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We had our first inspection from the Covington fire department this week and were told to fix something I’ve been meaning to get around to for 18 months: an exit sign.
We had a lighted exit sign when I purchased “The Blaze” more than two years ago. But the sign was super nasty, painted in glitter and covered (somehow) with hair. Hair? What the…? I ripped down the sign when I removed the odd ventilation fan (also covered in hair) and about three metric miles of sub-code electrical wiring.
Today we installed a hairless exit sign that was 100 percent to code, and we’re added an “anti-blowjob” light to the front door to boot. I feel this light needs explanation.
Our shop is on a busy street corner that is used by everyone from elementary school students to prostitutes. When the sun goes down, some of the prostitutes have decided to use our shop’s stoop for their customer service duties. When this happens, the neighbors call the cops, and I get a nastygram from the police about the illegal activity on my property.
If I receive a couple more of those police reports I’m told I might be declared a nuisance by the city.
And so I debated today as to whether I should install a light above our door or monetize the whole thing with a webcam.
We’re going with the light.
— Christopher Schwarz
Filed under: Lost Art Press Storefront, Uncategorized
I’ve been slow to add stuff to the blog here. Time to correct some of that. Today’s chore is splitting up some leftover bits of oak, and some newly dropped-off bits. Here’s how I read these, and how I decide what to split from a few different bolts. the first one is an old one, been split & hanging around a long time, over a year I’d say. It was given to me about 2 months ago. Free wood is sometimes not worth it. this is one of those cases. Note how the radial plane is cupped. This isn’t from drying, it’s the way the tree grew. The medullary rays curve from the center of the tree to the bark. So if I want wide flat stuff from this, I have my work cut out for me. What I do with such a piece of wood depends on several things: what I need at the time, how much effort I want to put into it, and how much other wood I have around. These days, wood is in pretty good supply, time much less so. Thus, I want to get the best piece I can from this as quickly as possible.
The ruler shows how “un-flat” the split is.
The piece was 26″ long, but with the checking at each end, I expect to get about 22″ length out of it. Just right for a joined stool stile (leg). So I opted to split a 2″x 2″ square out from right below the sapwood. First split with the froe gets off the inner twisted bits.
Next I split off the sapwood & bark. Surprise, the sapwood sheared off across the grain. Usually a log that has been around this long has punky rotten sapwood – I expect that. But to shear off like that means there’s something underneath…
And there was – some deformity curving the grain near one end. So didn’t get my 2″ x 2″ x 22″ stile. The resulting piece could be a ladderback chair front post (something I want to build, but have no time for right now. I’ve made parts for 3 of them so far this fall.) or the leg to a workbench out in the yard. I already have maybe 4 of those benches. On to the next split.
This one’s big & fresh. Just came in yesterday. Bark looks good. Very wide bolt, maybe 12″ or more.
But a big knot creating disturbed grain all around it, the full bottom third or more.
I always am working between getting the biggest piece (widest) I can, or getting the best piece of wood I can. Usually I want the best one. Which in this case, is much narrower than what I first expected from a section like this. See the ruler here, the best (straightest, flattest, least-work) piece is from the 10″ mark to 15″. So that’s what I split.
Now the distorted stuff is isolated in the right-hand section, destined for firewood.
Then I further split the remaining stuff into four thin boards for carved boxes, or narrow panels for the sides of some chests. Once I don’t think about where they came from, these are excellent clear, straight boards. This is a case of free wood that is worth it.
One of the older bits looked promising: wide, maybe 7″ or more. 24″ long.
But when I sighted down its length, lots of twist from one end to the other. I didn’t shoot it well enough, but you can generally read the twist down at the far end. Its right hand corner is high, as is the left corner nearest us. Means some hewing before planing. Not fatal, but maybe there’s better wood out here.
Yup. Fresh too. (that means easier to work…) Shorter, but wider.
