# Open Frame Bookcase



## catface (4 Jan 2009)

This is an open framed Arts and Crafts style bookcase, reworking a design by maker C. Michael Vogt (In the Craftsman style ISBN 1-56158-398-7 ; Taunton). Vogt’s bookcase was conceived as a router based project & this was one reason for choosing it – I’ve always disliked working with the router & this project was designed to make me if not like the machine at least reach an accommodation with it. This was a mistake ! By half way through the project I was even more convinced why I don’t like using this (admittedly) useful machine, principal being I don’t get any satisfaction from its use. Being in the lucky position of not having to charge for the item, I returned to mostly hand tool use & started to enjoy the work again. 







The bookcase ends provide mortices for the shelves and top, which are supported in housings on the inner surfaces of the sides ; the shelves & top are then held in place with a pair of pegs at the end of each shelf. Thus disassembly for moving is easy. 






The shelves & top are about 6 feet long. An upstand at the back of each shelf stops books falling off the back, and provides enough stiffness to alleviate the need for additional support in the middle of the shelf span.






The ends were produced with mortice & tenon construction, the main members first ; then the smaller bars were cut in & glue up done in the Plano press to ensure flatness across all members : 































Then the through mortices were routed : the housings were not routed until the shelves were made, the shelves being used to mark the housings.










Blocks were glued up to give the correct grain direction for making the wedges :














The wood for the shelves was LONG (help, I need more space !) 






Each shelf is made from two planks. To ensure a good straight glue line, these were put through the table saw in pairs, the ends of each board being screwed to the other. Once straight edged the result is accurate enough to require no further trimming before glueing up. The boards are left a few inches over long, allowing the screw holed parts to be cut off when finishing the shelves to length. 














The tenons on the shelf ends were roughed out on the tablesaw, and finished to size by hand :










The haunches were marked & cut, the housings too ; then the wedges fitted :


















Finally the remaining rough edges were hand planed :






First dry assembly showed one haunch needed trimming as correction. This done all lined up & fitted OK :






Finish was by light sanding with 220 grit, then oil finish : first coat 50/50 Rustin's Danish oil and linseed ; second and third coats pure linseed. Leave to dry one week & take off any oil spots sweating out with a tiny amount of spirits on a rag. Finishing –






Finished ! The fits are looser than for glued up pieces, but this has to be done to allow assembly and disassembly :






















Hope you’re still awake at the back there ! 
regards, 
Catface


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## PowerTool (4 Jan 2009)

Excellent finished article,and very enjoyable post to follow  (at least partly due to the great pictures - almost feel like I was there watching.. :lol: )

Andrew


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## Karl (4 Jan 2009)

Catface

Love some of the techniques you have going on there, particularly for jointing long boards. 

Nice shop too.

Cheers

Karl


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## DaveL (4 Jan 2009)

I love this, I think oak is one of the best woods and you have used it well in this book case. The idea of it not being glued is great, makes moving it into place easy. 
Thanks for taking the pictures and posting them.


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## Mattty (4 Jan 2009)

Lovely job. I esp like A&C period. I may have missed it, what was the finish?


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## Ironballs (4 Jan 2009)

Good looking piece and well made, I do like arts and crafts furniture


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## Green (4 Jan 2009)

Lovely piece and a nicely appointed workshop.


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## Rich (4 Jan 2009)

Marvellous, thanks for taking the time with so many pics and sharing, you must and should be very proud.

Regards,

Rich.


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## Waka (5 Jan 2009)

Fantastic WIP's with a supurb end result.


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## Woodmagnet (5 Jan 2009)

Mattty":1w2dn45k said:


> Lovely job. I esp like A&C period. I may have missed it, what was the finish?




Finish was by light sanding with 220 grit, then oil finish : first coat 50/50 Rustin's Danish oil and linseed ; second and third coats pure linseed. Leave to dry one week & take off any oil spots sweating out with a tiny amount of spirits on a rag. HTH. :lol: 

Cracking job Catface, well done mate. 8)


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## wizer (5 Jan 2009)

Lovely bookcase and good WIP write up. I think everyone should do at least one WIP this year, they really help me visualise how people work.

(going back to bed because we're snowed in :roll: )


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## Mr Ed (5 Jan 2009)

Brilliantly documented WIP and very nice end result. I'm afraid I don't have the patience to take that many WIP pictures, even when I'm being paid for it!

