Cabriole table – one more little task before we start finishing

This particular style calls for the leg post to be flush with the apron (rails, si vous prefere).  Some folks like to glue them all together, then do the final adjustments.  But, I’m opting to clamp them up, trim down the posts, then glue this puppy together.  Also, I’ll be putting a teenie draw bore on the mortise and tenon joints.  Call me old fashioned.  But I’m a Jacobean kinda guy.  I’m used to strechers…

So here’s how the posts look.  They’re “proud” of the apron;

Starting with a rabbet block plane, I’ll reduce the elevation of the leg posts in relationship to the apron (a shoulder plane, a bench rabbet plane, or a rabbet scraper plane would work as well).

When I get close to a finished elevation, I’ll switch to a float.  I can “register” the float on the apron’s surface.

After a little judicious planing, “floating”, scraping and/or sanding, I’ve brought the post and the apron flush.

Again, here are some of the tools that we can use to accomplish this job:

From bottom to top are two “body floats” by Simonds, a planemaker’s float from Lie-Nielsen, a rabbet block plane from Lie-Nielsen, a 1/2″ shoulder plane from Lie-Nielsen and a Bahco cabinet scraper.

Okay, now we’ll start the finishing, in earnest (unless I forgot something else).

CABRIOLE TABLE NEARS COMPLETION

Here’s the table, dry fit and ready for inspection.  Little more tweaking, plane down the posts, a little judicious file and rasp work, a touch more sanding and scraping, and I’ll be ready for the glue and the tung oil.

In the next few weeks, I’ll be finishing up the Roubo/Underhill workbench and we’ll be starting a series of simpler projects.  These projects will be designed to encourage the reader to get more deeply involved in traditional woodworking, especially handtool use.  There’s a lot to do.

Nomenclature Correction

I want to make something clear.  Les reminded me that the term “ear“ we’ve been throwing around while talking about making cabriole legs is a colloquialism that is native only to an extremely small area of NW Ohio, mainly his workshop, my workshop and, perhaps, one or two others.  The more widely  recognized  and correct terminology, (though needlessly long and not all that definitive) is knee block.  So, with apologies to any who have been offended, I pledge to be more attentive to nomenclature in future writings.  But, in truth, the thought of ears attached to knees just makes me want to chuckle.

Walnut Crotch – the “heirloom” table top

Every once in a while a piece of lumber comes your way that is just incredibly beautiful.  And thanks to my friend, Charlie, I’ll be using one of those “once-in-a-lifetime” examples of Mother Nature’s art for the top to the Cabriole tea table.  But, before I get into where this beauty came from and how I’m finishing it, just take a look.

First, where’d it come from.  Well, Charlie is in the construction business and from time to time he finds out about “orphaned” logs that need a good home.  With the help of some significant heavy equipment, Charlie carted a sizeable crotch log to another mutual friend who has a commercial sawmill.  The log was cut up into 12/4 flitches and stacked for air drying.  That was several years ago.  Now the rewards are being reaped.  Les and I cut up one of the flitches into rough dimensioned stock and then set it aside to “rest” in the shop for a couple of weeks.  This allowed it to acclimate and give up several percentage points on the moisture scale.  It was only then that we realized just how incredible some of the figure was.

The decision as to how to finish the project didn’t take much time to make.  It was really pretty simple.  Some type of oil finish would make the figure “pop” like crazy, no matter what type of top coat would be used.  I’m a great big fan of tung oil varnishes.  And I’m not shy about admitting that I’m a real devotee of Waterlox.  I’ve never had anything but an excellent result when using that product.  I decided not to fill the surface with any grainfiller.  Instead I used the slurry finish technique that Les and other period furniture makers are very fond of.  It’s really very simple.  Put on a substantial amount of oil varnish and “wet sand” the surface.  Then remove the excess varnish, wiping with the grain.  (A squeegee would probably work but I opted to get ride of a couple of old t-shirts.)  This creates a slurry (dust suspended in the oil) that, ultimately, acts as a fill.  I started with 220 grit for the first coat, 400 for the second used a 3M Grey pad (ooo) for the third.  I’m using Waterlox Medium Sheen.  It’s fairly “thin” and requires multiple coats, especially on crotch that displays a lot of end grain.  In fact, that end grain pretty much acts like an “oil sponge”.  I could use a more viscous varnish for the final coats, but the depth of the Waterlox finish is really stunning.  I’ll probably wind up with between eight and ten  coats (remember these are thin), when I’m done.  But I’ll have a top that is not only striking, but well protected and easily repaired.