When I scooch down and sight its radial plane, dead flat! That’s the stuff I’m after…
Gonna have lunch and find some more like this one.
Want to learn more about how to read these logs – Plymouth CRAFT has a weekend class coming up that’s just the ticket. https://www.plymouthcraft.org/riving-hurdlemaking-weekend
Riving, hewing, drawknife work. Me, Rick McKee ( https://www.instagram.com/medullary_rick/ and https://blueoakblog.wordpress.com/ ) and our friend Pret Woodburn will show you all we know about opening oak logs and what to do with them.
Bill Carter has produced a whole series of videos on how to make his wonderful mitre planes. The pace is a little slow (he is nearly 80) but if you set the time aside there are some wonderful gems to be found and if you fancy having a go at making one of these planes then they are invaluable.
As someone with a few completed pieces of functional furniture under my belt, I've found that I've developed a chronic condition that causes me to look underneath every dining room table, and around the back of every sideboard to see how they're made. The other day at a wedding I even found myself waiting for an old lady to vacate her ladder-back chair just so I could turn it over and look for tool marks. Maybe madness is setting in, but even this madness has its method. I do this (compulsively now) because I find that I'll often learn a thing or two about how another craftsperson came up with an ingenious solution to the same problems I encounter. Sometimes, I learn from their mistakes. Either way, I almost always learn something that informs my own practice.
The other day I took my daughters to buy milk paint at the only local spot that sells such a thing which, as you may expect, is also one of those chi chi "antique" stores meant for interior decorators and not rust hunters. I always feel like I'm walking into an issue of Garden & Gun when I go there, and this time was no different. As I entered the front door I was greeted by this magnificently reclaimed dining table.
The tag made a selling point of the fact that this was made from "vintage" wood reclaimed from a farmhouse. Or maybe it was just regular old wood from a "vintage" farmhouse. It's hard to follow how people use adjectives in advertising these days. Regardless, the point was that they wanted you to know it was old and it looked old and that the price would be adjusted skyward because of it.
We love old looking stuff, we just don't have the time it takes for it to actually get old.
The table certainly was striking and my curiosity was piqued, so I began to study it to see how it was built. A twinge of worry came over me almost immediately when I noticed the breadboards had no pins, so I looked under the table and to my dismay all I saw were pocket holes and plugs - hundreds of them. Not only were the "breadboards" attached this way, but the long boards were edge joined likewise. I cried a little inside.
I wish to be clear. Pocket screws have their uses, even in pre-industrial period work, but this is not one of them. There's absolutely no need for them, and it is possible that they will predestine this "one-of-a-kind-vintage-farmhouse" table to the scrap heap when the wood begins to do what it does (move) and the screws do what they do best (keep things from moving). Maybe the wood is old enough and dry enough that this won't be a problem. Maybe someone won't lean too hard on that breadboard and tear the four brave screws out of the opposing end grain. Maybe I'm over-reacting. Maybe.
On one hand, I feel like ranting about how someone was in such a hurry to make this thing that looks "authentically" old that they doomed it to the same fate shared by other hastily manufactured commercial furniture, but that's not really the heart of my concern. They could have reclaimed this resource more responsibly, but wood is wood. It grows on trees and in 200 years someone else will make equally ill-advised choices.
What interests me is this - hand tools so often meet skepticism over the myth of how "slow" they are to use, but how long did it take to drill, screw and fill all those holes? Edge joining a table top like that would be relatively quick work with a plane by comparison. And yes, it would take longer to properly join a breadboard to the ends, but those tenons and pins would likely outlast more than a few vigorous games of cards with your rowdy uncle Phil. When I looked at this table all I could see was an unnecessary calculation to make something that looks like it's been around for 200 years rather than making something that may actually be around 200 years from now.
