Furniture Craft Plans

Furniture Craft Plans

The FurnitureCraftPlans package is unlike anything that has ever been created. Inside this life-changing collection, you'll be empowered with more than 9,000 woodworking plans for your home furniture, wood crafts, and just about anything made of wood. The Easy To Use Bundle Of Over 9,000 Designer & Classic Woodworking Plans That Enable You To Make Amazing Wooden Furniture And Other Wood Craft Projects! You get over 9,000 plans to keep for life. Use them for inspiration or easily search through them when you have a new project you want to make. Covers all types of home furniture, small wood craft plans, and everything in between! If you can dream it, I've got the plan for it. Save thousands of dollars with our plans for high-end designer wooden furniture. Build them by following easy-to-follow directions. Contains some of the Exact plans for designer furniture projects! (large or small it's all covered here). Each project comes with detailed blueprints, schematics, step-by-step instructions, full color guides, as well as the complete materials lists! The plans are kept in an easily searchable database so there's no need to scroll through all 9,000 plans simply pull up the plan you are looking for with an easy search function. Your current skill level doesn't matter everything is laid out step-by-step in precise detail (it's virtually impossible to fail if you take the time to follow the instructions). More here...

Furniture Craft Plans Summary


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Author: Mark Stuart
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My Furniture Craft Plans Review

Highly Recommended

Recently several visitors of websites have asked me about this ebook, which is being promoted quite widely across the Internet. So I ordered a copy myself to figure out what all the publicity was about.

My opinion on this e-book is, if you do not have this e-book in your collection, your collection is incomplete. I have no regrets for purchasing this.

New Company Sells Highend Furniture Plans

American Furniture Design Co. has brought together some of the country's best furniture makers to offer their designs in plan form. Participating artists include Del Cover, Garry Knox Bennett, William Ralston, Greg Harkins and AWs own contributing editor, Windsor chairmakcr Mike Dunbar. To order a catalog, send 3 to American Furniture Design Co., Box 300100, Escondido, CA 92030. The American Furniture Design Co. offers furniture plans for the ambitious hobbyist. Projects include a loveseat by Paul Reiber (right) and a desk and chair by Roger Heitzman (below).

Craftsman Desk For A Child

THERE is no miniature furniture that children so delight in as a desk, where they can work like grown-up folks, and have pads and pencils never to be loaned or lost, and a real air of adult industry. Children not only enjoy a small desk, but actually work better at one. To please the young mind it is necessary to make things for work or play along simple lines. Children are essentially primitive, and resent fnssy over-ornamentation which they do not understand. For this reason, it is inevitable that they should like Craftsman furniture, and, as a matter of fact, they always do. A child's Craftsman desk, which is very simple in construction, is a very worth-while desk to little members of the family who would also even enjoy helping to make it.

Early American Harvest Table

For those who take pleasure in reproducing and living with Early American furniture, this striking example of an eighteenth-century harvest table will surely prove to be an irresistible project. With both leaves raised, it provides a generous 45 x 72 dining surface yet with the leaves down it takes up relatively little space. Most armless dining chairs will tuck in under the leaves for more efficient storage.

Practical Shaving Stand

DESIGNS and working drawings for one or two articles of bedroom furniture have been asked for by some of our friends interested in home cabinet work, so we here present two pieces not included among the designs for bedroom furniture already published, but in harmony with them, so that all easily might form one set. The shaving stand shown on this page is a simply-made but substantial little affair, with the usual sturdy mortise-and-tenon construction that is decorative as well as useful. A small cupboard is provided to hold the larger shaving utensils, and a drawer where the razors may be kept free from dust and moisture. The shav-ing-glass is supported on a firmly braced standard, held in place by a stout wooden pin. Knobs of wood are used on drawer and cupboard door instead of metal pulls.


The Fine Woodworking Program at Bucks County Community CoAege b a ful-tkne, two-year program with an emphasis on furniture design and construction. The work you see here was bult by students during the 1990-91 school year. For more information about the program, contact Mark Sfirri, Fine Woodworking Program, Bucks County Community Coiege, Swamp Road, Newtown, PA 18940, (215) 968-8425.

Butlers Tray Table

Eighteenth-century English cabinetmakers worked with mahogany cut in the West Indies and Central America. This variety, referred to as Honduras mahogany, is the proper type for reproduction of fine period English and American furniture. Many lumber dealers stock Philippine mahogany, which is not really a mahogany but a type of tropical cedar called Luan or Bataan. This is a lightweight, soft wood, not suitable for most furniture. It is good for shelving, veneering of flush door panels, and boat planking. You may also come across African mahogany, a tough, hard wood, quite handsome with its dark reddish color. This type is often used in boat construction.

By W Curtis Johnson

Shaker furniture maker Isaac N. Youngs built six wall clocks. Three of them are in the collection at the Hancock Shaker Village near Pittsfield, Massachusetts. The design looks as fresh today as it did in 1840 proof that the Shakers were correct in their belief that beauty rests on utility.

