You can see the outcome. It fits into a small footprint and it goes vertical from there. The platform is the height of a chair seat, and it looks chunky and utilitarian enough so that it’s an invitation to dump a case on it without doing any damage.

The first shelf is high enough and narrow so that, with a bit of care, your head won’t connect with it as you sit to put on your socks. The middle shelf has a hanging rail, and the top shelf is wide enough to get anything you don’t immediately need out of the way. On a personal note, I must admit to putting socks on whilst seated. With two “new knees,” it’s easier that way. A seat height of 16-1⁄2″ is good for me, but after I had cut the legs, I realized that it’s a bit too low for taller people; hence, the 1″ tall white feet. They are a quarter of an inch smaller in width and length than the leg, so they sit back an eighth of an inch all around. Two screws and a dab of glue hold them in place.

Even if I hadn’t had a change of mind and added them to change the seat height, those rectangular legs meeting the floor with no accommodating detail to form a “foot” would, generally, look very primitive. The block “extensions” would have looked perfectly well without paint, or I could have run a shallow saw kerf or two around them. You need something that says, “I’m a foot that terminates this leg.” Nature does it in all sorts of ways.

Making the Piece

Even though the wood is called soft maple, it’s plenty hard enough to absorb knocks, so that was my wood of choice. You may recall one of the design parameters was that it had to be a “quick make.” Machine-made all the way! I used a jointer, thicknesser and miter saw to achieve accurate dimensions of the parts. A radiussing bit on a router table took care of all the edges. Lamello biscuits join the shelves to shelf supports, and Domino loose tenons take care of major joinery. All the surfaces were “cleaned up” with a hand plane and then finished with Rubio® Monocote oil finish prior to assembly.

The white parts were hand-brushed with a white gloss paint. It’s a matter of choice which parts you paint.

The Way It Is

In the last section of this article, I’m going to take a step back to examine what went on in making this piece, because I believe it’s the beginning of a radical change in small shop woodworking.

The expression I used was, “machine-made all the way,” and so the preparation of the parts was done using machines, found in most every workshop. However, the joinery I used is not common, and the machine I used is not found in every workshop. That said, history tells us that it is just a matter of time before a Domino type machine is in common use, and then we will be at a watershed in small shop woodworking.

Experience tells me that most everyone wanting to learn woodworking believes that if they can learn to make joints, especially dovetails, then they have the keys to the craft. Their premise is not entirely true, of course, but understandable. I’ll develop the point with a quick roundup of joinery.

The three joints we use in making solid wood furniture are butt joints, with which we make wide boards from narrow boards; dovetails, which are used to join wide boards at the corners to form boxes; and mortise-and-tenons, used to join stiles and rails to make frames for panels, as in doors or frame-and-panel case goods, and to join legs to rails to make chairs and tables.

The mortise-and-tenon, simply described, is a square peg in a square hole. It is the most complex joint to design, as well as the most used of the three joints. Its marking, cutting and chopping take time and skill to execute. To mark it out, you need a marking knife, a try square, a marking gauge and a mortise gauge.

For years, tool makers who have tried to mechanize most things have put the mortise-and-tenon joint off machine limits for the most part. While such machines have long been in use in industry, an affordable, dedicated mortise-and-tenon machine has not been successfully reduced for use in the small shop.

An alternative to the mortise-and-tenon joint is the loose tenon joint. In this joint, a mortise is made in both pieces. The mortises are exactly the same size, and into them goes a third piece made to fit the mortises: hence the name “loose tenon.” The joint has to be made by machine, and a machine system has been used by industry for many years with a tool called a slot mortiser. But no tool maker had come out with an affordable slot mortiser for the small shop. Recently, Festool came out with the Domino machine. It’s a handheld machine which comes in two sizes, with a variety of cutters, meaning the system can be used in typical mortise-and-tenon joint situations. It’s versatile, it’s simple, and it’s accurate. It, arguably, undoes the case for making the mortise and tenon by hand using traditional tools. In short, this tool changes the face of furniture making in the small shop.

Let’s see how that plays out in the case of this valet, first by hand and then by Domino. Once the parts are prepared and we are ready to make the joints, the time it would take to mark and make the 12 mortises and the 12 tenons would be measured in hours, if you had the skill to do so. Now, using the Domino, there is no doubt in my mind that you can make the piece perfectly well; as well as I can, in fact. Marking out requires a pencil and a plastic square. Cutting the 24 slots takes at most a half hour — done.

Having offered my opinion that this machine will change your furniture making, the supposition hangs on the courage and the creativity of woodworkers in small shops to realize its potential.

Click Here to Download the Drawings and Materials List.

The post Design and Build a Bedroom Valet appeared first on Woodworking | Blog | Videos | Plans | How To.

Flush-trim Routing Jig

By making a jig that is shaped exactly as the top and bottom sections of the sides, you can assure perfect symmetry in your finished pieces. The dimensions for the cutouts and shape of the sides can be found in the Side Elevation Drawing on the opposite page. A trick for getting the 4″ cutouts perfect in your flush-trim routing jig is to make a quick jig from 4″ wide scrap lumber.

Cut two 4″ square pieces, glue them between the longer pieces, and you have a way to flush rout square holes in your routing jig. Transfer the rounded front corner and the shape of the feet at the bottom of each side to the routing jig. Now follow the directions in the text below to shape the sides.

Pattern Makes Perfect

Begin by milling your stock and gluing up parts to rough size, adding an inch to the final length and a half-inch to final width. While the glue dries, prepare the Flush-trim Routing Jig.

Using 3/4″ sheet stock provides a large surface for the router bearing. Lay out the jig using the Drawings as a guide, then use a band saw or jigsaw to cut out the notch that forms the feet of the case and the radiused upper front corner.

You can drill out the corners of the square cutouts and use a jigsaw to cut close to your layout lines before filing and sanding the cutouts square, but a simple square routing pattern will speed things. Rip a four-inch strip from the middle of a piece of wide stock and cut the strip in half.

Glue the board back together with a four-inch spacer block between the ends of the strips, and you have a cutout pattern with nice straight edges. It’s like a jig to help make a jig! Place it over the roughed-out cutouts on your final pattern and trim to shape with a router and flush-trim bit.

