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Everything about this plane says that it is a Type 6 (1888-1892). The plane body, cap iron, plane iron, lateral adjusting lever, all have the proper dates and lettering on them to make this a Type 6 plane, but the brass adjusting nut is a right handed thread, not left handed, which was used on Type 5 planes.
Rosewood knob has typical tool box dings and wear, but is in good shape; rosewood tote is not original to plane, it was salvaged from a broken Stanley No. 7 jointer plane, Type 11. There is about 80-85% of the japanning left on the body.
This plane belonged to my grandfather, Rufus Wilson (1881-1955), who was a carpenter and old time logger, and my mother told me that he owned this plane when they moved to their house near Mineral, California in 1940. I was given this plane in 1978 when I was 16 years old. I tuned up the plane in the early 1990's, the typical work of flattening the sole, the back of the iron, etc. I used this plane to make my first musical instruments. I set it aside about 15 years ago to keep as a collectors item, but I have decided to let it go to someone else. It is a great user plane! Please ask questions! I will not ship out of the United States, no international sales!
We are in the final stages of editing two books and getting them ready for press by the end of February.
“Ingenious Mechanicks: Early Workbenches & Workholding” is being indexed right now by Suzanne Ellison. Megan Fitzpatrick and Kara Gebhart Uhl are giving it a final edit for typographical problems.
This will be my first book with a dust jacket (see above). I hope this book justifies it. The gorgeous photos from Narayan Nayar and the paintings from the last 2,000 of human history make this book visually interesting – as well as educational (I hope). The book will be 172 pages, hardbound, on heavy and coated 8-1/2” x 11” paper. Full color throughout.
I don’t have any information on pricing, yet. My guess is it will be about $45 retail. This book was crazy expensive to write thanks to all the expense of acquiring permissions to reprint images from all over the world, trips to Italy and Germany to inspect artifacts and the professional illustrations. Heck, the wood to make the workbenches was the cheapest part of the endeavor.
The second book at the ready is “Cut & Dried: A Woodworker’s Guide to Timber Technology” by Richard Jones. I finished my edit of the book this week. Megan, Kara and Suzanne are now making a final sweep through the book for errors and consistency.
We spent a long time coming up with the title for this book and are quite pleased with it. While Richard’s text covers every aspect of how the world of trees and woodworkers intersect, just about every detail that is important to woodworkers is how the wood was cut and how it was dried. This influences its appearance, its stability, the defects and even whether it will be susceptible to attack by pests or mold.
I am working on the cover for this book right now, and it involves a little woodworking, a little fire and some hand-printing. I’ll be covering the process here on the blog in the coming week.
“Cut & Dried” will be a sizable hardbound book at 320 pages on heavy 9” x 12” paper. I suspect the price will be about $50 to $60. We are waiting on quotes from the printer.
We will open the ordering process later this month and both books should ship from the printer in early April. More details on pricing and who will be carrying these books will come soon.
Waiting in the Womb
Soon after the above books go to press, we’ll have two more almost immediately. It’s going to be a busy year. Joshua Klein’s book “With Hands Employed Aright” will be back from the designer shortly. And Jögge Sundqvist’s “Slöjd in Wood” is almost ready to go to press.
And shortly behind those two books are new titles from Christian Becksvoort and Marc Adams. Oh, and Peter Follansbee.
— Christopher Schwarz
Congrats to Ramsey L. from Grand Rapids! They won the set of Kreg in-line clamps and bench clamps from our last giveaway! 🎥 Modern Builds – https://youtu.be/gM3oCXcyxoA 🎥 wortheffort – https://youtu.be/VGQOKcZe9TM 🎥 RIDGID Tools – https://youtu.be/mKFj2SD1WLU 🎥 Wood and Shop – https://youtu.be/CMN8tJP0HGQ 🎥 Matthew Cremona – https://youtu.be/9IPkqEPuKpw 🎥 April Wilkerson – https://youtu.be/EGNuhyfyF6k Enter this week’s giveaway, two BORA roller stands! Popwood Playback – Bora Rolling Stand! ➕ More viewer submitted […]
The post PopWood Playback #6 | Top Woodworking Videos of the Week appeared first on Popular Woodworking Magazine.
