Reviewed and re-worked my drawings for the Waist Assembly. The way the Hood turned-out changes a few of the dimensions on this part. Boy! Do I enjoy looking at the Hood sitting up there on the benchtop! But, I'm also very glad the Waist Assembly doesn't have the same suspended gooseneck moldings and fancy multiple turnings!
This section is basically going to be a long box with a door and molding on the top and bottom. Sort of like a “curio cabinet”, sitting between the Hood and the Base Assemblies.
First task: Choose some of the best, most attractive wild cherry stock for the sides of the Waist. Don't want to do any gluing-up on these pieces.
The major challenge of the Waist is going to be the upper and lower moldings. These pieces form important transition points in the flow of the clock's overall lines. They're not there just to “fancy it up”. Tried to balance the design of this one-piece upper Waist molding with the Hood moldings. I'm not looking for a mirror image -- just a complimentary balance.
No problem drawing this out on paper. Now, all I have to do is get the wood to look like the drawings! Shouldn't be too difficult. First, all of the moldings must look balanced: starting with a bead on the lower Hood molding and ending with another bead on the lower Waist molding. In-between, the coves will form an attractive, sweeping transition. Each cove must start at a certain point and end at a certain point... it'll take some pretty precise table saw coving on each of them. Once I've figured out the technique for the upper molding, the lower molding should be a breeze.
Chose the stock I wanted to use for the molding blanks. No burls or other figuring on them. As straight-grained as possible. Sized these down... then made some test blanks of poplar... the exact same size. I'll practice the table saw cove cuts on these first. After that, I'll run them over the molder.