Spindlebed For Child

FROM the time a child graduates from a crib, this design of a small Craftsman bed is appropriate. It is made after the new spindle pattern which is so popular in other models of Craftsman furniture. Although having the effect of a grown-up bed, it is, nevertheless, enough smaller than the standard adult size to delight a child for years. This bed is planned to be made in the most substantial fashion, and is put together in the same durable way as the finest piece of grown-up furniture. It is made low so that a child can easily get in and out without help. As with all other children's furniture, the home cabinet-maker is advised to finish as carefully as possible to avoid any injury to little nursery folk. The most complete detail for the making of this piece of furniture is given in the working plan on the opposite side of the page.

Butterfly Wing Table

This particular design is similar to one featured by Lester Margon in his fine book American Furniture Treasures. Our design has been scaled down for use as an end or occasional table, and the joinery has been revised to include the use of dowel pins instead of the original mortise-and-tenon construction. Skilled woodworkers who enjoy the challenge of the more difficult mortise-and-tenon joinery may substitute these joints, keeping in mind the fact that the mortises for the end rails must be cut in at an angle of 84 degrees to the inside face of each leg. This operation can best be done with a drill press. Tenons must also be mitered to butt against the adjoining tenons of the side rails.

Fullsize Professional Plans

Over 200 professionally designed plans for building line furniture. Furniture Designs Inc CN-57, 1827 Elmdalc Ave., Glcnvicw, IL 60025. FURNITURE PLANS. Easy to follow. Kasv to make. Computer generated. Catalog S3. Lake Superior Design. Box 751. Grand Marais, MN 55604-0751.

Cog Gear Pedestal Stand

Easy to make. Computer generated. Catalog 3. Lake Superior Design. Box 751. Grand Marais, MN 55604-0751. FULL-SIZE PROFESSIONAL PIANS. catalog S3. Over 200 professionally designed plans for building fine furniture. Furniture Designs Inc., CN-17, 1827 Elmdale Ave., Glen-view. II. 60025.

Origins of Arts and Crafts

Ninety years after it lirst swept across the United States. merican Arts and (rafts furniture is in a revival that shows no sign of weakening. Hntire magazines and books, as well as the work ot hundreds of furniture makers, are devoted to the style that has come to be known in its various finni-* a> Craftsman, Vision Greene and Greene. Arts and Crafts or Stick J ey furniture. The furniture is so prevalent and powerful that it has come to seem distinctly American. But the ideas and forms of Arts and ( rafts were born and bred in England and made their way to America later, in the notebooks of designers who visited there.

Building this a n t i q u e i n s p i r e d table its a faithful reproduction that even our forebears would appreciate

Small, single-drawer tables have been a favorite of furniture makers and their patrons for generations. They range in style from prairie primitives to city sophisticates. It's this broad capacity for variation that attracts many of us to these tables in the first place, not to mention that their compact size fits into virtually every home. This is also the type of project that makes a great gift, because it doesn't take weeks of time to complete, yet it reflects sincerity of purpose. If you have basic lathe skills, you can tackle it in a weekend.

Console Table And Stool

Roger Combs has a BA in Industrial Arts, with a concentration in furniture design and construction. This piece is used as a writing desk for a psychiatrist. The table top is solid zebrawood with wenge ends. The legs are bandsawn veneer with wenge caps and stretcher. All joinery is hand-fit mortise and tenon, with no mechanical fasteners.

Imaginative Work That Makes You Smile

Few furniture designers lay claim to inspirations that range from cartoons by Walt Disney, Dr. Seuss and Warner Brothers to architect Frank Gehry and designer Phillipe Starck. Judson Beaumont's furniture designs manage to embrace both form and function. Pieces like his Boom

Arts And Crafts Cottage

Many English Arts and Crafts designers moved to the country. Edward Barnsley. a second-generation Arts and Crafts furniture maker, lived in this cottage and worked in the attached shop. Vovscv's furniture, in solid wood, tends toward the simple lines and purity of materials that characterizes what Americans now kn as Craftsman furniture. He eneralh Inuh in Austrian oak and left the wood plain and unpolished. Vovsey relied on subtle detailing such as legs chamfered gradually from square to octagonal. H< sometimes used I1' ass strap iing< ind pien ed p nels f add inten st to i . ibinet or dresser, but tl o eral forms w< r< gen i tIK Shak< i in their clean simplicity- bottom photo, te u , Voysev took ro heart Morns'insis fence on good craftsmanship, but he didn't get involved with handwork himself. He signed his furniture on papi r and let-cabinetmakers do the building.

Suspended Shelf Racks

I eff I-ohr, a furniture maker in Pennsylvania, uses the space I above his workbench to store wood and furniture parts. Staggered shelves give him great storage flexibility. Because he mounted his shelf racks to the ceiling and wall, the area underneath is unimpeded by support posts.

Standing Cabinet for Shop and Site

Standing Tool Cabinet

For ten years, furniture maker Andy Rae, of Lenhartsville, Pennsylvania, ruminated on the idea of building a standing tool chest that would be large and complex enough to contain the bulk of his hand tools. Finally, with the acquistion of five beautiful matched flitches of Honduras mahogany and a few prize tiger-maple boards, the time had arrived. Gathering together the tools to be stored, he arranged them in various groupings, measuring them until he finally got the design down on paper. Then the fun began. Rae's cabinet features holly and ebony inlay and ebony handles (left).The Honduras mahogany veneer on the doors is thick enough to create raised panels the coved drawer face (above) mimics waist molding in traditional furniture designs. Photo by John Hamel.

