Working with
Custom Moldings
Presented by: David Short, President
Amherst Woodworking & Supply
Karen S. LaVerdiere, Vice President
Copper Beech Millwork
Working with Custom Moldings
David Short & Karen LaVerdiere – Copperbeech Millwork
The purchaser of a middle to high end home expects a high level of detail and finish, making
the use of custom moldings a common practice. This can mean increased profit for the builder through
higher value added and lower carrying costs from a quicker sale. Standard moldings are intentionally
manufactured with low profiles, muted in detail, to maximize lumber yield. Custom moldings, run in
traditional patterns, have much greater visual impact. The deeper curves and accentuated details found
in custom moldings can bring a room alive. You are no longer limited to the material options found at
most building supply centers. Advances in woodworking technology have made classically styled
moldings, that were once only available to the wealthy, affordable to today’s homeowner.
As you will see when we get to costing, the difference between custom and standard moldings
can be as little as a few hundred dollars. For this difference you can offer your clients a distinctly
different house, uniquely theirs, and of much greater value. Peter Gluckler, a Realtor from York
Harbor, ME, advises builders to use custom moldings in their spec houses. He says that a nicely
trimmed home will sell much faster than a standard home, saving the builder 2-3 months in carrying
costs while waiting for the home to sell. Likewise, for the client, resale value and salability are
increased. The home that stands out is the one that sells.
Intelligent choices are informed choices. As with any part of the building process, knowing
your options, and what the expectations should be from your supplier & yourself, is important.
Equally important is understanding and managing your client’s expectations. As with any part of the
building process, clear communication is essential. The approach should be driven by the client’s
balance of priorities between aesthetics and budget. One can strive for historic accuracy and exercise
faithful care in the execution of the details, or reproduce the sense of a period with careful, budget
conscious choices.
Whether selecting your own trim package, or completing an Architect’s design, there are
multiple factors affecting successful installation of custom moldings. We will focus on a few of the
issues that most affect the contractor/installer. These include design & layout, framing & utilities,
purchase & installation cost considerations, smart purchasing, job site conditions, installation, and
finishing. Another very important, and often forgotten step, is planning ahead. There are decisions
that, when made in advance, can save money and headaches later.
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11/30/03
The Design
Approximate American Architectural Periods
Classical
Medieval
Modern
1600
Approaching the design from a
historical
perspective
allows
the
builder/architect the comfort of precedence.
In that light, we will take a look a few of the
influential American styles of architecture,
and their approach to the application of
molded trim. Important lessons in proportion
and detail combinations can be learned from
previous periods.
1650
Data taken from:
1700
A Field Guide to American Houses
1710
1720
Virginia & Lee McAlester
Colonial
Alfred A Knopf, publishers
Early
1730
Georgian
1740
1750
1760
1770
Late
1780
Georgian
1790
1800
American architectural styles, that use
decorative molding details, can be traced
back to an original influence of either
Classical (Ancient Greece & Rome) or
Medieval (Middle Ages). The accompanying
timeline chart indicates the approximate peak
years of each style, as well as the derivative
influence.
Starting in the 15th century, a series of
Italian Renaissance architects published
works classifying the architecture of Ancient
Greece and Rome into five orders. European
1810
Federal
/Adam
Regency
1820
1830
Greek
Revival
1840
Gothic
1850
1860
1870
Revival
Second
Empire
Italianate
Stick
1880
Queen
1890
Anne
Shingle
1900
1910
Neo
Victorian
Prarie
Classical
Craftsman
1920
1930
Modern
Internationa
1940
& American architects have, through the 20th century, offered
their own translations & interpretations of The Orders. The
three principal orders are Doric, Ionic, and Corinthian. The
fourth, Tuscan, is a derivation of Doric, and the Composite
order is derived from Corinthian.
Each order, as it relates to moldings, is a system of
proportions determining the size of the various parts as labeled
in the column illustration. The unit of measure for the
proportioning system is the diameter of the column. As an
example, the various components would be sized according to
the chart on the next page, dependent on the particular order
and the height of the ceiling in the room, or eave of the roof.
For the purposes of most designers or builders, the
proportioning system of The Orders can provide an
approximate gauge for molding sizing and positioning. Other
factors & conventions may override some of the calculated
dimensions, such as the contemporary custom of a 36”
Classical Architecture, Robert Adam
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Cornice
Frieze
Architrave
Column
Pedestal
Pedestal Base
10’ Ceiling
Doric Order
Corinthian
¾ dia. 7”
1 dia.
7-3/4”
¾
7”
¾
5-3/4”
½
4-1/2” ¾
5-3/4”
8
73-3/4” 10
77-1/2”
3
27-3/4” 3
23-1/4”
2/3
6-1/8” 2/3
5-1/4”
12’ Ceiling
Doric Order
Corinthian
¾ dia. 8-1/4” 1 dia.
9-1/4”
¾
8-1/4” ¾
7”
½
5-5/8” ¾
7”
8
88-5/8” 10
92-7/8”
3
33-1/4” 3
27-7/8”
2/3
7-3/8” 2/3
6-1/4”
wainscot/chairrail
height,
which
dimension in the chart
is represented by the
pedestal height.
In his book
Classical Architecture,
Robert Adam presents a logical theory of reduction in trim details as shown in the three successive
room elevations illustrated below. The top elevation is a fully developed Corinthian order. The
middle removes the columns and simplifies the base & chairrail (classically called a dado mold). At
the bottom is seen the standard trim detail used in contemporary construction. Throughout the
simplification, the classical proportions are maintained.
This also illustrates a common, and useful, approach to the overall trim scheme in some
buildings. The more important rooms are trimmed more elaborately, and as the building is further
penetrated, the level of trim is reduced. The second floor may have less detail than the first. The
casing in the hall may have a backband, while
the room does not.
Previous to the
mechanized production of moldings, different
rooms would have different moldings,
depending on the tools of the carpenter
trimming the room. Today it is common to
find one or two patterns used throughout a
building, with the greater detail being created
by the addition of extra details, such as a
backband or basecap.
The Georgian period used classical
proportions, profiles, and details. The profiles
were generally bold, and simple in
comparison with later periods. The curves
used were mostly circle sections, tracing back
to a Roman influence.