The relationship between furniture and fashion has changed over time. It was once perfectly reasonable to commission a piece in a "fashionable style" (else where would the highboy be?) but the understanding was that a client was also commissioning a piece that was structurally sound. The ornament was once icing on an already very sturdy cake. This is no longer the understanding people have when they think, "hey, I want a farmhouse table" because there is always an implied "for now" at the end of that thought. We expect our tastes to change, and so we want things based on a "look" and not on their lasting function in our lives.
We can no more hurry up and make things that are "old" than we can hurry up and make things that will last. Good things take the time that they take whether they are fashioned with a frame saw or a table saw. Part of educating ourselves (and others) about period furniture (or furniture, period) is learning this lesson. Good will always be good. Junk will always be junk. We may make our decisions accordingly, but at the very least we should take a look under the table and make them knowingly.
- Jim McConnell
Changing Our Looks and More I know many of you that have been with us through the years have noticed changes to my backdrop and also heard hints of changes yet to come too. We’ve not wanted to be secretive so much as make certain we carried you along the journey with us. Many of […]
In this episode of 360 with 360WoodWorking, Dave Campbell, Wood Magazine’s Editorial Content Chief, gives us a behind-the-scenes look at Weekend With Wood, happening in May 2018. He tells us why, in his opinion, this event is so successful. Plus, he shares all the happenings included with the spouse’s event that runs at the same time.
Join 360 Woodworking every Thursday for a lively discussion on everything from tools to techniques to wood selection (and more).
I came across a website several weeks ago on how to make liquid hide. I copied it down but didn’t note which website I took it from. So, whomever you are I thank you in advance.
What you need:
- Hide Granules
These three ingredients are mixed by measure of weight. Follow these steps to mix your own batch.
1oz (28grams) of 192 grams strength Hide granules
.2oz (5.6grams) of Urea
1.5oz (42 grams) of distilled water
Mix the Urea into granules and stir it.
Then pour the distilled water into the mix and give it a quick stir.
Cover it and let it sit overnight. The next day heat it up to 140°F (60°C) for 2 hours.
(I’m not sure why it’s required to use distilled water unless tap water in the U.S. is filthy)
Liquid Hide is now ready to be used. Pour it into a small plastic bottle and when you need it, just heat the bottle with water up to the same temperature written above.
All well said and done, but we’ll see how works out tomorrow. I’ll keep you posted.
Btw, the Issue III of The Lost Scrolls Of HANDWORK magazine is in its final stage. I’m hoping to publish within the next couple of weeks. Fingers crossed
|my toe stubs|
|the middle of the saw|
|setting the 140|
|I'm guessing this is maybe a 32nd deep|
|cutting the tails|
|off square on this half pin|
|an added bennie|
|setting the pin depth|
|not too bad for hurrying|
|tumultuous joy and dancing in the streets abounded|
|half pin is gappy|
|planed them flush and glued it|
|the 140's nicker|
|glued and cooking|
|I didn't hesitate at all|
|finally got the pair|
|nice fluffy shavings|
|the adjustable shoe works easily|
|sole is in decent shape|
|iron looks good and has plenty of life left to it|
|back of the iron|
|no room for it with it's mate|
This started in July of 1943. What was it?
answer - federal income being withheld from paychecks
In a recent blog post I mentioned how our content editor, Jim McConnell, and I have agreed to engage in a friendly discussion on the blog about metal-bodied and wooden hand planes. In that post, Jim explained some of the reasons that he prefers metal-bodied planes. We aren’t here to make this topic controversial and adversarial. That’s the stupid kind of stuff that happens on forums. This is just plain ol’ honest discussion. Here's my take:
I was trained on metal-bodies planes at the luthiery school I attended. We learned the setup, adjustment, and use of these high-performance tools. Even though my introduction to planing was with new high-end examples, after I graduated from the program, I fixed up a few old Stanleys to fill out my set. I had no reason to complain about metal-bodied planes—I had nothing to compare them to.
It wasn’t until I began demonstrating pre-industrial woodworking that I decided I better figure out how to use wooden planes. I expected to eventually achieve decent competency—at least enough to do planing demonstrations—but I didn’t have high expectations.
