Why bother writing an article about tasks as simple as mitering and beveling? Because there are a number of refinements to the process that can make the difference between mediocrity and quality. Furthermore, the techniques described here are useful for any quality woodworking project that requires precise joints-from the simple picture frame to the most elaborate piece of furniture.

Precision mitering begins with selection of the raw stock. Obviously, it must be straight and true with no warpage or other defects evident. If the work is large enough to require more than one piece of stock, be sure that the pieces are identical in width and thickness. At times, pieces of millwork that are nominally the same differ noticeably, owing to wear on the cutters at the mill or the cutters being sharpened between runs.

What do you look for in a wood finish? Many woodworkers look for a finish that is easy to apply, foolproof in operation and exceptionally durable. Recently I had a look at the old and proven Sealacell process; it’s all of the above and more.

The Sealacell process involves a three step operation. The first liquid is Sealacell #1, a penetrating wood sealer. After the sealer has dried for 24 hours, an application of Varnowax #2, a wax blend, helps bring out the color of the wood. A final finish coat of Royal Finish #3 leaves a satin-smooth surface which is resistant to water and alcohol.

I tried the Mini-1-2-3 Finishing Kit, which contains a pint of Sealacell, half pints of Varnowax, and Royal Finish, sandpaper, steel wool, wiping clothes and a drop cloth. The Sealacell products are also available separately, in quantities from half pints to gallons.

This is part #3 of this series. Please make sure to read the previous part before you continue with this one. Thanks!

I use a variety of imported and domestic woods in my boxes. Species I use commonly are walnut, koa, padouk, bubinga and zebrawood. Recently I completed a small scale solar, lumber kiln with which I hope to make use of locally grown hardwoods. I often use combinations of two or three woods of contrasting colors in each box. I like the effects of mixed woods, since contrasting species bring out the best of each other’s grain and color. The use of mixed woods along with the exposed ends of the dowels adds to the character of my boxes.

Watching the reactions of people to my boxes at numerous craft fairs has been rewarding. It has also aided me in making design refinements. For the boxes without magnetic lid closures I had thought I should leave off the thumb hole as it seemed a discontinuity in the lines of the box. I made a batch without the thumb holes but soon realized my error. A person with large hands like mine who knows how the box works can easily raise the lid with one hand, but a person with small hands who isn’t quite sure how the lid opens may have to use two hands. Using two hands is an inconvenience, especially since many prospective buyers at craft shows have one hand fully carrying a purse of previous purchases. Also, fingernails can leave scratches in the wood while trying to get a grip on the lid. Needless to say, I now include a thumb hole in all of my boxes.

This is a continuation, please refer to part #1 before you continue reading.

The last feature I talked about in the previous article would only work if the lid stayed closed. To insure that the lid didn’t come open unintentionally, I installed a spring clasp. To provide a means of opening the box, I made a small recess in the center of the front, which allowed room for the thumb hold on the lid. With this, the design was complete.

For the first box I used walnut for the lid and bottom, mahogany for the front, oak for the back and ends, and aromatic cedar for the partitions. I glued the unfinished cedar partitions into the box after I had finished it inside and out with two coats of tung oil. Thus, upon opening the box, one is met with a waft of cedar aroma. As a final touch, I lined the inside bottom of the box with green felt.

At some point during almost every wood enthusiast’s woodworking career, he or she builds a wooden box. Some build only one or two, while others devote considerable time and effort to this subject. I belong to the latter group, and after spending some time making conventional boxes, I designed a box that not only satisfied me and pleased the person I gave it to, but also has become a major product of my small but expanding woodcrafts business.

The first several boxes I made were the conventional, six-sided rectangular type. For these I used brass hinges with glue and screw construction. The screwheads were countersunk below the surface of the wood and the recesses filled with wood filler. The glue and screw technique was a substitute for my lack of suitable clamps (and know-how) at the time. The screws held the joints in place and I could continue working on a piece while the glue dried.

I live in an area which produces some of the most beautiful walnut in the whole world. Along with other woodcraftsmen, I have grown to love and respect this fine claro walnut, as I strive to reveal the full beauty of the wood and grain patterns in my work. But as this and other fine hardwoods become rarer and more expensive, I hate to see such a large proportion of my wood end up as useless chips and sawdust. Laser technology should soon enough provide paper-thin cuts, but that day is not yet here. So for more than two years I have been searching for a high-quality, thin saw blade. And I believe I have found it.

Miki, Japan

A trip to Japan has long been on my wish-list, to study Japanese architecture first hand and hopefully meet some of the renowned Japanese craftsmen. This Spring I finally fulfilled that dream. In my week in Tokyo, I asked where the best tools were made. Invariably, the answer was Miki, a small town near Osaka.

There are times in woodworking when you want to shut off your table or miter saw quickly, without letting go of your work, or without taking your eyes off the blade. Here is an interesting thing you can do to help achieve this goal:

Add a kick board to the power box of your saw. Then you should suspend the board on the hinge from a block of wood clamped around the power conduit, but the innovative woodworker can adapt this system to any saw. A hole in the board allows access to the On button, and the board rests on the Off button.

To turn off the saw, the operator need only kick out with his knee, and the board punches the protruding Off button. A metal guide near the bottom keeps the board in place, and the Off button provides enough sprint action to hold the board in proper position for easy kicking.