• Hi all and welcome to TheWoodHaven2 brought into the 21st Century, kicking and screaming! We all have Alasdair to thank for the vast bulk of the heavy lifting to get us here, no more so than me because he's taken away a huge burden of responsibility from my shoulders and brought us to this new shiny home, with all your previous content (hopefully) still intact! Please peruse and feed back. There is still plenty to do, like changing the colour scheme, adding the banner graphic, tweaking the odd setting here and there so I have added a new thread in the 'Technical Issues, Bugs and Feature Requests' forum for you to add any issues you find, any missing settings or just anything you'd like to see added/removed from the feature set that Xenforo offers. We will get to everything over the coming weeks so please be patient, but add anything at all to the thread I mention above and we promise to get to them over the next few days/weeks/months. In the meantime, please enjoy!

Mike's ext'n & renovation (solar panels)

AndyT":4e31y2kk said:
I also like that scratched detail on the oak lipping - it's exactly the same as I did on a big bookcase some time ago :)

One of the reasons I almost exclusively use a scratch stock for beading these days is the tiny subtle variation you get with it which shows that the work is that of a human hand rather than a machine. Also, the groove on a router-made bead is invariably wider than that done by scratching, where they can taper to zero.
 
Good to see you back in action.

And also good to see that I'm not he only one with an eye to 'that may come in handy when I need to do abracedabra-xyz'

Planning on visiting the muddy island again some time in June for a more than just 3 weeks..
 
I've been abroad for a few days. When I travel I always have a notebook with me for sketching ideas, for both work and workshop. So, this piece of furniture has evolved into something a bit more detailed and complicated. I've taken the decision to build it all now, rather than leave just a carcase and do the finishing-off later as I'd previously planned. That just wouldn't have worked with the finishing etc, but also with various bits of trim. So, once I get a bit of work done this WIP will gat done pretty much entirely in one go.
 
Apologies for the lack of progress. Apparently "family commitments" are a thing. Who'd've thought it. So, I'm miles behind.

I also had the complication of making patterns and scribing in the study, then traipsing out to the workshop, making something, then traipsing back in to see if it fitted......over, and over and over:

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This cabinet is a somewhat unorthodox construction. I am trying to make the face of it busy, rather than flat, so the frame around the drawers isn't actually the main structure, and is set behind the face frames. You might see what I mean in these photos. Firstly, I gathered up a whole lot of off-cuts from my off-cut pile, and flattened and prepared them by hand. They all ended up flat and square, but there was no need at all for them all to be the same size........so they aren't:

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I know we've done my unorthodox winding sticks before. Sighting over one and under the other means they don't have to be the same thickness.

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Lengths are transfered, not measured:

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Everything is joined with half-laps:

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Standard hand-work methods:

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Glue-up:

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The only thing which has to be the same thickness on both frames is the central stretcher. The rest just has to show the same sightlines.

Here's the frames clamped roughly to the back of the facing pieces in situ:

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The following mortices were chopped into the back of the frames to take the runner support pieces. These outer cabinets are filing cabinets, so there are some big hefty drawers, on runners. The rest of the drawers will be traditional, without runners. Because of the face frames and the lack of a complete carcase, there is nothing normal to fix the runners to. The runner supports will engage into these mortices at the front, and onto a softwood frames screwed to the wall at the back:

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The softwood I chose to use for the frame on the wall is of such soft and horrible pine (reclaimed from a flat-pack bed, free on Facebook Marketplace), that I couldn't do the joints with a chisel and used the router instead:

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Before I could make any more progress I had to work up the facing pieces. These are carved and scratched, so it's not going to be quick work. Firstly, carving:

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I completely changed my method after that first one, and simply marked through the paper onto the wood, then removed the paper. Grain direction is so important when carving, and the paper obscures that.

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These things are small. Small carvings are much more tricky than big ones:

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It was rather nice to have easy access to my gouges in a new cabinet next to my tool cabinet:

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Next, I wanted some reeding up the middle of these pieces. Unfortunately, I can't reach the middle with any of my suitable router bits, so I had to decide between abandoning the reeding and doing a chip carving, or, building a scratch-stock. I decided to do the latter:

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I tried this out on the back of one of the pieces of oak:

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It was a real chore. It was just too hard to hold, so I added some handles:

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Note the unorthodox work-holding, using my face vice in much the same manner as a tail vice. The reeding was stopped top and bottom, so I needed some stops:

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Then it was just a question of getting sweaty. It's reasonably hard work!

