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| The New Yankee Workshop |
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Season 19 |
| 235 :19x01 - Giltwood Mirror (Jan/06/2007) | One of the most challenging projects ever attempted on The New Yankee Workshop comes when Norm tries his hand at reproducing a Federal-style Giltwood Mirror. It isn’t the woodworking that is particularly difficult. Norm makes that part seem easy. It’s trying to gild the mirror with gold leaf and make the frame appear as solid gold that takes time, patience, and lots of skill. Norm picks up the history of Giltwood and sees some remarkable examples when antiques expert Gary Sullivan discusses his collection. Then, Norm visits Linda Abrams a gilder and reverse painter for an understanding of what it takes to turn wood into gold.
Source: New Yankee Workshop.com | | Director: Russell Morash | | | |
| 236 :19x02 - Entrance Door (Jan/13/2007) | | Norm visits a Greek revival farmhouse from 1851. In 1975, renovation removed a porch exposing an entrance door to the weather. Now that door has failed; the panels are cracked and the moldings have separated from the stiles. The original lock compromised the tenons that join the door and replacement is impossible. Finally, Norm wants to add some windows and to use a nicer looking finish. These goals in mind, Norm turns out a mahogany door built according to a door system. As he builds, Norm explains how to true twisted and cupped wood using a joiner and planer, and demonstrates some highly specialized tools that make adding the door hardware relatively easy. | | Director: Russell Morash | | | |
| 237 :19x03 - Old Pine Dry Sink (Jan/20/2007) | | Norm visits Arlington House, the home of Robert E. Lee until 1861, where he discovers a large collection of antiques. In the basement’s winter kitchen, Norm finds a dry sink made of pine – very old pine; the top is a single board! Lee’s slaves used the sink for food preparation and cleanup. Norm decides to build one himself, collecting a few pictures before he leaves. His first task is to prepare some old reclaimed pine for use – removing any bits of metal that might ruin his tools. A few passes through the planer and joiner and Norm can use biscuits and glue to join the narrow boards into larger slabs. Then he assembles these into the case using dados, rabbits, glue and brads. A copper tray provides protection so Norm can display plants. | | Director: Russell Morash | | | |
| 238 :19x04 - Martha’s Candlestand (Jan/27/2007) | | Norm visits Mount Vernon, home of George Washington. There he discovers an ornate candle stand in the room Martha occupied following her husband’s death in 1799, until her own passing. Norm spends some time studying the details, then meets Bill Jewell, a reclaimed wood specialist. The original table was walnut, but in tribute to George Washington, Norm uses cherry from Mount Vernon. He turns the central column at the lathe, first creating a cylinder using a gouge, and then working from a full-scale pattern. Next, he explains how to cut dovetails into a cylindrical piece, then builds the legs (using a special router jig) and cuts the “bars” of the birdcage in pairs on the lathe. Finally, he pairs a router and his lathe to craft a tabletop with a nice edge. To finish, Norm applies several coats of satin polyurethane. | | Director: Russell Morash | | | |
| 239 :19x05 - Dominy Clock (Feb/03/2007) | | Norm visits the Winterthur Museum in Delaware, home to a premier collection of Americana. There he sees a tall case Dominy clock (from the Dominy family workshop). He returns to the workshop to construct his own example from poplar. He starts with a full scale drawing of all the important details. From that he constructs the pieces of the clock: the sides of the waist (narrow part of the case) and bonnet, the front and the back, using rabbit joints to attach them. The front panel attaches only with glue; the back only with screws. He explains how to create the arcs for a nice rounded top on the bonnet door and how to create a mitered bead detail inside this door, and shows how to make an elegant but strong top crest, waist door and dial face. Norm finishes with a paint similar to the original clock from Winterthur. | | Director: Russell Morash | | | |
| 240 :19x06 - Cowboy Sideboard (Feb/10/2007) | | Norm meets Terry Winchell in Wyoming to learn about the work of designer Thomas Molesworth. In the workshop, he creates a sideboard in the Molesworth style. He joins the plywood carcass using dadoes and rabbits; a finish strip with heat activated glue conceals plywood edges and a plywood back adds structure. Making the face frame offers Norm a chance to show how to bevel the edges and to demonstrate his screw pocket machine. A high-speed cutter produces random curly tracks inspired by real wormholes, and outlines panel designs like those Molesworth created. A spokeshave and low angle block plane allow Norm to “roughen” the look of his log legs, and some elk antler forms the hardware. The basic finish is lacquer sealer and lacquer, with a darker lacquer to highlight details proud of the surfaces. A leather top and brass accent tacks complete the piece. | | Director: Russell Morash | | | |