Cheers, Ed


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## Blister (5 Jan 2009)

Sorry did I miss something ?

I was looking at the planes , extractor pipework , chisels , table saw , nice selection of toyools 

:lol:  

O yes I see it now :wink: , a book case


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## Imperial (5 Jan 2009)

Nice work and attention to detail, dont think I'd have the patience to wait a week for oil to dry :roll: ! Since trying Osmo Poly X wouldn't use anything else unless being sprayed.....


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## Woody Alan (5 Jan 2009)

Catface,

Lovely piece of work, thanks for taking the time to photograph and post all the details. As someone said very nice collection of tools and equipment. I am impressed by how clean and tidy some people manage to work. 
I am not sure I can get my head round the irony of using a planer thincknesser as a bench to handplane on :shock:

Alan


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## ProShop (5 Jan 2009)

I like this a lot.

lets have more Arts & Crafts I say  

=D> =D> =D> 
=D> =D> =D>


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## catface (5 Jan 2009)

hello all & thanks for the positive responses. I've had the TA315 saw for about a year now, and very good it is too. Previously I was using a Scheppach TS25ooCI sawtable, but whilst it started out good it was pretty well dead after 3 years use, & poor extraction meant cleaning it out every hour or so or it would gum up (no rise & fall). So I took the plunge on the most solid old fashioned cabinet makers style saw still made in Uk, & I haven't been disappointed. Getting it in was a pain though. The company engineer was away on holiday on the delivery day, & my neighbour who lets me take stuff over his garden (I have no separate access to the rear of my house) - he was not about so the saw was stripped down on the pavement out front of house, & taken in piecemeal. 3hours in the hot sun later & there it was. there was about 2mm spare getting it around the corner in my hallway & into the shop ! Then no sleep fretting about whether I'd ever get it back together right. It took about a week to reassemble it. The top was HEAVY hence the (red ) engine crane in the workshop corner. The extraction on this machine is excellent, but needed more CFM than my old mobile extractor so I looked for a larger static machine. Most units (eg airmaster) are just too big for my small workshop space, but I found a unit called EW3 made by Mardon engineering UK, which was used in colleges with, yes youve guessed it , ta315 saws, and its pretty small but sucks well (9inch main). Having upgraded I also had to rewire with industrial sockets & proper breakers . THen there was getting the ducting up (singlehanded). I cando a piece about the ducting / extractor some time if people want it. 

I cant handplane anything over 5ft long on the bench, hence using the PT as a bench for 6ft long shelves. The planer part is dead (warped tables) - dear santa . . . . . 
So yes it is a nice shop, but small - try turning all those 7ft long pieces of oak round without bashing them or giving yourself a hernia ! And I have ofcourse got that workshop essential the Washing MAchine- placed under the workbench - great for humidity control (not) ! 
regards, catface


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## phantom of the offcut (5 Jan 2009)

Thats a really nice piece, enjoyed your WIP pics as well, clearly very patient with the masking tape but i bet it paid off. Whats next? a workshop tour maybe?


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## woodbloke (5 Jan 2009)

Nice 'shop and nice bit of work. Just one tiny, insignificant detail...why is there a big streak of sapwood running through the top shelf?.... - Rob


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## catface (5 Jan 2009)

Hello Woodbloke,
ive used the heartwood (ie lighter colouring) when joining the boards because I like the whole range of colours and textures of the wood to come through in the finished piece. As long as there aren' t issues around different degrees of wood movement when joining the pieces, I like to use heartwood for contrast (some suggest that heartwood has a different rate of expansion/contraction compared to the rest of the tree). I guess I'm just at the other end of the scale to folk who like it all one colour, usually with a gloss finish (might as well use plastic & be done with it , eh ?) . You can see similar use of heartwood by choice on the front of my "Krenov style cupboard" (previous post). In the latter example the streaks of lighter wood assist in giving the piece a more vertical feel. But enough dribble ! I guess I just like the wood. In this bookcase the use of heartwood on the join of the shelves emphasises that each shelf is made from two distinct pieces of oak, yet the joint is very good, - you really have to lookfor it even with the colour change in the woods - and this I like. Regards, Catface.