If you want to know more about oil varnish finishes, get hold of a copy of “Flexner on Finishing”.  It’s full of expert advice and goes along way in tearing down a lot of the myths that have developed over the years about various products and techniques.  It’s probably one of those books that every woodworker should have in his or her reference library.

Finishing up the Cabriole Legs

Theres been adequate time for the glue joints to cure fully and now we’re ready to start shaping the first set of ears.  First I “eyeball” the final curve that I want to create.  I take off the bulk of the waste stock on the bandsaw (coping or bowsaw can be used as well).  Then I move to the bench and begin shaping with the rasp, in this case a no. 9 Ariou (a Nicholson 50 works almost as well).

Remember to file toward the leg post.  This will minimize the amount of pressure on the ear.  After blending the profiles, re-position the leg and “fair” the lower curve.

After minimal sanding, we’ve got one side of the leg nearly complete.

Final sanding will be completed after the table is assembled.  Now it’s back to the bench to glue the ears on the opposite sides of the legs.  We’ll follow the same procedure that we used to put the first set of ears in place.

Remember the “rub” joint.  After the ears are in place, remove the rail and set the leg aside and allow the glue joint adequate time to cure.

Then you can finish shaping the leg.   The next step is the assembly and finishing of the table that these legs were made for.

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As of today there are nearly seventy posts on this site.  They cover subjects like sharpening, carving, turning, furniture building, the work of experts and the like.  Both accomplished woodworkers and folks just getting started will find much useful information here.  Remember, use the site’s search engine and occassionally cruise the older entries sections for information that you may have missed.  Enjoy yourself.  Remember, woodworking is just about the best (and cheapest) therapy you’ll find.

Cabriole legs “ears” – Part 2

We finished up yesterday by marking one of two contours on the ear blank.  If you’re lucky enough to have a stationary belt sander, you can rough shape the blank before you glue it in place.  (Yes, yes – I know, this is a blog about traditional woodworking.  We’re using some power tools here.  You’re just going to have to live with it.  If you don’t want to use a sander, simply glue the unshaped blank in place.  You’ll just have to do more “sculpting” with rasps and files.)

Next, insert one of the rails into the leg and scribe a line in the area of the ear.  This is IMPORTANT!!!  The type of ear that we’re using lays alongside  the rail (or apron, if you prefer).  It is NOT glued to the rail.  The ear “floats” as the grain of the rail and that of the ear run perpendicular, and seasonal movement could (very likely) break the ear free.  However, the ear needs to sit on the surface of the rail in order to be adequately supported and protected from any possible impact damage.

Now for the glue-up.  Hold on to your pants…we’re not going to be clamping anything here.  We’re going to use a rub joint.  Most folks think that you need tons of clamping force to create a good glue joint.  Not so with white glues.  As white glue dries it “sucks” the pieces together.  Trust me.

Leave the rail in place.  Put a thin even coat of white glue (we’re using Titebond III) on both surfaces.  Wait til the glue “tacks up” a bit.  Then lightly rub the ear back and forth to insure good contact.  Gently remove the rail and check to see that the ear is in place with the scribe line.  Carefully set the leg aside and allow time and gravity to do their work.

You’ll notice that I’ve laid the opposite ear blank on the leg post.  This is simply to make sure that I remember where I put it.  Let the glue dry completely.  Then repeat the process by gluing the opposite ear into position.