Shaping the Sides

The sides contain most of the joinery for the case, so begin there once you’ve finished using the routing jig. Cut them to final size and chuck a flush trim bit in the router. To use the routing jig, you’ll position it at the top of the shelf sides to shape the radius and square cutouts, then reposition it at the base of the sides to shape the feet. First trace the details onto the case sides, then cut close to your layout lines. Fix the pattern to a side using double-sided tape and rout to final shape. Once you’re done with the pattern, you can swap out the bit for a 3/4″ straight bit and mark the insides of the sides for the dadoes, using the Drawings as a reference. A simple jig makes cutting the through dadoes for the fixed shelves and a stopped dado for the gallery shelf easy. Square up the ends of the stopped dadoes, then form the rabbets for the gallery back and back panel. You can cut the rabbets on the table saw in a single pass with a dado blade, or use a 1/4″ rabbeting bit in a router, making multiple passes until you reach the required 3/8″ depth.

The shallow mortises used to house the kick might seem excessive where pocket screws could serve to anchor the piece, but the joint aligns the kick relative to the case sides and helps the case resist racking.

Trust me, it’s easier to drill for the adjustable shelf pins and hinges while the case is still unassembled. There are a number of commercial jigs available, but I made a simple jig to locate the shelf pin holes. The first set begins 9-1/4″ from the bottom and is spaced a half inch apart. The second set begins 18″ from the bottom. The holes at the front of the case are set back 1-1/2″ from the front of the case to account for the depth of the door, while the holes at the back are set 3/4″ in from the rabbet’s edge.

If you’re mortising hinges, place the hinges 2-1/2″ from the top and bottom shelves, mark their location, and cut the mortises using a router or chisel. If you’re using non-mortise hinges, mark their position and drill pilot holes for the screws.

Rabbets join the gallery back to the case and to the gallery shelf. A 3/8″ wide x 1/2″ deep rabbet at either end of the gallery back joins it to either side of the case, and the gallery shelf gets a 1/2″ wide x 3/8″ deep rabbet to house the gallery back.

With the joinery cut in the sides, turn your attention to the shelves and kick. Trim the pieces to final size, notch the gallery shelf, and tenon the kick. Then refine the fit of the shelves in their dadoes. After everything goes together, round over the front edges of the shelves and sand the parts through 180-grit.

Case Closed

Since the door and back need to be sized to their respective openings, you’ll want to glue up the case first. Take the assembly in three stages: first, glue the kick to the bottom shelf; then, glue the shelves to the sides; and finally, glue in the gallery back and screw in the door trim strip.

With the case out of the clamps, measure the back and trim the back panel to size, undercutting it slightly to simplify fitting. Verify its fit and then set it aside — finishing the case is much easier without the back attached.

The door’s rails run across the ends of all three stiles instead of being captured in the outer stiles. This detail adds a horizontal element to what is otherwise a very vertical design. It also simplifies building the door. Measure the opening and verify the final size of the rails and stiles. Build the door to the opening’s exact measurements, then trim it to fit with a hand plane or jointer. If possible, cut the parts from a single board (it will look better), then mortise the rails and mill the tenons.

You can cut the rabbets for the glass now, taking care to stop the cuts in the rails, or wait until the door is assembled, then rout the rabbets and square up the corners with a chisel. Either way, you can use the time while the glue dries to cut the retaining strips and give them a quick sanding. It’s also a good idea to cut a couple of extra strips in case you split one during installation.

Use the jointer or a hand plane to trim the door until you have the reveal you want, then measure, mark, and drill to mount the door hardware and catch you’ve selected. The original features a ring pull on an escutcheon plate in hammered copper, but many Arts & Crafts-style pulls would suit the finished piece.

A Fumed Finish

Many Arts and Crafts makers used a fumed finish, where quarter sawn white oak is exposed to ammonia fumes, causing the tannins in the wood to darken the furniture. Much ink has been spent describing ways to replicate a fumed finish to avoid working with ammonia, but it’s not a difficult finish to use if you take some basic precautions.

You’ll need 28% ammonium hydroxide, available from chemical supply companies. I use glass pie pans since they offer a large surface area and won’t react with the ammonia. It’s best to wait for a day where you can fume the piece outside. Put on safety goggles, a long-sleeve shirt, rubber gloves, and a respirator with appropriate filters then drape your bookcase (with any hardware removed) in plastic sheeting along with some offcuts from the project, taking care to weight the bottom of the sheeting to form a good seal. Pour some ammonia into your container and place it under the tent.

The longer you leave the white oak exposed to ammonia fumes, the darker it becomes. Because warmer air causes the ammonia to evaporate more quickly, times will vary based on temperature, but four hours is a good starting place. To gauge color, pull an offcut out of the tent and use it to test its color with your desired finish.

Once you’re satisfied with the color, let the bookcase air out, then apply your finish. I applied boiled linseed oil, wet sanding the second coat with 320-grit paper, then wiped on a couple of coats of garnet shellac to add some warmth, and concluded with a coat of dark paste wax.

Final Details

Since I have a toddler, I chose polycarbonate panels instead of glass to glaze the door, but installation is the same: cut (or have a glass shop cut) your panels undersized to easily fit in the rabbeted door back, then trim the retaining strips to fit. Clamp the strips in place and use a pin nailer to anchor them, keeping well in from the ends to avoid splitting the narrow strips. If you don’t have a small-gauge nailer, you can pre-drill and gently hammer in escutcheon pins, or try a narrow bead of silicone caulk. Mount the door handle and catch, then hang your newly glazed door.

Shelf-pin sleeves are unnecessary here for strength, but they add a finishing touch. Pop them in, position the shelf pins at your desired height and install your adjustable shelves. Put the case where you want it, and you are ready to load it with books and enjoy.

Click Here to download a PDF of the related drawings and Materials List.

The post Classic Limbert Bookcase Project appeared first on Woodworking | Blog | Videos | Plans | How To.

To create the cabinet’s curved sides, I came up with a construction technique that uses half-round slats connected together with tongue-and-groove joints. The joints allow the slats to follow the curved frame rails and let them expand and contract in response to changes in room humidity. Ebonized slats at the outer edges of each curved panel and ebonized trim bordering the underside of the top lend the cabinet a graphic element and a classic Art Deco motif.

Although originally intended as a bedside cabinet, I could also see this cabinet being used as an end table/cabinet at the end of a couch in the den, or as a freestanding cabinet in a living room or entryway.