During the latter half of the 18th, and
the early 19th, centuries, being the
development of the late Georgian, Federal
(also known as the Adam Period, named for
the British Architect Robert Adam), &
Regency
styles,
molding
profiles,
combinations, and proportions were less
rigidly influenced by classical systems. The
curves became more expressive, moldings
were more detailed, while the individual
curve sections were diminishing in size.
Elliptical curve sections were employed with
circle sections.
The Greek Revival period used
elliptical curve sections more predominately
than circles. The pilaster, or symmetrical,
Classical Architecture, Robert Adam
door casing, most commonly attributed to
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CB
41
61
CB
41
60
Victorian styles, had its introduction. These were stepped on plain plinth blocks and used plain, or
rectangularly patterned corner blocks at the head. Tapered casings, with backbands were also used.
Much of what were built in Gothic, Italianate & Victorian styles was taken from pattern books
published by Architects. Victorian millwork details borrowed freely from classical precedents, and
just as freely ignored many classical rules. As related to molded trim, the popularity of these styles
coincided with the development of mechanized molding production and the subsequent publication of
millwork catalogues, from which trim, and other millwork items, were selected. In Houses of Boston’s
Back Bay, Bainbridge Bunting notes that
working drawings from 1860’s construction in
the Back Bay have “an astonishing paucity of
interior details or even rough suggestions for
the interior finish.” He suggests that “the
architect functioned as little more than artistic
coordinator who brought together a variety of
stock mantels, plaster ornaments, and
millwork.”
CB 3602
Custom Mutule
d.
Pr
oj
ec
tio
CB
n
44
16
CB
41
46
CB
41
40
CB 4150
Dentil
American Builder’s Companion, Asher Benjamin
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Georgian Style
Cornices
CB
Later Georgian and early Federal
cornices patterned after their Georgian
predecessors but started using more variation
in moldings. In his 1806 book The American
Builder’s Companion, the American Architect
44
15
45
Cornices
Georgian cornices generally projected
along a 45º line, giving a sense of solid
proportion. They were most often crowned
with two cyma curves. The lower terminus
consisted of a bed mold, with intervening
space being a short fascia and soffit on simpler
cornices, and often decorated with a dentil
mold, mutules, or modillions on more involved
cornices. The cornices that I have examined
from this period, especially the early Georgian
(1700-1750), seemed to stay pretty close to
pattern, with occasional variation.
Approx. 1/4 scale
Asher Benjamin started an evolution to cornices
shorter in their wall coverage, and projecting up to
60º off the vertical. This greater projection requires
the use of elliptical curve sections. He suggested that
the height of a cornice be 1/30 to 1/40 of the wall
height, and cover 25 - 100% more of the ceiling than
the wall. This translates to a 3-4” high cornice for a
10’ room, quite a difference from the classical
proportion of our chart that would dictate
approximately 7” wall coverage. Benjamin’s later
works are well known for their influence on the
Greek Revival, but his early works were strongly
influenced by Robert Adam.
The classic examples of Greek
Revival architecture are closely patterned
after the Greek Doric order. Exterior
facades
present
entablatures
fully
developed with cornice, frieze, and
architrave. The moldings in cornices are
simpler in pattern and have more upright
projections of ~30º off the vertical. A
projecting soffit, often adorned with
modillions or mutules, extended the
overall projection toward a 45º line.
Interior cornices were less common as the
style in general is more austere the
Georgian & Federal.
In Practice of
Architecture, published in 1833, Asher
Benjamin again argues for interior
cornices to project greater than their
height, due close angle of view forced by
interior spaces.
Illustration of effect of view angle as related to projection of
an interior Federal style cornice.
The American Builder’s Companion, 1806, A Benjamin
These interior Gothic cornices were designed for interior room heights of 10 to 12’. The wall/ceiling coverages
ranged from 5”/8” to 8-1/2”/12” and were formed in plaster.
This illustration is taken from Woodward’s National Architect, published in 1868.
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Proper design of an interior cornice
requires consideration of multiple factors.
The stately presence of a Georgian cornice
demands proper proportioning. If made too
large, it can feel oppressive. A “lighter”
Federal style cornice might achieve a high
level of detail, in a space that does not have
the ceiling height to support a full Georgian
style. Similarly, if greater detail on the walls
is desired, such as pilasters capped with an
entablature, the Grecian style might work the
best.
This illustration is taken from Cumming’s Architectural
Details, published in 1873 by the Architect MF
Cummings. It shows early Victorian cornices that were
patterned off classical models. The book is a companion
volume to a previous pattern book with plans for
Italianate, Second Empire, and Bracketed style houses.
This illustration of late Victorian cornices is taken from Palliser’s New Cottage Homes and Details published
in 1887. The influence of catalogue millwork selection is clear.
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Casings (or Architraves) & Baseboards
The ornamentation applied to the earliest colonial casings
CB 1002
was generally a simple half round bead on one edge. As the higher
styles developed, backband(s) were added, and have remained an
important feature of decorative molding work. The use of a backband offers several advantages over
molding the same pattern from a solid piece. Breaking the pattern into multiple components allows
each to fluctuate in size, due to seasonal changes in humidity, independently. Resultant individual
paint or joint lines are smaller than would happen if the total movement was effected at one point.
Backbands, or thicker casings, are required for application with chairrails, wainscot, or heavier
baseboards. Each of those items needs to “die” to the casing, or plinth block if used. There are also
advantages in manufacturing resulting in a higher quality product and more efficient use of wood.
The matching of a backband to a casing is a matter of employing harmonious profiles and
maintaining an even thickness taper, much the same as the projection line of a cornice.
Asher Benjamin related architrave, or casing, widths to a fraction of the width of the door. In
his 1806 book on the Adam (Federal) style, a casing is sized as 1/8th of the width of a door opening.
His example cites a door width of 3’6” making the casing 5-1/4” wide. In 1833, promoting a Greek
Revival style, he uses a 1/6th proportion which would size a casing for the same door at 7”. He settles
at these dimensions for casings, rather than sticking to the proportion of opening rule, because of the
variability of window and door opening sizes and the impracticality of varying casing sizes within a
room.