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## shim20 (5 Jan 2009)

looks good, nice job


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## motownmartin (5 Jan 2009)

Superb piece, thanks for taking the time and trouble posting all the pics.


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## Tierney (5 Jan 2009)

lovely piece, thanks for taking the time to post the pictures.


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## joiner_sim (5 Jan 2009)

Looks great and the techniques used are very traditional! A job well done :lol:


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## woodbloke (5 Jan 2009)

catface":augj2prx said:


> Hello Woodbloke,
> ive used the heartwood (ie lighter colouring) when joining the boards because I like the whole range of colours and textures of the wood to come through in the finished piece. As long as there aren' t issues around different degrees of wood movement when joining the pieces, I like to use heartwood for contrast (some suggest that heartwood has a different rate of expansion/contraction compared to the rest of the tree). I guess I'm just at the other end of the scale to folk who like it all one colour, usually with a gloss finish (might as well use plastic & be done with it , eh ?) . You can see similar use of heartwood by choice on the front of my "Krenov style cupboard" (previous post). In the latter example the streaks of lighter wood assist in giving the piece a more vertical feel. But enough dribble ! I guess I just like the wood. In this bookcase the use of heartwood on the join of the shelves emphasises that each shelf is made from two distinct pieces of oak, yet the joint is very good, - you really have to lookfor it even with the colour change in the woods - and this I like. Regards, Catface.


That's fair enough...if you like the lighter wood, then use it. The lighter coloured timber though in oak is sapwood, not heartwood. The light straw coloured stripe down the top of the upper shelf is sap and if you like it that's fine, but I tend to avoid it like the plague :evil: and would never knowingly include it on a very nice piece like this. If you look at any pieces from the classic Arts & Crafts movement (early Barnsley) you won't see any sapwood and it was not included for a good reason...it's the softer part of the tree where growth takes place and as such is prone to attack by all sorts of nasty, wood boring little beasties - Rob


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## Escudo (6 Jan 2009)

Well done Catface, a truly great job. I like arts and crafts furniture very much. 

I have a number of arts and craft books and just must pick out a project to tackle this year. 

I also like your clamping system very handy. 

All the best, Tony.


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## catface (6 Jan 2009)

Hello Woodbloke,
you're quite right, viz sapwood not heartwood (I got it back to front). I had not heard that sapwood once incorporated into a piece of furniture was subject to a greater possibility of attack by nasty bugs, subject to proper finishing and storage prior to wood use. But looking in the Encyclopaedia of Furniture Making (By Ernest Joyce, Alan Peters ) (page 2 & following ) : I see that it says :

“no amount of after treatment will darken sapwood, harden its fibres or drive out the sugars and starches locked in its cells which form the essential food-stuffs of all destructive wood-boring pests. This is the only reason why sapwood might not be recommended for use in furniture, although apart from that there is little, if any, difference in the structural strength."

So aesthetic preferences aside you must be right ie,the danger in using sapwood is the risk of using a bug infested piece of wood in your build. 
Be interesting to know if anyone has experienced this problem with modern speed dryed timbers, or if its a hangover from times past . More research needed. Thanks for the input.

"If you look at any pieces from the classic Arts & Crafts movement (early Barnsley) you won't see any sapwood " - certainly,but more modern A &C makers are using it, and not covering it up neither ! eg. 

http://www.floatingstonewoodworks.com/

" If desired, I will show the lighter shaded "sap-wood" in cherry and walnut tabletops because of the wonderful color patterns it creates."

regards, Catface.


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## Mr Ed (6 Jan 2009)

catface":21nwttrd said:


> " If desired, I will show the lighter shaded "sap-wood" in cherry and walnut tabletops because of the wonderful color patterns it creates."



Well I did that with this cherry table I made, where the coloration of the sapwood became an integral part of the appearance of the top.







I made this several years ago and it has not yet succumbed to a plague of wood boring beetles...

Cheers, Ed


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## Paul Chapman (6 Jan 2009)

Lovely work, Catface, I really like that piece.

Cheers :wink: 

Paul


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## Paul Chapman (6 Jan 2009)

EdSutton":2y6k6n9a said:


> catface":2y6k6n9a said:
> 
> 
> > " If desired, I will show the lighter shaded "sap-wood" in cherry and walnut tabletops because of the wonderful color patterns it creates."
> ...