Cutting and Shaping the Rails

The frame of my Deco cabinet is built much like any other basic cabinet, with rails that attach to the legs via loose tenon and dowel joinery. The side and back rails are “L” shaped in cross-section and are made up of two pieces: a straight piece and a piece that’s curved along one edge. The curved rail edges face out and support the slats which form the curved outer surfaces of the cabinet. The rails for the front of the cabinet’s pullout also have a curved edge, but no “L” shape; the two front rails and two rails that support the pullout’s metal drawer slides are straight.

After cutting out the stock for all the rail members and cutting them to final length as per the Material List, I used a beam compass fitted with a sharp pencil to mark the correct radius on each curved rail member: 14″ on the shorter side rails; 22″ on the longer back and front rails. Before marking, I set the compass’s pivot point square to the centerline of each rail member. I then rough-cut all the curves on the band saw, cutting about 1/16″ outside of the compass lines.

To assure a perfect radius, I used a router jig setup to trim the curved edges to final shape. The setup consists of a plunge router fitted with a 1/2″ spiral-fluted straight bit. It’s important to use a spiral-fluted bit, as part of each cut runs against the wood grain and a straight-fluted bit is likely to cause a lot of tearout. Attach a circle jig to the router’s base (I used a Micro Fence jig, but any circle jig will do). To make radius routing easier, I used an 18″ x 36″ scrap piece of MDF with a centered line drawn down the middle as a base plate. Near one end, I fastened a 3/4″-thick stop strip perpendicular to the line. The rails butt up to the board. I used another 3/4″ scrap with a centered hole drilled to fit the circle jig’s center point as a pivot strip.

To complete the four side and two back rails, I glued each straight strip to the face of the corresponding rail, with the strip’s edge flush with the rail’s straight edge. The resulting “L” shape provides enough stock thickness for the joinery that attaches the rails to the legs.

You need two more steps to complete the side and back rails: One is to cut a 1/4″ x 1/4″ slot along the inside-facing edge on all four of the rails that form the top of the cabinet frame. These slots are for the wood cleats that hold the cabinet’s top to the frame, yet allow the solid wood top to expand and contract. I cut the slots on the router table, positioning them 1/4″ from the top edge of each rail. The other step is to plunge-cut slots for plate biscuit joinery that join the four rails at the bottom of the frame to the cabinet’s plywood bottom. One #20 biscuit centered on each side of the bottom provides enough strength and will help keep parts aligned during assembly.

Making the Legs

I cut the legs out of 8/4 stock, using the same kind of wood (mahogany) I used for the rest of the carcass. After planing the stock down to 1-5⁄8″ thickness and trimming it to final length, I jointed the edge square and ripped the four square legs on the table saw. Each leg is then rounded over on three of its four edges. The outer-facing edge receives a 3/4″ radius from a big roundover bit, a task done on the router table in two passes. For the first pass, I set the fence and bit height just shy of a full-radius cut. I then raised the bit to cut at full radius on the second pass, resulting in a chatter- and tearout-free surface. Next, I routed the two edges of each leg adjacent to the 3/4″ radius with a piloted 3/8″ roundover bit chucked in a freehand router.

Cutting the Joinery

Since I’m lucky enough to own one of Festool’s DF 500 joinery machines, I used Domino loose tenons to join the legs to the side, drawer and back rails. The location of the pieces is shown on the Drawing. Notice that the mortises in the back rails are offset relative to those on the side rails, so they don’t run into each other on the legs. Once I’d marked the centerline of each mortise on the stock, I plunge-cut them in the ends of all the rails. I clamped each rail to my benchtop with its curved edge facing up. A square scrap of plywood clamped next to the rail helps keep the Domino machine square to the ends of the narrow rails. Next, I cut all the corresponding mortises into the inside facing surfaces of the legs, always making sure to keep the leg and Domino machine flat on the benchtop. Note that the two front rails don’t get mortised; these get doweled later on.

Frame Assembly

The Deco cabinet’s frame is glued up in two stages. In the first subassembly, the side rails and drawer slides are joined to a pair of front and rear legs. Before gluing up, I checked the fit and alignment of all the rail-to-leg joints using a small “test” tenon I made by shortening and sanding down the thickness of a Domino, so it could be inserted and removed easily. All the rails should align to the legs with their inside-facing sides flush with the square inside corner of the legs. I reworked any of the mortises that needed it. After spreading glue in all the mortises and on the Domino tenons, I inserted the tenons into the rails first, then fit the rail tenons into their corresponding leg mortises. I pressed or pounded everything together as needed, then applied clamps and allowed the subassembly to dry overnight.

Once the two side subassemblies were done, I created dowel joints for the two front rails that connect them to the side assemblies. First, I used a self-centering dowel jig to drill 3/8″ holes in the ends of both front rails, centered width-wise. Next, I drilled the corresponding dowel holes in side assemblies on the drill press, positioning the holes 17⁄16″ from the front of the leg.

When all was ready, I completed the assembly of the cabinet frame, first gluing the lower front and back rails to the cabinet bottom with plate joinery biscuits. I then applied glue to all the loose tenons and mortises or dowels and holes, and joined the subassemblies together, carefully applying clamps so as not to dent the outer surfaces of the legs or rails. Before leaving the assembly to dry, I checked to make sure all the top rails were flush with the ends of the legs, and that the entire frame was square. I also glued on the two little drawer stop strips to the inside-facing surfaces of the front legs, with their top ends butted up to the underside of the lower front rail.

Making the Top

For the top of the Art Deco cabinet, I glued up enough narrower boards to make up the top’s 16-1/4″ width. When the glue dried, I scraped off the excess and ran the piece through a planer set to 3/4″, the top’s final thickness. I shaped all four of the top’s curved edges following the same process used to shape the curved rails earlier, first using a beam compass to mark the radii on the short and long sides (15-1/2″ and 23-1/2″, respectively). After band sawing the curves to rough shape, I used a plunge router and circle jig setup to trim the top’s edges to final shape.

To give the top more thickness and help to better integrate it with the Deco design, I added a trim piece along its lower edge. Four 5/16″-thick pieces make up this trim, each mitered and screwed to the underside of the top to form a frame. To prevent expansion/contraction problems, I cut the two shorter trim pieces with the grain running across the length of the piece, so it runs parallel to the top’s grain. After cutting the parts to rough width, I mitered both ends of each piece at 45°. When assembled, the members should meet with their tips exactly at the junctures of the top’s curves. After rough-cutting the trim’s curved outer edges, I attached them to the underside of the top with small countersunk screws. I then used a spiral-fluted flush-trim bit in a handheld router to trim them flush with the top. After removing the trim pieces, I shaped both sides of each curved edge with a 1/8″-radius roundover bit to form a half-round profile.

