neobassman

Would love to read and review this book. Thanks for the contest.

Michael and others, I've been following this thread with interest and noted the comments about oak being a risk for some steel tools. I am not familiar with the issue. How big a risk is it in actual practice, without direct wood/metal contact? Seems to me I have seen a lot of traditional tool chests made of oak over the years.

Actually I see you have the marking gauge, too...

Love the project; beautiful case, Michael. I recently tacked the same challenge and am pleased to see my list of tools ended up pretty similar to yours (as a more experienced craftsman), though my layout is very different: (http://www.finewoodworking.com/item/47370/tool-chest). Marking/mortise gauge?

I will be curious to see what your final weight is...

I would love to learn some master techniques, and then pass the video on to our school's woodworking program. Thanks for the opportunity!

Bpiekney, what did you use for your finish? Also, are the drawer faces a different wood, or do they just have a lot of flatsawn grain? Really beautiful cabinet!

Some great ideas that break out of traditional workbench solutions. I like the whimsy of the bench top inserts.

What a beautiful traditional chest and fantastic inlay! I'm curious about the ebony around the drawers- did you apply the ebony before dovetailing or apply to the assembled drawer?

Really nice boxes. How much do the sides taper, and does the tray Jaleo taper and just rest as low as it falls in the taper?

Awesome piece. I like maple and walnut together. Grain matching across all the drawers is a really nice touch.

Awesome piece. I like maple and walnut together. Grain matching across all the drawers is a really nice touch.

Beautiful piece, Rob, and the kind of thing I hope to make in the near future.

Thanks for the positive comments - maybe there is big, classic tool chest in my future (a la the Anarchist's Tool Chest or Duncan Phyfe), but not for this purpose!

My concerns with your method would be grain match at the cross-grain cut, and producing a flat bottom in the excised area for the new patch to rest on. Running the patch the full length of the side, along the grain, would normally seem like a less visible patch, but with the binding at the edges that seems like that approach would invite a cascade of issues. If it were me, I might try johnogilvie's method first. If that did not result in a satisfactory outcome, then maybe you could still try stevefell's suggestions to make the patch less visible, seeking to grain-match the patch as best as possible. Let us know what you do and how it comes out. It's great to have people who are willing to share their challenges or mistakes so the rest of us can learn how to solve our own problems creatively!

Matt, this is an inspiring project. I admire your desire to use reclaimed wood, to see the knots and flaws as "beauty marks," and the attention to detail that makes such a simple design elegant. I'm just beginning to master fine boxmaking, and youre provided a great benchmark.

Question: Did you take any steps to strengthen your mitered corners - such as a hidden spline? Can't tell from the photos.

Tom, I also have struggled with table top glue-ups and have resolved to try a different method next time. I was planning on using pairs of hardwood cauls, slightly curved, across the top as recommended in other places. I'm curious if you have tried this and (assuming you have) what you prefer about the method in your article. It seems reliable but time-consuming.