|4 1/2 tote and knob|
Another point with the Tru-oil is it says to wipe it down between coats with 00 (double zero) steel wool. All I have in the shop is 4-0. That means a trip to Wally World but I don't remember seeing any steel wool my last time in there. Wally World just got done with their *^@((%@!$%&*# lets move and rearrange everything. People have gotten used to where things are so it's time to change stock locations. So I'm not even sure that Wally World still sells it. They don't sell shellac anymore, be it quarts or rattle cans. And they cut way back on the sandpaper they used to sell.
|don't like this wild grain|
|the drawer slides|
|my last time using drawer slides|
|the last time I used the Leigh Jig to make dovetails too|
|put a pencil drawer in the top one|
Did you know that the maximum circumference of a standard bowling can not exceed 27.002 inches?
We are not the Waltons.
My step-mother believes we are. Or, perhaps, she believes that if she acts like we are the Waltons, we will become the Waltons.
We know better.
We are scattered geographically (Georgia, North Carolina, Missouri X 2 and California) and by age, I am 8, 14 and 16 years older than my siblings. When I left for college in Pittsburgh my family moved Denver. And I never lived with the family again except for four to six days occasionally at Christmas and three weeks when my father died. How the sibs turned out is not my fault.
So, like many other families, I assume, we do a Christmas lottery. Every sibling and spouse participating is assigned another sibling or spouse in an allegedly random draw and given the opportunity to purchase said sibling or spouse a gift from a supplied list not to exceed $100 exclusive of shipping and tax although point has been so subject of some discussion and dispute. Over the years the proffered gift lists have gotten shorter to the point of being only for a gift card or cash.
Annually, I supply my list of 4 of 5 items that actually requires a fair amount or research. Making an Amazon wish list helps. What inevitably happens is that a sibling or spouse would “buy” something my wife had already purchased from the same list. Many of these items were tools. In recent past, there were many tools at the $99 price point. Now, not so much.
These tools have included:
Home Depot now only stocks a 6″ bench grinder for $45. I don’t use this grinder much anymore since like all good Kool-Aid® drinking woodworker, I have replaced it with a slow speed grinder.
This is not the actual grinder I was gifted. My sister gave me one like it the year the family was spending the holiday with her in Los Angeles. Driving to the airport, I was concerned how I was going to check it and how much it would cost for a third checked item. I found a Home Depot en route and returned that one for cash. I bought this one at a local Home Depot the next day.
Then there was:
Still used for the annual Toys for Tots build. This year I had three drill presses for the build. I could have used a fourth but space is not infinite.
In a break from Ryobi, there was this:
This is now the Rockler Heavy-Duty Tenoning Jig, Item #: 29840 for $129.
Moving away from woodworking:
The missing sockets and drive live in the bandsaw now.
Home Depot is now selling a Wen that looks a lot like a Rockwell that looks like a Triton that looks like a Grizzly that looks like a Scheppach. Then I stopped looking.
The last tool I mention in this walk down memory tool lane is this classic:
I did buy an additional template and use it to make box joints.
Discontinued by Porter+Cable, this machine next spent time as Woodcraft’s WoodRiver 12″ Half Blind Dovetail Jig. It is now the MLCS Dovetail Jig. Old tools never die, they just get new boxes.
I thought I would never use this dovetail jig because I don’t like the aesthetics of machine cut dovetails. Maybe if I had one of those $500 dovetail jigs I might feel differently but I don’t and I don’t. I’m not one of those dovetail purists/fetishist that rejects the existence of machine cut dovetails on philosophical grounds. They are a valid method of joinery. I just don’t like the look.
I never thought I would use the jig until I found this on eBay:
But this one is different:
I was bothered by this in that is not like the others in the collection:
The typical box has a bottom attached with a sliding dovetail creating feet to keep the contents away from damp mine floors.
