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I was in the process of building another shelving unit for my wife’s new booth in Milford, Ohio. She originally asked me to build it four feet long. However, once I started to attach the shelves to the unit, she wasn’t too thrilled with the overall dimensions. I asked if she wanted it cut down to 36″ long instead of 48″, but she was afraid that it would be too much work. I assured her that I could cut it down without much problem.
I slapped the unit on top of my workbench and carefully measured where the rails were to be cut. I then grabbed my Festool plunge saw and rail system, clamped it to the lines and ran down the rail cutting as deep the blade would go.
I then flipped the unit off the bench and cut the two attached shelves in half.
After one side was free, I unscrewed the pocket holes and broke away the rails with a hammer. I then cleaned the side up with a random orbital sander.
I then flipped the other side of the unit back onto the bench and re-drilled the pocket holes to the shortened rails. For the two shelves that already had plywood nailed in place, I had to bust out the plywood with a hammer.
After about twenty minutes, the shelving unit came back together a foot shorter. I cut the remaining plywood to the new measurements and installed them using cleats on the inside of the rails.
Now it was time for the antique shutters to be screwed onto the sides.
After a coat of black paint, the shelving unit looks really nice in her new booth.
This afternoon, Luke and his partner, Sara, came up from Vermont to deliver the 200-year-old 1-1/4” thick wall sheathing. About half of the load was from this frame originally but Luke threw in a bunch more of the same vintage and region to fill out the rest of our sheathing needs. We hauled the boards into the frame and loosely organized them by length and width.
We have a whole pile of boards that are up to 20” in width and other piles in the 12”-14” range. They are between 7 and 12 feet in length and all the boards have sash saw mill marks and beautiful patina. These will be applied to the outside of the frame as the finished interior wall.
We’ll then cut window openings into the sheathing and build a 2 x 4 wall outside that to house the insulation. The exterior will be finished with new vertical 16” wide pine boards (with wide battens beneath the joints) so that the interior and exterior will look as if there was no insulation.
Mike and I are working our butts off to complete this “Tables” video before we dive into this sheathing. We are very close and hope to be tackling these boards next week.
|low angle 60 1/2|
|it has most of it's japanning|
|the inner parts of the plane look good too|
|the lid fits|
|lid flipped 180|
|how I got the fit|
|I could repeat it with the lid cocked on the opposite side|
|started with sanding|
|switched to the bullnose plane|
|planed the outside|
|see the dark line?|
|the LN 102 was too big|
|a light sanding and it was done|
|left the lid as is|
|I'm calling this done|
|the iron bevel isn't 25°|
|forgot to do the back first|
|the sole is pretty flat|
|this side looks to be flat|
Who became vice president after vice president Andrew Johnson became president when Lincoln was assassinated?
answer - no one
The following is a short excerpt from Making Things Work.
It was a spacious shop, well lit and outfitted with a tidy mix of old and new equipment. “I’m working on a dining table and chairs for a client in Miami,” [my host] told me. “Quite a famous bloke, actually. To tell the truth, he’s got such a big name that I’m not allowed to say it. Not that that’s anything out of the ordinary in my world. These days it’s rare for me to work for anyone who’s not routinely written up in Esquire or Vanity Fair, that sort of thing.”
“Which part of London are you from?” I asked, curious as to the origin of his accent.
Ignoring my question, he turned his head to the right, saying “Come an’ take a look at this table and chairs” as he strode toward his workbench. The dining set was inspired by the work of French Art Deco designer Emile-Jacques Ruhlmann. The table, made of rosewood, was stunning. A cross between Deco and neoclassical, it had an extending top that could seat an intimate foursome or expand to accommodate 10. It was waiting to be finished, as soon as the chairs were ready.
“Double tenons hidden in those miters around the seat,” he remarked. “Ever use those darlin’s? I’m telling you, they are quite the challenge to pull off. But what a sturdy bit of join’ry they are. Those chairs will last forever. On the other hand, so will everything I make. That’s one of the reasons my clients are willing to wait years for an opening in my schedule.”
“I took a look at your website,” he went on. “Nice enough work, but really….’Period-authentic furniture and built-ins?’ It’s all been done before, ‘ain’t it? You couldn’t pay me to do that type of guff for common punters. On the other ‘and, someone’s got to do it, so I daresay it might as well be you.”
Now that he’d established I didn’t even rank high enough to engage in a pissing match (not that I am ever inclined to take part in such b.s.) I thought he might answer my question. “Which part of London are you from?” I asked again.