For me, the only way to learn is to dive in head first. I resolved to go cold turkey for a few days to force myself to learn the mystical subtleties of adjusting these foreign contraptions. I cleaned the grime off some old fore plane and sharpened the iron same as I always did on my metal planes. I read some instructions and watched a YouTube video or two and then gave it shot. I spent about 20 minutes playing around with the adjustments, varying the tapping pressure, and even experimenting with retracting the iron a bit (I don’t know why but I didn’t expect that technique to work.)
I found that it only took me a few hours of playing around with wooden planes until I was instinctively making confident adjustments with the hammer. This was an honest-to-goodness surprise. I began to incorporate these planes more and more into my work to increase my proficiency with them. After a few weeks, it occurred to me that I was actually beginning to prefer using wooden planes over against my faithful metal ones. How in the world did that happen? What were the advantages I saw in these planes?
A Few Reasons I Prefer Wooden Planes
- Lightness – If you are a hand-tool woodworker who preps your stock with hand tools, mass is not your friend. Why in the world would you want to spend hours slugging around a heavy metal plane when a wooden one works the same (or better)? This is no joke—It makes a huge difference for endurance. If you use machines to prep your lumber and pretty much only use your smoothing plane, then this point is probably irrelevant to you but if it’s up to your muscles to get the job done, you’ll want all the help you can get.
- Lack of Sole Friction – This one goes hand in hand with #1. Wooden soles glide on wood like no other. With my metal planes, I remember regularly going back to lubricate my soles in order to minimize the resistance while planing. I’d rub a little wax on the sole and BAM! what a difference it made. Lubricating soles is an old practice that even historic wooden plane users took advantage of. It makes sense. Why muscle the tool around if you can make it glide better? The truth is, I almost never lubricate my wooden plane soles. Once in a blue moon I remember that most people out there do that so I put some wax on there for good measure. I hardly notice any difference.
- Ease of Adjustment – I know, I know. You don’t believe me. Am I really saying that adjusting a wooden plane is easier than adjusting a metal one? Yes, I am. Although there is a learning curve (like everything in woodworking), I think the wooden plane’s fewer parts and more straightforward design makes adjustment easier. Metal planes have their own learning curve. The cap iron has to be in the right place or the iron projection will change. Then the lever cap screw has to be turned just right to get the right pressure—too much and you have problems adjusting the iron, too little and you can bump your setting out when planing. And forget about that little knurled knob that you have to cram your fingers to spin, spin, spin to adjust. (Is it clockwise or counter-clockwise, I forget?) I always felt the lateral adjustment lever that can be finicky. Etc, Etc. None of this is a big deal to someone who is used to these idiosyncrasies but my point is both metal and wooden planes have learning curves. My belief is that once you get past the learning curve, the wooden plane is faster, easier, and much more pleasurable to adjust. Try it, I dare you.
- Comfort in Use – There is a reason that metal planes have wooden handles and knobs—metal is cold and uncomfortable. I like the feel of wooden tools and find them much more inviting.
- Tactile Feedback – The wooden body transfers to my hands all the subtle vibrations from the iron engaging the wood. This gives me a source of feedback I never had with thick and heavy metal planes. I can actually feel how the plane is working.
- Beauty – This is totally subjective, I know. I think many metal planes have their own beauty but, in my view, wood ages better than metal. To me, there is nothing like a couple hundred years of patina on an old wooden tool.
You don’t need exceptional planes to get these results. All my planes are over 100 years old and are nothing special. When I am searching for a plane in an antique shop, I look for grain orientation (quartersawn, preferably), no major structural concerns, and at least decent amount of iron left. That’s about it. I am very happy with these simple ho-hum examples and don’t feel a need for anything fancier.