Despite the risks, I think it might, at times, be well-worth experimenting with the incorporation of sapwood for decorative effect. This is one of the pieces of Walnut that Chisel and I have been cutting up recently - quite stunning, I think, but you would only get the effect by including the sapwood






Nice table, Ed.

Cheers :wink: 

Paul


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## woodbloke (6 Jan 2009)

I keep on banging on about using sapwood and as I said it's not something that I would ever knowingly use on a really good piece. The reason is that sap will be attacked by wood borers *under the right conditions.* These are in environments that are cool and possibly with more moisture in the air ie, properties *without* central heating. In modern houses with decent heating (which most of us have these days) the attack of the bugs ain't going to happen. However, all of us aspire (well I do anyway) to build heirloom type stuff that will hopefully outlast me and several generations down the line. The question is, how can you predict the environment where your furniture will be used in 2109 or even 2209? Simple answer, of course, is that you can't so why take the risk when it's just as easy to use the timber without the sap and give your piece a fighting chance of staying together...which is as I said earlier is the reason that the great makers years ago wouldn't have dreamed of using it their pieces - Rob


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## OPJ (6 Jan 2009)

I really like Arts & Crafts furniture and this is an excellent piece, Catface. Thanks for all excellent WIP photo's as well.  

Ed, I like your table and do think the sapwood in the centre works well. :wink:


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## miles_hot (6 Jan 2009)

thanks for all the WIP pictures - forgive me if these are stupid questions:
1) why all the masking tape around the joints?
2) can the excellent arrangement you have for clamping the shelves together (and useful for table tops I imagine) can disassembled or does it remain up all the time (and thus take up wall space)?

Many thanks

Miles


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## catface (6 Jan 2009)

Hello miles_hot,

1) why all the masking tape around the joints? 

This is to keep any glue squeeze-out off the wood when the sides are clamped up tight for the glue to dry. Usually glue traces left in the wood prevent the finish from taking properly & the end result is a patchy finish.

These case ends were clamped in the Plano press on the wall rather than with individual clamps because (if you've made the parts properly) this guarantees a flat glue up with no twist etc. However, once the piece being glued up is clamped up tight in the Plano press, there isn't enough room to get to all of the back of the wood (in order to remove any glue squeeze out). The way to avoid excess glue ruining the finish is therefore to tape off the joints prior to glue up. 

Another reason for using the masking tape was to allow a check that each part was fitted to the correct mating part : most parts on this build were marked with letters and numbers to show eg which tenon fits to which mortice, etc. These markings are in pen or pencil placed on joint surfaces which don't show on the finished piece ie. inside the joints. All this is fine for dry assembly, but when you put glue in the joints for glue-up this glue covers all your pen & pencil markings & you no longer know which pieces go where. So before glueing I transfer the pen marks for each pair of joints onto the masking tape at the joint. Then when the glue goes on you can still know which pieces go into which joint holes.

Paper masking tape works well for this, but in hotter weather you can't leave it on longer that a day at most or the glue on the rear of the tape gets stuck in the wood grain (which stops the finish going on !)




2) can the excellent arrangement you have for clamping the shelves together (and useful for table tops I imagine) can disassembled or does it remain up all the time (and thus take up wall space)? 

THe clamping arrangement I have stays up all the time. Currently it has 2 mounting rails which the clamps secure to at their tops, giving a run of 2 meters length. Plano suggest the clamp mounting rails screw onto a piece of 2 by 4 or similar, but wanting to avoid my clamp changing shape with the humidity of different seasons, I had a local blacksmith make me up a 2M by 1M box section steel frame & the clamp rails mount onto this. This way I know, having screwed the frame to the wall & shimmed it flat, that what comes out of the clamps will be flat. 

The steel support frame & clamps are up all the time, but you can shove the clamps all up one end, where they occupy about 50cm of the rail. 
Hope this answers your questions, regards, Catface


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## miles_hot (6 Jan 2009)

catface":1275cevp said:


> Hello miles_hot,
> 
> 
> 2) can the excellent arrangement you have for clamping the shelves together (and useful for table tops I imagine) can disassembled or does it remain up all the time (and thus take up wall space)?
> ...



