The Cabinet - Failures and Illusions

"As a perfectionist, you exist only so long as you are tying to make that perfect piece: on second thought, "perfect" is perhaps not quite what I mean, since the very word implies something beyond criticism and also remote from the warmth that keeps our work alive. But I have now and then wanted to do a piece - just one single thing - which would be the sum of all my efforts, and could justify my existence as a craftsman. Of course, that urge serves best while it is an illusion. And what is that perfect piece? You complain because it eludes you--and are secretly glad because you have to complain. You mutter about the a detail or a whole piece being not quite as you wanted...Some mistakes you make and correct...You stand in front of a piece all evening wandering, is it good? Yes, but what about THAT part: is it a mistake? What will happen if you back up and change it? You'll spend time, run the risk of spoiling the whole piece and the result will be - a line: too straight to be quite alive? An edge: if you make it more even will this be a loss, or a noticeable gain? You are not so much worried about the effort or even risk involved, as over something else...." James Krenov - A Cabinetmaker's Notebook

I almost failed the cabinet.

Handles are important. Either they are hidden; unobtrusive - allowing only the piece to exist, or they call out for you to use them. Mostly they do the latter. They beg you to open the hidden; to explore a drawer, open a door. I wanted mine to invite you to look inside and to provide something new on the outside; something unique, something complete.

I envisioned a simple walnut handle, but that was somehow too simple. I wanted it to be a very elongated oval. The shape of the piece suggested something elongated. I plotted how to turn it, how to hold it, how to keep it from spinning out of control. After roughing out the knobs and using a considerable amount of time I was ready for the oval. It was disaster. I couldn't see the knob to turn it. I spun one and quickly destroyed my prior work. My idea of perfection was shattered, my vision marred, and failure seemed like a likely end.

I brooded for days while doing other things. I knew failure could be turned, but that is seldom easy and often fraught with doubt. It is difficult to replace a vision - a concept. A spark finally lit, a new vision started to form and I liked it. I went and got a small piece of ebony and cut up some cardboard in some possible shapes. I liked it. I changed the radius a bit. I cut a wooden template. I liked it. I cut some walnut into 1/4" slices and made the handle. I liked it. My outlook improved, but I still had a long way to go with something I had never done before. I needed to mount the handle; to fix it to the doors. Numerous configurations lead me back to the lathe.



I cut up the ebony and readied it for the lathe. I turned it down, pulled it off and decided it was too big. I turned it down some more and was pleased. The other three fell in quick succession.







Often, with cabinet work you spend tremendous amounts of time on something which can then be destroyed so quickly, so thoroughly, that the last steps are almost painful. There is a kind of terror in the air. I had to put a deep, angled mortise down the center of a very small, very hard knob. 1/32" was too much error.

I played with some ideas and arrived at a reasonable solution which would accomplish the task and keep my fingers their original length. My jig worked ok, and a little bench work cleaned up the remainder. I hurriedly finished the remaining work so I could see it finally together. I always get inpatient at this point - wondering if the proportion is right, if the line is good, if it works. I have to mentally slow down; appreciate the ending; not screw up. There's no mistake at this point which wouldn't ruin everything and the pieces were fragile and small.

Once it was finished I was pleased. The handles did invite you to open the doors. The chocolate tones of the wood wooed the walnut and ebony. It was a whole.

Victory comes in small steps. Each piece a part of a whole becomes so intertwined, so dependent on the other, that the victories become indistinguishable. New failures await - the pursuit of perfection presents this foreboding horizon and we plod on to our demise and our ecstasy. It all binds the craftsmen, the cabinetmaker and the artist in its wonderful grip.

I still have my illusion.

Shop - design and a cabinet

Producing interesting new work is generally accomplished by pushing one's boundaries, experimenting, and focusing on the creative process; however, the goal is seldom attained on each new project. (Sometimes, ideas seemingly explode out of nowhere, but those ideas are often hatched from some latent genesis - read"Blink" by Malcolm Gladwell) We tend to move forward in fits and starts; thinking, applying the knowledge of our errors, contemplating what-ifs, acquiring new skills, and infusing new views into our vision.

I have completed several recent projects which have included design elements that I wished to incorporate into some new work - a kind of uber project which includes all of my recent ideas. I got the impression of a wall cabinet with exposed joinery. A modern piece; tall and thin with compartments, drawers, and cubbyholes. On a recent trip to San Antonio I had some time to draw and flesh-out some of the details. After quite a few pages of doodles I had a workable design and I liked it so much that I thought I would make two and try to get one into a show or gallery. On the way home I ran into such a gallery owner on the plane - how convenient! Yes, I did get her card.