Plinth blocks were used in all periods, to varying degrees,
stepping a casing extending to the floor. Their profiles, in plan view,
can be a rectangle of even thickness, a plain taper mimicking the line
of the molding taper across its width, or an enlarged duplicate of the
casing molding itself. Victorian plinth blocks frequently presented a
horizontally molded face, mimicking the baseboard, and were often
ornamented on the face by carving or turning.
Plinth blocks are stylistically derived from the pedestal
portion of the classical column. They perform the practical function
of lifting delicate profiles above the floor level, avoiding abrasion,
such as from cleaning. They also allow the use of a thicker base
and/or basecap than the casing alone might admit.
Simple corner blocks
were introduced in the Greek
period, to make a transition
from the side to the head
casings. They were used with Greek Revival doorway w/corner
pilaster type casings, some & plinth blocks, Practice of
ornamented with fret work, Architecture, 1833, A Benjamin
some plain. Victorian corner
blocks were often highly ornamented with carvings or turned
rosettes.
Palliser’s New Cottage Homes and
Details, 1887.
Late Victorian
casings & corner blocks.
Working with custom moldings ©CBM
Baseboards exhibiting anything more than a moderate
level of detail, were most often a combination of a flat baseboard
and a basecap. The advantages are the same as with a casing and
backband, plus more latitude for the installer by working with the
11/30/03
decorative portion (basecap) as a smaller piece. A thick baseboard detail is accomplished with a
thinner (less expensive, readily available) piece of finish material padded out with blocking & capped
with the basecap. A small basecap is also more likely to conform to, and disguise, any irregularities in
the wall better than a wider board with a molded edge.
Finish
A primary consideration is the finish, and the choice of painted, stained, or natural.
Painted finishes accentuate the profiles & shadow lines of moldings better than stained or
natural. If it is the shape of the molding that interests you the most, give strong consideration to a
painted finish. Classical molding styles lend themselves well to a painted finish. Painted finishes
allow a very high level of style while holding the line on cost. The milled finish of a quality custom
molding is usually adequate to be painted with little or no sanding.
Stained finishes can enhance the natural wood grain, while allowing you the freedom to
modify the color and tone. Victorian & Modern styles frequently use stained or natural wood.
Staining will accentuate milling marks, so any molding, custom or pine, should be sanded prior to
staining. If an even color and tone is desired, then use of a stain should be considered.
Pine and Maple required a very skilled hand at staining. Without the use of a “wood stabilizer”
or wash coat, most stains will look blotchy and uneven. Conversely, Mahogany requires the use of a
stain, even for a “natural” finish. There is so much natural variation in the color that staining is
required to even out the differences.
Natural finish, a clear topcoat without any added coloration, allows the beauty inherent in the
wood to come through. Part of this natural beauty is variation in color & grain. All woods vary in
color from tree to tree. Single boards can vary between the center and the edges and even depending
on the angle of the light. Natural finished wood will also change color with time. Cherry will darken
to a rich, deep red; Maple will mellow to a honey color; and Walnut will actually lighten in color.
Filling of nail holes needs to be done with the ultimate color of the wood in mind. Natural finished
moldings should also be sanded prior to finishing.
If you like the look of natural or stained wood, but do not have the budget to do both the doors
and moldings natural, consider the idea of using painted molded solid core doors. They are a good
value, give an excellent painted finish, and are durable. This allows you to save money on the doors,
and then get the extra detail, or special wood, that you are looking for in the trim. Painting the doors,
and trimming with natural or stained wood, accents the trim and keeps the wood from becoming “too
much”.
Similarly, you might be looking for the high level of molding detail that is best accentuated
with a paint finish, but also like the warmth of natural wood. You could then paint the moldings and
choose a wood door in Pine or a Hardwood.
Wood
Poplar is the most economical wood to use for custom interior moldings. It is moderate in cost
and available in a good selection of widths and lengths. It mills well, giving a nice smooth finish, and
is about 50% harder than Pine, therefore resisting impact and abrasion better. Poplar takes paint as
well, or better, than most other woods, and will take a medium or dark stain well. The suggestions
about finish sampling are particularly important if you are considering Poplar with a stained finish. Its
natural color varies from cream to dark green and purple, making it not particularly suitable for a light
stain or natural finish.
There is a wide variety of woods suitable for stained or natural finish moldings. The aesthetics
and cost will likely govern your choice. Red Oak will cost about 40% more than Poplar, Maple about
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90% more, and Cherry about 140% more. Other woods that might be considered are Ash, Birch,
White Oak, Black Walnut, and Mahogany. All of these hardwoods mill up well, and are even harder
than Poplar. The hardness gives even greater impact and abrasion resistance but will also require predrilling nail holes, or air nailing during installation. The availability of good widths and lengths varies
with the specie of wood. Stock longer than 12’, in just about anything other than Poplar, is difficult to
obtain.
Cost
To get an idea of costs differences, we took a 3300 sf. house that a customer was building and
calculated the trim requirements for several different trim options. This particular house has 3 exterior
doors, 18 interior doors, 28 windows, and 650 ft. of baseboard. If your house is smaller or larger,
simply increase or decrease the following figures by the percentage difference in floor space. That
should give you a rough cost guide. A true picture of cost differences requires a look at material and
installation.
Cost Chart
To get an idea of
cost
differences
in
installation, I spoke with
Stan Pitchko, a Custom
Builder in Hatfield, MA.
Stan is known for
building quality homes
that most often feature
custom moldings.
Stan says that the
difference
between
applying custom moldings
Line
Description of Detail
1
Same size moldings as “standard”, more interesting molding, mitered casings
and 2-1/2” pine, is in the
2
Wider casing & base, more interesting molding, mitered casings
care required aligning the
3
Wider casing & base, plinth blocks @ base of door casing, built-up window & door headers,
high level of detail
miter joints. Because of
4
Wider casing & base, plinth blocks @ base of door casing, rosettes @ window & door
the more detailed profile,
header corners, high level of detail
5
Same as #4 with an even wider casing
and often greater width,
Remember, if your project is smaller or larger, make the proportional change to the figures given.
he figures about another
15 minutes per door, likewise on a window, for Poplar to be painted. With pine or hardwood, Stan’s
crew glues their miters. Installation of the more complicated details, such as the Victorian or Federal,
can add 45 minutes to an hour per door or window. Application of Poplar baseboard is not
substantially different from pine. Moldings to receive a stain or natural finish require even greater care
in application.