Sounds an excellent solution - do you have any more pictures of the rails etc as I'm having trouble seeing them in the picture and it sounds a very good arrangement which I maybe able to place on the wall below the expected position of the wood rat (when I finally buy it!) 
Would there be any way of pivoting the clamped up unit to allow access to the rear of the panel to get to glue etc?

Miles


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## catface (6 Jan 2009)

Hello miles_hot, 

I'll try to get some pictures of the glue press up this evening or early tomorrow. 
Meanwhile incase you haven't seen Plano products before, see :

www.poolewood.co.uk/cgi-bin/sh000001.pl ... #a89930101
PS> I don't have any business connection with Poolewood, just a link to the item discussed. 
Regards, Catface


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## woodbloke (6 Jan 2009)

The other way to finish a project like this would have been to polish the inside of all component parts prior to the glue-up. You then haven't got to worry about glue squeeze out sticking to the timber...it just lifts of after a couple of hours with the point of a scalpel.
For marking the joints, I always use a 6mm chisel and deeply inscribe each fitting part with Roman numerals where they won't show when everything's together. So a m/t joint would have the tenon marked with say a IV and the mortise shoulder would be correspondingly marked, again with IV...just remember that 9 is IX and not VIIII  as I once did - Rob


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## Imperial (6 Jan 2009)

I made a comment earlier, but did not mention the sap element, even though I noticed! For once I agree with Rob, it is not really incorporated into the design, eg bookmatched boards like the walnut Paul posted. It does not stop the piece being well made, but it seems a shame that that board was right on top and not covered up by the books. I too love all the more unusual patterns caused by Sap, Knots, Burrs etc and everything I make has some element of this. I also use the masking tape for glue squeeze but only on certain woods.

Never the less a lovely item I'd be pleased to have made and own :wink:


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## Mr Ed (6 Jan 2009)

woodbloke":17f5hf1u said:


> I keep on banging on about using sapwood and as I said it's not something that I would ever knowingly use on a really good piece. The reason is that sap will be attacked by wood borers *under the right conditions.* These are in environments that are cool and possibly with more moisture in the air ie, properties *without* central heating. In modern houses with decent heating (which most of us have these days) the attack of the bugs ain't going to happen. However, all of us aspire (well I do anyway) to build heirloom type stuff that will hopefully outlast me and several generations down the line. The question is, how can you predict the environment where your furniture will be used in 2109 or even 2209? Simple answer, of course, is that you can't so why take the risk when it's just as easy to use the timber without the sap and give your piece a fighting chance of staying together...which is as I said earlier is the reason that the great makers years ago wouldn't have dreamed of using it their pieces - Rob





Rob

I have to admit to being somewhat surprised by your thoughts on sapwood and your verging on vitriolic blog entry on the matter.

http://woodbloker.blogspot.com/2009/01/lesson.html

Do you genuinely think that our homes are overrun with beetles looking for sapwood to attack? I think its also a bit strong to suggest that makers who incorporate sapwood into projects are in some way misguided or incompetent.

Each to their own view, but I don't personally see it as the massive issue that its being made out to be.

Cheers, Ed


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## Mr Ed (6 Jan 2009)

I should also have said that a certain James Krenov, whose work I think you respect, quite freely mentions the use of sapwood for its aesthetic qualities in a number of his texts.

Cheers, Ed


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## catface (6 Jan 2009)

Hello miles_hot,
More pictures of the gluepress as asked for :







The box steel support frame is finished red oxide in this picture. Here the frame holds one clamp rail at the top\rear of the clamps. Back then I had only 4 clamps & 1 rail. 






with wood in place you can see theres about 4 inches behind the wood and between the clamps to get your hand and cleaning materials in, when cleaning up any glue from rear of panels.

However, what you cannot clean up is the area covered by the clamp arms ( the long bits of the clamps) – each is about 40mm wide, and once the panel is in the press any run out of glue can’t be got at . Hence the masking tape.






Each clamp secures to the guide rail by a plastic t slot connector visible at the rear/top of each clamp (see picture 2 above)
When not in use the clamps all go up the end of a rail :






My steel frame would be too heavy to hinge out of the way (you’d need enough headroom too). But lots of people mount the Woodrat onto a removeable bracket – an easier way to go ? Hope this helps.

Ps. Pic of marking out parts for glue up onto the tape :	






I like Woodbloke’s idea of chisel marking parts with roman numerals, where glue won’t obscure it. Thanks for that.