Visit With Roberto Lavadie

Roundabout Santa Patterns

Roberto Lavadie, a lifelong resident of Taos, is one of the master New Mexican furniture makers active today. His designs are adapted from traditional forms and motifs of the early Spanish and Pueblo Indian cultures of the region, and his work ranges from small, carefully carved jewelry boxes, to furniture, to the largest altar screen in the U.S. a four-story-high extravaganza he built for the St. Francis Cathedral in Santa Fe.

Student Toolchest Project

North Bennet Street School Tool Chest

We n the students of the cabinet and furniture-making program at the North Bennet Street School in Boston, Massachusetts, have completed their six-week introduction to the fundamentals of drafting and benchwork, they are given the opportunity to embark upon their first start-to-finish project the building of a tool chest. Drawing on the techniques used in period furniture designs to create hidden compartments. J. Fischer disguised the side trays containing his chisels as pilaster moldings. A drop lid slides open to reveal the drawers.

Origins Of New Mexican Style

New Mexico Punched Tin Designs

These early furniture makers used mortise-and-tenon joinery, with square pegs or wedges to keep the joints tight in the arid climate. Carpinteros, as the craftsmen were called, relieved the massive boards of some of their visual weight by carving their surfaces with Spanish and Moorish motifs such as pomegranates, rosettes, shells, lions and scallops. Other embellishments included heavy grooves and cutouts along table aprons and bottom rails, and hand-carved spindles and splats inspired by the window grilles popular in Spain. New Mexican furniture making languished between 1900 and 1920 as the need for furniture was met by factory-produced imports. But interest in traditional New Mexican style arose Chair built for the Museum of Fine again with the con Arts in Santa Fe in 1917 is a fine struction of the Fine example of Spanish-Revival-period Arts Museum in Santa furniture, with its Craftsman-style Fe. in 1915. joinery and proportions. embodied Spanish Colonial and Pueblo Indian motifs...

Word From The Architect

The m onumental scale of some of the rooms in the house led principal architect Peter Bohtm and me to these furniture designs. We needed sizable legs and cross members so that the furniture wouldn't seem lost agamst me 9-tn. square columns that frame the house. We also designed overlapping and penetrating infections to match the Arts-and-Crafts or Japanese-like joinery seen throughout the home it was clear early on that Erk Keii understood the styles that we were trying to create. A MEETING OF MINDS. Furniture maker Eric Keil (nght) and architect Ro& ert McLaughlin discuss concerns about the sofa table's design.

Richard Leblanc Woodworking Seattle

HARRINGTON is a 1994 graduate of the Cabinet and Furniture Making Program at the North Bennet Street School in Boston, Massachusetts. She maintains a furniture studio, where she works on one-of-a-kind commissions and speculative pieces. Her speculative work combines her background as a feltmaker with her more recently acquired woodworking skills. RICH PREISS teaches furniture design and woodworking at the College ol Architecture at the University of North Carolina at Charlotte, where he is the Director of Laboratories. A former consulting editor for Fine Woodworking magazine, lie designs, writes about and builds furniture. SCOTT SCHMIDT has been making custom furniture for twenty years. After attending art school, he restored Colonial houses and began making furniture (The Button Factory, 855 Islington St., Portsmouth, NH 03801 603-436-6555).

Kristina Madsen Furniture

Kristina Madsen Furniture

He Boston Museum of Fine Arts is emerging as one of the strongest forces encouraging the development of handcrafted furniture in the United States. In 1975. the museum began purchasing seating made by practicing woodworkers to be used by the public in the halls of the museum as a part of its Please Be Seated program. This was followed by its 1977 show Contemporary Works by Master Craftsmen. Now the museum has given us New American Furniture The Second Generation of Studio Furniture Makers. For this show, the museum asked 26 furniture makers to make pieces, each using as an inspiration for their design, an historic piece of furniture from the museum's collection. Despite the fact that the new designs were based on antique forms, the exhibition tells us a great deal about present trends in studio furniture making. were Rick W rig ley, Wendy St ay man, Richard Newman. Kristina Madsen, and Timothy Philbrick. An observer unfamiliar with the history of furniture design might very well take...

Peter Joseph Gallery Closes

The Peter Joseph Gallery, a leading New York gallery of American studio furniture, has closed its doors after six years in business. The gallery represented many of America's most prominent furniture makers, including Wendell Castle, Garry Knox Bennett, Rosanne Somerson and Wendy Maruyama.

Kevin Southwick Apply Even Coat Of Shellac

Stain Controller

So why isn't poplar popular with furniture makers The answer is simple The wood is just plain homely. Its color ranges from pale yellowish white to an odd shade of green, and boards are often discolored by dark gray or purplish streaks. To top it off, poplar doesn't stain well with traditional wood stains. In fact it can get ugly really fast because it blotches so easily. About the only time furniture makers use poplar as a primary wood is when the piece is going to be painted. Poplar has too many desirable furniture-making qualities to be limited to paint-grade service. Fortunately, by using a special approach, it's possible to make this ugly duckling glow beautifully. This process will transform poplar's odd green color to any brown wood tone you like. However, dark streaks will still show they'll need to be avoided or placed strategically in the design and called character.