The cost chart reflects the increased time discussed above, as well as the fact that most builders,
when using 2-1/2” pine, purchase it applied to the jambs of the interior doors, saving on-site labor.
If the house were trimmed in a standard builder package, 2-1/2” Pine Colonial casing and 31/2” Pine Colonial Base, the cost of the moldings alone would be about $2500. The following chart
gives approximate differences, not total cost, There is no crown molding, or extension jamb figured.
Poplar for Paint
Moldings
Install
Total
1A
2-1/2” Casing, 3-1/2” Base
+$ 150
+$ 700
+$ 850
2A
3-1/2” Casing, 4-1/2” Base
+$ 560
+$ 700
+$1260
3A
3-1/2” Federal Detail
+$1500
+$1500
+$3000
4A
3-1/2” Victorian Detail
+$1100
+$1500
+$2600
5A
4-1/2” Victorian Detail
+$1600
+$1500
+$3100
Red Oak
1B
2-1/2” Casing, 3-1/2” Base
+$1400
+$1150
+$2550
2B
3-1/2” Casing, 4-1/2” Base
+$2000
+$1150
+$3150
3B
3-1/2” Federal Detail
+$3300
+$2250
+$5550
4B
3-1/2” Victorian Detail
+$2600
+$2250
+$4850
5B
4-1/2” Victorian Detail
+$3300
+$2250
+$5550
Given that our 3300 sf. sample home would most likely cost about $300,000, the increased cost
represents a difference of between 0.2%, or about $850, and 1.8% of the total cost. At the higher end,
your project will be rich in detail, a very expressive architectural statement. The more economical
upgrade allows an elegantly simple refinement of architectural style.
Planning Ahead
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11/30/03
A common mistake in planning for custom trim in a house is lack of foresight in rough framing.
At this point in construction, the finish work is usually a distant concern. It is an important one,
though.
Most houses are framed, and wired, with 2-1/2” casing in mind. Use of a 3-1/2” or 4-1/2”
casing, sometimes with Plinths & Rosettes that are yet 1/4” wider, requires careful placement of rough
openings and electrical boxes. Rough openings for doors and windows need to be spaced far enough
apart, or from corners, to allow the width of trim selected.
A switch box roughed in adjacent to a door, with 2-1/2” casing in mind, usually has enough
room for a tight squeeze with a 3-1/2” casing. It may not be the desired spacing, but it will often work.
There is not, however, usually enough room for a 4-1/2” casing. If known in advance, the necessary
framing & roughing accommodations should cost very little extra, if any at all.
Purchasing
Verify thickness & width of molding. “Standard” backband may be ¾” thick, but can be
ordered, and may be detailed as, a 1-1/2” rabbeted backband.
There are several factors to consider, related to pricing and service, in selecting a molding
supplier.
Do they have a showroom where you can see samples of their products? You should be able to
see sample molding combinations, in a variety of finishes, to help you decide on the type of detailing
you want. You should be able to look at some of their moldings, to inspect for yourself, the quality of
their product.
When comparing prices, find out if the supplier can supply the lengths that work best for your
project, with the least cutoff waste. Moldings are often sold “RL” or Random Length. This usually
does not work well for a house with specific size requirements such as door side casings. RL generally
works fine for baseboard and crown, as long as there are sufficient pieces for the longer runs.
If you unexpectedly run out of stock, how quickly can new material be run? Is this a molding
that the supplier has in stock, and, if not, how long does a make-up order take? These are important
questions, because waiting three weeks for new stock to be run can have an impact on completion
schedules.
Do the quoted prices include delivery, or will your personnel have to pickup your order?
Storage
Moldings, or any finish wood product, delivered to a jobsite should be stored indoors, in the
ambient conditions to which they will be installed, protected from extreme temperatures, humidity, or
dryness. Wood is a hydroscopic material, meaning that it will take on, or give off, moisture in a direct
relation to its surrounding environment. It is the change in moisture content that causes most problems
such as warping and splitting.
Jobsite conditions are frequently less than ideal for wood storage. Moldings should be neatly
stacked, in well-supported piles. If the Relative Humidity falls outside the range of 25-55%, the piles
should be wrapped in plastic to limit air circulation around them. Maintenance of a proper storage
environment means that it should be heated in the winter and sheltered as much as possible from
humidity in the summer. Outdoor, tarped storage is not acceptable. Do not store any woodwork in the
basement or a recently poured concrete floor. Moldings should not be stored in any space where the
drywall has been finished within the last two weeks, or 3-4 weeks in the case of wet plaster. Moldings
subjected to excessive humidity, before and during installation, will shrink more than expected in the
dry winter.
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Installation & Finishing
Proper installation & finishing are of equal importance to purchasing quality materials.
Moldings should be installed by a competent finish carpenter, with demonstrated experience in custom
molding work. You may, or may not, have such a person on staff. If you do not, consider subcontracting your finish work to someone with the experience. It will most likely cost you less in the
end, and make for a better looking job.
Even moldings that have been properly handled and stored, as previously discussed, will
change with seasonal fluctuations in humidity. A 4” wide molding will be up to 3/32” narrower in the
driest portions of the winter, i.e. February, than at the yearly humidity peak in August. This has been
true for centuries, although exacerbated by today’s centrally heated homes. If at all possible, finish
work should not be scheduled from mid July through early September, unless the house is rigidly
climate controlled.
Proper carpentry design and construction will minimize the visible effects of the changes. The
miters in a quality installation should be glued. The addition of a spline, in a miter joint, further
minimizes the slight separation of the joint that generally occurs in the dry season. Baseboard and
crown moldings should get cope joints at inside corners, with miters being necessary at outside
corners.
Your finisher should be selected with the same care as the carpenter. Proper finishing is of
paramount importance, and there is far more to it than simply opening up a can and brushing on stain
or paint. Color matching, dealing with the natural variability of wood, and neat & even applications of
topcoats require skilled hands and eyes. You should get a few pieces of wood from your molding
supplier so that your finisher can make samples. This is an important step to insure your satisfaction
with the end product.
The most important thing to remember is to work with professionals, from your suppliers to
your finish carpenter & finisher. We have covered a few of the many important details, and given you
some helpful pointers, but quality results come from working with quality people.