I generally draw my projects in CADD and work out all of the dimensions; however, with this cabinet I only sketched all the parts and pieces and then went and found the wood. I was thinking of hickory with walnut details as I was looking for high contrasts and unusual grain. This time I let the wood dictate the size and to some degree inspire the details.

There's a story in all this. In the midst of building this cabinet I was digging through the stacks in the library at Colorado State University in Fort Collins and found a book by Krenov. I was vaguely aware of him, but never studied his work. I was fascinated, his work is beautiful, his process seemingly renown, and I found, unknowingly, my cabinet was very much in the vein of his work. My work most likely mirrors his because he has so strongly influenced fine wooodworking today. I went on to read about him. He was very influential in establishing the studio craftsmen movement and especially the high level of skill with joinery which very much defines the best work now produced. I have unquestionably inherited those ideals and strive to attain that mastery.

Here's what he said about design; " ... however some of us may be able to sketch or imagine things in our mind, there are surprises, and problems, when it comes to the the work itself. We may have a fair idea of how we think a piece will look and may even make drawings, yet there are certain aspects in the nature of various forms and proportions - and especially in the material we work with, wood with its own graphic messages - that turn the whole process of working from a matter of certainty, or even rather definite suppositions, to a series of adventures that takes us from one uncertainty to another, with hopes of reaching a turning point."

I'm working toward more of a journey with my designs - it makes a pleasing destination and the time spent along the way is focused, intense, and ingrossingly serene.

I still have to make the inside of this cabinet and it is still unfinished, but I include pictures to illustrate what Krenov said, as it is what I experienced.

So far the joinery includes; through splined tenons, mortise and tenon - frame and panel doors, tapered sliding dovetails and tongue and groove back.


For now, I'm content to walk out to the shop and see if the piece works. To see if the proportion likes the low light, the bright light, the shade. To perceive what one might expect when it is opened. To find the shape of the handles while I wonder around my imagination and hover over my old and worn bench.

Shop - oak and leather headboard - post one

Design, it seems, never comes easy. It's difficult to just sit down and create; to bring an the feel of an idea into reality. In addition, when money and so much time and effort go into the final product the design is often the monster in the closet. I had been thinking about making a headboard for some time, but I wanted to modernize the look of the nightstands, which match the other antiques dressers. I was generally thinking about some kind of metal panels surrounded by the oak. Perhaps a typical country-type Victorian headboard, but replacing the panels with plate steel. However, the idea never really gelled as the elements were just a little too incongruent and a little too harsh. I just never could make it work.

For some reason the idea of replacing the metal with leather came to me and I really liked the possibilities. I did some research on gluing leather to wooden panels and the process was very workable. I then began drawing up some ideas which incorporated the look of the nightstands into a headboard with leather panels. It was fairly easy to come up with a good look as a headboard is fairly simple.

I found some nice cow hides at an eBay store and paid about 40-bucks for an entire hide! It was very good leather and the color worked with the intended color of the oak. I began looking for the oak and found two absolutely straight grained, rift-sawn, wide boards. They were perfectly sawn being perhaps the straightest grain boards of this length I'd ever seen or at least worked with. These two boards supplied the majority of the visual elements and the remainder was found rough-sawn at the local lumber yard. When working with a very heavy-grained wood like oak you have to pay attention to the visual aspects of the grain. Crazy grain (unless desired) going in all directions can really change the look of something - generally negatively. In addition, of equal importance, is what the grain is creating in the board - warp, twist, cupping, and other undesirable traits. For wide boards that include joinery (in this case tenons) it is important the boards be rift or quarter sawn to avoid expansion and contraction problems. I did some calculations of the widest boards as constructed and determined that the boards potential worst-case expansion could be about 3/16" perhaps 1/4". This calculation is based upon species, some low and high moisture content assumptions, width, and grain orientation. I'll discuss the construction details later.

