Generally, box joints are jigged up and run through each side of the box’s entire width. But I made a frame that holds the panel for my tool wall. I needed a joint that is exceptionally strong but doesn’t look like a butt joint. Frames look best to me when they’re mitered.

Because there’s so much glue surface in a box joint, it fits the bill as exceptionally strong. But it looks like a butt joint from the side. So, it only provides half of my requirements. The solution is simple – miter the outside fingers of the joint.

Mitered Box Joint

If you’ve never made a box-joint jig before, it isn’t hard. I start with a scrap that I used as an auxiliary fence for my miter gauge. Determine the number of fingers in the box joint – I usually shoot for a dimension that provides whole fingers from start to finish. In the frame for my tool wall, the thickness of the frame is 1-1/4″, making 1/4″ fingers the perfect choice because it gives the joint five complete fingers.

Set up the 1/4″ stack dado to the proper height (slightly higher than the pieces’ thickness to be joined) and cut through the auxiliary fence.

Rip or plane a strip of material to act as an indexing pin. This material should fit snugly into the dado, but not so tightly that you have to hammer it into place. A slip fit is what I want.

I also like to allow the pin to protrude about 1″ but anything over about 1/4″ will work. Cut off the material for the pin and save the remaining strip. This is crucial to proper setup of the jig. Time to test the jig.

Using the remaining strip of pin material, lay it alongside the stack dado – ensure you’re touching a carbide tooth on both the front and back of the blade; otherwise, the spacer strip will be at an angle. With the jig held against the miter gauge, slide the pin until it just makes contact with the spacer strip. Clamp the jig to the miter gauge.

With the jig set, run a test. I like to use off-cuts from the actual project because there’s less room for error. If my project materials are close in size to final, I’ll mill a bit of extra material when I make the parts.

When testing the joint:

• If the fingers are too tight, move the pin closer to the dado stack.
• If the joint is too loose, move the pin farther away from the dado stack.

Mitered Fingers

When running the box joint on the table saw, you can’t follow the normal procedure of cutting both halves entirely. The second part of the joint begins by cutting a rabbet on the outside face of the material. The final cut is one short of making the corresponding rabbet on the opposite outside face. If you run the last rabbet, you’ll have nothing to create the miter.

The easiest way to create the miter joints is to cut them on the table saw. Rotate your miter gauge to 45° and set the depth of cut to the exact thickness of a single finger. For the joint I’m making that dimension is 1/4″ high. I also marked a line on the miter gauge to line up the end of the board so the cut falls exactly on the baseline of the box joint. Cut half the pieces with the miter gauge tipped in one direction, then rotate to 45° in the opposite direction to complete the cuts.

To complete the miters, mark and saw away the waste with a handsaw. Final fitting is done with your choice of a shoulder plane, chisel, or file/rasp. The method is far less important than the end result. Take a look at the video below for more details on how to make a mitered box joint.

And to see the joint in its native environment (my tool wall), check out the build video on my YouTube channel (or watch farther down in this post). But be sure to visit my channel, subscribe and ring the notification bell so you don’t miss an episode of No BS Woodworking.

— Chuck

Mitered Box Joint

Build a Tool Wall – No BS Style

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Charcoal filter masks. Safety glasses with tight gasket seals. Hell, I had even suggested custom fit hazmat suits with triple air filtration, but no. They would have none of it. You can’t mess around with things you don’t understand!

And now this.

Logging Lunar Lumber

I’m documenting all of this so others may learn from our…adventure. It’s up to you, dear reader, to ensure humanity knows precisely what we’ve done.

It all began innocently enough – Alex Snodgrass asking if I wanted to be part of a team on a top-secret mission. After he told me everyone involved, I was sure I wanted in. Each of us had the necessary experience, specialized skills that would contribute to the success of the mission.

On March 25th, 2019, we gathered in Christiansburg, Virginia, at the workshop of Alex Snodgrass, bandsaw expert, and Moon Tree Logging Team leader.

So, that’s what we’re calling ourselves now; The Moon Tree Logging Team. Fitting, if not wholly appropriate.