Working with custom moldings ©CBM
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Appendices
Classical Terminology
Period Molding Combinations
Room trim details
Compound Miter Angle Charts
Tips from the Field
Resources & Bibliography
1 page
2 pages
3 pages
1 page
2 pages
2 pages
Classical Terminology
Copied from The Classical Language
of Architecture, by John Summerson,
MIT Press
Working with custom moldings, © CBM
11/30/03
CB 1119
cb 1120
CB 1159
cb 1114
CB 3710
CB 3509
CB 1152
CB 1144
CB 1110
CB 1016
CB 3571
CB 3629
CB 1027
CB 3090
CB 1374
5.50"
CB 3508
CB 2576
CB 1720
CB 1157
CB 1102
CB 1725
CB
CB 1215
CB 1111
CB 3140
CB 3727
CB 1200
CB 1122
CB 1010
CB 1729
CB 1390
29
d CB 36
Modifie
CB 3048
CB 1721
CB 1365
Plinth block
CB 3717
CB 3456
Modified
CB 1014
CB 2420
CB
CB 3116
CB 3467
Federal Casings,
Chairrrails, &
Baseboards
Early Georgian Casings,
Chairrails, & Baseboards
CB 2427
CB 2135
CB 2105
CB 2125
CB 2420
CB 3468
CB 3139
CB 3505
CB 3616
CB 3053
CB 3130
CB
34
16
800-532-9110
www.copperbeech.com
CB 3425
CB 1370
36
21
CB 3557
CB 3353
CB
CB 1022
CB 3538
Modified
CB 3467
CB 3432
CB 3538
CB 1343
Early Victorian Casings
CB 3522
CB 2240
CB 1022
CB 2440
CB 2228
CB 2223
CB 2112
4-7/8"
CB 1332
CB 1135
CB 1318
CB 1333
CB 1331
CB 1340
CB 1138
Late
Victorian
Casings
CB 1380
CB 1295
CB 1341
CB 1380
Greek Revival Casings & Baseboards
CB 1352
CB 3484
CB 3467
CB 1532
CB 1802
CB 2310
CB 2215
CB 2305
CB 2170
CB 2232
CB 2223
CB 2200
CB
CB 2240
CB 2205
CB 3345
CB 1719
CB 1745
Victorian Chairrails
& Baseboards
CB 3635
CB 3432
CB 3438
CB 3425
800-532-9110
www.copperbeech.com
CB 1760
CB 1742
CB 1347
Detail Room #1 – Our Benchmark
CB 4160 Crown
Windsor FJP
$260
Solid Poplar
$300
(+$40)
Clear Windsor Red Oak
$430
$475
GWB or plaster
CB 1114
Casing
CB 2725
Stool Cap
CB 2135
Baseboard
Detail Room #2
CB 4160 Crown
CB 3456 Band Mold
CB 1012
1x8
GWB or plaster
CB 2572 Parting Bead
Door Head Detail
GWB or plaster
CB 1114
Side Jamb
Casing
CB 2725
Stool Cap
CB 3414
Basecap
on 1x5
Baseboard
Add Federal header, plinths, & beaded frieze board
Solid Poplar
Red Oak
$425
$725
($192 over Windsor)
Detail Room #3
CB 4160 Crown
Add wainscot w/chairrail
Add beaded frieze board
CB 1012
Solid Poplar
Red Oak
GWB or plaster
$590
$930
($330 over Windsor)
CB 1114
Casing
CB 2725
Stool Cap
CB 3456
Band Mold
CB 3070
Band Mold
CB 2135
Baseboard
Detail Room #4
CB 4157 Dentil Crown
CB 3456 Band Mold
CB 1012
1x8
GWB or plaster
CB 2572 Parting Bead
Door Head Detail
CB 1114
Side Jamb
Casing
CB 2725
Stool Cap
CB 3456
Band Mold
CB 3070
Band Mold
CB 3414
Basecap
on 1x5
Baseboard
Combine rooms 2&3, wainscot, Federal detail,
beaded frieze board + Add dentil crown
Solid Poplar
Red Oak
$ 840 ($580 over Windsor)
$1280
Detail Room #5
CB 4157 Dentil Crown
CB 3456 Band Mold
Add full height wainscot, dentil crown, Federal
header, & plinths.
CB 1012
1x8
GWB or
plaster
Solid Poplar
Red Oak
$1050 ($765 over Windsor)
$1525
CB 2572 Parting Bead
Door Head Detail
CB 3070
Band Mold
CB 1114
Side Jamb
Casing
Window
CB 2725
Stool Cap
CB 3456
Band Mold
CB 3070
Band Mold
CB 3414
Basecap
on 1x5
Baseboard
Poplar
Room #1
Room #2
Room #3
Room #4
$
74.10 60 lf $
74.10 60 lf $
74.10
CB-1114
$ 0.95 $
$
146.72 108 lf $
120.04 132 lf $
146.72 108 lf $
120.04
CB-2730
$ 1.44 $
$
21.28 14 lf $
21.28 60 lf $
91.20 60 lf $
91.20
CB-2135
$ 0.85 $
$
59.28 48 lf $
59.28 48 lf $
59.28 48 lf $
59.28
CB-1012
60 lf $
66.69 60 lf $
66.69 60 lf $
66.69
CB-3070
184 lf $
108.38 184 lf $
108.38
CB-3456
48 lf $
42.41 48 lf $
42.41
CB-4157
60 lf $
242.25
CB-3456
28 lf $
28 lf $
24.74
24.74
1x8
28 lf $
28 lf $
49.21
49.21
CB-2572
28 lf $
28 lf $
16.49
16.49
1313-p
8 lf $
20.52
8 lf $
20.52
$ 256.56
$
301.38
$
452.35
$
588.77
$
841.21
44.82
$
195.79
$
332.21
$
584.65
How much more you have to spend to switch from basic FJP Windsor to Poplar $
CB#
CB-4160
Item
4-1/2" Crown
3-1/2' Casing
4-1/2" Stool / cap
4-1/2" Base
Beaded Freeze
1" Panel mold
2-1/4" Chair rail
4-1/2" Dentil Crown
2-1/4" Header cap
7-1/2" Header
1/2" Part Bead
6" Plinths
$
$
$
$
$
$
$
$
$
$
$
$
Price
1.24
1.11
1.52
1.24
1.11
0.59
0.88
4.04
0.88
1.76
0.59
2.57
Windsor FJP Price
Price
2.06
1.67
2.84
2.06
1.95
0.78
1.21
5.84
1.21
2.99
0.78
2.99
Windsor Clear Pine
$
1.17
$
60 lf
125.40 132 lf
20.16
14 lf
40.80
48 lf
Room # 5
70.20
108
60
48
60
496
48
60
28
28
28
8
$
120.04
$
91.20
$
59.28
$
66.69
$
292.14
$
42.41
$
242.25
$
24.74
$
49.21
$
16.49
$
20.52
$ 1,024.97
$
768.41
Red Oak
Room #1
Room #2
Room #3
Room #4
$
123.69 60 lf $
123.69 60 lf $
123.69
CB-1114
$ 1.94 $
$
220.70 108 lf $
180.58 132 lf $
220.70 108 lf $
180.58
CB-2730
$ 1.44 $
$
34.09 14 lf $
39.77 60 lf $
170.43 60 lf $
170.43
CB-2135
$ 1.15 $
$
98.95 48 lf $
98.95 48 lf $
98.95 48 lf $
98.95
CB-1012
60 lf $
116.85 60 lf $
