of hard work. but the record speaks for

itself. Our Austin Hardwoods franchise turned out to be a sure bet.

Details are too numerous to list. This is a tremendous opportunity to make money either as an owner/operator

or as an investor. If you happen to love dealing in fine woods, all the better. Current total investment is

approximately

$90,000. Please let us hear from you.

FranchiseMarketingDepartment

3096 • Austin, Tx. 78764

7i229 DENVER, COLO. 80223 AUSTIN, TX. 78764

Austin Hardwoods P.O. Box

78217

Visit the Austin HardwoodsDealer nearest you.

DALLAS, TX.

7991i HOUSTON, TX. 77014

89109

98033

SAN ANTONIO, TX.

NE 112th St.

11353 Mathis

2625 S. Santa Fe Dr. 2119 Goodrich-P.O. Box 3096

2446 Brockton

Oren Dreeben

(512) 822·8833

Myles Lasner

22079 LUBBOCK,TX. 79413 SANTA ANA, CAL 92703 Sl�N FRANCISCO, CAL. 94124

Russ Brown

John Dudney

(214) 241·4777

(303) 733·1292

(512) 442-4001

EL PASO, TX.

LAS VEGAS, NEV.

KIRKLAND, WASil.

904 Tony Lama 1300 Stuebncr·Airline #408

Mike Loewenstein

2901 S. Highland # 15A

Richard Malott

(702) 733·6677

1184

Bill Bryant

8i70i PHOENIX, ARIZ. 8i040 PHILADELPIIIA, PA. 19144

Bill Thurmond

(206) 823·2515

(915) 593·0126

N. Forbes Blvd. #102A 3821 E. Broadway

LORTON,VA.

8930 Telegraph Rd. Route 4, Box 162·H

Hinds Wilson

2330 Fifth St.

2001 Oakdale Ave.

Galen Carr

Joe Brown

Ron Grove

(703) 550·7076

(806) 797·5099

(714) 667·0704

(415) 641·1972

TACOMA, WASil. TUCSON, ARIZ.

Opening Soon

Call Directory Assistance

For Information

2045

5701 Magnolia St.

Ted Hill

(602) 243·7191

Ted Missiras

(215) 848·9663

(602) 622·7383

m A naessage to the readers of Fine Woodwork

• Began showing profit after four months

Facts

• Sales first year $370,000

• Sales second year $725,000

• Recovered entire initial $90,000 investment in 20 months

(713) 440·0764

FINE WOODWORKING

Editor John Kelsey

Art Director Deborah Fillion

Associate Editors Rick Mastelli

Paul Berrorelli

Assistant Editor Jim Cummins

Copy Editor Nancy Stabile

Assistant Art Director Roland Wolf

Editorial Assistant Linda D. Whipkey

Contributing Editors Tage Frid

R. Bruce Hoadley

Richard Starr

Simon Watts

Consulting Editors George Frank

Ian J. Kirby

A.W. Marlow

Methods of Work Jim Richey

ig·

SEPTEMBER / OCTOBER 1983, NUMBER

DEPARTMENTS

. Lowe

Notes and Comment

Events

Connections

Adventure: The 25 Centimes

ARTICLES

32 A Small Highboy by Calyle Lynch

Plans for a Queen Anne charmer

36 Cabriole Legs by Philip

Hand-shaped, without a lathe

40 Natural Patterns by Jim Cummins

A patternmaker carves wildlife

Cover: Bolstering the blank with an ordinay

pipe clamp, Phil Lowe refines the ankle of a

shapely cabriole leg he's bandsawn and sp oke

shaved out of a maho g any plank. There's

more about how to make Queen Anne legs,

plus plans fo r a gracefu l piece of fu niture

using them, on p.

42 Designing Trestle Tables by Kenneth Rower

Knockdown joinery challenges ingenuiry and skill

44 Tricky Trestles

Three variations made by readers

46 Carving Running Patterns by Miles Karpilow

How to chop out picture-frame moldings by the yard

50 Making a Router Table by Donald Bjorkman

Poor man's shaper is a handy beginners' tool

52 How I Make a Rocker by Sam Maloof

A master craftsman reveals the details

55 A Child's Rocker by Wiliam Lavin

It's small and straightforward

58 Tools Are Where You Find Them by Michael Dresdner

Luthier borrows lots of help from other trades and crafts

60 Working Locks Made of Wood by Roger Schroeder

Though their securiry is symbolic, they're fun to make

66 Outdoor Wood Finishes by William C. Feist

Varnish is pretry, but paint'S tougher

68 Wendell Castle Tries Elegance by Urbane Chapman

... and pushes toward the limits of craftsmanship

74 Tips on Veneering by Tage Frid

How to avoid coming unsruck

76 Keeping Ten Fingers by Paul Bertoreli

Injury survey pinpoints hazards in the shop

77 Ripping, grooving and molding safely by Michael S. Podmaniczky

79 The Miniature Shipwright by Lloyd McCaffery

After a while, you fe el

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Letters

Hardwood dealer Paul McClure, in his ,rticle "Whither

Rosewood" (FWW #38), has chosen a comfortable and

proitable view of the plight of the world's hardwood forests.

