All Rights Reserved

The publishers have made every effort to secure any necessary permissions to reproduce the articles in this book. However, in the unlikely event that any copyright has been inadvertently breached, the publishers will be pleased to rectify the error in the next printing.

No part of this publication may be reproduced, stored in a retrieval system, or transmitted any form or by any means without the prior permission of the publisher and copyright owner

This book is sold subject to the condition that all designs are copyright and are not for commercial reproduction without the permission of the designer and copyright holder.

The publishers can accept no legal responsibility for any consequences arising from the application of information, advice or instructions given in this publication.

A catalogue record of this book is available from the British library

Front cover photographs, left to right, top to bottom: Paul Richardson, Michael Manni (2) Chris Challis, Stephen Hepworth (2)

Back cover photographs: Stephen Hepworth (top), Chris Skarbon (bottom)

Article photography by: Anthony Bailey (pp. 30-1, 33, 38-41, 77-80), Chris Challis (89-90), Stephen Hepworth (pp 14-18, 42-4, 55, 59, 72-3, 76, 84-6, 92-9, 108, 113), Michael Manni (pp. 35, 37-40), John Morley (pp. 103-6), Tim Roberts (pp. 19-29). Chris Skarbon (pp. 47-9, 51, 53-4), Studio Twelve Photography (pp. 66-70)

Other photographs by the authors.

Illustrations by Simon Rodway and Ian Hall unless otherwise stated.

Designed by Edward Le Froy and Jenni Keeble

Printed and bound by Kyodo Printing (Singapore) under the supervision of MRM Graphics, Winslow, Buckinghamshire, UK

Contents

Introduction

A modified mule chest

Paul Richardson updates a classic piece of furniture

A modified mule chest - part two

Paul Richardson completes this traditional piece

A Japanese cupboard

Mark Applegate makes an exhibition piece

Musical chair 19

John Royall designs and makes a chair for a musician

In harmony 24

John Royall makes a desk to go with his musician's chair

Dressing it up 30

Paul Richardson creates a dressing table based on a Sheraton pattern

Starting with dovetails 34

Colin Eden-Eadon begins an Arts and Crafts-style dressing table mirror

Mirror finish 38

Colin Eden-Eadon completes his dressing table mirror

Cornering the market 42

Mike Cowie makes a corner cupboard which tests his skills

A table of substance 47

Brendan Devitt-Spooner makes a rosewood dining table

Staple fare 60

Mike Cowie constructs a traditional linenfold chest

Shaker-style desk 66

Gordon da'Costa's desk is an exercise in solid-wood joinery

Headboard headache 72

Andrew Skelton designs a deceptively simple bed

Walking the line

Laura Mays makes a prize-winning table

Cabinet Sauvignon 81

Bob Wearing makes a versatile wall cupboard

Round and around 84

Andrew Skelton creates a carousel for CDs and cassettes

Off-cut screen 89

Sean Feeney uses offcuts of cocobolo and ash to make a folding screen

Second draft 92

Mike Cowie makes an Arts and Crafts-style writing desk

Wrestling with rectangles 98

Mike Cowie makes an Arts and Crafts-inspired chest of drawers

Budget brief 103

Guy Lewis makes a tall two-drawer cabinet in American cherry

Second edition 108

Andrew Lawton makes a chevron desk and chair

Weight of history 51

John Lloyd creates an early 16th century-style trestle dining table

Taking a bow 55

Andrew Lawton makes a bow-fronted corner cabinet

Shelving some problems 114

Peter Scaife makes a set of book shelves in lime

Metric/Imperial Conversion charts 117

Index 118

note

Every effort has been made to ensure that the information in this book is accurate at the time of writing but inevitably prices, specifications, and availability of tools will change from time to time. Readers are therefore urged to contact manufacturers or suppliers for up-to-date information before ordering tools.

MEASUREMENTS

Throughout the book instances may be found where a metric measurement has fractionally varying imperial equivalents, usually within Ksin either way. This is because in each particular case the closest imperial equivalent has been given. A mixture of metric and imperial measurements should NEVER be used - always use either one or the other. See also detailed metric/imperial conversion charts on page 117.

Introduction

THERE IS EVERY CHANCE that the end of the 20th century will be looked back on as a golden age of furniture-making. At this time, makers are working in the widest range of idioms imaginable, as they have so much to choose from: the ages of oak and walnut precede the extraordinary 75 years or so that comprise what we call the Georgian period; the latter followed by the exuberant Regency style; Arts & Crafts from Morris to Mackintosh, Shaker from the USA; and of course the 20th Century itself - a rich palette by any standards.

As today's craftsmen can draw on such a continuing tradition, their work develops free of constraint on design. Likewise the diversity of techniques available to the furniture-maker has never been greater, traditional approaches such as dovetailing and morticing co-existing with biscuit joints, routed joints and high-tech adhesives.

Much of this development is driven by technology, not least in the new materials now offered - what would a Georgian craftsman make of MDF, for example?

It is in the small workshop that the blending of these elements is most noticeable. Furniture & Cabinetmaking magazine, from which this book is compiled, is unique in drawing out the experience of individual makers regardless of their style or approach, and presenting examples of their work in the form of projects. The result is a fascinating insight into the craft at its current stage of development, and an invaluable guide for practitioners.

Whatever your taste in furniture design and preference in techniques, the projects in this book will not only provide a useful source of ideas for furniture, but also some refreshing and innovative approaches to making it.

Paul Richardson Managing Editor (Magazines)

A modified mule

In the first of two parts, Editor Paul Richardson starts work on an updated version of a classic piece of storage furniture below: Mule chest, modified to give doors rather than a lift-up lid s

OME PIECES of furniture stick in my mind, lodging firmly in the "I must get round to making one of those" section of my mental to-do list -which gets longer every day. One such piece is the relatively humble mule chest.

A mule chest is a sophistication of one of furniture's most basic forms; the storage box. The earliest chests, or coffers, were formed by joining six planks - front, back, sides, bottom and top - and though the planks later became panelled frames, the basic lidded box remained the fundamental storage solution for hundreds of years.

Ultimately the successor to the box-chest is the chest of drawers, but along the way came the rather nicely balanced mule chest - a box chest sitting on top of a couple of drawers.

Leaving aside the practicality of the piece, I find the visual balance of framed and fielded panels, above drawers with plate handles, especially pleasing. Add another of my favourites, bracket feet, and some nicely-figured quarter sawn oak, and a truly classic piece of English furniture results.

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