How To Make Working And Decorative Wagon Wheels

Assemble your own Pennsylvania or Kentucky rifle, 1861. 1863 Springfield, Brown Bess. Charleville. or other mui-Reloading rifles with one of our kits. Order the GIANT 750-pg. Dixie Gun Works catalog today Send 5 or S8.50 COD to Dixie Gun Works. Dept. AW. P.O. Box 130. Union City. TN 38261. Or call (901)885-0700. FINE FURNITURE PLANS. Over 250 full-size plans. Catalog S3.00. W. Plans. 2319 Chivingcon. Longmont. CO 80501.(303)678-7.363 BUTTERFLY HOUSE Completely functional - Help our winged friends thrive while complementing your flower garden. For Plans end S4.00 and SASE to CJ House, P.O. Box 512. Jeannette. PA 15644.

Cabinet that Departs from Tradition

Several decades ago, furniture maker David Powell, now of Easthampton, Massachusetts, went to work in the renowned workshops of Edward Barnsley in Froxfield, England. Surrounded by master woodworkers who had learned and refined their skills in the Arts and Crafts era that flowered in the early years of this century, Powell received a rich, inspiring education that left him with a lifelong dedication to fine woodworking. Yet when it came time for him to build a chest for his hand tools, he passed over the traditional cabinetmaker's chests that surrounded him. Instead, he struck out on his own to design and build a box uniquely suited to his needs. For Powell, the classic chest wouldn't do-he felt the layered storage

American Woodworker

Oak Table Leg Stretchers

New England is a wonderful classroom for anyone interested in traditional building methods. Visits to the Strawbery Banke Museum, in Portsmouth, NH, Vermont's Shelburne Museum, and Boston's Museum of Fine Arts provided excellent examples of early American furniture. Historical associations like the Society for the Preservation of New England Antiquities (141 Cambridge St., Boston, MA 02114 617-227-3956) also contributed to my education. And I discovered some indispensable reference books, most notably Asher Benjamin's The American Builder's Companion. Wallace Nutting's Furniture Treasury and the series, The Architectural Treasures of Early America. The table's simple, three-board top, held flat with breadboard ends, rests on the base with distinctively broad overhangs at the ends. Its stance is sturdy but also graceful yet another example of the well-resolved proportions used by Colonial furniture makers.

Miter With Solidwood Corner Insert

Whether in solid wood or man-made board, joints can only be cut from flat, square and dimensioned stock. But the differences begin with the very first saw cut. Since industrial boards are manufactured oversize, there's no reference edge to use as a guide. The factory edge is not bad, but it's not good enough for furniture making. Industrial users reduce the material with vertical panel saws, sliding-bed tablcsaws, or sliding-bcam saws. Unlike the standard table-saw, these machines can crcatc a straight edge without the use of a fence, so they don't have to refer to the existing edge of the workpiece.

From Hand Tote to Rolling Chest

While making the transition from hobbyist woodworker to full-time commercial furniture maker, Eric Smith, of Sacramento, California, set out to create a small, simple, one-hand tote for a selection of hand tools. Two hundred hours later, an impressive case built from Honduras mahogany and trimmed in pao ferro (see the photo above right) emerged from Smith's workshop.

Crcle No On Pwdooct Nfohuatcn Form

Wood Bending Forms

It's a good bet that the first finish you ever brushed on wood was an oil varnish. For centuries, varnish has been the finish of choice for furniture makers. To this day, it remains a very durable, very beautiful, casy-to-apply coating that holds its own among all the high-tech plastics available for finishing wood. In this column, I'll tell you a bit about this versatile finish and how to apply it successfully with a brush.

Casework vs Furnituremaking

Typically, sheet goods are used for casework (boxes and cabinets). Butt joints reinforced with screws, biscuits, dowels, splines or pocket screws are common, although rabbet and dado joints come in handy as well. A furniture-maker works mostly in hardwood with structures that depend on small, fitted joints, like dovetails, mortises and half-laps that need to be both strong and pleasing to the eye.

Woodworking Tools And Accessories

O First you need to decide what sort of items you want to turn. Spindle turners planning to make furniture parts will need a machine with a bed at least 36 in. long to accommodate most leg and post stock. A bowl turner will want a heavy machine with at least a 16-in. swing capacity (spindle height 8 in. above the lathe's bed), a minimum ' 2-HP motor, and speeds as low as 200 rpm. A model maker would be well served by one of the new mini lathes. (See AW 52.) Production-oriented pros should consider a duplicating lathe. In short, match the machine to the job.

Hardwoods Cut To Order

You can upgrade your bandsaw with an old tablesaw fence. A larger wooden table can l)e made to fit around all four sides of the original table, leaving a slot on the right side for blade changing. Pairs of simple wooden blocks fasten the new table to the old. One block is bolted directly to the edge of the iron bandsaw table. The other block is part of a glued and screwed table support. This block is slotted to allow the wooden table to be leveled. Overhead view of the supports for the new wooden table. Cut and glue-up five sets, then drill holes in the left and right edges of the iron table. Bolt all of the table supports to the bandsaw table. Then, mount the new wooden table on top of the supports and screw the table down from above. Finally, level the table.