The remaining members of the team – Scott “Shuttleman” Phillips, the to whom NASA gave the remaining section of the Kennedy Space Center Moon Tree. Ron Heman, the wayward dendrologist (often strays from this to build something). Jim Heavey, occasional woodworking journalist (see Ron Herman note, apply to Jim). And yours truly, Chuck Bender, cabinetmaker and sometimes woodworking videographer (see Ron Herman note, reverse it and apply as needed until rash disappears). A motley crew of woodworking misfits tasked with a seemingly impossible task – saw the remaining log from the Kennedy Space Center Moon Tree into useable lumber.

A portion of the material produced was given to Rosemary Roosa, daughter of Stuart Roosa, the Apollo 14 astronaut responsible for taking 500 tree seeds into lunar orbit. The slab has been laser engraved and is now a memorial to her father, which Rosemary has generously put on display at NASA’s Marshall Space Flight Center in Huntsville, Alabama.

Another portion of the material was to Martin Guitar, to create a unique instrument commemorating the 50th anniversary of the moon landing. The guitar became the center of a contest for singer/songwriters across the nation to come up with an original song to be performed on the Moon Tree guitar.

Moon Tree Logging Team – The Video

The video below documents precisely what took place that fateful day in March of 2019. What is not shown is the bond that developed on that day between the members of the team. Five men inexorably bound by a profound historical experience. From the entire Moon Tree Logging Team, we sincerely hope you enjoy the journey as much as we did.

My only concern is, since participating in this adventure, I’ve been feeling a bit like Kane.

– Chuck Bender

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While it was great having my pal Al in the shop and fixing up my old bandsaw, this is definitely something you can do on your own. The best part is, the Snodgrass method is well thought out, logical, and easy to follow. It just makes sense.

30-Minute Bandsaw Rehab

Alex starts the 30-minute bandsaw rehab by assessing my bandsaw and pretty rapidly comes to the conclusion it needs new tires, a Carter quick release, and guides. He then proceeds to strip my saw down to the frame. Why? It’s the easiest way to get everything set up and adjusted (which is more than we can say for Alex).

Throughout the rehab, Alex dispells several bandsaw myths. The first comes pretty quickly right out of the gate. The instructions that come with the urethane replacement tires say to soak them in hot water for 10 minutes before installation. Alex has his method that super easy and a lot less wet.

The video has endless nuggets of information about bandsaws and how to tune them up for peak performance.

And if you’re still unsure about how to tune up a bandsaw after watching the 30-Minute Bandsaw Rehab video below, there are still a couple of open spots in Alex’s upcoming 3D Cutting Board class. Alex starts Saturday morning demonstrating how to tune the saws you’ll use in class. Every student leaves with an 11″ X 18″ cutting board and the knowledge of how to optimize and use a bandsaw to make even more. It’s the smallest class Alex will teach all year, which means you get plenty of one-on-one instruction. And the best part is those last couple of spots are on sale through next Monday. Use the coupon code September at checkout and get 10% off.

I want to thank Carter Products for providing the guides for this video. The remainder of the replacement parts were purchased from https://www.carterproducts.com/

And a special thanks to my friend, Alex Snodgrass for trekking all the way to my shop to tune up my saw (and drink my Bourbon).

— Chuck

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If you’ve done the thing correctly, there should only ever be a partial triangle on any part. And that partial triangle should relate to other partials to form an organized whole. Let me explain. No, there is too much. Let me sum up.

Triangle Marking System

In the video, I use a drawer as an example of how to employ the triangle marking system. It’s pretty easy to understand if you keep it simple. I start by holding the two drawer sides together with their inside surfaces touching. On the top edge of the two parts, I draw a vertically split triangle. There should be half a triangle on each drawer side, the left side of the triangle on the left drawer side and the right on the right.

By splitting the triangle between the two parts, you can quickly tell lots of information about each piece — the closed portions of the triangle point toward the outside surfaces of the drawer sides. When the two sides are separated, there is an open section of the triangle on each that points toward the interior surface.