If you are someone who wants the best of best and has the resources to pay for it, there are several wooden plane makers out there that make high-quality bench planes. Old Street Tool has been making single-iron planes for a long time, Steve Voigt makes double-irons, and I recently got to try out a nice single-iron fore plane from Jeremiah Wilding. I highly recommend all these makers.
Have questions? I’d be happy answer in the comments below.
|wavy tooth line|
|whoa big doggie|
|I like this one|
|Lee Valley file jointer.|
|it' better but not complete|
|makes rip cuts easily|
|a couple of shoulder cuts|
I'm leaning in the direction of sending it out and having it filed properly. The tooth line on this saw isn't perfect either. It is almost straight and there aren't any missing teeth. If a pro does it I'm sure I can follow on that and keep it in good shape.
|never thought of doing this before|
|nice clean knife line - sharp cures another problem|
|trying out the 140 again|
|nice clean shoulder|
|no slant to outboard on this practice run|
|slanted across the width|
|corrected - flat, straight, and even end to end|
|the action of the plane is very sweet|
|skew blocks for the LN honing guide|
|I like this saw|
|found a box for the 140|
|lots of room|
Who was Juan Sebastian Elcano?
answer - he was the first person to circumnavigate the world (He assumed command after Magellan was killed in the Philippines)
I thought about a number of options, but kept coming back to the kitchen work table I made last year, which has exceeded our expectations. My wife loves it and uses it constantly. I decided to use a similar design for the outdoor table. It is a bit narrow, but it will sit against a wall.
The next issue was what species to use. Cedar and redwood are obvious candidates, but I decided to use white oak because it looks nice and is an excellent outdoor wood. In a Forest Service study, untreated white oak was found to have an estimated average service life of 30 years in outdoor untreated applications. It also weathers nicely. Think of old whiskey barrels. I bought three 5/4 boards 8 feet long averaging 6" wide for $70, under $5/bf. I like this thickness because it makes strong stretchers and, doubled, makes 2" legs.
One disadvantage of white oak is that it is somewhat difficult to work with hand tools. It is subject to tearout and quite hard (Janka hardness of 1360 vs. 1010 for walnut, for example). It's manageable though; the key is very sharp tools, which requires honing very often. Given my severe patience and discipline issues, I have to be able to do this quickly at the bench with no fussing. The best way I have found is three steel honing plates loaded with 6, 3, and 1 micron diamond paste:
I also keep a strop at hand.
My design requires 14 mortises, which I made as I normally do by using a drill press to remove the bulk of the waste and then finishing with a bench chisel. At some point, I will buy a pig sticker and give it a go, but this method is so easy I am ambivalent. A personal failing I know.
Here are the four legs mortised and ready to go:
Drivel Starved Nation-
Here’s the latest news regarding your favorite Tool Potentate…
JOHN OUT OF THE OFFICE DEPT.
This Thursday I depart for China, first stop is Guangzhou. A week later, I will meet up with the BCTW field trip participants in Shanghai for a couple of days of food and tourist attractions–this should be really fun. We then will all board the bullet train (over 300 km/hr and smoother than flying!) for Nanjing. More great food and a visit to the museum of China’s greatest living woodworker. This will be an incredible experience, and I will be sure to take lots of pics and videos for you.
On November 3, I will be taking the bullet train to Beijing and that evening we are meeting the American ambassador to China (Mr. Terry Brandstad) and his wife Chris for dinner, and chopstick making! (Did you know that they extrude the bodies of the bullet train out of aluminium? It’s the largest extrusion in the history of the planet!)
NEW PRODUCT DEPT.
This week we will open the pre-order window for Pencil Precision™. I think you will thoroughly enjoy making pencils–I’m an old guy and not easily amused (except at my own mistakes) and this thing is just a blast to use.