Designing In Shop Tool Storage

Furniture maker Sanford Buchaller. of Freeland. Mich., built this standing chest for his father in trade for a small travel tool chest his father built for him. Nearly every tool in the chest is readily visible and instantly accessible. The box hanging below in the support frame contains a small drawer and woodworking reference books. Photo by Jonathan Binzen.

To Okdcr By Phone Call

Seminar rooms were packed with woodworkers getting in-depth instruction on power-tool techniques, furniture design, sharpening, bowl turning, finishing, veneering and more. Leonard Lee, Mark Duginskc, lan Kirby, Mike Dunbar, Ernie Conovcr and Frank Pollaro were just a few of the fine craftsmen who shared their secrets.

New Undergrad Furniture Major At Risd

The Rhode Island School of Design has launched a new undergraduate major in furniture design. It joins RISD's well-established graduate program to form a new Department of Furniture Design, staffed by four leading furniture makers scholars. The new undergraduate major opens this fall. It aims to give aspiring furniture designers the broad range of skills necessary to make a living and advance the craft as a whole. The curriculum will include design theory, technical classes, studio work and professional practice, as well as research projects examining the social and environmental aspects of furniture design and fabrication. Interdisciplinary work will be cncouraged. Well-known contemporary furniture maker Rosanne Somerson, chair of RISD's graduate furniture program, heads the new department.

Furniture History Reconsidered

There is a current trend among furniture conservators and curators to rename American furniture styles to more accurately match the other decorative arts of the same style and era. Elizabeth Gusler, teaching curator at Colonial Williamsburg, explains that styles do not evolve in a vacuum but are influenced by trade, politics, religion, and other factors. She thinks. Using art historical designations rather than monarchs' or furniture designers' names allows us to cross geographic and political barriers and to relate the decorative trends in many media-furniture, ceramics, textiles, metals through In the time line on the previous page, art historical designations such as Baroque and Rococo have replaced more familiar names such as Queen Anne and Chippendale. In the 17th century, however, American furniture cannot be so neatly pigeonholed. Seventeenth-century furniture makers frequently combined geometric and floral carving, as seen on this oak armchair. Typically, carvings of this...

Philadelphia Furniture Shdw Winner

Geoffrey Noden was this year's proud recipient of the Best New Artist in Wood Media award, presented by American Woodworker at the annual Philadelphia Furniture Show. Noden, a New Jersey craftsman, studied under famous English furniture maker John Makepeace. Today he trains his own apprentices, creating a wide range of furniture for a growing clientele. Noden's exhibit featured a number of custom-made chairs, including the arch-top model shown at left.


Similar to walnut but lighter in color, butternut is familiar to many carvers and furniture makers. (Sec Wood Facts, page 94.) Unfortunately, this valuable tree is reeling from a disease called butternut canker. Caused by a fungus, the sunken, elongated cankers blacken and destroy a tree's cambium layer, gradually killing

Visegrip Holddown

Carolyn and John Grew-Sheridan arc furniture makers who live and work in San Francisco's Mission district. They've made a large number of chairs over the years, but this design remains one of their favorites. We like it, says Carolyn, because it's straightforward and can be made with simple tools and materials.


Page HORTON BRASSES These fine 77 brasses, made in Connecticut, will en-Circle hance the beauty of your work. From 401 pulls and knobs to hinges and casters, we offer a wide, quality selection. A bible for the furniture maker. 4.00. P ge FURNITURE DESIGNS Older your 21 full-size plans from our catalog-200 Circle designs to choose from Plans include 303 Early American, English Chippendale, Queen Anne, Shaker, Spanish. 3.00.

John Mcalevey

I have always worked toward having a personal and individual contemporary architectural style in my furniture designs. I have never been interested in rehashing the past by reinterpreting bygone furniture styles. I believe my work has been influenced by Scandinavian design and some modern American designers, particularly Walker Weed (another New Hampshire craftsman), whose attitude and approach to woodworking and design really got me going. For a furniture design to succeed it is important that all the parts relate to the whole. The piece must have good proportions and pleasing lines that complement each other, and it must function accordingly. To work these things out, I find it very important to draw the details accuratcly on paper. I also take the material into consideration, using construction techniques and joinery that is appropriate. Attention to detail, high standards of overall craftsmanship and a suitable finish all contribute to the successfully designed piece of furniture.

Mby David Sloan

This plate rack is similar to one designed by Gustav Stickley, the best-known furniture designer and manufacturer of the American Arts and Crafts period. Sticklcy's monthly magazine. The Craftsman. (pub- This Mission-style plate rack is based on a design by Gustav Stickley, the best known furniture maker of the American Arts and Crafts period (1900 to 1916).

Photo Iv Wuknmy

David apprenticed with a Spanish master furniture maker and attended Boston University's Program in Artisanry before opening his own custom furniture business in 1980. His style shows clearly the influences of classical and Shaker design. Many new woodworkers have the Impression that to be a good furniture designer one must always develop fresh and new designs, the likes of which have never been seen before. While I believe that designs should be bold and fresh, I also believe in a continuum and evolution of traditions and classical designs. Our work should be informed by elements of traditional furniture its proportion, choice of materials, selective use of detailing, light and shadow, contrast, texture, finish and so on. In traditional furniture, things were done a certain way because the established methods had been proven to work, both aesthetically and mechanically. By studying the work of old masters, we can begin to understand and utilize successful traditional elements in our...

