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The windows in our house aren’t much to talk about. Just 36″ square vinyl windows in a typical ranch. I’m not sure how old they are as I know they aren’t original to the house, but were here when I bought it fifteen years ago. My wife, Anita, wanted to jazz them up a bit and give them some character, so she asked me to make trim to go around them.
The first thing we did, was to take out the marble sill, which was the hardest part. Sometimes they get stuck inside the frame, so I had brake them apart in order for them to come loose. If I was lucky, I could cut the sealant around the sill and jimmy it loose.
I made a new sill out of 7/8″ thick maple. I tried to get rift sawn material so it wouldn’t warp too bad. I cut notches on both sides of the sill so it would stick out on the wall so the 1×4’s could lay on top of it.
We wanted the header to have character so we took a 1×6 of pine and attached a 1×2 on the top. We then laid a cove molding on the 1×6.
Using my small miter box, I was able to cut the tiny pieces of cove for the ends.
I then took a piece of pine 1/2″ thick and used my block plane to shape the corners and ends to create a bullnose. I pinned everything together with my 18 gauge pneumatic nailer to complete the header.
Back at the window, I measured, cut, and nailed the rest of the pieces to the wall using a 15 gauge finish nailer. I trimmed the maple sill so that there would be a 3/4″ overhang to sides on both ends.
Here’s the close up of the header nailed to the wall. The 1/2″ thick bullnose hangs over 1/2″ on both sides of the frame.
After filling the nail holes with putty, Anita caulked, primed, and painted the window trim. We did both windows in our bedroom the same way. The next step is to frame around the closet, paint the room, get a new headboard, new blinds, ceiling fan, rug, etc… I don’t know, ask Anita, she’s the designer. haha
Some time last year I was contacted by the ancient book caretakers of the Library of Congress (LC) to inquire about some in-house training they needed in woodworking. Yes, that’s right, ancient book caretakers needed to know about woodworking. Actually I knew that because many, many years ago I had helped a colleague in the same department with a project having to do with very large format book (about the size of a Roubo original edition) that was having problems with its bookboards, or cover boards, which were made of oak. You see, the the world of old books, especially those from about 1500 and older, wooden book covers are simply part of the equation. While the specialists at LC were expert in the care of the paper contents, and their bindings, they were a bit hazy on the details and practices of fashioning the wooden boards.
Having participated in a number of collaborations with LC over my career, they asked if I could come and teach them. Of course the answer was “Yes” and we began the Dance of the Conflicting Calendars. Combined with the political brinkmanship that is endemic to Mordor on the Potomac it took many months for the training to occur last month. One of the items looming overhead was the sub rosa blustering about “shutting the government down” to accomplish some partisan goal or another. (My own attitude on that matter as a skeptical non-partisan Strict Constructionist Declarationist I wished the government would shut down, or at least retreat to its Constitutionally mandated activities, which by my count means elimination of ~90% of FedCo.)
The goal of the two-day session was to impart the knowledge and implant the muscle memory so that each member of the ancient book posse could fabricate a technically faithful book model as a practice exercise in preparation for the next time one of the ancient wooden board books needed re-binding.
So, on a bitter cold and blustery February morning I pulled up to the doors of the elegant LC Jefferson building, my CRV filled to the brim with tools and materials for them to use under my tutelage. In a caravan of carts all of these were wheeled down to the book conservation space underneath the Madison Building across the street, and I set up shop.
Only one of the crew had experience in woodworking (the fellow using the bow saw in the picture below) so I needed to start at Point Zero to review the nature of wood, tools, and the processes used in planing, sawing, etc. I brought plenty of 5/4 white oak to work with, and we got down to bidnez.
The first assignment was for everyone to use the bench bench hooks I made for them to saw a single piece to the size they needed for their book model’s boards.
Then came the flattening of one face of that board to provide a reference surface for the resawing. Given the human scale involved (this crowd was for the most part more petite than a typical woodworking gathering) they were particularly pleased with #4 planes, which are too small for my routine use.
With the flat reference face completed, next came the resawing. I’d made a Fidgen-style kerfing plane to leave with them, and they took to it like me and bacon. The final product was to be a 1/4″ thick book board, so I made the kerfing plane to create a 3/8″ thickness.
One of the more serious challenges for the exercise is that as a book conservation unit they were not well equipped for woodworking in the bench category. Their only bench was an ancient and wobbly Sjoberg hobby bench.