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Finally, I did the beading on the edges. Each edge was different, so I marked carefully in advance:

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Those 4 bits of wood took the best part of two days. The carvings are down to about an hour each now, and I won't have to make and set up a scratch-stock again. I've got a lot of these facings to make (12 altogether, so another 8).
 
Great stuff Mike. I think I have seen a similar stopped scratched reed detail on 17th century oak work somewhere. Much nicer than you could do with the electric router.
 
AndyT":16lu5pjd said:
...I think I have seen a similar stopped scratched reed detail on 17th century oak work somewhere.....

Yes, that's what I was aiming at. I've seen it too. There's a fair old bit of resistance with 5 points all working their way into the oak at the same time, so I've loads of respect for the old timers who did this a lot 400 or 500 years ago.
 
Now, I know the Tudor rose is your signature carving, but I am going to be a bit controversial here.....

Each time I look at one, I think the flat centre looks odd. The petals draw pollinators to the centre, which really should be slightly domed or at least representative of the stigma and filaments that are the target. Could be lightly punched dots or cross hatching. Naturally I do realise that this is a representation but still...

All that reeding sounds like hard work. How difficult is it to get the ends to terminate evenly?
 
I ordinarily curve the profile of the centre, and cross-hatch it, but this is so small that it is way too fragile to do anything with. It's only 6 or 7mm across. Even if I only beveled the edge, the easiest of the possible interventions, it would then only be 3 or 4mm across. It's one of the things I keep saying about carving.........it doesn't have to be good to be good. No-one will ever see these carvings in the detail they show-up in photos.

As for the ends of the reeding.......they're actually pretty easy. You just stop and start against the stop, and they take care of themselves.
 
Ah, fair enough. Even despite the ruler for scale, I got it into my head they would show up more.
 
I sneaked out to the workshop for a couple of hours this morning, and an hour this evening, so I have some progress to report.

I started by gluing and screwing some softwood battens to the edges of the side panel:

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To one of them, I glued and screwed the facing piece. The join between the panel and the facing doesn't need to be faired in because I did a bead and butt joint:

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I offered it up into position on the underside of the top:

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Then glued it and screwed it in place:

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When gluing up "raw" furniture (ie unfinished), I do whatever I can to avoid squeeze-out of glue getting onto show surfaces. I always use an artist's paintbrush to apply glue anyway, but take particular care when I don't want squeeze out:

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It worked:

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Here you can see the arrangement of the drawer-surround frame behind the facing pieces, (in close-up in the photo above):

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It was dry by this afternoon:

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And I got the other one glued up, much quicker:

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I brought the dried one in to mark up for a final fit:

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The next job will involve 20 mitres. I can't wait.
 
Yes, it's always a thought, Ian, but this one rests on the oak sole plate, and has battens screwed to the wall to support it.
 
I've just worked out the design for the 4 drawers that will make up the filing cabinet. Four drawer fronts (only......ie excluding drawer boxes etc) are going to require 52 pieces of wood in total. Can anyone work out why?
 
Well I went back to your original drawing, still no wiser!
Suppose it could be 52/4 drawers is 13 per. 2 veneers - one on each side, 4 bits of lipping leaves 7, maybe the only thing it could be is 7 ply plywood?
 
Well, you could glue 13 little battens together and call it solid wood, but I daren't mention O_k F_r_i_u_e L_n_ on here, so my guess is that you are planning some marquetry on the fronts.
 
No, and no. There will be no marquetry, and no veneers. They will look like ordinary drawer fronts, and all will be of solid wood.
 
Some sort of 17th century style complicated frame and panel, where the panel has the corners cut off?
 
No-one is very close, but they're all interesting ideas.

So, do you want me to A/ give a clue B/ give the answer C/leave you all hanging until I build them in the next week or two?
 
Order of work, Andy. Those drawers and drawer fronts will be amongst the last things I make.
 
13 is an unusual number, but assuming we take off 1 for a central panel, this leaves 3 x 4 for the remaining 12. So centre panel, 4 pieces of cock beading, 4 rails/stiles and 4 pieces of trim to hold the panel in place?
 
You've made an assumption which may or may not be helping, and the drawer fronts won't be panelled.
 
You've only said 52 pieces total between 4 drawer fronts, not that the four are identical.
 
