Did you ever consider that in many ways woodworking is like the game of golf? Here’s what I mean. While executing a woodworking operation (a shot), there will inevitably be some degree of flaw present in the result that one can both attempt to compensate for during the remaining operations (shots) prior to finishing an item (hole), as well as try to execute even better during the course of the next project (round). Continual correction en route to perfection - it’s what keeps you coming back, right?

To further the analogy, furniture making, like golf, proceeds through a sequence of four discrete activities or “steps” and it can be useful to think about these steps individually for the sake of analysis and improvement. Playing golf involves: 1. the drive from the tee; 2. the iron shot(s) from the fairway; 3. the short pitch shot required to access the green; and finally 4. the putting stroke that gets the ball to the bottom of the cup. In making furniture, the steps might be listed as: 1. design; 2. material selection; 3. cutting to dimension; 4. assembly & finishing. These last two could be separated to make 5 steps, but I often find myself applying some of the finish prior to final assembly and the rest afterwards; and besides, five is not a homonym of fore!. The familiar skills associated with woodworking are mostly applied during the third, dimensioning step, but I submit that excellence in all phases are required for producing an heirloom-quality piece. Personally, I enjoy every step along the way but I also find myself ready to move along in the sequence at about the time each one is completed. I’d like to expand my thoughts on the “four steps” of furniture making and maybe use these as an organizational rubric for future Project blogs. If I may have the honors …

Design

All furniture pieces, good and bad, start here. I believe good designs must address both the visible and invisible properties of furniture. Visible properties include not only the proper proportions for the piece (chair, table, cupboard, etc) but also the style, of which certain pre-existing categories exist (Shaker, Craftsman, East Asian, etc), the type of joinery used (mortice-and-tenon, dovetail, etc), any decorative motifs (raised panels, cabriole legs, carvings, etc), material, (oak, maple, cherry, etc), finish (oil, varnish, shellac, etc), and other features. But unless you are actually thinking about making furniture, these visible design elements will probably meld together into the overall “look” of the piece under consideration. This implies that, to the average consumer, the invisible properties are completely unknown; but to the maker they are both real and vital. What I describe as the invisible properties include the accommodation of motion (aligning wood grain, or fastening components such that the inevitable shrinking and swelling of wood will not damage the piece), production strategy (reducing the number of variables to help eliminate error during the dimensioning step, e.g., all dados will be made 3/8 inch deep) and construct-ability (considering, stepwise, how the pieces will ultimately be put together when planning the specific joints). This last property is important, for not all designs can be assembled using earth-bound physics. There’s a lot here, but I am learning that design is an exercise that gets easier (better?) as more hands-on woodworking experience is acquired. Put another way, the best way to improve your swing is with practice.

Materials (wood, but also hardware and upholstery)

In the end, much of material selection will come down to the personal preference of either the maker (what you like to work with) or the customer (the ultimate beholder of beauty). Selection is a subjective endeavor, however, some norms have developed over time that inform on the proper wood species to be used for certain items (chairs, tabletops, etc) and these should be followed to ensure success. Once the decisions of type have been made (i.e., lets’ make this dresser out of white oak and use brass handles) the rest comes down to smart shopping. The best place to shop for wood is at a lumber yard that stocks a variety of hard and soft woods and also caters to the individual woodworker, as opposed to the construction manager. These places are all around and once you find a couple that fit your needs you will enjoy the selection experience more than you might expect. While shopping one needs to first confirm that the desired species is available in the proper dimension (width, thickness, length) and then pay attention to two other things: 1. the way a board has been sawn from the log (plain sawn, quarter sawn, or rift sawn) as these cuts orient the wood grain differently and will affect the integrity of furniture parts; and 2. the presence of defects. Now, ALL wood contains defects, and that’s what gives it the character we adore. But some planks are better than others and you should know what to look for when in the yard. I have read* that there are two categories of wood defects: natural and artificial. I find this notion to be useful when making compromises during selection. Natural defects such as knots, splits along the grain (called shakes), the presence of lighter-colored sapwood, and burls are simply the result of a tree’s life spent “in the wild”. Often, naturally defective wood is sorted out during the lumber grading process and most woodworking retailers stock only the better grades. Thus, what you are actually selecting for are the natural defects that you can abide in otherwise good quality material. There is some artistry in this step so be prepared to apply your imagination. Artificial defects are derived from the way in which other organisms, notably humans, insects and fungi, have modified the wood once it has been harvested. Lumber needs to be seasoned (dried) before it can be used for woodworking and, as this process shrinks the wood, it can introduce a host of artificial defects which will be further exacerbated by improper drying or storage methods. The primary artificial defects to look for are splits at the end of boards (called checks) and warp. End checks can be chopped off and discarded if the rest of the plank meets your needs, however, as described previously, warping is impossible to “undo” and so you need to be certain you can extract straight and true material from the rough stock that you purchase. Insects can affect wood both pre- and post-harvest, leaving holes in their wake and occasionally inoculating the inner wood with fungus spores. Aside from the few desirable fungal stain patterns found in so-called “ambrosia maple” and “spalted” hardwoods, all other wood revealing insect or fungal presence should be avoided. You can let your guard down on this if shopping at a lumber yard, but stay alert when in your neighbor’s barn or on Craigslist. That’s enough about defects. Just be judicious as you inspect your wood and be sure to purchase a little more than need so that you can confidently complete a project even if you have mis-judged the amount required, or you make a cutting mistake and have to take a mulligan.