The reality of it is shown in Central America where giant

mahoganies are being cut right around small villages of Indi

ans, with neither the logging company nor the government

offering the local people any compensation. Perhaps he hasn't

heard of the "tree huggers" of northern India who, in the

tradition of Gandhi, attempt to protect their trees from the

loggers' chainsaws with their own bodies. A friend of mine

who recently visited Madagascar was amazed at the differ

ence over a previous visit. The hardwood forests are almost

gone. In their place has sprung up brush which in places is

being overgrazed by goats, leading to immense arid are,s al

most totally devoid of vegetation.

A few years b.ck, I noticed that a Playboy playm,te of the

year was given, as one of her promotional gifts, a large rose

wood and brass bathtub from the Rosewood Bathtub Com

pany of California. Truth be known, the world's remaining

hardwood forests are not being cleared for agriculture. Much

of the third wo rld's forest wealth is being turned into knick

knacks and toys by and for Western playboys. Shown to Cen

tral American Indians or tree huggers, most of the things we

make of these woods would seem to them a poor exchange

for the life of their forests.

As a woodworker, I consider all trees the sacred material of

my profession. As certain species become ever more rare, they

are the more valuable and sought after. Many species are al

ready far too rare to be turned into objects, however beautiful

or useul. I am thankful for the others who share this view.

-regg Blomberg, Lopez, Wash.

David Hope1n

W #40.

months to dty thoroughly, even in the arid Southwest.

As the platform for seat cushions, we recommend rope for

both comfort and practicality. Upholstered seat cushions tend

to creep off wooden or particleboard platforms. We make the

back bolsters using muslin sacks stuffed with kapok, which

looks and wears better than the polyester-wrapped foam and

is more comfortable.

-Andrew S. Peterson, Santa Fe, N.Mex.

Some people are saying that the world's rain forests are being

destroyed for the sake of the timber that can be extracted

from them. By no means does all tropical timber come from

rain forests. Rio rosewood (Dalbergia nigra) and kingwood .

from Ceara (D. cearensis) do not, for example. But it is re

markably dificult to find Out exactly where the different

kinds do come from. Can anyone help with this information?

What about Indian rosewood (D. datifolia), East African

blackwood (D. melanoxylon) and Indian ebony (Diospyros

spp.)? Do they or don't they come from rain forests ? What

one really wants perhaps is a list of the decorative tropical

timbers which do not come from rain forests.

-David W. Pye, Sussex, England

The article on Taos furniture (FWW #40) was inaccurate

about the origin of the "Taos" style. It was Larry Hill, Jim

Hill's older brother, who first constructed the daybed that

later came to be called the "Taos bed." Jim and his wife,

Megan Lloyd Hill, were the artist /owners of Hill's Gallery of

Contemporaty Art and Crafts-a Santa Fe gallery that esta b

lished itself as a major showplace for contemporary crafts and

avant-garde art from 1970 until its closing in 1982. It was

Hill's Gallery that was the major outlet for the Taos bed of

Larry Hill and it was Megan Hill who coined the name "Taos

bed. " The name was strictly a marketing device, with no par

ticular historical or design reference to Taos, N.Mex., or Taos

Pueblo. In fact, between "daybed" and "Taos bed" it was

briely known as the "Santa Fe bed "-somehow, the Taos

bed seemed a better it, so it stuck.

It has always intrigued me that this one item soon led to a

whole line of "Taos" furniture marketed by Hill's Handcraft

ed Furniture. -Richard L. Cook, LaCienega, N.Mex.

As the sole manufacturer of "Taos Furniture," a registered

trademark and tradename of LifeStyle de Santa Fe, Inc., we

would like to clear up some misconceptions caused by the

article in FWW #40.

Jim Hill did start a furniture company around 1970 called

Hill's Furniture. In 1976, Robert Powell bought that com

pany and renamed it Taos Furniture, Inc. Subsequently, in

1981 the name was again changed, to LifeStyle de Santa Fe,

Inc., which is anything bur a "cottage industy. " We furnish

hotels and other commercial establishments across the coun

tty, as well as many residential, ofice and interior-designer

related jobs (photo, above right).

We have received concerned comments about some of our

design details as a direct result of Rannefeld's article and

would like to clariy some points.

The article states that the pinned bridle joint has been all

but abandoned because of problems with wood movement.

We kiln-dty our own wood to below 8% moisture content

and have no problems at all with the open mortise-and-tenon

Jomt. Air-dried Ponderosa pine can take more than six

In regard to Karen Tyne's reply on truing up a level

(FWW #41, p. 22), this method works for me: In the edge

of a board, drill twO holes which �6-in. fine-thread bolts will

thread into. The distance between the holes should be about

2 in. less than the length of the level. Make a notch in the

head of one of the bolts.

Secure the board in your vise with the bolt heads pointing

up. Place the level on the bolt heads and turn the unnotched

bolt until the bubbles indicate "level. " Rotate the level end

for-end (be sure to stay on the same edge) and turn the

notched bolt, counting the number of turns, until the level

indicates "level" again. Turn the notched bolt in the opposite

A reproduction of a New Mexican chest, by the company that

deve l oped the 'Taos' style jeltured in F

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