I often use mortise and tenon joints and planned to on this headboard; however, I usually make the tenons on the table saw. Six foot boards make that impossible so I set up the router. With very wide tenons a router works well, but the set up, from start to finish, must be precise. On the table saw the repeatability of machine crates accuracy. With a router the accuracy must be created by you. First, as usual, make sure your boards are evenly dimensioned and exactly squared. There are some things to pay attention to: First of all you should try to mill all of the tenons at one time so I clamped both boards together. This eliminates two set-ups, but more importantly ensures that both boards are milled exactly the same. The tenons should be left a little thicker than needed and planed to the exact needed size before glue-up. I left these 1/64" large. Another key element is leaving the boards with several extra inches on each end. Only waste the center leaving the extra length proud so as to support the router. You must transfer the lines from one side to the other very carefully. Mark the guide board, not the cut. This ensures that the guide board remains in the same location and that the cheeks of of each tenon are even on each side once the tenon is fit into the mortise. Mess this up, even a little, and you'll have a big problem.

Once both ends are milled on both sides the boards can be unclamped and the tenons cut to their final size.























I made these tenons quite beefy with only an 1/8" shoulder as I wanted lots of strength and my mortise was being cut into a 6/4 post. After previously milling up the posts they were ready for mortises. I cut these with a mortiser.



I always carefully lay out my cuts on the wood even though I have to set up the machine. This keeps mistakes down to zero (hopefully). Again, lay out all of your pieces, clamped together, at the same time. I even mark out the waste so I don't cut on the wrong side of the line. This is always good practice and is usually learned the hard way. Once the machine is set up the mortises are easily cut and cleaned up with a sharp chisel.









Once all the pieces are cut they are ready for preassembly. This is when you check everything before applying glue. The tenons should fit snugly in the mortises, but not too tightly. Square everything up just as it will be assembled. Plane the tenons to just the right size.

Shop Made Picture Frames - MDF - post three

By far the easiest, cheapest, and most numerous frames that I make are made out of MDF. Medium-density fiberboard is an engineered wood product made by breaking down softwood into wood fibers and combining the fibers with wax and a resin binder, and forming the panels by applying high temperature and pressure. It is a building material similar in application to plywood but made up of separated fibers, not wood veneers. It is denser than normal particle board. MDF has a homogeneous structure with uniform texture and properties throughout.There are no identifiable grains or knots seen at the edge, end or face, nor any internal voids or pits or variation in surface hardness. MDF can't be stained or colored like traditional wood so it must be painted. Also, it could be gilded; work I've done on steeples and something I wish to apply to picture frames, but I have yet to try it.

MDF is highly machinable so just about any profile you can machine may be incorporated into the picture frame. It can also be glued together face to face and machined so that profiles thicker than 3/4 can be obtained. In this simple finished example, the frame is about 6 inches wide with a rounded inside and outside. The inside is 1/2" and the outside 1/2" and 3/4" creating a type of torus or thumb. See figure 2. (The painting is by Tammi and is of Bridger sleeping. One of his toys, a large praying mantis, contrasts innocence with impending and inherent danger. There was a lot of light scatter on the painting so the picture isn't the best.)

To create the overall profile I start by ripping 8' runs of the flat sections to the desired width of the frame . Due to weight and cost savings I generally make the flat sections out of 1/2" MDF. I then mill up the various profiles from smaller rips of either 1/2', 3/4" sheet or some glued up combination and then apply the milled profiles to the 8' sections. This effort often results in the use of quite a few clamps along with some creative clamping. After the glue drys I then cut the miters and assemble.

The Miter Sled

The miters must be absolutely precise. The best way to saw wide miters is to build a miter sled for use on the table saw. Of course the wider the miter, the more a fraction of a degree shows. With a picture frame this error is multiplied by eight. This means that a error of 1/8 of a degree will produce, in a picture frame, three tight miters and a miter that is off one degree!

Painted MDF tends to show every flaw, and I mean every little flaw. So, exactitude is critical. The miter sled setup must therefore be exact. A miter sled is built like a typical sled with the guides for the miters fixed at the correct angles rather than having a back fence. The best way to accomplish an exact 45 degree angle is to assemble the sled minus the miter guides and run the sled up and down the table saw with the blade down and off. Mark the front and back of the sled at the exact center of the blade. Draw a line which connects the two points. You now have the exact center line of the blade. Determine the location of the "point" of the miter on the sled along the center line. This line marks the shortest part of the cuts mites, which will be on both the left and right miters. With a beam compass set the one point at the intersection of the back of the sled and the center line. (I suggest using a point rather than a pencil) Stretch the compass to the predetermined point of the miter and scribe a radius. An exact 45 degree angle is now described by the two points which intersect the back of the sled at the outside of the radius and the miter "point". (The rear of the sled must be exactly perpendicular to the center line to achieve accuracy. If not, scribe a perpendicular line to the center line. The further apart all of these line and points are, the greater the accuracy of the setup. The easiest way to accomplish a perpendicular line is to again use your compass. Move the center point along the center line a short distance and increase the diameter. Scribe two points where this radius meets the original radius. Connect these two points with a straight line and you have two perfectly perpendicular lines. ) Next, prepare absolutely straight miter guides for the sled. It is beneficial to cut a small dado along the length of the guide at the intersection of the sled and the guide so any sawdust or other obstruction is prevented from affecting the angle of the miter. Attach the miter guides, add some clamps to keep things in place and you're done.

