Shaker Sewing Counter By Robert T red nor
Make an Ileirloom (. liest liisedon a I Oth-Centurif IX? sign 35
Craftsman-Style Coffee Table By AnJy Rde
A Classic Pece for Any Living Room 40
Bowl-Turning Basics By Rickard Rattan
Australia s lop Turner Explains I lis Techniques 42
Shop-Made Chucks for Bowls 46
Dust Collectors By Dave Sellers
Choosing the Right Machine for Your Shop 48
Designing a Central Dust Collection System 53
An Old-Fashioned Millworks By Simon Watte
'¡hey Still Mill Wood Wth the Machines of Yesteryear 56
Letter Boxes By Roger I lolmes
Keepsake Containers for Stationery or Jewelry 58
An Elegant Joint That Hides the Joinery By YeungClian Ma hing a ihre e-Wag Mitered Mortise and lenon 64
A 2x4 Plont Stgnd 66
Making and Using a Scratch Stock By Andrew Weegar
This Handy Tool Is Perfect for Custom Moldings 6Z
Getting More From Your Scratch Stock 68
Manufactured Scratch Stocks 69
Page 48 Dust Collectors
Poge 56 Blue Ox Millworks
A couple of weeks ago an interviewer asked me where I learned woodworking. I'm usually quick with words, but I suddenly found myself stammering. -Well, uh... it's hard to say. Lots of places, I guess." A pretty poor answer, judging from the dissatisfied look on her face, but it was the best response I could manage on the spot. The real story was just too complicated.
I didn't mention my father, who taught me the standards for "smooth," "straight" and "square" and let a 5-ycar-old play with his tools.
I didn't tell her about my grandfather George, who stood me on a chair so I could watch the hot hide glue bubbling in his old cast-iron glue pot. He made benches and trays and a special wooden wheelbarrow that I'll always remember. His tools grace my workshop today—40 years later.
I didn't bring up my Uncle Jack, a shop teacher and painter who designed and built his own houses— three at last count—plus lots of toys, gadgets and furniture. He has the eye of an artist and it shows in his work. From him I learned that a subtle change in a line or a curve can make the difference between an ordinary design and a great one.
And then there was my junior-high shop teacher. He paddled us with vigor when we misbehaved, but he spurred me on to tackle more ambitious projects than the pump lamps all the other kids were making.
And how could I tell her about Paul
Eshclman and Jake Brubaker, two master woodturners I had the privilege of knowing before they passed on.
These men, and a handful of others, didn't teach me woodworking per se. But by their example as craftsmen, they instilled in me a love for wood and a respect for good craftsmanship.
Without their influence, I might not have become the woodworker I am today. If I'm very lucky, some future craftsman may say the same about me. What better gift could one give to the world?
I"here have been some new developments behind the scenes at American W<x)iworker. I'm proud to announce that Ellis Walentinc has been promoted to Executive Editor—the top editorial job on our team. Ellis is a talented woodworker and designer who's been running his own custom woodworking shop for 22 years. Ellis brings a professional's knowledge and insights to the party, and he'll be sharing this column with me in future issues. Please join me in wishing him well!
Please welcome also Kilty Mace, American Woodworker's new Art Director. And finally, Michael Dresdner has joined our team of Contributing Editors. Michael's well known in the finishing field and his column, "Just Finishing," gets rave reviews from our readers.
David Sloan Editor & Publisher
EDITORIAL & ADVERTISING OFFICES 33 C. MINOR ST., EMMAUS, PA 1S098 PHONE: (SIO) 967-5171 FAX: (610) 967-8956
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