I was also bothered by the fact that a design feature of the boxes was that the were assembled without any glue. The joinery hold the box together. No glue required. Half-blind dovetails cannot rely on friction to maintain joint integrity. What keeps the box together?
Having bought one, I had to build one:
Not pinned yet.
The family took a vote this year on the Christmas lottery. Some of us felt it had become functionally like taking $100 from the left pocket and putting it in the right pocket. Less tax and shipping. The vote was two to discontinue, one to continue and one abstention. Maybe not a principled abstention, more like disdain or disinterest. Only siblings were polled. We didn’t think it fair to get spouses involved in such an emotionally charged issue.
A white elephant exchange was suggested. (Everyone provides wrapped, low value gift. The first person selects a wrapped gift. The next person can either select a wrapped present or take the first person’s gift. If a gift is stolen, the victim can select a wrapped gift or a previously selected gift. You cannot immediately steal back a stolen gift. And so it goes.)
This did not happen because one sibling was very seriously concerned about ending up with a $25 tchotchke they didn’t want. Apparently they never heard of regifting…
We all just donated $100 to a charity of our choice.
When you don’t need an absolutely accurate line drawn on a piece (say for a shooting/nailing line or layout line) all you need is a wooden folding ruler, a pencil and your two hands. Lay the rule on your piece the proper distance in, then hold the rule in your left hand with your index finger against the edge of the piece. With your pencil against the tip of the […]
The post Tricks of the Trade: Testing the Finger-Guided Ruler appeared first on Popular Woodworking Magazine.
For those of you that have been despairingly watching our dwindling shirt inventory, we have good news: our new shirts just arrived from the printer yesterday.
For this new design, we commissioned an illustration from Jessica Roux, the same artist that drew Jonathan Fisher at work in his workshop for my upcoming book. Mike and I had Jessica draw the irons and wedges from my three bench planes in her whimsical folksy style. Jessica’s mentioned more than once that she loves drawing these old tools, working out the textures and layers of color.
Besides “MORTISE & TENON magazine”, the front of the shirt has “FORE” “TRYING” and “SMOOTHING” labeled beneath the irons. The shirt’s back says, “Cutting Edge Technology” with the M&T pyramidal logo beneath.
To print something this detailed, we turned to Triple Stamp Press in Atlanta, Georgia. Triple Stamp does incredibly fine water-based screen printing that captures the fine details of Jessica’s drawings.
These indigo-colored shirts are of the same premium 100% combed cotton jersey we’ve always used. We love these shirts and often get compliments on their soft, vintage feel.
You can purchase one of these shirts here. We do not print second runs of our shirts. If you know you want one, I would recommend getting one now.
We also have stickers with the fore plane iron and its wedge for $3 each. The stickers can be purchased here.
If you are in the market for live-edge slabs that are dry and ready to go, read on.
The tree service I use outside Cincinnati has seven beautiful walnut slabs available that they have cut, dried in a vacuum kiln and are stacked and ready to go. I got to inspect the slabs last week during a visit and they are sweet. I didn’t have my moisture meter with me, but they felt dry and ready to use.
Here are some details:
- They have two slabs that measure 3” thick and 12’2” long. These are 45” wide (!!) at the crotch end and 27” to 34” wide on the bole.
- They have four slabs that measure 3” thick and 12’2” long. These are 47” wide at the crotch end and 34” wide on the bole.
- They have one slab with bark on one face that is 136” long at the crotch end and 20” at the bole end. The thickness varies because of the bark surface, but the middle bit is almost 6” thick.
I’m listing these here as a favor to the seller and you. I don’t get a commission and have no interest in the deal.
This was one impressive walnut tree, and I’m happy these guys were able to save it from the chipper so it can live on.
For information on pricing and availability, contact Jay Butcher at 513-616-8873 (voice or text) or via email.
— Christopher Schwarz
Cut the Dado the Same Way You Would if the Case Weren’t Assembled
Yep, its that simple. There is no special technique for adding a shelf into a case you stupidly already assembled because the hand tool approach is to take the tool to the wood. This means you just need a way to hold the case while you saw and chop away the dado. So really this video should be titled, “How to Cut a Dado”.