I have one exactly like it that I got out of the trash many years ago. Frankly if I had to use one like this every day it would end in the trash too. I completely remade mine, mounted it on some 4″ slippers to get it to a decent working height, and screwed the entire thing to the floor, resulting in a very nice and oft-used work station. Mine is currently ensconced in the corner, perhaps not coincidentally closest to the propane furnace, and is dedicated to the finer work of decorative objects conservation, gunsmithing, etc.
I will do my best to address their lack of a decent workbench, hoping to make and donate a mini-Roubo in the coming months. But for now, all we had was a wobbly little bench and some mobile work tables.
Then the resawing began with a variety of saws, and thus endeth Day One.
A spalted tamarind blank floated around my shop for years waiting for the right project. Last month, it somehow made its way to the top of the stack, where it just happened to catch my eye. I could see a small lidded box hiding in the wood. I knew it was finally time to turn this blank.
Click here to follow along with Curtis and learn how to turn a box.
You might know Anne Briggs Bohnett from her website, Anne of All Trades, or perhaps through Instagram, where she’s quickly racked up more than 60,000 followers (with a mix of photos featuring woodworking, farming and unbelievably adorable animals), or perhaps you’ve met her at Woodworking in America or a Lie-Nielsen Hand Tool Event…or maybe even taken a class from her at the Pratt Fine Arts Center in Seattle. If so, […]
I have put out one recycling bin only to be told that it must be at least 1/2 full to be put curbside. Let's see if we can do the math on this together. In order to have the garbage picked up I have to have a 1/2 full recycling bin. I have put an empty one along side the garbage and I got a note explaining how wrong I was to do that. I didn't get my garbage picked up that day neither. So, Einstein, what is the solution to this?
What does picking up the garbage have to do with the recycling? If I don't put out one that is at least 1/2 full, nothing gets picked up. I think that there is one and only one genius that has thought up these rules. 90% of the time I only put out the garbage and it gets picked up. Why? because I don't generate enough recycling to put a 1/2 full bin curbside every week. Every once in a while this no pickup crappola happens. I gave up calling city hall to get a clarification on this. I am stuck with the fecal covered end of the stick no matter which I turn here.
|Stanley #120 block plane|
I don't know a lot about these block planes. According to Stanley Catalogue #34 this plane cost 75 cents and was an upgrade over the #103. The #120 got ground parallel sides and a rosewood knob instead of a metal boss like on the #103. Both planes were intended for light duty work. Insert one of Bob Demers blogs on fleshing out about everything you had to now about the Stanley #120 here.
I was expecting a derelict or at the very least something that didn't look as nice as this does. To my eye it is looking like I might be able to rehab the both of them.
|slight differences are apparent|
|knob fits on my plane|
|irons are the same width|
From the Stanley catalogue #34, the bottom and sides were ground on the #120. I'll be doing that on mine a little later on. The #103 had a ground bottom but japanned sides.
|taking a citrus bath until tomorrow|
|new feet material|
|two wide ribbons of sapwood|
|ash is about a 1/4" wider|
I think this is the best choice to to go with. I can easily get the reveal I want on both sides.
|I got my 1/8"|
|I can get both feet out of this and avoid the sapwood|
|found a smaller piece|
|stickered my parts|
Before the hair dryer was invented in 1920, what was used to dry your hair?
answer - the vacuum cleaner
I can hear the derisive snickers out there. You’re all thinking:
“It followed his wife home? Sure!”
As Roy as my witness, I promise you the story I am about to tell is true. I can’t make this stuff up.
I can embellish…
It is a closely guarded secret that I spend my spare time visiting auctions and antiques shops, recording and documenting the rare treasures I find there. It is our past. It is our legacy. It defines who we are as a species. It’s a bunch of old stuff people don’t want anymore yet has some perceived value.
On occasion, my wife will accompany me to an auction preview. It is usually my second visit. I know she has no interest in spending two hours admiring and photographing every item that was made before McKinley was president. It is one of the things that makes our marriage work. I don’t insist she spends hours staring at old wood objects and she doesn’t insist I accompany her to the beach. Exceptions have been made in certain extreme situations. We must all be flexible.
A recent auction caught my wife’s attention. It was the quarterly catalog auction and it included wine. One cannot actually preview the wine but one can read the list and do research. My wife is very organized and likes to read lists and do research. She found a lot of three bottles of Napa wines that she managed to get significantly below current North Carolina retail, if she could find it.
Buoyed by this success, she decided she wanted to hit the auction preview with me. The evening before the auction, I made my second visit and she made her first. She was better prepared. She has studied the online descriptions and had a list of items she wanted to see. I had a vague notion of what I needed more pictures of.