Building the Pullout

One of the most unusual and practical features of my cabinet is its pullout style drawer that slides on over-travel slides which provide full access to upper and lower compartments. It’s constructed from two pairs of 1/2″-thick solid wood drawer sides joined to a 1/2″ Baltic birch plywood front and back via box joints. I cut the joints with a dado blade in the table saw using a commercial box joint jig, but you can cut them on the router table or with any other shop-made setup you prefer.

I started by cutting out all the drawer parts, leaving the length of the sides and the width of the front and back just a scant 1/16″ over their final dimensions. The idea is that cutting the sockets a hair deeper than the stock thickness leaves the pins on the assembled parts slightly proud of the surface, so they’re easier to sand flush. I set my box joint jig to cut 1/2″-wide pins and sockets, then cut joints on both ends of all the drawer sides, starting with a full pin on the top edge of the shallow drawer sides, and a full pin on the bottom edge of the wider drawer sides. I then cut the necessary number of pins and sockets into the side edges of the plywood front and back.

Using the table saw, I cut a 7/32″-wide, 1/4″-deep slot about 3/16″ up from the bottom of each drawer side for a 1/4″ plywood bottom (hardwood plywood is always thinner than its stated thickness). I then cut the corresponding slots on the inside faces of the front and back pieces.

Once all the inside surfaces of the parts were sanded, I assembled the pullout in two stages, first gluing one pair of upper and lower sides to the front, and then the other pair to the back (just make sure to create a symmetrical pair). After clamping,
I checked to make sure all parts were square to each other before setting them aside to dry. I then glued the subassemblies together, making sure everything was square and true.

After the clamps came off, I used a belt sander fitted with a 100-grit belt to sand the protruding pins flat on all sides of the pullout. I then glued on the front rails to the top and bottom edges of the pullout front, centering them with their back edges flush to the inside face of the plywood. I also cut and shaped the pullout’s top cap from a 1/8″ thick piece of mahogany. It is shaped to a radius of 22-3⁄4″ on its forward edge.

Fitting the Drawer Slides

The next task is attaching the drawer guides to the cabinet frame and the pullout. I started by separating each slide into its narrower inner and wider outer components. Then I marked a parallel centerline that’s 31-3⁄16″ up from the cabinet’s bottom on the inside face of both drawer rails. The outer slide components were centered on this line, with their front ends 9/16″ back from the front of the legs. I screwed them on using the slide’s horizontally slotted holes. Next, I marked lines on the lower sides of the pullout that were parallel to and 3-5⁄8″ up from the pullout’s bottom. I centered the inner slides on these lines, ends flush with the front of the pullout, and screwed them on using the vertically slotted holes. I inserted the pullout into the cabinet, mating the drawer slides, and checked alignment. The back edges of the pullout’s curved rails should be level to and just make contact with the frame’s front rails. After adjusting the fit as needed, I installed screws into the round holes on all slide components to fix the hardware in place.

Shaping the Slats

Regardless of the kind of wood the cabinet is built out of, the stock for the slats must be straight-grained and dead flat. If it isn’t, there’ll be problems during the shaping process that likely will result in a lot of twisted, unusable slats. I started by planing the slat stock down to the necessary 11/16″ thickness, then ripped it into 15/16″-wide strips on the table saw. I cut enough stock to make several extra slats, both for test cuts and so that I could discard any slats that weren’t up to snuff.

The majority of slats are shaped in three passes on the router table using three separate router bits. The first bit I used is a 3/8″-radius bullnose bit. This creates a half-round shape on the face of the slat. I set the bit’s cutting height so that the bottom of the radius was just flush with the edge of the slat and set the table’s fence flush with the deepest part of the bit’s half-round radius. A featherboard attached to the router table’s miter slot helped keep the stock flat against the fence as I ran the slats through. It’s important to feed each piece of slat stock smoothly and consistently, so the cut surface comes out clean and free of chatter marks; this saves a lot of sanding time later on.

The next step is to rout a small tongue in the lower lipped edge of the slats using a reversible glue joint bit. Set the bit height so that the lower edge of the tongue is formed 5/64″ above the bottom of the slat. (See the Drawings.)

The final step is cutting the groove for the tongue on the opposite side of most of the slats with a 5/32″ three-wing slotting cutter. Two of the slats are set aside un-grooved, to be used as edge slats for the cabinet’s pullout front. I set the cutting height of the slotting cutter so the bottom of the groove is 7/64″ above the bottom of the slat, and set the fence for a 5/32″-deep cut.

After this step, I took four slats to the table saw and cut off their tongues, so that each ends up 3/4″ wide. Returning to the router table, I cut a groove into the trimmed side. These double-grooved middle slats will slide into place in the center of each slat panel.

Finally, I picked six of the regular slats as edge slats for the cabinet’s sides and back. After resetting the cutting height of the slotting bit flush with the router table, I re-routed the grooved side of these slats, transforming the groove into a rabbet. The rabbeted edges lap over the edge strips at the outer edges of the panels on the cabinet’s sides and back.

From there, I carried the pile of slats to the miter saw, having marked the number and length of each one according to the edge strips, ripping and beveling them on the table saw.

Trial-fitting the Slats

When all the slats and edge strips were done, I did a quick test to see how well the slats fit onto their respective curved rails. Starting with the cabinet’s back, I set the edge strips in place, then set one of the rabbeted edge slats over it, tongue pointed toward the center of the panel. I then assembled the slats in order according to their length, finally sliding the middle strip onto the tongues of the two adjacent slats. The fit between the tongues and grooves should have just a little side-to-side play, and the gaps between the half-round slats should appear even and parallel. If the fit was tight, I used a thin block covered with sandpaper to enlarge the grooves as necessary. Once the fit was acceptable, I set all the slats flush to the top rail and trimmed off the short tongues on adjacent slats flush around the panel’s bottom curve. I repeated this entire process for the slats on the two sides of the cabinet. For the pullout, I lined up the edge slats with the ends of the front rails and temporarily clamped them in place before trial-fitting the rest of the curved panel.

To mount the cabinet’s pendant-style pull, I drilled a 5/32″ hole 5-1⁄4″ down from the top of the pullout’s middle slat. (The pull is the P3202-WOA Adorno, from knobsandhardware.com.) I enlarged the upper part of the hole slightly with a narrow chisel, to accommodate the pull’s squarish base.