You can read the scintillating remainder of this tale and learn the origin of my host’s accent in Making Things Work.
Filed under: Uncategorized
The long-awaited Anne of All Trades YouTube channel is finally here! Subscribe and learn right alongside Anne as she tackles all kinds of projects in the woodshop and around the farm. Check it out at https://www.youtube.com/user/allaboutanne18
Editor's Note: Jim and I have been discussing metal-bodied vs. wooden hand planes and agreed to have an open discussion on the matter here on the blog. Here's Jim's take.
One of the driving passions behind Mortise & Tenon Magazine is the exploration of efficient pre-industrial woodworking techniques in the hope that we can share that information with others. We realize that we sometimes sound like evangelists and we’re ok with that. We really are trying to share the good news of rough secondary surfaces and set people free from the law of machine tolerances. With that in mind I sometimes feel like a bit of a hypocrite when I admit that the planes I choose for my own personal work are direct result of the industrial revolution that we so often rail against.
That's right, I use metal bodied planes. Judge me accordingly.
The only wooden planes in my workshop are a couple of moulding and dado planes that find occasional use, but mostly live in the bottom cabinet of my tool chest. Oh, and one old fore plane that serves as decoration, you know, to make me feel authentic. The rest of the time, I'm a ductile iron kind of guy. I'm fairly ecumenically minded. I have nothing against wooden planes and I've tried out some of the very best, but for some reason I’ve never even been tempted to make the switch. Lately I’ve started to wonder, why?
I have to admit that I’ve always thought of wooden planes as fussy (Tap, tap, tap). They also have the reputation of being temperamental and susceptible to changes in the weather. Honestly I suspect that those issues are greatly exaggerated, but I can’t shake the feeling that wooden planes are like the creaky old men at the barbershop who predict the weather by the aches and pains of the day. To be fair, a wooden plane in good condition should take no more time to set up than their metal counterparts. The only real problems I’ve ever had were with the neglected and derelict wooden planes that sometimes float around antique shops. I bought a few of these when I started working with hand tools. In general, I should have left them for the interior decorators.
If you’re new to rust hunting it’s a lot easier to hit a homerun with a rusty old Stanley Bailey than your average Ohio Tools woody. To date, I’ve probably had a 60% success rate with antique wooden planes. That gets better as you learn what you’re looking for and your chances also go up if you live in certain parts of the country (or certain countries for that matter), but these days there are other options. With the current renaissance of plane making you can get yourself a fancy new wooden plane (or a whole set) and although you will likely pay exponentially more than you might for an antique store find, you will also be buying the peace of mind that they’re well tuned and ready for shavings.
That’s appealing to me... until I remember how much I paid for the handplanes I already own.
Besides, that’s the argument people make about new high-end metal planes isn’t it? The idea that you pay for the privilege of pulling a highly refined tool out of the box, sharp and ready to go to work? Hmmm... And metal planes take some fussing too. Blades get dull. Moisture wreaks its rusty havoc. You need to wipe them down and keep them oiled. It’s certainly easier to true the sole of a wooden plane than one cast in iron. Oh, and the weight!
Do I need to continue?
This is PC vs Mac. Canon vs Nikon. Ford vs Chevy. Duke vs that other team from North Carolina.
There will always be opinions and there are no perfect answers. I won’t argue that metal planes better than wooden planes. I can make all sorts of rationalizations, but use metal planes for the simplest reason of all - because I like them. They feel right to me. I understand their idiosyncrasies and yet I find them to be reliable and well-suited to the work I do. The heft and inertia of these post-industrial beasts work in my favor (most of the time) and I understand how to make the subtle adjustments to get what I need out of them. With the limited shop time I have, I don’t want to think hard about the tools. I just want to use them, and these are the tools I want to use. Some days they wear me out, but they always put a smile on my face.
- Jim McConnell
I tried to finish the seat of the dugout chair today in preparation for our open day tomorrow (10 a.m. to 5 p.m. – lots to do and see). But I was only able to squeeze in about 30 minutes of work as I was dealing with heavy construction out back with the Lost Art Press Horse Garage.
In any case, I’m trying not to make this seat too refined or precious. I want it to match the ruggedness of the chair. But I don’t want it to look sloppy. So I’m shooting for “done quickly and with purpose.”
This seat is made from the last significant chunk of Eastern white pine from Midwest Woodworking I own. I’m going to miss this stuff.
I don’t wear cologne (heck, I barely wear deodorant). But if someone could make a cologne that smells like Eastern white pine when it’s being cut, I would actually wear that scent. Of course, the scent would only really attract beavers and some bark-eating grubs. But oh well.