By Scott Cooper

When I visited < hina eight years ago as part of a college language program. I absorbed a love of Chinese furniture design that will long outlive my vocabulary lessons. But it was only years later, as I tried to design pieces with the same flavor, that I began to pin down the separate elements about this furniture which joined to uplift my spirit.


Museum-quality conservation, matting and framing Sylvia Sandoval. June 12-16. Traditional water gilding Sylvia Sandoval. June 19-30. Furniture design for use Robert DeFuccio. Sharpening and using Japanese woodworking tools Michael Laine. July 3-21. Furniture in its environment Thomas H cker. Anderson Ranch Arts Center. (303) 923-3181.

Carved Front Dresser

Myrtle root burl top and backsplash flame yellow birch drawer fronts and side panels zebrawood frame members and pulls tung oil varnish and wax. Custom furniture making has been my trade for the past twenty-nine years. The dresser was commissioned by an artist who simply gave me basic dimensions and a request for burl to be part of the piece. He chose the rest of the wood from scraps that lay about my shop.

B A Harrington

1 have alwavs been drawn to Mission oak furniture because of the heavy, low, stayed-to-the-earth feel it gives. But I was somewhat hesitant when some friends asked me to build a Prairie settle and to give it a finish that would match their other Arts and Crafts furniture. I came to furniture making with a background in art, intent on designing my own pieces, and I was worried that a reproduction would fail to satisfy my creative impulses, I did, however, want to make something for my friends, and I found the piece very attractive. So I agreed.

Early American Pine

However, most Early American furniture was made of eastern white pine or punkin pine. It is easy to work with, has little grain, and is easily finished. Unfortunately, the northern white pine (sometimes called eastern white pine) that was used in Early American furniture is only available in limited supply. Once consisting of stands equal to several hundred billion board feet, most of the trees that are standing now are second growth timber and equal only a fraction of the original board footage. When it can be obtained, it's usually knotty and small.

L Umber Jack Tools

DEEP IN THE HEART ofTennessee, just north of the Great Smoky Mountains National Park,AI Hudson has been quietly building exquisite reproductions of classic American furniture for over 70 years. At age 88, he's just finished his masterpiece a double oxbow secretary, based on a number of 18th century beauties from Salem, Massachusetts. Building the secretary took a completely unexpected turn when Al uncovered a secret stockpile of amazing mahogany.


(1985, The Taunton Press, Box 355, Newtown, CT 06470) Length 115 m in. VHS and BETA 39.95. The ball-and-claw foot is a classic and distinctive element of 18th-centurv furniture. It can also seem like an intimidating and difficult carving project, even for experienced woodworkers. In thiseasy-to-under-stand video, furniture maker and teacher Phil Lowe takes the mvs-tique out of the ball and claw and leads the viewer through the production of a classic, Philadelphia-style leg.

Mitered Sticking

Fortunately, you don't have to be a period furniture maker to incorporate tombstone doors into your work. The design looks right at home with modern furniture, or it can work with paneling or kitchen cabinets. In fact, you can use tombstone doors wherever you want to dress up an otherwise plain cabinet.

Books Videos

Smith's rapid rise to success is no accident. His reproductions are impeccable, and no detail is overlooked. His expertise in duplicating antique paint finishes is uncanny, and I believe his influence has heightened the appreciation of old painted finishes.


When steam bending, stock selection is critical. I rive, that is split, my wood directly from the log. Riving is an ancient process. In fact, until the 17th centurv much of the wood used to make furniture was riven instead of sawn. Although more wasteful than sawing and less exact, riving guarantees a straight grain along the length of the piece. More important, it ensures that the layers of annual growth in the piece (the tree's annual rings) are continuous from one end to the other.


Bar clamps need to be heavy and rigid, with jaws that remain square to the bar under heavy pressure. I like Record bar clamps because they meet these criteria (see Sources, p. 81). For making furniture and cabinets, 3-ft. bars will be most useful, and six of them would be a good start. Clamps are heavy and extra length is not only awkward to handle, but also

Further Reading

Gustav Suckley built many fine examples of Artsand-Crafts furniture in his factory. He also left a wealth of information in his monthly magazine The Craftsman (19011916). Much of this information has been republished in two books Craftsman Homes Architecture .n-1 Fumisnmgs of the American Arts and Crafts Movement (available on and Malting Authentic Craftsman Furniture (available through Manny's Woodworkers Place. 800-2430713). Both are published by Dover Publica tions. 31 E. 2nd St Mineoia. NY 11501.

Stickley Style Le

Uartersawn oak is synonymous with Craftsman furniture. I he wood's wild ray figure is both beautiful and distinctive. Unfortunately, Mother Nature saw fit to put it only on opposing faces of a board. So on a table leg. for example, the sides adjacent to a quartersawn face should be flatsawn and without figure.

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When Gustav Sticklcy and other furniture designers developed the Arts and Crafts style almost a century ago, they won praise for their utilitarian furniture with its straight lines and lack of ornamentation. These qualities can also harmonize with a modern interior, as this contemporary coffee table shows. Built by Phil Gehret in the aw Design Shop, our table is made from quartcrsawn white oak, like most of Sticklcy's pieces. It features the rectilinear lines typical of Craftsman furniture, but the construction is simpler. (See drawing.)