Take the drawer front and back and hold them with the inside surfaces together, then draw a triangle on the top edge that’s divided horizontally. By splitting the triangle horizontally, you maintain the same relative orientation of the triangle as the sides. Keeping the orientation, the same is extremely important because it helps you visualize the complete drawer.

With the drawer assembled, all the parts of the triangle point toward the front. If you think of the triangle as having been one and you pulled it apart in four different directions, you’ll find it’s fairly easy to conceptualize. The best part of the system is, you can use it to keep horizontal and vertical dividers properly oriented too. Remember to keep it simple.

— Chuck

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And while gadrooning is found on high style pieces, it’s also an excellent intermediate carving exercise. In fact, it builds on the techniques used in the Scallop Shell.

Gadrooning

There are two types of gadrooning, filleted and smooth. Like the scallop shell, the filleted version starts with layout, then define the separation of the convex and concave lobes.  Once you’ve got the lobes separated, work on the convex portions. Working them first avoids damaging the fillets.

For rounding off the convex lobes, a slicing cut works best. You’ll also need to pay particular attention to the grain direction. Be sure you’re always carving, “downhill” even if you have to carve from the bottom of the workpiece to the top.

The concave lobes are similar to the convex in that you need to work one half in one direction, then reverse to do the other side of each individual lobe. Carving both halves of each lobe completely from top to bottom ensures a ragged surface. Be sure to divide each lobe in half, and carve in the proper direction.

The smooth type has no separating fillets between the lobes. When you carve it, start by defining the concave lobes. Once you’ve got all the concave sections carved, go back to your slicing cuts to blend the convex sections with the concave for a smooth ripple effect.

— Chuck

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The fact that it was developed and used by Pennsylvania Germans in, and around, Lancaster, PA (a few of which traveled down through the Shenandoah Valley and settled in North Carolina) didn’t help spread the virtues of this inlay method. The vast majority of period examples hail from the greater Lancaster area.

Sulphur Inlay

The technique, also known as, “poor man’s inlay,” uses elemental sulfur to create the inlay. Sulfur is uniquely suited to wood inlay because of its low melting point (239.4° F), and it expands as it cools. The low melting point means there’s no charring of the surrounding wood, as there would be using a soft metal like lead (melting point 621.4° F, well beyond the point where wood burns).

People often confuse sulphur inlay with putty. Because it cools quickly, you’ll get less penetration of the inlay material into the pores of the wood. If you tried to smear putty into the carved design, the surrounding pores would also be filled.

Because the molten sulfur expands as it cools it is a nearly perfect inlay material. When carving the design, you merely need to make sure the sidewalls are either perpendicular or slightly undercut. As the sulfur returns to a solid state, it locks itself into place. Many period examples retain all (or nearly) of their sulfur.

You can freehand sketch the design onto the piece, or you could enlarge a photo, cut it out, and use it as a stencil or pattern to transfer the design. If you’re a power-tool user, make a series of templates for the router to create the recess for the sulfur. Create the design and recess for the inlay using any number of methods.

I’ve demonstrated this technique at numerous woodworking clubs, conventions, and shows across the country. To preemptively answer the most common questions: it’s an element and doesn’t come in any other colors; if you add colorants to it you’re creating a compound that modifies the desirable aspects of sulfur; it’s impervious so you can stain and finish over it without fear.

If you’d like to learn more about the carving and inlay techniques used in this video, check out my Carved Elements class in August, or my Veneer & Inlay class in November. Use the discount code Sulphur at checkout to receive 10% off*.

— Chuck

*Coupon code valid through June 30, 2019.

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Undoubtedly, the idea of setting up at the bench and endlessly practicing chop, paring and slicing cuts isn’t all that appetizing. It is necessary, however, to build muscle memory and the skills for more difficult tasks. And while the diamond inlay in today’s exercise isn’t a major hurdle, starting with it is akin to jumping into the Boston Marathon without ever having been in a race before – it can be done, but most people are going to struggle greatly.