Three Examples

Figure 1

Figure 2

Figure 3

Finishing

After cutting the miters and glue-up the frames must be painted. Before painting I run a very tight bead of caulk around each milled section. This keeps any small cracks from showing and creates a more professional finish. I always spray paint the frames flat black and then spray a light coating of satin varnish. This keeps the frame from looking flat and also too shiny.

Coffee table

I have some serious doubts about the coffee table design, and for the most part their are not aesthetic in nature. Although, I am still vacillating about a few things, they're minor. The most troublesome aspect is the tipping problem - despite my efforts at quantifying the exact magnitude of the the tip and weight required.

And, I've found out - rightly so. Fortuitously, Tammi & I have just run into a sculpturer through cub scouts who makes furniture. I popped him an email to see if he would give me some advice. Here's what he said - and this is great, "I am very learned on the subject of tippy tables, having built them almost entirely to the exclusion of stable ones." Tim is the perfect guy! He goes on to say:

"I do like the three legged idea, and the basically rectangular top that is responsible for those two overhanging corners that invite disaster. You might say I enjoy cantilever. I, too, have used ballast to achieve (or attempt to achieve) stability, including pouring molten lead into cavities in the wood, but in your case it seems to me that you could add additional, invisible or at least inconspicuous legs beneath the shelf, or a recessed base of a solid nature which would give you weight and an additional impediment to tipping. I hope you don't feel these solutions compromise the aesthetics of your design. It wouldn't take someone sitting on the corner of your table to upset it, indeed, leaning on one hand placed strategically would suffice. Believe me, I've gasped many a time as our kids have nearly upset the coffee table in our living room."

How perfect is that! His work, in part, is shown on his web site. Interestingly, Tim studied under several of the artists that have influenced Tammi - namely, Wayne Thiebaud & Roy DeForest. I look forward to getting to know Tim and seeing what happens with this little project.

So, I'm going to work on this a bit with Tim and hopefully we can come up with something unique and functional. At the very least, I haven't worked heavy sheet metal, or plate steel and wood together before so he will be a great asset on the connections that have worked for him. The joining of two , dissimilar items requires different kinds of connections.

Multa intersunt calicem et labrum summum.

Many things happen between the cup and the upper lip.

-Aulus Gellius (from a Greek proverb)

Coffee Table

One advantage of making furniture is that you can match your existing stuff precisely in the way that you please. One disadvantage to making furniture is that you can match your stuff precisely in the way you please. The how becomes the question - a big question. The design becomes quite a laborious process fraught with false starts, bad ideas, and half-baked plans and quite a bit of uncertainty. With all the time and energy invested in the construction the design also dons a heavy mantel of importance.

Since I finished the nightstands our bedroom has improved quite a bit. We added a very modern touch to the whole room by adding brushed metal lamps, modern blown glass, and some modern sculpture (made by Tammi). We pulled off the mix pretty well, but I want to add a table in front of the couch - a coffee table that matches the antiques. But, I want to pull in a modern look too. I thought I would go through the design process a little and this design is fairly simple; that is, it doesn't have working parts, functionality, or other complications.

Off course, the Victorians didn't have coffee tables as such, but I could make a rectangular one with the same wood, construction, and finish. It would look like a coffee table, but match the old furniture. But, I think it might look a bit silly - kind of a fake antique masquerading as a coffee table. The form really doesn't lend itself to just anything you might expect to see. The obvious problem is; where's the "modern" in that? So, I thought about how to make it modern in more than just form - how about a brushed metal top with the remaining looking like the Victorian furniture? I thought about this for a while and thought it might look like a fake antique with a silly metal top. It simply needs something more.


Somehow, I need to suggest the shape and finish of the antiques without creating some goofy mix. While thinking about shape I started looking at pictures of purely modern furniture. This got me thinking about a incorporating some curves that suggest a certain style of modern furniture. One particular thing that bothered me was four legs. Everything has four legs and four legs seemed boring. What if I made the legs exactly the same as the antiques, but lost one and moved the third around close to the middle. This led me to draw this. In plan, the purple is the top and the orange is the shelve underneath. The legs and bottom shelve are of the same material and finish as the antiques. The top, metal, with a shape like the antiques. I thought I was on to something so I got started in CAD and drew and tweaked until I came up the proportions I liked.