— Christopher Schwarz, editor, Lost Art Press
Personal site: christophermschwarz.com
Filed under: Yellow Pine Journalism
You can now register for the chairbuilding class with Chris Williams via this link.
Note: Registering for the class or the waiting list is free – they won’t ask you for a credit card to register. After the dust settles, we will invoice the six attendees, as discussed here.
If the six slots are filled, please consider signing up for the waiting list. People’s lives will change in the next seven months.
See you in May!
— Christopher Schwarz
Filed under: John Brown Book, Uncategorized
This morning I posted an entry on our Crucible Tool site about how to use the continuously changing radius on French Curves to join three points. This is a huge help when creating irregular or organic shapes.
Read the entry here.
— Christopher Schwarz
Filed under: Crucible Tool, Uncategorized
|Miles's new plane|
|my #6, type 4/5, at the forefront|
|why I had passed on it the first time|
|road test with a new iron|
|almost 20 years old|
|the two rabbets|
|rabbet on the inside of the lid|
|the other rabbet is on the outside|
|back to new box|
I had planned on gluing the banding into the lid rather then the bottom. Changed my mind after I got a comment from Sylvain that it might interfere with the rubber bands being in the bottom. Makes sense as the lid would be going into the inside of the bottom rather outside it and hitting rubber bands. I think he saved me a bit of potential frustration and it possibly going airborne.
|glued until tomorrow|
|checking the lid is twist free|
|miters look good|
|got my one complete shaving|
|my 5/8" match planes|
|it's not the tongue iron|
|the groove plane is very well made|
|used 1/2" stock|
|the tongue is off center which it should be|
|iron is set too deep|
|the groove is too wide|
|much better groove shaving|
|pencil line is the depth of the groove|
|my other 3/4" match planes|
|ugly looking T&G|
|out of square|
|the tongue looks good so I'll work on the groove iron|
|stripped down the #6|
A Biblical cubit is 18 inches. How long is a Roman cubit?
answer - 17.5 inches
Leo from the US sent me these shots of his good progress with hand cut dovetails using one of my guides. He's using coloured dots which is good to see, this simple highly visual aid tells you which board goes with which, where the outside is and also which is the top of each piece.
Leo also made an alignment board but says that the best tip is to wear his reading glasses and improve the lighting. He's also doing lots of practice which is the ultimate way to get good at anything.
Today Raney and I shot this short video on how to sharpen dividers with an all-purpose tip. These instructions work with any dividers, including our own. Next up: How to modify the tips to do interesting things.
— Christopher Schwarz
Filed under: Crucible Tool, Uncategorized
The trick to fitting wooden pieces into impossible recesses is to learn about “ticking sticks.” These simple sticks – plus a sheet of paper – can make monstrous tasks into a easy job. Here’s how they work. “Ticking sticks” go by many names in the historical record, but they are the best technology for cutting a piece of wood to fit an odd opening. All you need to perform this […]
The post Fit Irregular (Impossible!) Shapes with ‘Ticking Sticks’ appeared first on Popular Woodworking Magazine.
“Cold wax” grain filling with a rush polisher was integral to the finishing practices of the ancients. It was primarily used to finish solid wood cabinetry as opposed to the hot wax method, which was generally restricted to fancier work like marquetry.
The process is so simple that there is almost no explaining to do. The precursor step is to plane, scrape, and in some rare instances scour the wood with abrasives like sharkskin, glass paper, or horsetail rush. Then, the wood surface is scrubbed with a block of beeswax until there is a generous, but not continuous, deposit.
Taking the fiber polisher in-hand the surface is rubbed with as much pressure and vigor for as long as you can manage, first working at a slight angle to the grain, then its opposite angle, then finally with the grain. The friction developed at the point of contact between the tip of the polisher and the wood generates enough heat to turn the wax buttery and presses it down into the grain, filling it.
In some instances, as I had them do in this exercise, the surface is sprinkled with a colorant, usually powdered pigment or resin that has been ground into a fine flour. In this case I had them use some raw umber pigment to accentuate the technique (in the real world the colorant would be selected to best fit the coloration of the wood).
When finished any excess wax would be scraped off then the surface buffed with linen and wool rags until there is a uniform gloss.
For most plain solid wood furniture and cabinetry, this actually sufficed as the finished surface and nothing more would be done. You can see the resulting surface at the upper left corner of this sample board.