Finishing the Parts

It’s most practical to finish the slats, top, pullout and cabinet frame separately before their final assembly. I sanded all the parts in three stages, using 120- and 180-grit paper and finishing with 240-grit. Since the mahogany I used for the project was so light in color, I decided to stain it with a light brown stain (Minwax® Provincial) to make it look darker and richer.

Next, I ebonized the parts that give the cabinet its graphic Deco look: the eight edge slats, six edge strips, the under-top trim, and the pullout’s top cap. In the past, I’ve used various black dyes to ebonize wood, but I’ve discovered that a black permanent marker pen provides an easier way to do smaller parts. The ink in these pens does a great job of making even light-colored woods jet black, and once dry, it’ll take just about any finish. After staining and ebonizing, I clear-finished all the parts with a wipe-on satin polyurethane.

Final Assembly

The final steps for completing the cabinet are attaching the slats and fastening the top. With the cabinet lying on a towel on the benchtop, I started by nailing the two ebonized edge strips to the insides of the legs at the back and sides of the cabinet using a pneumatic pin nailer. Then I applied the slats to the sides and back. Doing one curved panel at a time, I spread glue on both curved frame rails, then laid the slats on in order, making sure the top end of each was flush with the top rail.

One by one, I fastened each slat to both curved rails by shooting a 23-gauge pin through the tongue portion.- With all the other slats in place, I slid in the middle slat and toe-nailed it to the rails at both ends with pin nails. On the pullout, I applied the glue to the rails, clamped the ebonized edge slats on with their edges flush to the ends of the rails, then fastened them by pin-nailing through the back of each rail. I attached the remaining slats as I did before. At this point, you can glue and pin the top cap that covers the slat joinery to the pullout’s top rail.

After screwing the ebonized trim pieces to the bottom of the top, I set the top upside down over a towel on the workbench and centered the inverted cabinet onto it. I set the four cleats into their rail grooves, one on each side, then screwed them to the underside of the top. All that remained was to flip the cabinet over and slide the pullout into place.

As I said at the beginning, this cabinet will fit right into a variety of room situations, and its Deco styling will add a special retro flair.

Click Here to download a PDF of the related drawings and Materials List.

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Cutting the Parts to Shape

In order to squeeze both racks from one sheet, follow the Cutting Diagram carefully. Start by ripping the sheet into four, 11-1⁄4″x 8-ft. strips. Crosscut two 28-1⁄4″-long blanks from two of these strips to form the racks’ back panels. Round the bottom outside corners of the back panels to form 1″ radii.

The two remaining full-length strips are dedicated to the angled braces. First, cut them into 16, 11-1⁄4″ square blanks, then miter-cut one edge of each to 45 degrees, following the Drawings. A crosscut sled or a miter gauge with a long auxiliary fence will make this a quick job. Once those are done, cut to size the six bridges that will span each pair of braces, and make the four end pieces with one corner of each rounded to a 1″ radius. Notice in the Drawings that each rack has a cleat attached to its back with an edge beveled to 45 degrees. It will interface with a wider wall-mounted cleat, also beveled on one edge, to lock the rack to the wall. Cut both pairs of these cleats to size, and tilt your table saw blade to bevel-rip their angled edges. What’s left of your plywood sheet should be sufficient to make up four spacers. Each of them receive a single 1″-radius corner, too. Knock the sharp edges off of the back panels, braces, bridges and ends with a sanding block to prepare for assembly. That will help these rough-and-tumble racks resist splintering when you use them.

Assembly and Hanging

These racks are downright easy to put together, and that’s part of their charm: one afternoon’s work, and you’ll be done! For each rack, fasten three bridges to six braces with screws to form three main subassemblies. Note that the top back edge of the bridges will overhang the backs of the braces by 1-1⁄2″. Now grab more screws to attach the four end pieces to the remaining four braces, as shown in the Exploded View Drawing. I used 2″ countersunk deck screws and glue for assembling all of these parts. (I didn’t fuss with wood finish on my racks, but it couldn’t hurt. If you want the added protection, finish the parts before beginning the assembly process, while the part faces are fully accessible.)

Next, round up your back panels and brace components. Position three bridge subassemblies and two end assemblies 1-1⁄4″ apart on the back panels; this slot spacing will enable you to slide 3/4″ I.D. pipe clamps or the bars of most F-style clamps in and out easily. Drive a few brads through the back panels to tack the braces in place, then reinforce all the joints with more 2″ screws, spaced every 4″ or so.

Attach the rack cleats up under the overhangs of the bridges and to the back panels with more screws and glue — face the angled edges of these two cleats down and in toward the back panels. Fasten a pair of spacers to the bottom outside edges of each back panel to complete the building stage.

Secure the wall cleats to two wall studs, if at all possible. These clamp racks will be very heavy once fully loaded. Face the beveled edges of the wall cleats up and toward the wall before driving stout screws or lags into counterbored holes in the cleat. Then, set each rack on its wall cleat. Drive two more screws through the back panels and into the wall cleats to pin the racks in place. Now, load them up with clamps!

Click Here to download a PDF of the related drawings.

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Why Fuming Works

The fuming process is a chemical stain: we apply a chemical that reacts with something already in wood to create a dye right in the wood itself. Ammonia fumes react with tannin, so only woods that contain tannin, like oak, walnut, cherry and mahogany, will darken when fumed.

You create ammonia fumes by exposing strong ammonium hydroxide to the air. Household cleaning ammonia is too weak to be of much use; it is only a 5% solution. Instead, use 28% ammonium hydroxide, once commonly used in blueprint machines and still available from chemical supply companies.

How to Stain Wood Using Ammonia Fumes

Sand the wood before fuming. The color does not go that deep, so sanding afterwards can result in uneven coloration. Don’t worry if the grain raises a bit; you can safely de-fur the wood with 400-grit paper after fuming.

Make an airtight fuming chamber by sealing the edges of a plastic bin or shed with duct tape, or build a simple frame and drape it with plastic sheeting, weighting the edges so no fumes escape. There’s no need for fans inside, as the ammonia fumes will disperse rapidly on their own. Don safety gear, pour some ammonia into a bowl or dish (anything except paper or aluminum), and slip it into the chamber along with the pieces to be fumed.

SAFETY WARNING: Strong ammonia is virulent, so wear goggles, gloves, long sleeves, and a good respirator, and even with all that, limit your exposure. Get the fuming chamber set up, suit up in safety gear, quickly pour the ammonia into a bowl, seal the fuming chamber, and leave the area.