| 241 :19x07 - Painted Cupboard (Feb/17/2007) | | Norm draws inspiration from another Winterthur Museum piece, a painted cupboard. Norm starts with the lower carcass, explaining the use of a sacrificial fence and showing how to ensure a shelf is perfectly square. For the back of the top case, Norm shows how to make tongue-and-groove boards. For the face frame, Norm selects pocket screws (using a small jig to drill the holes) and glue. He attaches the frame to the cabinet with glue only, to avoid nail holes. When building the doors, Norm uses a tenoning jig to safely cut the tenons and a panel cutting set to cut the grooves and copes. He finishes by showing how to turn rosettes for the pinched cornice on his lathe, then takes the cabinet to the finishing room for a coat of red paint (inside) and blue-green (outside). | | Director: Russell Morash | | | |
| 242 :19x08 - Table Saw 101 (1) (Feb/24/2007) | | In the first of two episodes about the table saw, Norm enumerates the types of saws and discusses the tradeoffs. From there he goes into a discussion of blade care, including handling, sharpening, and installation. He discusses how to care for the table so that it gives years of trouble free surface, and how to adjust the saw blade so that it cuts properly and does not kick back. Before he uses the saw, he discusses safety precautions, expanding on his usual disclaimer with additional safety tips. Then he discusses cutting large panels (such as full pieces of plywood). Such pieces require an out feed table for safe cutting, so Norm’s last item for this first part is to make one for his hybrid saw. | | Director: Russell Morash | | | |
| 243 :19x09 - Table Saw 101 (2) (Mar/03/2007) | | In the second of two parts covering the table saw, Norm discusses various techniques and shows how to use them. Norm cuts a perfectly centered groove using a two-pass approach, and then gets out his stacked dado head cutter for wider rabbits and dadoes. That requires a sacrificial fence, so Norm designs and builds on for his saw, along with a feather board to hold the work in place. Miter gauges help the craftsman cut tenons for mortise and tenon joinery; Norm shows off the aftermarket device he uses and enumerates the features that drew him to it. Finally, he build a panel cutting jig with a couple of pieces of oak and a piece of plywood, to make cutting heavy panels much safer. | | Director: Russell Morash | | | |
| 244 :19x10 - Taunton Chest (Mar/10/2007) | | Norm starts the show with a visit to the Boston Museum of Fine Arts. There he speaks to several curators and soon finds his way to the restoration lab and a Taunton Chest, so named for the small Massachusetts town where Robert Crossman made many such chests. This example has a blanket storage chest hidden behind two false drawers, with a third real drawer at the bottom. After taking some measurements and photos, Norm returns to his workshop where he turns out a similar example: blanket box and one drawer. He decides that the one he’ll build while the cameras watch will have three drawers instead, but will otherwise match the style of the original Taunton Chest. Using pine (he must glue narrower boards together) and authentic looking hardware, Norm constructs his version of the Taunton Chest and then enlists Natalie Gardner to help him paint it. | | Director: Russell Morash | | | |
| 245 :19x11 - Bowfront Chest (Mar/17/2007) | | Norm visits Old Sturbridge Village in Sturbridge, Massachusetts. There, in a townhouse that once contributed the design for a quilt stand, Norm finds a bowfront chest the he likes. It has four drawers, nicely curved legs and some marquetry Norm believes he won’t duplicate. In the workshop, Norm explains how to create the laminated drawer fronts (a new technique for the Workshop), how to assemble the case, and how to create the flared legs. Finally, he reminds viewers of the Workshop’s technique for finishing mahogany: a base stain coat, shellac, glaze and polyurethane. Some reproduction hardware and the bowfront chest is complete. | | Director: Russell Morash | | | |
| 246 :19x12 - Nest of Tables (Mar/24/2007) | | Norm needs some kind of end table for his home. Searching, he discovers nested tables, and with some help from an antiques expert he finds a set he can duplicate in the shop. There are three tables that nest together as a single unit, and the largest of them features some marquetry. Norm shows how to use a router table to create a nice Chippendale leg profile, how to construct a stable three-sided leg arrangement with precisely machined mortise and tenon joinery, and how to inlay the mahogany top of the largest table with a central medallion and maple trim. Then it’s off to the finishing room where he shows how to stain everything except the inlay. Those who need an elegant end table might find that three is better than one. | | Director: Russell Morash | | | |
| 247 :19x13 - Window Bench (Mar/31/2007) | | Norm calls on antiques expert Gary Sullivan to find a bench suitable for use at the foot of a bed or under a window, and Gary comes through. It's an upholstered piece, so Norm turns to his North Carolina upholstery contacts for tips. He shows how to build the frame and cut the stumps (the pieces that form the legs and the ends of the arm. Then he shows how to form the arms and how to upholster the piece, using various modern materials and fabrics that should last indefinitely. Finally, he adds “gimp” secured with decorative wide-headed tacks to add visual appeal and conceal the various staple points and seams. | | Director: Russell Morash | | | |
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