Regards, Catface.[/img]


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## Ironballs (6 Jan 2009)

I think I'm with Ed here, cherry in particular can have some beautiful sapwood, I have board here that has some stunning grain on top and some equally stunning, but different, sapwood grain underneath. I would be happy to have either side as the feature. On the other hand something like oak has very poor sapwood in general, soft and featureless and I would avoid it like the plague.

I do buy more rough planks than planed boards and it's fair to say that sapwood in general is where the beetles head, though they seem quite happy to eat any piece of cherry as it's a lot softer. Rob has there been any testing of whether boring insects eat their way through a finish to get to the wood? Will a layer of shellac or oil put them off - I imagine Rustins Plastic Coat certainly would!


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## TheTiddles (6 Jan 2009)

I'm slightly torn on the design, it's going to need a lot of dusting but the structural aesthetic is really nice, maybe a light wood like ash with contrasting dark lines would look good with that sort of structure. Pointless bickering on sapwood aside :lol: , the word that springs to mind with that piece is... crisp. I hope that one day I have the skill to make something that is that well finished, maybe it's just a patience thing but I haven't tried long enough to find out...

Can we have some more workshop pictures please?

Aidan


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## miles_hot (6 Jan 2009)

catface":k49hzbs8 said:


> Hello miles_hot,
> More pictures of the gluepress as asked for :
> 
> My steel frame would be too heavy to hinge out of the way (you’d need enough headroom too). But lots of people mount the Woodrat onto a removeable bracket – an easier way to go ? Hope this helps.
> ...



Thanks for that - on the hinging bit it was more about getting to the rear surface of the boards rather than moving it out of the way. With the sort of arrangement that you've got going I would mount the Rat above and maybe slightly out so that any board hanging down couldn't foul on the frame.


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## woodbloke (6 Jan 2009)

EdSutton":2cq7k1z3 said:


> woodbloke":2cq7k1z3 said:
> 
> 
> > I keep on banging on about using sapwood and as I said it's not something that I would ever knowingly use on a really good piece. The reason is that sap will be attacked by wood borers *under the right conditions.* These are in environments that are cool and possibly with more moisture in the air ie, properties *without* central heating. In modern houses with decent heating (which most of us have these days) the attack of the bugs ain't going to happen. However, all of us aspire (well I do anyway) to build heirloom type stuff that will hopefully outlast me and several generations down the line. The question is, how can you predict the environment where your furniture will be used in 2109 or even 2209? Simple answer, of course, is that you can't so why take the risk when it's just as easy to use the timber without the sap and give your piece a fighting chance of staying together...which is as I said earlier is the reason that the great makers years ago wouldn't have dreamed of using it their pieces - Rob
> ...


 
Ed - I just don't like sapwood and if you'd care to read carefully what I said I mentioned in bold that wood pests would only attack sapwood under the right conditions...in properties where no central heating exists and where the MC is higher than we have come to expect these days in our centrally heated homes. I also mentioned that sap is valued in two woods that I could think of (there are probably many others but oak ain't one of them) 

As to what goes into the Blog, it's just the way I feel about that particular aspect of woodworking and no personal affront is or was intended to anyone reading it. You're right tho'...it's not a massive issue but it's one where I feel that a little more thought on the part of the maker could make an impressive job even better...just an opinion. Nice to know you're a reader though :lol:
Edit - clearly that post might have caused some personal offence which was never intended...it's now gorn - Rob


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## PaulO (7 Jan 2009)

woodbloke":30k18g2h said:


> As to what goes into the Blog, it's just the way I feel about that particular aspect of woodworking and no personal affront is or was intended to anyone reading it. Rob



When can we expect a vitriolic attack on crosshead screws? :wink:


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## woodbloke (7 Jan 2009)

PaulO":1nzxygoa said:


> woodbloke":1nzxygoa said:
> 
> 
> > As to what goes into the Blog, it's just the way I feel about that particular aspect of woodworking and no personal affront is or was intended to anyone reading it. Rob
> ...


Paul - I like crosshead screws, who doesn't?  I think most people use them all the time 'cept when a slotted screw is needed (brass in a solid drawn brass butt hinge) but as I understand it, Brusso hinges are supplied with crosshead screws - Rob


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