Controlling the Color

Fuming turns heartwood, which contains a lot of tannin, dark brown — but sapwood, low in tannin, stays light. To color the sapwood, brush it, before fuming, with a tannic acid solution or strong, brewed tea, which contains tannin.

Although you can’t control color as precisely as with stains, you can affect it. The longer you fume, the darker the wood gets. Typical schedules vary from 12 to 72 hours. To test sample scraps for true color, wipe them with mineral spirits, water, or the finish you plan to use.

Hotter air temperatures during fuming create more reddish, as opposed to greenish, hues. Shine a heat lamp through your clear plastic sheet chamber to boost the temperature above 80 degrees for warmer (redder) colors, or leave it cold for cooler (greener) ones. Fumed wood is still raw wood, so you can tweak the color using dye or pigment stain prior to applying clear finish.

Once it’s done, suit up, remove the chamber and the ammonia, and if you are not working outdoors, air out the room and the furniture. Return the ammonia to the bottle and reuse it (although it is now somewhat weaker), or pour it into the toilet and flush. Or, add one cup of 28% ammonia solution to four cups of water to convert it to household ammonia.

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Climate wise, woodworkers here in coastal California where I live have it awfully good. There are just a handful of scorching days in the summer and only maybe a dozen or so truly frigid nights every winter. Many of the shops I’ve worked in had little or no insulation, and staying toasty in the dead of winter simply meant pulling on an extra sweater before making sawdust. But those of you who are sometimes affected by the supernaturally chilling “polar vortex” know all too well that keeping your workshop properly heated can be a serious matter.

Besides giving you numb fingers and achy joints, an un- or under-heated workshop can make you feel sluggish and uncomfortable, or even keep you from doing woodworking at all (“think I’ll stay in the house and watch the game today …”). Not only that, but cold temperatures can prevent glues and wood finishes from drying properly, and freezing temperatures can ruin them outright. Unheated air may even be dry enough to draw moisture from lumber, causing cracks and really significant distortion.

Depending on your situation, raising your shop’s temperature may be as easy as plugging in a space heater, or it may present more complicated challenges. There are so many different types of heating devices and systems appropriate for use in a woodshop: some portable, some that require installation. The kind of fuel a shop heater runs on is also important, since keeping a shop toasty shouldn’t cost you an arm and a leg. And there are safety concerns. Some heaters have open flames or red-hot elements, some don’t — important to consider when there’s lots of stuff in an average woodshop that’s ready to burn: lumber scraps, sawdust, combustible finishes and solvents.

While this article won’t teach you everything you need to know about heating your shop, it’ll certainly point you in the right direction, starting with figuring out how much heat you’ll need on the coldest days. We’ll delve into a number of factors you should consider before buying or installing any kind of heating device, including initial costs and permits, operating expenses, safety issues, etc. Finally, we’ll examine a few of the most popular heating appliances and systems used in woodworking shops.

How Much Heat Do I Really Need?

Your first question before considering any type of heating system should be “how much heat do I actually need to keep my shop warm?” The amount depends on a number of factors, including how cold it gets in your climate, how big your shop is and how well-insulated it is (including how much heat is lost through glass windows and skylights).

A useful standard for measuring heat is British Thermal Units per hour, abbreviated as BTUs/hr. (for this article, I’ll just use “BTUs” to mean BTUs/hr.). A BTU is the amount of heat needed to raise one pound of water one degree Fahrenheit. BTUs provide a universal scale for calculating the amount of heat a shop needs as well as for rating and comparing various heating devices, regardless of the kind of fuel they use. Generally speaking, the higher a heater’s rated BTU output, the larger the space it will heat. By selecting a heater that’s appropriately sized for your shop space, you’ll have enough heat on the coldest days without incurring the higher cost of buying and operating a heater that’s more powerful than you really need.

To get a basic ballpark estimate of your shop heating needs, multiply your shop’s square footage by the BTUs/sq. ft. number shown in the chart, left, that corresponds to your climate and level of insulation. For a much more precise estimation of your BTU needs, a boiler and baseboard heater manufacturer has created the Slant/Fin Hydronic Explorer heat loss calculator app.

Following the included PDF instructions, you first create a new “job,” then plug in all the necessary variables: your shop’s square footage, wall construction, insulation, window square footage, floor type, indoor and outdoor temperatures, etc. (Indoor temperature is how warm you want your shop to stay; for the outdoor temperature, see the average January temperatures on the climate zone map, above.) The app then calculates your shop’s heat loss in BTUs, which equals the BTU rating of the heater you’ll need. The calculator makes it easy to see the impact that various changes can make to your heating needs — say, adding another layer of insulation to your ceiling, removing a skylight, or retrofitting old leaky windows with double-glazed panes.

After you have a good estimate of your shop’s BTU requirements, there are a few more things you need to consider before choosing a particular heating system.

Initial Costs

In addition to the price of the heater itself, don’t forget to factor in any shipping costs and state and local taxes, as applicable. When considering the value of a particular heater relative to its cost, make sure to figure in its efficiency rating. It’s possible that certain high-efficiency models may be eligible for state or federal rebates that will offset a higher initial cost. When purchasing non-portable heating devices, make sure to factor in all the extra costs required for installation: electrical wiring, gas lines, vent and flue piping. There’s also the possible cost of permits as well as the expense of hiring an HVAC contractor to tackle the installation, if you don’t want to do the work yourself.

Permits

Before buying and/or installing any heating device, it’s essential that you contact your local building department or zoning board and fire marshal to check on the current regulations for your area. This is especially important if you’re considering a wood or pellet stove, as some districts have banned their use due to air quality issues. It’s a good idea to check with your insurance company, to see if the installation of a heating device may affect your policy and coverage in the event of a fire or other accident. Before considering any built-in heater, check with a licensed HVAC contractor, as some systems require professional installation, lest you void their warranty. At the very least, it can be helpful to seek the advice of your local HVAC contractor about the types of heaters best for a workshop.

Installation

Before choosing any built-in heating appliance or system, it’s prudent to go through all aspects of its recommended installation: Where is the best place to mount the heater so that it distributes heat around the entire shop? Would it be more practical to have two smaller heaters than one large one? Does the unit need to be mounted near an outside wall (and if you do have to vent it through the roof, how complicated — and expensive — will that be)? How far does electric wiring or gas pipes have to be run? Does your shop’s electric sub-panel have enough amperage capacity to run both the heater and shop machines at the same time? Working through all possible issues (and/or discussing them with an HVAC contractor) will save you a lot of time, money and headaches in the long run.