Coping Fret Saws

Scrollsaw Blade

You don't always need to turn on a power tool like a jig saw or band saw to cut curved workpieces. If the pieces are small, a coping saw, or its cousin the fret saw, might be the better choice. Though it's often dismissed as just a rough carpentry tool, a coping saw can be extremely useful in the woodshop. And fine-cutting fret saws have been a mainstay of high-quality furniture making shops for a very long time.


Amateurs Bent

Designs pop into my head at the strangest times, like when I'm going to sleep then I'll get up and start sketching while ideas are fresh in my mind ' says Jonathan Baran. A former finish carpenter who was inspired to do finer work, Baran took a course with woodworker William Saycr and soon plans to start his own furniture-making business. This desk was an anniversary present for his wife, so it had to be something special.

Jere Osgood

Jere Osgood Furniture

Jere is a full-time studio craftsman whose work has appeared in many major museums. He has been designing and building furniture since 1957 and taught furniture making at Boston University's Program in Artlsanry and at Rochester Institute of Technology's School for American Craftsmen. Furniture design reveals itself to us in three stages. The first stage your first impression of the piece when you see it from a distance is very important. You sec the silhouette and the positive and negative areas of the form. In the second stage, as you move closer, you see the color, texture, and surface quality. You see more of the form and get an understanding of the volume. Finally, in the third stage, you arc too close to sec the form. Instead, you see the fine details carving, inlay, joinery and how they add up to the finished piece.


Accenting Breadboard Ends

Emphasizing your joints can add visual interest to a piece. Here, furniture maker Jeff Lohr of Schwenksville, Pennsylvania, extends the couch's breadboard ends beyond the arms and bridges the offset with ebony splines to accent the joint. Now that I've found a name for what I've been doing all these years, I'll acquaint you with all three of these design options, and show you how and where you can use them in your own furniture designs. That said, let's start with the most common type of franked joint the cogged joint. Emphasizing your joints can add visual interest to a piece. Here, furniture maker Jeff Lohr of Schwenksville, Pennsylvania, extends the couch's breadboard ends beyond the arms and bridges the offset with ebony splines to accent the joint.


Free Fish Scroll Saw Patterns

The Cascadia Exhibition highlighted some extraordinary talent from British Columbia, Washington and Oregon. Hikmet Sakman's Bubinga and Maple Creclenza is a beautiful blend of Arts and Crafts and Oriental design (see photo top left, page 37). Vancouver furniture maker Cam Russell built an impressive Grandfather Clock inspired by the work of Arts and Crafts designers Greene and Greene (see photo, bottom right, page 39). While most Greene and Greene furniture was made from imported mahogany, Cam tapped local woods such as fir, cedar, yew and aspen. Camosun College, located in Victoria, presented student works from the college's Fine Furniture Program's 2007 graduating class. This exhibit's theme was Look What We Made For Dinner, which inspired sixteen young furniture makers to get creative designing dining chairs that were as different as scrambled eggs and steak. One of those chairs, Sushi Anyone' by Felicity Jones, has a clear Asian influence and is an excellent example of the...

By Karl Shumaker

If your furniture projects haven't been wowing friends and family like they used to, maybe it's time to impress them with a whole new repertoire of joinery. Take a look at the joints shown here. Some of them are easier to make than they appear. Others present a bit more of a challenge. While a few of them are simply crowd pleasers. many have a definite structural value. They're all variants of the basic woodworking joints mortise and tenon, bridle, half lap. splined, dovetail and mitered. At the end of the article, you'll find an explanation of how to make the radial-dovetail joint. I'll explain how to make some of the other joints shown here in future issues. Meanwhile, if you've got an interesting joint you'd like to share, or one you'd like to learn about, let us know. We'll try to feature that one, loo. A


Prize Display Cabinet

Many woodworkers comc to the craft after exploring other disciplines. Seth Janofsky, for example, earned degrees in literature and photography before one day, it just came bustin' out of me that I wanted to make furniture. He devoured books and magazines on the subject and spent a year studying under James Krcnov at the College of the Redwoods in Fort Bragg. When Glen Grant built his own house back in 1962, his thin budget forced him to make his own tables, chairs and other furnishings. He liked the results and continued to make furniture. After turning out a variety of colonial-style pieces, Grant began to develop a style all his own.

Spade Foot

All three legs shown here are made from 1-3 1 x 1-3 4 x 29 in. stock. The first leg I'll explain how to make is the familiar long taper found in many Shaker designs. Often, this leg has the taper on only two adjoining faces. The second leg has a short taper used on cabinets w ith legs and on some stylized modern pieces. The last profile, a tapered leg with a spade foot, builds on the techniques used in making the first two legs. This remarkable shape is both elegant and refined. It hints at Hepplewhite and Sheraton furniture designs from the eighteenth century and can make a piece distinctive and stylish even today.