Many of you own an HP6v2 plane so we are offering two kits, one without the plane and the other with an HP-6v2. This is a globally sourced project with components made in the USA, China, Germany, to name a few. Without question, this is the best value tool making kit we have ever produced – Here’s a pic of the kit without the HP-6v2…
This kit includes two sole kits for the HP-6, the planing fixture, the extrusion fixture, and enough blanks and ferrules to make 12 pencils. It will allow you to make round pencils. The extrusion die kits for beaded and Reuleaux pencils will be sold ala carte and are $89 per set. This way you can buy just what you want. This kit is under $450!
In both kits you will receive a sample of six ferrules with erasers and six without. This will allow you to explore both pencil making options. The ferrules come in eight colors and you will understand why when you make your first pencil with child or grandchild assistant. Watching the look on their faces when it is their turn to pick which color is priceless.
We will announce the spectrum of colored pencil options at a later date as we are in negotiations with potential suppliers. The kit comes with 12 2H leads and we will offer black lead options in the following hardness: 4H, 2H, H, HB, B, 2B and 4B and Red and Blue. We recommend H and HB for little kids.
AND, all pencil component options, whether it is 12 leads, 6 plain ferrules, 6 ferrule/erasers or 12 cedar blanks are all under $9.00. The material costs for making beautiful custom pencils will be right around $2.50 each. Combine that with the fun of involving your entire family is simply unbeatable.
When I return from China we will begin filming the HOW-TO video tutorial but to wet your whistle, here is a short video peak at one of our prototypes in the skunk lab. I removed the crank and I am using a Dewalt power screwdriver (I love this tool) with an almost dead battery. Each die is really a circular plane iron and serves as not only the cutting edge, but the chip breaker as well. It doesn’t get any easier than this!
Pencil Precision is a complete hobby/factory in a box and this is what it isn’t: a toy. This is a professionally made tool that will last generations–which is a whole lot longer than a smart phone.
The post Pencil Precision Video, China Field Trip, Other Bridge City News appeared first on John's Blog.
My two most recent, all together. Plenty of detail work left before moving onto the varnishing, but I can now heft them to my shoulder and they feel like fiddles. That's fun.
Note: This is crossposted from Crucible Tool.
Dividers work better if the tips match the job you’re doing. For layout chores, such as scribing arcs or setting out your joinery, the dividers’ tips need to match the wood you are using. Sharper tips will prevent the tips from skating on hard woods. And dull tips are needed in soft woods to prevent from marking the work too deeply.
In this video, Raney demonstrates how to make the tips sharper or duller using fine sandpaper stuck to a flat surface (a granite block in this instance). Changing the tips from dull to sharp takes only about two minutes (I timed him). And the results are worth the extra effort.
These techniques work on almost all dividers, not just our Improved Pattern Dividers.
— Christopher Schwarz
Filed under: Crucible Tool, Uncategorized
|this is past due|
|every shop needs a few different sizes of these|
|there's the yoke pin|
|all blown dry|
|a moment of weakness|
Gaps on the inside of dovetails bug me for whatever reason. I think what is causing it is I'm moving my knife line ever so slightly as I chop. I have come close a few times with almost no gaps but I have yet to do any 100% gap free. I got this for the fixing the gaps more than for registration. I also got it because Deneb said it will make bread board ends.
|it's a heavy one too (one kilo)|
|run a gauge line|
|I figured it out|
The problem was me digging into the wood too hard with gauge. My attempt to make the line as deep as I could was too much for the gauge. I just happened to look at the cutter wheel as I was trying to make a deeper line and I saw the cutter wheel peel off like a shaving coming up through the mouth of a plane.So I think if I let up on the depth of the line, my cutter wheels should last. I forgot to add them to the LN order when I bought the 140 block plane.
|I am not doing something right here|
I think I made a mistake in not removing the right side plate on the plane. That would allow the iron to get up tight into the bottom of the rabbet. The shoulder on this looks like crap and it should be crisp and clean.