Operating Costs

Possibly the most significant factor to consider before choosing a heating unit is how much it costs to run it. You must consider three things: 1. The amount of energy the heater consumes; 2. The unit’s efficiency; 3. The cost of the fuel that it runs on.

Energy consumption (in BTUs) and efficiency ratings can often be found on a tag or sticker on the heater itself (see photo, left). Typically, BTU ratings for heaters are based on the amount of energy going into the heater: the useful heat they actually produce is almost always less, thanks to the laws of thermo- dynamics. For example, a unit heater rated at 75,000 BTUs and 82% efficiency actually only delivers about 61,500 BTUs into the shop; the rest goes up the flue. A lower efficiency heater may be inexpensive to buy, but may cost far more to operate in the long run than pricey, high- efficiency models which may quickly pay for themselves over time in lower fuel costs.

Like the cost of gasoline, the prices of various heating fuels — electricity, natural gas, propane, cords of firewood, etc. — vary throughout the country, and are subject to fluctuations over time. Per BTU of energy produced, electricity costs more than propane, and propane costs more than natural gas. The U.S. Energy Information Administration has prepared a Comparison Calculator that can be downloaded. This Microsoft® Excel spreadsheet program is designed to let you compare the energy output of the various fuels used for generating heat — oil, electricity, gas, wood, coal, etc. (See chart, below.) The calculator provides web links for current pricing. It provides a very handy and accurate way of estimating and comparing operation costs for most conventional heating systems (gas-fired furnaces, fuel oil boilers, wood stoves, etc.).

Shop Insulation

One factor that can have a profound effect on heating costs is how well a shop is insulated and sealed. Predictably, the better (usually thicker) the insulation is in the ceiling, walls and floor, the fewer BTUs it takes to keep the shop warm. Double- or triple- glazed windows and skylights reduce heat loss, and good weatherstripping around doors and windows keeps cold air from coming in (garage doors can be particularly hard to seal). Upgrading a shop’s insulation and sealing can allow you to purchase a smaller heater that costs less to run, saving money in the long run.

Safety

Unfortunately, many types of heaters pose serious safety problems in a woodshop: ventilation, combustion and fire, and danger of accidental burns are all issues to consider before choosing and using a heater. The majority of heaters that burn with an open flame (wood stoves, gas wall heaters, etc.) consume oxygen and require proper ventilation for safe operation. Un-vented models expel combustion gases that are noxious or even life-threatening (see the section on gas heaters).

The exposed heating elements used in electric heaters also have the potential of igniting wood dust, chips, volatile finishing vapors and other combustibles and causing a devastating fire (or, in very rare cases, an explosion). This danger is even greater in shops that lack good dust collection systems. Consider these threats seriously, especially if your shop is attached directly to your home. Heaters with exposed surfaces that become very hot to the touch (electric portables, radiant heaters, etc.) can cause accidental burns and are especially dangerous to pets and small children. Inspect cords on portable electric space heaters occasionally to make sure they aren’t damaged or frayed, and never plug one into an extension cord that may become overloaded. Undersized or frayed power cords are a major cause of fires, injuries and deaths associated with space heaters.

Ease of Use

In terms of heating convenience, there’s a big difference between flipping the “on” switch of an electric heater or thermostat versus building a fire in a woodstove and stoking it all day long. If you’re the spontaneous type who prefers the option of stepping into the shop at any given moment to make a little sawdust, it doesn’t make a lot of sense to pick a heating system that takes an hour or more to heat up your shop. If your schedule has you hitting the shop every day at 8 a.m., installing a system with a programmable thermostat will automatically have the shop “pre-warmed” every morning. And any electric or gas heater with a built-in (or remote) thermostat will keep the shop temperature comfortable all day and saves you the hassle of turning the heater off and on as the room temperature varies. By choosing a lower setting, a thermostatically-controlled heater can also keep the shop warm enough to prevent glues and finishing supplies from freezing overnight.

Humidity Issues

In addition to heating your shop’s air, you must maintain its relative humidity to keep it comfortable to work in and prevent moisture problems. Running any heater in the shop tends to decrease the relative humidity of the air. Heated air can hold more moisture than cool air, which is why warm air blown by a car’s defroster defogs a damp windshield. Forced-air heaters, such as unit heaters, can increase shop dryness rapidly enough to cause wood shrinkage problems, such as surface checking.

Conversely, portable and vent-free gas heaters can increase shop humidity, since they produce water as a byproduct of combustion. How much water? A 30,000 BTU gas heater burning for four hours puts nearly a gallon of water in the air. Although the added humidity allows the air to carry more heat and keeps it from feeling dry, too much moisture can rust tools and can cause finishing issues.

To keep shop air comfortable and prevent problems, maintain your shop’s relative humidity at around 40 to 45%. You can remove excess moisture with a portable dehumidifier, or add moisture back into the air with a humidifier or, in a small shop, by leaving one or more open pans of water lying around.

Heating Systems and Appliances

When it comes to heating systems and appliances, there are many, many options, including: gas furnaces, oil- burning boilers and radiators, wood stoves, pellet stoves, propane heaters (both built-in and portable), solar walls, radiant floor heaters, hot- water unit and baseboard heaters, portable electric space heaters, electric unit heaters and mini-split heat pumps. There’s even a guy I read about who uses his pickup truck as a heat source: after driving for a while, he parks it in his garage shop with the hood open and uses a small fan to blow warm air from the engine bay!

For the purpose and scope of this article, I’ll concentrate on the two types of heating sources that are the most popular and easiest to use in (or retrofit into) a small or medium-size shop: electric- and gas-fueled heaters, including portables as well as built-in units that require installation. The details of other types of heating systems just get too complicated for an article of this length; for more information and recommendations, consult your local HVAC contractor.

Electric Heaters

Electricity provides one of the easiest ways to provide heat in a workshop. Portable models are inexpensive, virtually 100% efficient and easy to use: just plug them in wherever they’re needed. Even stationary baseboard, wall and unit heaters are affordable and easier and less expensive to install than comparable gas-powered heaters. Electric heaters don’t consume oxygen or produce hazardous combustion gases, so they are also relatively safe to operate in a woodshop, fire safety being the only caveat. The biggest downside to electric heaters is their cost of operation, which can be several times higher than the cost of running comparable gas heaters. There are several different types of electric heaters, and some are much better for some applications than others.