Here is what that looks like. It might be a little hard to see, but if you double click I think you can make it out. The top view is the important one. You can see the bottom juxtaposed with the more traditional shape of the top and the location of the third leg. I intend to use wood under the metal top with exactly the same profiles as the antiques have. Thus, I have the same shape top with the same molding, but it is metal. I have the same exact legs, but there are three. The bottom shelve looks exactly like the tops, but it is a funky shape. Every element of the antiques is present, but no element is exactly the same and offers a bit of a surprise. It will be more like a modern piece that suggests the antiques and might blend the antique/modern look - maybe.


I think it will work, but I'm still not sure. Time for a model so I can see what it might look like. I printed out the CAD plan and used the printed version to scale a model. Out to the shop for a bit to make a quick table - a very little table. Now I have a bit of something to look at - shop if you will. Here are some pictures of the model. I think I like it, but I could have some problem with tipping as I located the middle leg off-center a bit. Even if it were centered I would most likely have the same problem. It, after all, is a three-legged table.


I decided I needed to do some testing on how much weight it would take to tip the table. When you tip this little scale model with your finger it seems to tip very easily. I took it to work and used the postal scale. The table weighs 1.1 oz. and it took 1.8 and 1.9 ounces placed on either corner (paper clips) to tip the table. A little math and an excel spread sheet produced the following calculations. (the calculation is - assumed weight/1.1 x 1.9 or 1.8) Thus, I can see (if I did things right) that if the table weighed about 40 pounds (I think it will weigh more, but I want to go low) a weight of somewhere between 62 and 72 pounds placed on the corners would make the table tip. That gives me a 20% spread on my calculations. I hope the calculations are right - I'm not known for being a math wiz! I think it unlikely that that much weight would be placed on one corner unless someone decides to sit on it. The most likely person to do that is Bridger, but he will most likely only do it once! As a last resort, if I did this all wrong, I can place some weigh under the bottom shelve located on the side with the two legs.

Now the question is; am I truely convenced the design meets my expectations and when it is finished it will really look good?

Night stand - design (post one)

One of the problems with an antique country Victorian bedroom set is that there simply aren't any night stands of the era - let alone something that might match what we have. We have used various stands beside the bed, but nothing looked very good, and we usually only had one so one person had the light and the clock. Now, we have a king size bed that is so tall it takes a running leap just to get in bed and everything is now too short. So, I'm going to make two matching night stands and I thought some of you might be interested in the process. I will start with the design, discuss the joinery, show the construction, assembly, and finishing. I will finish with a picture of Tammi, freshly torn from slumber, frantically beating the alarm clock against the top.

I am going to match these...









































Both are oak and although similar, not exactly alike and not a set; therefore, the design elements will have to be taken from both pieces. Of course, as I said, the Victorians didn't really have night stands. I guess the fact that they didn't have alarm clocks and lamps may have something to do with that. So, whatever I come up with won't really have existed in the period, but hopefully you won't be able to tell. After several rough sketches I began in CAD and I ended up with this drawing.


(I don't know if you'll be able to see this - try clicking on it to open it up full size) This drawing shows the basic design without the joinery. I used the principle of the golden rectangle to come up with the overall dimensions and the entire front is divided into roughly thirds. The proportions are very important to the success of the design. Two drawers are at the top- the smaller one is on the top with the larger one below. Drawers generally get bigger as they go down. Two large "posts" frame the piece - each 11/2 inch square. Most of the rest of the elements are undersized to emphasize the height and keep it lite and not bulky. The top with be somewhat thicker so as to finish off the stand as older furniture looks. You might notice that all of the horizontal elements are sized for their location - larger on the bottom, small in the middle, and middle-sized at the top so the top appears to be resting on something substantial, but not too big.

What isn't shown is the joinery. I will mostly use mortise and tenon construction with dovetailed drawers. The doors and sides will be frame and panel construction with flat panels. The most important consideration in the joinery is wood movement.

Wood is anisotropic: its material properties are different along different dimensions. It is strong when stressed along the grain (longitudinally), but weak across it (radially and tangentially). It expands and contracts in response to humidity. This change is very small longitudinally. It is considerable, but unequal, in the radial and tangential directions.

I will talk about this next post.