116.85 60 lf $
116.85
CB-3070
184 lf $
143.34 184 lf $
143.34
CB-3456
48 lf $
57.91 48 lf $
57.91
CB-4157
60 lf $
350.55
CB-3456
28 lf $
28 lf $
33.78
33.78
1x8
28 lf $
28 lf $
83.79
83.79
CB-2572
28 lf $
21.81
28 lf $
21.81
1313-p
8 lf $
23.94
8 lf $
23.94
$ 431.16
$
477.43
$
723.16
$
931.87
$ 1,281.93
46.27
$
292.00
$
500.71
$
850.77
How much more you have to spend to switch from Clear Windsor to Red Oak $
CB#
CB-4160
Item
4-1/2" Crown
3-1/2' Casing
4-1/2" Stool / cap
4-1/2" Base
Beaded Freeze
1" Panel mold
2-1/4" Chair rail
4-1/2" Dentil Crown
2-1/4" Header cap
7-1/2" Header
1/2" Part Bead
6" Plinths
$
$
$
$
$
$
$
$
$
$
$
$
$
1.71
$
60 lf
256.08 132 lf
17.28
12 lf
55.20
48 lf
Room # 5
102.60
Our 12’x16’ room has 1 exterior door, 2 interior doors, 1 cased opening, and 3 windows.
108
60
48
60
496
48
60
28
28
28
8
$
180.58
$
170.43
$
98.95
$
116.85
$
386.38
$
57.91
$
350.55
$
33.78
$
83.79
$
21.81
$
23.94
$ 1,524.98
$ 1,093.82
Tables from:
Cabinetmaking and Millwork
John Feirer
Charles Bennett Publisher
Copies available from internet
used book site, see resources.
Tips from the Field
We interviewed a number of contractors who customarily use poplar or hardwood custom trim.
On the following pages are some of the responses we compiled.
The contractors we spoke with made the following comments when asked; “ how much extra
installation time do you consider when using custom poplar trim as compared to stock pine”?
Not much at all. Sometimes it’s easier because the material is more substantial.
For the same standard details it adds very little if any.
For paint grade poplar I would say not enough to speak of.
Actually we feel that poplar is much easier to work with than pine. It cuts better,
sands & mills better, and doesn’t gum up the tools like pine. Poplar also joints better.
♦ If the stock is twisted or warped it’s a little more time. Other than that it has
advantages like, hardness, resists denting, and clamps better.
♦
♦
♦
♦
Planning ahead:
¾ Add blocking to move switch boxes away from door casing.
¾ A scrap short block at the bottom of the door framing offers nailing for the base.
¾ Add an extra stud jack.
¾ Rough frame the doors extra wide so the outer edge of casing has a good nailing location to hit the stud.
¾ Mark the studs on the floor to be sure you hit them when installing tall base.
¾ Save scrap 2 x 4 for blocking inside corners & switch plates.
¾ Use a solid header over windows and doors for molding build up.
¾ Proper, careful installation of windows makes all the difference for the trim.
Time savers
¾ Always use sharp accurate tools.
¾ Make all window & door casings on a bench at one time. Let glue dry over night then install.
¾ Use a Kreg Jig and assemble trim on a bench. For more information go to kregtool.com
¾ Sharp blades were a key element noted by every contractor.
¾ Make a plan and set yourself up for the maximum efficiency of motion.
Fastening miters
¾ About half those surveyed use a biscuit, and feel strongly that it helps hold the joint when the humidity changes and
material dries out.
¾ The spline helps hold the joint in place while you nail the trim in place.
¾ Many contractors felt that glue and a screw (using the kreg jig) for ¾” stock was sufficient and quick.
¾ It was also felt that a spline helps line up the profile better.
¾ Only a few contractors used the splines with rosettes & plinths also.
¾ Watch grain in wood and hold trim tight when fastening.
Trimming Windows
Sills
¾ Some contractors miter & return sills and some router, bevel, or sand sill ends.
¾ Install sill & screw up underneath to extension jamb for a nice tight fit
Aprons
¾ All the contractors cut return ends on the aprons.
¾ One contractor does all the right & left apron returns at the end & just glues & taps them into place.
¾ Clamp and glue all apron returns on a workbench & install later.
¾ All tapers face down for the apron.
Installing Baseboards
¾ Most contractors surveyed prefer a 2-piece base, so the cap can follow the wall.
¾ A few prefer a 1-piece base for paint because the ease of caulking the top edge.
¾ All our contractors cope the inside corners, and use a scarf joint for long runs.
¾ Since drywall corners may vary a few degrees, if you use an angle divider for outside corners you get a better fit. ( i.e. for
an 88° or 92° corner cut two at 44° or 46° each, respectively)
¾ Back bevel your base when you need to scribe it to the floor.
Installing Crown
¾ Some contractors will block during the framing stage.
¾ One contractor uses a 7” strip of spruce on parallel wall when putting up fir strips on the ceiling.
¾ Many contractors rip an angle block from 2 x 4 at the same angle as the crown.
¾ Know your geometry and follow the angles set on the chop saw.