Lots of Ways to Cut DadosThe method shown above is probably my go to, most common method. But there are always other ways to get to the same place. Have you seen a dado or stair saw in action? You might want to these out:
James McConnell, of The Daily Skep, will teach a weekend class on making a fore plane July 21-22 at the storefront in Covington, Ky. Registration opens at 9 a.m. Monday, Feb. 12.
Just like the other classes at Lost Art Press, it is limited to six students, and proceeds go directly to the instructor; they are not a money-making enterprise for Christopher Schwarz or Lost Art Press. He’s let those of us who are teaching use the space for free (he’ll likely edit this out, but: Chris is incredibly generous and kind) as a way to help build and get the word out on the local woodworking community in Covington. (And to help feed the cats/children/iguanas of the instructors.)
Here are the details:
Build a Traditionally Styled Laminated Fore Plane with James McConnell
July 21-22, 2018
Cost: $250, plus a $115 materials fee for the wood & iron
Build your own a traditionally styled wooden fore plane in a weekend with Jim McConnell. Using simple laminated construction, this wedge-and-pin-style plane works, looks and feels like a traditional fore plane, but it requires no specialized planemaking tools. This is a great way to get into the world of wooden handplanes – and the skills you learn in this class can be applied across the board to build planes of other sizes as well. We’ll focus on getting the bed angles right and fitting each plane to the user, so the plane you take home will be as individual as you are.
— Megan Fitzpatrick
With the legs and writing box done it as time to assemble them and make the shelf that had to be fitted to them precisely not only for the structure as a whole but to provide the specs for the spindles that held them together.
Not a whole lot of descriptive detail required here, the individual components were simply screwed together to make sure the pieces fit and allow for the layout of any remaining components.
It was certainly not a wasted effort as it allowed me to work out some of the minute details that could not be spatially resolved any other way.
It was finally time to move on to my pile of vintage true mahogany.
|still straight and cup free|
|primer I use|
|the plane interior|
Before I spray the primer I scrape and clean the body with degreaser. I then apply the stripper. After I strip the interior I scrape and sand it as best I can. Sandblasting it would be the best choice here. Before I spray on the primer, I clean the body one last time with acetone.
|Rustoleum oil based black enamel|
|made big improvements with the frogs|
One thing I do now is remove the yoke. It is a simple matter of punching out the pin that holds it. It's just as easy to replace. I haven't gotten up the courage to try and remove the lateral adjust lever. I read a couple of blogs where they remove the lateral adjust and pin it again and peen it over. I may buy a frog to practice on because that would make painting the frog even easier to do.
|frog from a rehabbed #4|
|4 1/2 frog|
|spray painted on the left and brushed on the right|
|4 1/2 on up have toe screws on the totes|
|Stanley barrel nuts|
|These are Bill Rittner replacement nuts|
|the small parts|
|oiling the small parts is next|
|almost forgot about the adjuster knob|
|tale of two knobs|
|this is a must|
|needs some wood|
|I haven't given up on this yet|
|bought an adapter for the Craftsman ratcheting screwdriver|
Did you know that the Japanese Nintendo Company made playing cards before it made computer games?
Chests, cupboards, boxes, cabinets – most any wooden furniture that opened and closed had an iron lock in 17th-century New England (& old England for that matter). It’s rare that they survive, even more unusual is a customer who wants to pay what it takes to get locks on their custom furniture. I have such a client right now, for 2 boxes and a chest. So I get to a.) show how I install a handmade lock, and b.) first, re-learn how I install a handmade lock. I do them so rarely that each time is like doing it for the first time. The lock above was made by Peter Ross, blacksmith. http://peterrossblacksmith.com/ His website is perpetually under construction. His iron work is top flight. We’ll get the tacky stuff out of the way first – if you want locks that are so-called “museum-quality/period-correct”, expect to pay for them. This lock, with escutcheon and 2 keys was $650. I suspect Peter still undercharged me, given the amount of work that goes into these. OK. Now to install it.