Diamond Inlay

The diamond inlay itself begins with making the diamond. Dimensionally, the blank is 1/4″ thick, 1-1/2″ wide by 2-1/4″ long. I made mine out of cherry, but any hardwood will work. I start by drawing “x” and “y” axes onto the diamond material, then plot the overall dimensions.

Cut out the blank slightly oversized. A block plane is your best friend for final dimensioning. Tip the plane to 3° or so (but not much more than 5°), the bottom side of the diamond needs to be smaller than the top. You want to consistently plane each side of the inlay at the same angle, or your diamond will take on a new shape once inlaid.

You’ll also want to pay particular attention to grain direction when beveling the sides of the diamond inlay. You should be working from the widest points toward the ends of the diamond. Going the other way could produce a very odd-looking diamond.

Time to have some fun.

— Chuck

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The slicing cut tends to do less damage because you aren’t approaching the grain head on. It’s a shear cut, coming at the fibers steeply across the grain.

Think about trying to eat a nice juicy steak. Is it easier to take the knife and bludgeon a hunk off cleaver-style? Or is it easier using a sawing motion? It’s that sawing or slicing motion that gives the cleanest cut with the least effort.

Slicing Cuts

Slicing works whether you are working long grain or end grain. By skewing the blade, and making the cut from one side of the chisel to the other, you’re creating a shear-cutting action. Slicing at an angle allows each fiber being cut to be supported by a longer one beneath it. You’re always cutting the shortest fiber first.

When cutting across end grain having each fiber supported as it is cut means you’ll get less blowout if you start the cut on one side of the board and exit the opposite side. Typically, you would work end grain from both edges into the middle. Using a slicing cut, in some instances, allows for the occasional slip across the board.

The slicing cut is particularly handy on long-grain cuts in figured material. Because you’re shear cutting, you’ll get less tear out on directional fiber changes. It’s the same principle as skewing a hand plane or a board as you pass it over the jointer.  By shifting the angle at which the cutting edge meets the grain, the result is a smoother surface.

— Chuck

Before you run off, slicing cuts are one of the basic carving chisel cuts as well. You can learn more on my YouTube channel by clicking here or you can check out my upcoming carving class, August 19 through 23, 2019.

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Paring is an act performed with a chisel in a very controlled manner to remove small bits of material. You don’t normally pare while using a mallet. It’s a kinder, gentler method of ripping waste material from a board.

Paring Cuts

To practice this skill, you need to grasp the different cuts you can perform. Primarily paring uses push cuts (similar to the push cuts I showed you in the carving post), and they are either horizontal or vertical. Each requires a bit of muscle memory to perform well, but can quickly be developed.

Paring cuts are all about control. I demonstrate using my right hand in the dominant position providing the power for the cuts. My other hand restrains the chisel and directs the edge of the tool.

Often when paring, I use various parts of my hand and the back of the chisel to register the cut. In the video, I point out where I place the backs of my fingers against the wood to help keep the chisel perfectly vertical. And in another section, I show how I use the back of the chisel to pare a shoulder flush.

Once you’ve mastered paring cuts, you’ll be ready for next week’s installment – slicing cuts.

— Chuck

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As a first-year student in vocational school, Werner Duerr (learn a little more here) tasked the class with making a small block using nothing but hand tools. The block included a variety of exercises to help us develop our plane and chisel skills. The block I present concentrates solely on chisel work.

Chop Cuts

The exercises begin with the most basic of all cuts, the chop cut. In order to make things a certain size and to accurately join boards together (and a multitude of other things) you need the ability to sever the long fibers that constitutes wood. The more accurately you can sever the long fibers, the more accurately you can work.

In the first of this new video series, I introduce a simple exercise block that will let you practice the basic cuts you can make with your bench chisels. The initial exercise is to accurately cut a flat-bottomed mortise of a specific dimension. Pay close attention to how I hold the chisel and orient the bevel for the various portions of this exercise. As Werner would say, deduct 10 points if the mortise isn’t the correct size and another 5 points if the mortise walls are not square or the bottom flat.

— Chuck

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