¾ We always measure to a marked middle point on the wall to avoid the bent tape issue and we get a better fit.
¾ Use a scrap piece as a guide. Make cheater blocks for inside & outside corners and mark top and bottom on corners.
¾ Leave the last two feet un-nailed until the other side is up, then line up and nail together.
¾ Using a three-part crown is easier than one large crown. Plus the blocking is all set.
¾ Use the compound miter saw so you can lay the crown flat & follow the settings.
¾ Get an adapter for the jig saw for coping and or use a rotozip tool for a perfect cope.
Planning for Wainscoting
¾ Put blocking in the wall ahead of time.
¾ Use adjustable electrical boxes and run them horizontally along base.
¾ Some of our contractors use ½” plywood instead of drywall.
¾ Many of our contractors put the beaded wainscoting up at the same thickness as the drywall
¾ Build out the casing with a back band to accommodate the chair rail.
¾ Run a laser level in room & put a fir strip around room to drop drywall down to a level line.
¾ Lay it out or make a story pole when running bead board to get equal reveals at corners.
¾ Build out flat base & drop beaded wainscot on top.
¾ Return chair rail cap back to casing.
¾ Line up chair rail cap with window stool for a nice detail.
¾ Use a flexible adhesive for panels because of movement, especially for old houses.
Tools & Equipment
¾ Purchase quality blades & keep them sharp was the #1 response by all surveyed.
¾ There’s a good article on saw blades by the Tool Guru @ internationaltool.com
¾ One contractor uses Forest® saw blades, three times the price, mail ordered from New Jersey.
¾ Contact Forrest Mfg. @ 1-800-733-7111 or purchase on amazon.com.
¾ A good quality sliding compound miter saw used only for trim work was highly recommended.
¾ Life expectancy for accurate cuts ranged from 4-12 years, with some maintenance required.
¾ The full range of brands, Bosch, Makita, Hitachi, Dewalt, were mentioned. Individual personal preferences seemed to
be the primary reason. Again see the article by the Tool Guru @ internationaltool.com
¾ A good quality air finish nailer and brad nailer were recommended by all. (Senco was mentioned most often)
¾ Put compressor in basement and run a line up to main floor avoids the noise & potential for a mistake when the
compressor kicks on. (Can hear the radio better too)
¾ Some contractors like the cordless gas cartridge gun, other dislike it because of noise & fumes.
¾ Many like to use a staple to fasten painted trim.
¾ Learn how to sharpen your hand tools.
Pre-primed Materials
¾ Some contractors feel it saves time on the job.
¾ Some contractors feel it’s a waste of money because it’s typically very thin and low quality.
¾ If you have a good finisher that’s all that counts
¾ Spray trim in place for a superior finish
Switching from Poplar Painted to Clear Hardwood
¾ Plan on 25-60% more installation time. Requires a more perfect fit on joints.
¾ Watch out for glue squeeze out especially for stained finish.
¾ Watch out for oil spit out when fastening, or use an oil less gun from Senco.
Custom Trim - Advice for the Novice
¾ Differentiate yourself from the mass. Make your house stand out from the cookie cutter homes.
¾ Today’s clients are more discriminating.
¾ Look at your material; be sure it’s dry and flat. A cupped board will cut unevenly with a sliding miter saw.
¾ Use poplar, clear pine is expensive and #2 pine is junk. Knots will always bleed through.
In conclusion, there are probably many more useful tips, if we only had the time to speak with more carpenters
and contractors. We are very appreciative of the time the contractors we interviewed spent with us. Our hope is
that you can benefit from this by taking one or more helpful tips to help you trim your projects.
If you have any questions, please feel free to call our Copper Beech Millwork office at 413-584-3003 or
800-532-9110.
RESOURCES
Historic American Buildings Survey (HABS)
www.cr.nps.gov/habshaer/
The Historic American Buildings Survey (HABS) and
the Historic American Engineering Record (HAER)
document historical architecture in the United States.
The collection contains more than 363,000 measured
drawings, large-format photographs, and written
histories for more than 35,000 historic structures
dating from the 17th to the 20th century. An effective
way to search for period examples is to use a date as
a keyword.
The Architectural Woodwork Institute (AWI)
www.awinet.org
Publishers of the Architectural Woodwork Quality
Standards Illustrated, the recognized authority for
specification standards of Architectural Woodwork,
and custom moldings.
The Wood Molding and Millwork Producers
Association (WMMPA)
www.wmmpa.com
Establishes standards for production of stock
moldings.
They have an extensive offering of
literature on working with moldings.
Forest Products Laboratory (FPL)
www.fpl.fs.fed.us
Research laboratory for the US Forest Service. An
excellent resource for technical data on North
American lumber species.
Forest Products Research Society (FPRS)
www.forestprod.org
Forest Industry trade research group.
A Select Bibliography
Classical Architecture, Robert Adam
Viking Penguin, London, 1990
An excellent guide to The Orders and theories of
classical architecture, well illustrated.
The American Vignola, William Ware
Dover reprint of the 1903 edition, 1994
A guide to classical architecture used by many neoclassical, early 20th century Architects.
A Building History of Northern New England, James
Garvin
University Press of New England, 2001
A close look at the details of early Colonial,
Georgian, Federal, and Greek Revival building styles.
Resources
A Field Guide to American Houses, Virginia & Lee
McAlester
Alfred A. Knopf, 2000
A style manual for American architecture, mostly
referencing exterior details.
The Elements of Style, Stephen Calloway editor
Simon & Schuster, 1996
A general overview of architectural details in British &
American styles from the 15th through the 20th
centuries.
Handbook of Building Crafts in Conservation, Jack
Bowyer
Van Nostrand Reinhold, 1981
Reprint and commentary on Peter Nicholson’s The
New Practical Builder and Workmen’s Companion
from 1823. A British pattern book.
The Theory of Mouldings, C. Howard Walker
JH Jansen, Cleveland, OH, 1926
A detailed examination of origins, profiles,
combinations, materials, architectural styles.
Colonial Interiors, Colonial and Early Federal, 1st
series 1923
Colonial Interiors, 2nd series 1930
Colonial Interiors, Federal and Greek Revival, 3rd
series 1938
Bonanza Books, William Helburn, NYC
Interior photos, some line drawn elevations &
sections
The Architectural Heritage of the Piscataqua, JM
Howells
Architectural Book Publishing Co., 1938, 1965 edition
An excellent survey of the Portsmouth NH area, with
interior & exterior photos, drawings and sections of
Georgian & Federal architecture.