I cut a test-mortise in a piece of scrap to make sure I was on the right track. Then proceeded to the box. First, bore the main part of the keyhole.
The real dumb thing was to build the box, then decide it wanted a lock. So now, how to hold it for all the chopping, paring, etc? Because of the overhang of the bottom/front, I had to prop the box up on a piece of 7/8″ thick pine. I put some bubblewrap between them so as to not mess up the carved front too much. Then to hold the lid open with something other than my forehead, I cut an angle on a piece of scrap, and clamped it with a spring clamp. Not traditional, but worked well.
After scribing the layout based on the lock, I sawed two ends as deeply as I could.
After chopping some of that waste out, I had to re-score the end grain. I switched to a very sharp knife for this part. worked great.
Alternated scoring with the knife and paring with this long-bladed paring chisel.
Once I got to the stage for testing the fit, I realized I needed a hole bored in the scrap below for the sleeve to fit through. Once that was in place, I swiped a black sharpie over the lock, and then tested it. Left black marks where I needed to adjust things.
Some back & forth til it fit the way I wanted it. The slot on the top edge of the lock is for the staple from the lid to engage the bolt. So I needed to get the wood out of that slot.
Ready to be nailed in place. I bored pilot holes, and drove the nails in. I backed them up out front, thinking some might poke through. As it happened only one did, in a low point in the carving. So no trouble at all.
Then needed to open up the keyhole a bit. A rare appearance of a file in my woodworking. I bored a small hole first, then opened it up with the file.
The escutcheon, nailed in place. I had to snip the ends of these nails off, so they wouldn’t mess up the lock. In this application, they are as short as a wrought nail can be just about.
Then, some fussing to locate and excavate the housing for the staple. Here, I locked the staple to the lock and impressed its position by using the sharpie, and closing the lid & leaning on it. That left a mark so I could see where to cut into the lid.
Knife and chisel work again.
I got this part done, then had to pick up speed because it was getting dark. So the final photos will be another day. It’s 99.9% done. An adjustment is all that’s left.
This is a video on blade calibration to make it run true and vibration free. I was very nervous in the video and when I’m nervous my mind usually goes blank. Hope the video is beneficial to you.
This is an excerpt from “The Woodworker: The Charles H. Hayward Years” published by Lost Art Press.
Of course, you realize that the feature that makes this work awkward is the fact that the moulding which forms the pediment slopes upwards towards the middle. It necessitates a different section from that at the sides, and introduces an interesting problem in mitreing. The pediments of doorways, windows, and mantelpieces often had this feature.
A little reflection will show you that the moulding which runs around the side of the cabinet, the return mould as it is called, must necessarily be different in section from the sloping mould at the front (raking mould, to give it its technical title). Apart from anything else, the top surface cannot be square but must obviously slope to agree with the raking mould, and its top square member must be vertical. The whole contour, however, is quite different because it would otherwise be impossible to make the members meet on a true mitre line. These points are at once clear from a glance at Fig. 2 (A and B).
Before proceeding farther, it will be as well to explain that so far as the centres of these broken pediments* are concerned there are two distinct methods that can be employed. In the one the same section is used for the return as the raking mould, so that the square members of the moulding which would normally be vertical lean over at right angles with the raking mould. The pediment in Fig. 1 is of this kind; also that shown at C in Fig. 2. In the second method the section of the return is different, and is arranged so that all normally vertical members remain vertical as at D, Fig. 2. This latter method naturally involves considerably more work but has a better appearance. Both methods were used in old woodwork.
To return to the outer corners, the first step is to fix the contour of the return moulding since this is the one which is seen the more when the cabinet is viewed from the front. Draw in this as shown at A, Fig. 2, and along the length of the raking mould draw in any convenient number of parallel lines, a, b, c, d, e. Where these cross the line of the moulding erect the perpendicular lines 1-7. From the point x draw a horizontal line. With centre x draw in the series of semicircles to strike the top line of the raking moulding, and then continue them right across the latter in straight lines at right angles with it. The points at which they cut the lines a-e are points marking the correct section of the raking mould, and it is only necessary to sketch in a curve which will join them (see B). The same principle is followed in marking the centre return D, but, instead of drawing the semi-circles, the vertical lines 1-7 are drawn in the same spacing as at A (the reverse way round, of course).