Next week, we’ll continue with the final shaping of the leg and the assembly of the tea table that it was intended for.  If you decide to continue before then, remember to rasp and file in the direction of the leg, not away from it.  While the glue joint is, indeed, very strong, you don’t want to “press you luck” and perhaps damage the ear.  Also, filing towards the leg will allow you to easily pick up the contours that you’re trying to match.

We’ll be back.

Cabriole leg project – “get your ears on”

Most information about crafting cabriole legs falls a little short when it comes to structure, application and shaping of the “ears” (never mind that the “ears” are right next to the “knees”.  Come to think of it, I know of only one other situation where that could be the case, but I digress…).  So we’re going to try to explain it as simply as we can.

First, you’ll want to cut the scrap “slabs” away from the posts.  Bandsaw, bowsaw, panel saw – any of these will do;

Match mark the slabs as they’ll be used to make the “ears”.

Tape a piece of tracing paper (or card stock, etc.) to your table or benchtop.  Hold the leg alongside and draw the ear shape that works best with your design.

Cut out the shape with a pair or scissors and glue it to a thin piece of plywood.  After the glue has dried, cut the shape.  Now you have your ear template.  Each piece of slab stock will have one joined edge.  Layout your ears in reference to that edge and insure the the rough sawn surface is pointing outward.  REMEMBER, YOU’LL NEED RIGHT AND LEFT HAND EARS.  Develop some type of marking system that allows you to know the correct location and orientation of the ear blanks.  After you’ve got the blanks cut out (leave them a little long and make SURE THAT THE GRAIN DIRECTION IS CORRECT), put an apron section in place to support the ear, then you can mark the contours that will allow you to rough shape the ears before they’re glued in place.

That’s enough for today.  We’ll finish up with the glue-up of the ears tomorrow.

Bill Carter – Planemaker Extraordinaire – Part Two

I ran out of time and space yesterday.  But there’s a few more things that I wanted to mention about Bill Carter’s planes.

Obviously, Bill is a master with metals.  But he seems to be awfully comfortable with wood as the medium, as well.  Proof of this proposition can be seen below in this beautiful mitre plane – QED.

We don’t see many of these on this “side of the pond”.  But the aspiring planemaker who ventures to Bill’s site will probably be able to glean enough information from the techniques area to put one of these beauties together.  I can only imagine how wonderful this plane must be to use.  I’m sure I’ll be diggin’ my floats and scrapers out before too long.

I’m not gonna waste any more space with words.  I’m just going to show you more of Mr. Carter’s plane.  Call it an homage (OO-maage, as the French would say) to Bill’s work.  Enjoy.

Bill Carter – Planemaker Extraordinaire

I first saw photos of Bill Carter’s work more than a decade ago.  I was amazed then and I’m even more amazed now.  If you’ve never seen a Carter plane, you’re in for a treat.  Carter is a craftsman who can stand toe to toe with the likes of Konrad Sauer and Karl Holtey and hold his own.  But most importantly, Bill Carter is an artist.

Here’s one of Bill’s jointers, which, in his own judgement, might the most decorative infill plane he has ever built.

Detail of one of the many "Cupid's Bows" hand filed into the plane's sole

There are some really fine planemakers in the world today.  And the example above clearly proves that Bill is one of them.  But, to me, it’s the smaller planes which Bill Carter produces that are simply incredible.  Much of Bill’s material is salvaged from things like backsaw spines and old irons appear to be as useful as ever.  Simply look at a few of these planes. You’ll be amazed by the balance, beauty, purpose and sheer whimsy of these tools.

Check out those dovetails

Do yourself a big favor and go to Bill’s website.  There’s a lot of history and technique.  You’ll be glad you made the visit.

Happy New Year

We’ll be getting back to work on the cabriole leg/Queen Anne table project in the next few days.  But there’s still a little afterglow going on, leftover from the holidays.  The pineapple finial that showed up a few articles ago made its way to the top of my neighbor’s newel post (circa 1870) and it fit in quite nicely.  In fact, it got “dressed up” for the celebrations.

Also in January we’ll be talking about some different turning tool choices (and a couple of new tools) for the spring pole lathe.  So stay tuned…  And, once again, Happy New Year.