Today I realized that I couldn't really put it off any longer. There wasn't much work left to do on the plane save for sharpening the blade and make sure that it was seated well on the bed (frog). Flattening the sole and sanding everything once again.
I silver soldered the threaded part to the adjuster base, so it is not possible to do any lateral adjustment with this adjuster, only depth adjustment.
A recess was made in the front of the rear tote, by first drilling a series of holes and later chiseling the waste out. I painted the back of the base with a whiteboard marker, and I could see where it had rubbed off, that there was a high spot. The same method was later used to check and adjust the seating of the blade.
The rod with the adjustment screw could have been a bit longer, but I guess that you don't adjust such a plane all the time, and I prefer that the adjustment screw is not protruding too much form the plane.
It took a bit of fiddling to find the best initial position for the retaining ring and the threaded rod, so everything worked fine at maximum and minimum depth adjustment.
Eventually I had to file a bit more from the underside of the lever cap, to be able to slide it under the fulcrum pivotal rod (it has probably got some other name).
This caused the lever cap screw to be just in the shortest range. So I think that I will make a new screw with a 1/8" longer threaded portion.
Today I sharpened the blade and after doing that I inserted it in the plane and tightened the lever cap screw. With the blade in place and the screw tightened, I then started to flatten the sole of the plane.
The idea of doing this while the blade is in the plane and in tension is, that it could potentially distort the sole of the plane a bit, and therefore it is best to flatten while everything is as close to working conditions as possible.
I also took the time to mark the bed with MMXVII for sake of good order.
Our lapping plate is new, but still I am not convinced that it is 100% flat and true. But I guess it is good enough for a home made infill plane. And besides it is what I have.
After some more sanding I treated the wood with some olive oil. I guess that it will slowly be absorbed by the wood, and then when I get home I can give it some paste was or some linseed oil as I have originally planned.
I tested the plane to see if it would work, and it actually did. I was able to plane a small piece of Bubinga both ways. It wasn't the most dramatic grain run out, but it did its job perfect with the grain and against it.
Conclusion of the project:
This project required a lot of metal work and comparatively little woodwork. There was much more filing and sanding compared to my usual projects.
There were a few difficulties that arose during the course of the build, such as less than ideally positioned holes etc.
The Norris style adjuster is a cool feature, but I tend to think that hammer adjustment would have been better. It could easily just be my adjuster that isn't the best - but now it sits there. If it ever acts up or seizes to work, then I can always remove it and either fill out the gap left behind, or just leave it as it is.
I personally think that the plane came out all right. There are a few places that still has got some minor scratches, but it was meant to be a tool, not a sanding contest.
My favourite part of the plane is the front tote where it blends in with the sole. And the lever cap with the massive number C954 cast into the front.
If I had been at home I doubt that I would have persevered during such a project, but out here it is more a matter of doing something to keep myself busy in my spare time.
I am not sure that it works any better than a regular Stanley, but it looks better in my opinion, and besides, I think it is the only infill plane in the world that was made on board a ship.
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So… Why Build Your Own Wooden Plane?
When you can get a smashing Stanley No 5 for about thirty five quid, why hassle yourself making a wooden plane?
The thing is, No 4s are naff.
And metal jointers get expensive (for the good ones). And they often will need a fair bit of awkward work to make serviceable.
If you don’t believe you can you won’t I am always interested in hearing people discuss issues surrounding furniture making and selling what you make. If you put your cell phones and computers away and stop listening to those who say it can’t be done you will likely do it just fine by just putting […]
In this episode of 360 with 360WoodWorking writer, furniture maker and instructor Steve Latta is back to talk about Fine Woodworking Magazine. Listen as he talks about the various editors he has worked with at the magazine throughout the past 30 years, and learn about a few of the articles he is most please with writing. Plus, he shares his method of work. Are you “process” oriented, or “project” oriented?
Join 360 Woodworking every Thursday for a lively discussion on everything from tools to techniques to wood selection (and more).
|my miter saw|
|pit stop at the post office|
|out of the clamps|
|the opposite kitty corner|
|marked my saw line|
|carcass rip saw|
|the lid has some twist|
|bottom is twist free|
|both parts planed|
|the backside looks good too|
|miters rough sawn to length|
|tight fit with the miters - time to see if the lid mates|
|this side slipped on|
|back side isn't cooperating|
|pulled the lid off and the walnut came with it|
|a bit of fussing and I got it to go|
|got wax on the walnut|
|where I left off|
What is the longest river in North America?
answer - The Missouri River ( it beats the Mississippi by over 20 miles)