Convection Heaters

Whether portable or built-in, convection heaters work by warming the air that flows through them by passing it through electrically heated coils or plates, ceramic discs or oil-filled chambers. Portable models are inexpensive to buy and use (just plug them in wherever they’re needed) and are effective at heating small to medium-sized spaces because they spread their heat over a wide area. Models with built-in fans distribute heat quickly, while most baseboard, panel and oil- filled electric heaters can take a considerable amount of time to warm up. Convection heaters that run on 110 volts produce up to 5,100 BTUs. It’s best to run these on a 15-amp circuit that nothing else is plugged into.

For larger spaces, higher output 240-volt models, such as the Cadet “Hot One”, crank out up to 17,000 BTUs. While easy to use, these require a 30-amp dedicated circuit, like you’d use to run an electric clothes dryer. All modern electric heaters have built-in safety features, such as automatic shut-offs that activate if the unit overheats; portable models have tilt sensors that shut the heater off if it’s accidentally knocked over.

Radiant Heaters

Unlike convection heaters that produce warmth by heating the air, radiant heaters (aka “infrared heaters”) transmit heat directly to objects by showering them with infrared rays (think of how sunshine feels on your face). Most radiant heaters come as portable plug-in (110V) models that produce up to 5,100 BTUs with an electric ribbon or a quartz tube element. Some models, such as the 110V Comfort Zone, are ceiling-mounted, while others that run on 240 volts can pump out over 10,000 BTUs.

The biggest advantage of radiant heaters is that they produce nearly instant heat, as long as you are in direct sight of the unit (infrared rays are directional) and not much farther than a few feet away. They’re great for “spot heating” a localized area, say a workbench or sanding station. Radiant heaters are also good for providing a quick warmup while you’re waiting for your main heat source (wood stove, gas unit heater) to bring the shop up to temperature.

Mini Split Heat Pumps

Sometimes called “ductless air conditioners,” electric mini-split heat pump systems are equipped with multipurpose compressors that can produce both heat in the winter and cooling air in the summer. Powered by 220V electricity, a mini-split system consists of a main compressor/condenser unit that mounts out-of-doors and one or more indoor evaporator units installed inside the shop. The main unit passes refrigerant through a condenser coil and compressor, then pumps it through copper tubing to the indoor unit(s) that transfers the heat or coolness to the air via an evaporator coil. A fan then blows the heated/cooled air around the shop.

Equipped with a fan that blows heated or cooled air around the shop, a mini-split’s indoor-mounted evaporator unit is fed by refrigerant fluid pumped from the compressor-condenser unit outside.

Compact and quiet, mini- splits are very safe for installation in woodshops, as they produce no flame, nor do they have hot elements, and the indoor unit’s coils never get hot enough to ignite dust and other flammables.

While they’re relatively expensive to buy, they’re simpler and less expensive to install than heating systems that require ductwork. They’re also more efficient and cheaper to run than typical electric heaters, thanks to inverter technology that allows their compressors to operate at variable speeds, delivering only as much heating/cooling as needed.

Gas Heaters

In most states, gas is still one of the most inexpensive fuels for heating a building. Natural gas is considerably less expensive than liquid propane, but isn’t usually available in rural or outlying areas. Like electric heaters, gas models come in several different types that differ considerably from one another.

Portable Gas Heaters

Portable propane-fueled heaters, such as the ProCom Tank Top radiant heater and Dyna-Glo Delux forced air convection heater, are inexpensive and offer lots of BTUs for the bucks. They also burn oxygen and emit noxious combustion gases, including deadly carbon monoxide. Combined with the fact that gas portables burn with an open flame or element hot enough to ignite sawdust and other flammable materials (there’s also the hazard of using a propane cylinder indoors, something that heater manufactures strongly discourage), it’s clear that portable propane units are simply too dangerous to use inside an enclosed workshop.

Wall, Baseboard and Unit Gas Heaters

Built-in gas heaters include wall- and baseboard-mounted models, as well as industrial style unit heaters that can be hung from a ceiling or wall bracket. These appliances offer heat outputs that range from around 5,000 BTUs to 125,000 BTUs and higher, depending on the model. Wall-mounted gas heaters come in models that produce either convection or radiation type heating. Those with built-in fans distribute heat more quickly, but are also prone to suck up more fine dust, and so will require cleaning more often. Unit heaters heat via convection and distribute warm air with louvered fans. While the initial cost of built-in gas heaters is on par with comparable electric models (in terms of their BTU output and efficiency), gas models typically cost more to install. However, these higher initial costs are quickly offset by lower monthly operating costs.

Vent-free vs. Direct Vent

A very important distinction between various gas heater models is that some are vent-less (vent-free) and some are directly vented. Vent-free models are considerably cheaper and easier to install than direct vent models of comparable size. Although they’re up to 99.9% efficient, vent-free heaters do expel small amounts of unburned gases, including carbon monoxide (CO). (The amount is so small that it won’t even set off a CO detector’s alarm.) But most people can still smell a vent-less heater when it’s on, and those with allergies, asthma, or other respiratory conditions may find the combustion gases objectionable.

Vent-less heaters also increase the air’s moisture content and consume oxygen; all units built after 1980 are equipped with an oxygen detection safety sensor which shuts off the gas supply if the oxygen content of the air drops to unsafe levels. Despite this safeguard, heater manufacturers urge you to leave a window open during operation and not to run the unit for more than four hours at a time.

Direct vent gas heaters feature a vent tube that draws in fresh air for combustion and also vents the burner’s exhaust gases. They come in both wall-mounted and unit heater style models. Forced-air gas unit heaters such as the Modine “Hot Dawg” provide a practical way to produce a lot of BTUs (80,000 or more) to heat even a very large woodshop. If you go this route, look for a model that features a sealed combustion chamber, so that in case any dust gets into the heater, it won’t come in contact with the burner’s flames. Because burner gases are vented to the outside, direct vent models won’t increase indoor moisture as much as non-vented gas heaters. Although they require a fairly rigorous (and expensive) installation and aren’t as efficient as vent-free models (a certain amount of heat escapes out the flue), direct vent gas heaters are both safe and practical to use even in the most tightly sealed shop.

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He has also provided some links for information on helping you know your shop’s conditions.

–This Slant/Fin Android and iOS app will help you calculate your BTU needs.

-The U.S. Energy Information Administration has a spreadsheet available to help you compare fuels and heat sources in terms of their output and prices.

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