* Joyce, E.; Peters, A. Encyclopedia of Furniture Making; Sterling: New York, 1987.

Cutting to dimension

Just like playing the fairway in golf (and let’s also include the adjacent rough, woods, water and sand traps), dimensioning wood is the most varied and eventful step in woodworking. It is the subject of countless books, articles and YouTube videos, and so there is little I can add to that canon with this blog. I’ll just say that whether working wood by hand or with the assistance of machines you will need a small collection of essential tools in order to actually make things. These are akin to the driver, 7 iron, wedge and putter of the golf game. The starter set you acquire is a personal choice, but you will somehow need the ability to make big boards smaller, create true surfaces & square edges, and cut holes in your wood. Remember, over time you can add to your starter set and you will not be limited to 14 “clubs” in your workshop (spousal permission assumed). In a power tool shop I would choose a table saw, jointer, drill press and router, but there are other combos that work. Once you start you will soon find yourself adding the enjoyment of a dust collector, miter saw, band saw, thickness planer, mortiser, lathe, orbital sander, track saw, bench grinder, bluetooth speakers, (and more) to go along with those hand tools you’ve always had your eye on; like a back saw, hand plane, chisel set, etc. See how much fun this step can be? It should be mentioned here that this is “serious fun” and attention to all aspects of shop safety as you accumulate your tools and instruction manuals is paramount. Like all woodworkers (golfers), I love the activities in this step and find the endless opportunity to try new things while improving on my existing game to be downright seductive.

Assembly & Finishing

As mentioned earlier, these steps need not be combined but I find it liberating to erase the distinction and consider what could/should be finished prior to assembly compared with the finishing activities that must come at the end. Traditionally, these are sequential steps like the “up and down” shots used to finish a golf hole. While the skills and tools for assembly and finishing are distinct: assembly uses glue and clamps; finishing requires organics and patience; let’s just say “anything goes” from here on out. We are all assemblers, in that many of the things we purchase still require assembly to be useful. And we have become accustomed to following diagramed step-by-step instructions. Assembling home made furniture is similar - only absent the foolproof instructions, employing >100 lb/square inch clamping force and, since glue is involved, without the prospect of a do-over. This creates an excitement during the assembly step that in my imagination matches the exhilaration felt by test pilots. Anyway, assembling furniture is a fun and rewarding experience! Finally, I have found that becoming an accomplished finisher can be achieved in two easy steps: purchase a copy of Bob Flexner’s book, Understanding Wood Finishing, and then read it. Seriously, this book demystifies and simplifies the practice of preserving wood such that anyone can apply Bob’s teachings to create a fine finish. Loads of other instructional materials exist, and these are useful, but they are also likely redundant to the content of this single, enlightening book. And then with a final wax rubdown you are ready for the Nineteenth hole.

Thank you for following my reflections on the endlessly fascinating sport of woodworking. Play again next week?