Having worked the sections the problem arises of finding and cutting the mitre. This is explained in Fig. 3. The return mould presents no difficulty, and it is usual to cut and fit this first. It is just cut in the mitre box using the 45 deg. cut. Note that the back of the moulding is kept flat up against the side of the mitre box, the sloping top edge being ignored. Now for the raking mould. Square a line across the top edge far enough from the end to allow for the mitre, and from it mark the distance T R along the outer edge. This T R distance, of course, is the width of the return moulding measured square across the sloping top edge. This enables the top mitre line to be drawn in. The depth line is naturally vertical when the raking mould is in position. You can therefore set the adjustable bevel to the angle indicated at U and mark the moulding accordingly.
Worked and cut in this way the mouldings should fit perfectly. We may mention, however, that you can get out of the trouble of having different sections by allowing a break in the raking mould as at Z, Fig. 2. The mitre at the break runs across the width, and the one at the corner across the thickness.
The method of ascertaining the sections of mouldings should be used for all large, important work. If, however, you have a simple job to do requiring just one small length you can eliminate the setting out altogether. First work the return mould and cut its mitre. As already mentioned this is at 45 deg. and is cut straight down square. Fix it in position temporarily and prepare a piece of stuff for the raking mould. Its thickness will be the same as that of the return mould, but it will be rather narrower. Mark out and cut the mitre as described in Fig. 3. If preferred the adjustable bevel can be used entirely as in Fig. 4. The tool is placed so that it lines up with the slope of the raking mould, and the blade adjusted to line up with the mitre (see A). This gives the top marking.
Now set the bevel to the slope of the raking mould as at B. Mark the back of the mould and cut the mitre. Offer it up in position and with a pencil draw a line around the profile of the return mould as in Fig. 4. Work the moulding to the section thus produced.
— Meghan Bates
*A broken pediment is one in which the raking moulds, instead of meeting at the centre, are stopped short and are returned as in Fig. 1.
This week I posted a new online course to which all current members have free access. The project is a Chippendale Fretwork Looking Glass. (If you are a current member, and please make sure that you are logged in, click here to jump to the article, which includes information at the bottom on how to download your course.)
If you’re interested in what this online course is all about, plus learn a bit about the project itself, take a look at the course in the 360Woodworking.com store (go here).
Tapes and Rulers Early on, I remember reading somewhere that you should never rely on measuring tapes in a woodworking shop. Only use your rulers, never tapes. Though I understand the conclusion suggested because tapes are heavily used and vulnerable, I thought it seemed an odd idea. In practice, I neither agree with nor follow that rule. Because I make furniture — where many part dimensions are longer than most rules, […]
The post Precision Instruments for Woodworkers — Part Two: Rules and Tapes appeared first on Popular Woodworking Magazine.
And speaking of workbenches, you’ll have the opportunity to work with me at The Barn building your own version of either a basic Roubo or Nicholson bench in Southern Yellow Pine. Thanks to my adapting David Barron’s innovative system for building laminated Roubo benches, and the elegant simplicity of the Nicholson bench, you can arrive empty handed (except for your tools) on Monday and depart at the end of the week with a bench fully ready to go. The only likely hindrance to this outcome is if you spend too much time simply looking at the mountain vista on the horizon.
The finished bench does not include holdfasts or vise mechanisms; if you want those you can supply your own or I can order them for you separately. And if you prefer a 5-1/2″ slab for the Roubo bench rather than the 3-3/4″ slab, there will be an additional $100 materials fee.
The complete 2018 Barn workshop schedule:
Historic Finishing April 26-28, $375
Making A Petite Dovetail Saw June 8-10, $400
Boullework Marquetry July 13-15, $375
Knotwork Banding Inlay August 10-12, $375
Build A Classic Workbench September 3-7, $950
contact me here if you are interested in any of these workshops.