Furniture S

Michael Fortune Furniture

Four inspiring days of listening, learning, and talking shop with fellow furniture makers Noted furniture maker Michael Fortune In case you haven't heard of this group before, the Furniture Society is really-worth getting to know. It's an international non-profit organization, founded in 1996, whose mission is to advance the art of furniture making by inspiring creativity, promoting excellence, and fostering an understanding of this art and its place in society. Society members, who number about 1600, come from across North America and abroad. They're furniture makers, designers and teachers. It's not an exclusive club though membership is open to anyone interested in the craft. Over 400 members attended this year's conference, the 11th annual gathering. Noted furniture maker Michael Fortune

Richard Raffan

Woodshop Desks With Hidden Compartment

I designed the stool shown here as part of a set that includes a small breakfast table and two stools (the table plans appear in AW 50). Building the stool is a pleasant exercise in small-scale furniture making, though 1 recommend making several at a time. This particular piece lends itself to production runs and, like clamps, you can never have too many stools.

Cecil Pierce

Independent but never reclusive, open-minded but opinionated, soft-spoken but passionate, frugal with his own needs but generous to others, Cecil possessed all of the marvelously contradictory j qualities found in a true Down East Yankee. And he was a jack of all trades. Over the course of his lifetime he worked as a boatbuilder, mechanic, furniture maker, lobsterman, author and histo- j rian. Cecil designed an escape j vent for undersized lobsters that is now legally required on I all lobster traps. Ic also wrote j two great books fifty Years a j Planemaker and User, and The Precision Hand-Cutting of j Dovetails (Monmouth Press, 207-933-4922).

Ian Kirby

Is a furniture designer and teacher with studios in Connecticut. The forked wedge converts the sloping mortise into a pair of sloped housings cut into the thickness of the tusk tenon. The housings are easier to cut bccausc the whole surface is visible. The dowel version of the joint docs away with the sloped housings. These two versions can be made quite large, so they become a strong element in the furniture design. The drawback to the tusk tenon joint is that it can't make a flush corner it always leaves a projecting tenon. So it's not ihc universal soldier. But even so, this kit of parts can solve a lot of furniture design problems. A

Striking A Balance

Routers have revolutionized woodworking over the past forty years. They have helped bring professional furniture-making capabilities to millions of people at an affordable cost. In the bargain, routers have spawned an industry devoted to improvements and accessories that make woodworking even more safe, convenient and accurate.


Basic Router Technology Bill Gundling. Stenciling Susan Perry. Tool Sharpening Bill Gundling. Bookkeeping for Artists Barbara Bilderback. January' 29-30. Trompe L'Oeil Ornamentation Thomas Masaryk. American Furniture Survey John Kovacik. February 5-6. Folk Painted Furniture Carol Sue Roberts February 12-13- Woodturning Bill Gundling Craft Marketing Loretta Radcschi. Segmented Woodturning George Radcschi. February 19-20. Woodworking Smorgasbord Jere Osgood. Nco-Classical Decorative Painting Victor DeMasi. Trompe L'Oeil Cabinets Thomas Masaryk. February 26-27. Woodshop Designs Bill Gundling Brookfield Craft Center. (203) 775-4526.

Sam Maloof

For my furniture making, I'd choose the well-balanced Sorby for general use and rough-duty work. My assistant Larry White, who helped in evaluating all the chisels, liked the feel of the Sorby handle as I did, and noted that the plastic handles were generally too slick in his hand.


Kevin Southwick is a wood finishing specialist and teacher in Minneapolis, MN. His shop, Southwick Furniture Conservation, offers conservation, restoration, custom wood finishing and consultation to furniture makers, cabinet shops, and homeowners. Kevin has studied with Don Williams, Senior Furniture Conservator at the Smithsonian Institution and he currently volunteers in the conservation lab at the Minnesota Historical Society.

Touch of Tansu

Furniture maker William Tandy Young, of Stow, Massachusetts, often finds himself away from his workbench and hand-tool storage when he builds large projects such as entry doors. Since these usually linger by the stationary machines grouped at one end of the shop, he was forever traipsing back and forth for tools. Finally tiring of this, he decided to design his new tool chest to roll.

Brad L

For centuries, furniture makers have adapted coopering techniques to make curved panels for lids and doors. A coopered door creates an interior space of varying depths that offers many possibilities for storage or display. (Sec photo, left.) And coopcring isn't at all difficult if you have a good selection of clamps and a way to plane accurate bevels. In this article, HI explain how to transform straight, square-edged wood into a curved panel that can be used on its own as a cabinet door, or held in a stilc-and-rail frame. (Sec sidebar, page 51.)

Th Century

The earliest surviving pieces of American furniture date from the second half of the 17th century a style called Mannerism (sec sidebar) when craftsmen finally had the leisure time to build stylish pieces. English influence is evident throughout the colonial period because most settlers came from England and wanted to keep up with English fashion. However, It's interesting to note that 17th-century American furniture reflects rural English taste, rather than the high-style, urban fashions of London. When need and function were more pressing than fashion, the earliest pieces were made by farmers, carpenters, or anyone with an ax. Though these pieces were primitive, they represent the beginning of our mainstream furniture lineage. Nevertheless, styles continued to evolve throughout the 17th century and became more refined as new design books from Europe circulated, new craftsmen immigrated and new settlers arrived from Europe, bringing furniture with them. Generally, American styles...

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