The 4 will be identical. (You know.......within tolerance. :) )
 
These days I am mainly restricted to working at the weekends, so progress is more spasmodic than it used to be. I did manage to find an hour or two in the week, though, to get some preparation work done. Firstly, I prepared some boards and put a moulding on the edge on the router table:

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I also made did some mouldings for under the table edge. I can't find a photo, but here's one of my trial piece:

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So, the weekend. Time to knuckle down and get something done. Firstly, the skirtings:

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The plane which worked best on the mitre shooting board also had some nasty sharp corners, so my hand ended up in a bit of a mess. Still, it did a good job. Dry fitted:

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For the mouldings under the table tops, I have a mitre guide:

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And a different arrangement on the shooting board:

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I always use a block plane on the shooting board if I can. It's just more comfortable and efficient, and I get better results. Your mileage, as the Americans apparently say, may vary. It's not as if my shooting-board-block-plane is anything special:

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But it does a wonderful job:

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Just mind your knuckles!!!.....

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That moulding was glued and pinned:

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The skirting was glued, and screwed from the inside:

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Getting that out of the way by lunchtime on Saturday was a real bonus. I hate mitres!

After lunch I did some timber preparation:

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.....and once the dust had settled, I stained the carcases:

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I was really not impressed to see this, which of course was invisible prior to adding the colour:

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That's obviously adhesive which has spilled out during the veneering process. Luckily, it will be underneath my printer, so I carried on regardless.

Next, focus moves to the next two units. These are smaller chests of drawers either side of the knee-hole. For the drawer runners (yes, that's where you start), I cut up some bits of old pub-table which I had acquired recently. The consensus is that this is probably rubberwood:

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It is lovely straight and uniform stuff. Lots of sawing and shooting followed:

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Sunday morning started with a coat of the usual 1:1:1 mix:

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After that was wiped off, I got on with the drawer runners:

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Marking was a bit slow, but cutting shoulders was quick and easy:

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The bandsaw was the easiest way of removing the tenon cheeks:

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And this is marking for the locations of the drawer runners:

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The front frame of the drawer units is obviously in oak. I marked them all out together for the half-laps:

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Then used a tenon saw and chisels to form the joints:

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Followed by my router plane to finish off:

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Working out the drawer spacings. These had to line up with the drawers in the filing drawer units:

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Finally I made up 20 ply triangles, and shot them square:

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This is the joint construction. Just a tenon (or tongue) into a slot:

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The occasional one needed adjusting, and this gorgeous little Record shoulder plane did the job beautifully:

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Glued up:

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That's 4 for one side, and one for the other.

Finally, I chopped out the half-laps in the frame stiles:

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That was it for the weekend. I would have got everything glued up, but we were off out at 5.00, so it had to wait. Luckily, the phone didn't ring on Monday morning, so I sneaked out for an hour and glued up one of the units. I started by truing up the drawer runner frames:

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Next, the drawer runner guides (they've probably got a real name........I just made that up). Never mind what you've heard, this is the real Ruler Trick:

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It's nice to have the drawers flow easily in and out, but settle into a tightish place in a well controlled manner when shut. So instead of having parallel guides, I taper tham in ever-so-slightly at the far end. Hence the ruler, which is only about a gnat's thick.

Glue up under way:

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Lovely (and a bit tiring) to watch, as ever. There's an impressive number of pieces in a chest of drawers, and having made a grand total of one so far in my woodworking career I have learned that it's really important to be orderly and keep track of everything. Which you are of course doing, as you show us in the pictures of tidily stacked up matching components.

One area where I might be able to help (though too late this time) is with this:

Mike G":1141imoe said:
The plane which worked best on the mitre shooting board also had some nasty sharp corners, so my hand ended up in a bit of a mess.

I found recently that putting on a glove made shooting lots of boards much easier. I just used one of those lightweight ones with a grippy rubber palm, and it made a big difference. With an ordinary smoothing plane, with no special extra handle for shooting, I was able to work much more effectively. If you don't have any of those gloves, I expect an old keeper's glove would do! ;)
 
That's a good idea, Andy. The only downside I can see to that is that I am going constantly from marking to sawing to shooting, so the glove would be going on and off all the time.
 
Most impressive Mike, obviously you don’t have the same problem I’ve always had of finding it difficult to stop when cutting the cheeks off on the bandsaw, I always use a stop.
Were it me I would have wasted time materials and energy to finish off staining the unseen sides - just because,and just in case, but you are definitely more confident!
 
Mike G":3pag9abx said:
That's a good idea, Andy. The only downside I can see to that is that I am going constantly from marking to sawing to shooting, so the glove would be going on and off all the time.

Get yourself some of these. I wear them when it's cold in the workshop and they're so comfortable (and breathable enough that my hands don't get sweaty) that I forget I'm wearing them after not very long.
 
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