|better on the second run|
|new saw for Miles's toolbox|
|a carcass saw?|
|ripped ok but the saw is dull|
|hard to crosscut|
|the teeth look like crap (Disston #4)|
|small rip saw - jointing the the tops of the teeth|
|the toe after I sharpened them|
|time to test my work|
|not too bad|
|not bad for my second attempt at sharpening|
|missed a few|
|sharpie marks the rework spots|
What is a nonce?
answer - something that is made or used only once
Check out the new “Library” and “For Sale or Trade” tabs in the menu. Here’s why:
Over the summer, new guild member Barb Siddiqui donated a treasure trove of mostly hardback woodworking books to us. In other words, we have a library! Included in the 500+ titles are some of the best ever published: all of The Best of Fine Woodworking books, woodturning books, carving books, books on making period furniture, you name it.
The library is housed at Lombard’s Hardwoods, and all volumes are available for check-out by guild members. In the notebook provided, print your name and contact info, along with the names of the titles you are borrowing, then be sure to bring them back. If someone might want a page or two copied out a particular book, we recommend taking a picture of the pages with your phone or tablet.
The “For Sale or Trade” idea has been bandied around for awhile now, and since yours truly (Autumn) will have to make all of the postings and updates, I was skeptical about starting it, but we’ll give it a go and see where it goes. I’ll do my best to keep it updated.
If you have a woodworking related item to sell or trade, send me the info, with photos, to email@example.com. Be sure to provide your name (some email addresses are obscure) and your contact information. Please send me an email advising me when to take down the posting, otherwise, you’ll keep getting inquiries.
Darrell Peart is coming to town! Date and other info are on the sidebar.
In preparing for the sessions at The Anthony Hay Shop of CW I decided at the last minute to toss in the materials needed to make sandpaper, not knowing whitener or not there would be any interest. It turned out that a lot of the participants were indeed interested, and several told me a very common question from the visiting public was some variation of, “Did they have sandpaper in the old days?”
So I’m glad I had what was needed.
We started with moderate weight rag paper, albeit machine made, not hand cast (maybe next time).
Wetting the paper both sides relaxed it so it would pucker less when the hot glue was applied to one side.
We were using 135 gws glue since it had plenty of adhesion properties plus was much more flexible than higher grades, making it more usable since it would not fracture when bent.
Once the glue has been on the paper long enough such that it is tacky but not wet, the surface is sprinkled with fine frit, the ground glass that was often used as the abrasive for some ancient sandpapers (hence the common terminology of “glass paper”). You want the glue tacky enough to adhere the frit, but not wet enough to soak into it and turn it into a big chunk on the surface.
The glued sheet with frit is shaken or brushed so that the frit covers the whole surface, and the piece is set aside. Once the glue has hardened adequately the excess frit is brushed or shaken off and the sheet is allowed to dry fully.
And voila’, you have a genuine new piece of antique sandpaper about 180 grit.
Being been inspired by the original Moving Fillister plane I own (image above), I tried to build this rebate plane with adjustable fence, capable of very good work along the grain as well as across the grain.
Its skewed blade (20°) eases the cut, while a nicker, situated just before the main blade, has the purpose of pre-cutting wood fibers and obtaining a clean result across the grain too.
I used walnut wood for the plane body and wedge, while the sole, the parallel fence and the depth stop are of hornbeam, a wood particulary resistent to the wear and which creates an attractive chromatic effect when couple to a darker wood as the walnut. A hornbeam piece is inserted at the top of the plane, too.
The parallel fence moves on the sole through two elongated holes and is kept in place by two M6 bolts which are screwed in the correspondent nuts inserted into the sole.
Three years ago I learned about dynaGlide Plus from Richard Welder at Micro Fence. It is a Silicone and Teflon free dry boundary lubricant. I have used it principally to clean the swarf off the bearing surfaces of my shooting boards and to lubricate them. It functions well on metal planes, edge tools, bits, bearings, and abrasive surfaces.
Vogt Toolworks is now a distributor. Click here to view the Product Page.