The American Builder’s Companion, Asher Benjamin
Da Capo Press 1972 reprint of 1806 work on Federal
(Adam) style. Detailed elevations & sections.
The Architect or Practical House Carpenter, Asher
Benjamin
Dover 1988 reprint of 1830 work on Greek Revival
style. Detailed elevations & sections.
Practice of Architecture, Asher Benjamin
Da Capo Press 1972 reprint of 1833 work on Greek
Revival style. Detailed elevations & sections.
Woodward’s
Thompson
National
Architect,
11/30/03
Woodward
&
Da Capo Press 1975 reprint of 1869 pattern book of
Gothic, French, & Italianate styles.
Detailed
elevations & sections.
Victorian Architectural Details, Cummings & Miller
The American Life Foundation, 1980
Reprint of two pattern books (1868 & 1873) for
Mansard, Italianate, & Bracketed style houses.
Palliser’s Late Victorian Architecture, Palliser &
Palliser
The American Life Foundation, 1978
Reprint of two pattern books (1878 & 1887) for late
Victorian style houses.
Cabinetmaking and Millwork, John Feirer
Charles Bennett Publisher, 1967 original
A practical manual for machine use, compound miter
settings, etc.
www.abebooks.com
www.alibris.com
www.abaa.com
All resources for out-of-print books.
Tool Resources
Clamping & Joining
Kreg Jig, blind screw joining system
kregtool.com
Hoffmann Dovetail Joining Systems
www.hoffmann-schwalbe.de, 631-589-6322
Lamello
original (some say best) biscuit joining system
lamello.com
Ulmia 560-3250 Spring Miter Clamps
Amazon.com & akossmall.com
Maestro Spring Miter Clamps
Rockler.com
Hartford Clamp Company
cam lock miter clamp, ~$50
860-528-1708
The Clam Clamp
improvement of the Hartford clamp, ~$55
miterclamp.com
Coping
On-Line, Printable, Compound Miter Chart
betterwoodworking.com/compound_miter.htm
Laminated Compound Miter Chart Cards
compoundmiter.com
On-Line Compound Miter Calculator
wyverninc.com/sawcalc.html
Bosch Digital Protractor
adjustable digital angle finder. ~$120
wordboost.com/a/Bosch_DWM40L_Miiter_Finder_
Digital
Miter Guages & Fence Systems
Incra Miter Guages, very precise miter guages
incra.com
Accu-Miter Guage, Fence, & Hold-down systems
thejdscompany.com
Jeff Greef Woodworking Tool Store, sells a variety
of miter guage systems, including Incra & Accu-Miter
jeffgreefwoodworking.com/commerce/miterguages
Biesemeyer
table & chop saw, fences, stops, & guages
biesemeyer.com
Forrest Saw Blades, premium cut saw blades
woodmall.com, 800-733-7111
Humidity & Wood Moisture Content
Bachrach Sling Psychrometers
portable, accurate RH readings, ~$90
forestry-suppliers.com
Dixson Temperature & Humidity Recorders
24/7 jobsite recording of RH, $6-700
dicksonweb.com, 800-323-2448
Delmhorst Moisture Meters
delmhorst.com
Wagner Moisture Meters
541-582-0541
Lignomat Moisture Meters
lignomat.com
Woodworking Tool Vendors
Highland Hardware – highlandhardware.com
Lee Valley Tools – leevalley.com
Woodcraft – woodcraft.com
Woodworkers Supply – woodworker.com
Woodworker’s Warehouse –
woodworkerswarehouse.com
Copemaster, ~$1500, stationary coping machine
copemaster.com
The Coping Foot, ~$30, a dome shaped base for
the jigsaw that facilitates freehand cope cuts
collinstool.com 888-838-8988
Compound Miters
Resources
11/30/03
Presenters
David Short is President of Amherst Woodworking & Supply, Inc. in
Northampton, MA. He received a BA in Fine Arts from Hampshire College in 1975
having studied Sculpture and Furniture Design. In the Fall of that year he started
making furniture and small woodworking projects, under the name of The Amherst
Wood Company, located in a 600 sf. Workshop in North Amherst, MA. David was
President of the New England Chapter of the Architectural Woodwork Institute (AWI)
in 1992-93, and current serves on the Board of Directors as a Past President.
Karen LaVerdiere is Vice President of Amherst Woodworking & Supply, Inc.
Ms. LaVerdiere received a BS from The University of Massachusetts, and a Masters
from Springfield College. She started her own construction business in 1985, building
residences and light commercial projects. Karen joined Amherst Woodworking in 1993
as a sales associate, becoming Sales Manager in 1994, and Vice President in 2001. She
is a member of the Board of Directors of the Home Builder’s Association of Western
MA.
Amherst Woodworking & Supply, Inc. is comprised of two operating divisions.
The Copper Beech Millwork division specializes in supply of competitively priced,
high quality, architectural woodwork components for clients managing their own
millwork needs. Projects requiring complete management services such as shop
drawings, field dimensioning, and coordination with other trades are run by the
Amherst Woodworking division.
The Company occupies a 33,000 sf. facility, manufacturing moldings, doors,
cabinets, windows, columns, and ornamental fabrications. They work on projects for
Academic, Corporate, Medical, and Residential clients throughout the Northeast.
Restoration & Reproduction work is a specialty.
The Copper Beech Millwork division publishes a 45 page Book of Moldings
featuring approximately 350 of their over 3000 molding patterns. An electronic file is
available with approximately 1400 patterns. It is based in AutoCad. Also available is a
24 page Contractor’s Price Book with inventory listings, product information and
prices for stock moldings, hardwood & softwood lumber items, mantels, decking, and
more.
Manufacturers of
Fine Wood Doors, Moldings,
and Architectural Woodwork
THE COMPANIES OF AMHERST WOODWORKING & SUPPLY, INC.
413.582.1852
800.532.9110 / 413.584.3003
www.amherstwoodworking.com
www.copperbeech.com
30 Industrial Drive
Northampton, MA 01061
30 Industrial Drive
Northampton, MA 01061