She quickly dismissed most of her list. The rugs were the wrong size or color. The decorative accessories were in worse shape than the casual collector could tolerate. There was one item on the list she really liked, an English settle.
English Style Settle
Description: Early 20th century, oak and pine, barrel form with shaped arms, curved seat.
About settles. We have had a front porch in need of a settle since we moved in. I know just the settle I want to build. The problem is that I have not delivered said settle. The wood is not even in the shop. Nothing on the calendar. I was slightly hurt that she wanted to buy one but I got over it.
The morning of the auction, I attempted to enter our carefully considered maximum bid, saw that we were already $80 below the current bid, talked and bumped it $100. Then when my wife wasn’t looking, I added another $40.
That night she asked what it went for. I told her that it closed above our second bid. I waited ten minutes to tell her of the third bid that was successful. She forgave me my subterfuge.
And here it is:
We had to place it flat against the wall. Being relatively lightweight pine, it makes a great sail. I was going to build mine from whire oak.
Here you see the barrel form:
A relatively shallow settle:
Relatively simple construction:
Nothing fancy on the sides:
Looking at the bottom, I could see that it has been stripped. It had gone through most of its life covered with mustard colored paint:
I suggested to my wife that for the sake of authenticity, we restore the mustard paint. She was not impressed by this notion.
I expressed my concern that this pine bench might not survive long outside, even on a covered porch. Her response was, “Well, if it only lasts two or three years, it gives us time to find something else.”
I thought, “I have shared a bed with this woman for 26 years and right now, she is a stranger to me. I don’t know this person.”
Fortunately, as an adult, I have a filter and what came out was, “Well, OK.”
This brings up two questions. Firstly, is this a historic and significant piece of furniture or just old? On some level I believe that every piece of furniture ever built needs to be lovingly preserved until we run out of PODS and U-Haul storage units. This is not realistic. Some furniture must die so others can live.
Second question, what is the best non-opaque finish to use on this settle? It will require a fairly high level of UV resistance. My first thought was a good marine spar varnish.
I am willing to entertain other suggestions.
Router table cabinets can be a waste of space. This compact, vise-mounted unit stores easily and is just the right size. by David Thiel April 2005 Popular Woodworking Magazine I think it might have been seeing a $1,000 router table setup at a recent woodworking show (it’s very cool, but $1,000?). Or maybe it was realizing that our shop’s router table’s cabinet mostly takes up space and fills with dust. […]
In the late ’80s and early ’90s you could visit a strip club and it wouldn’t be sleazy. The reason: Mike Tyson. He would simply walk through opponents with devastating power in the first few rounds. Nobody wanted to order the expensive pay-per-view at home with the odds of it being over in seconds. So the strip clubs could collect a door fee, a two-drink minimum and be done with […]
I try to write a new entry for my blog every week. I also try to make it useful or at least not boring. Sometimes I succeed. However because it's a weekly thing lots of content gets rolled under the covers and after a time lost. So this week I decided to take one of the earliest blogs I every wrote (#8 from a decade ago) and bring it current again. Yes I know everyone hates when magazines to a yearly article on the same subject again and again, but like magazines we have a lot of new readers who haven't see this topic.
(note: I shot a video for this yesterday but I didn't get a chance to finish editing it so check back over the weekend and I should have added it in).
Every time someone comes in and buys a marking or mortise gauge, I give them a quick demo on how to use it. It's not unusual for customers to know they need a gauge, but not how to use one. It's not their fault. There is a hell of a lot of misinformation on this subject, and using a gauge properly isn't intuitive.
The goal of a gauge is to provide a line that is just deep enough to catch a chisel or a pencil. Some people like deep cuts with a knife, but the deeper the gauge line, the more you will have to plane the finished surface - otherwise finish will catch in the line and the entire world will see the gauge line. The great woodworking writer Charles H. Hayward noted that when he apprenticed (around 1910) visible gauge lines in a finished work was considered sloppy but it was a common practice. These days, it is all too common and perversely considered a proud mark of "hand craftsmanship."
The problem that people have in using gauges is that when the gauge sits square on the wood, its pin will dig in, follow the grain, wobble, and give you a jerky cut. So various woodworking gurus have advocated filing the pins really short, so even if the gauge sort of works, you can't see where you are going; filing them into knives, so you get a deep line that is hard to get rid of later; remounting the pins on a diagonal; and giving up entirely and using a wheel gauge.
Here is how you really solve this problem:
1) Set the fence to the right setting.
2) With your hand curled around the fence and beam, tilt the gauge away from you and rest it on the long cornered edge of the beam (the corner away from you). The picture and diagram should make this easier to understand.
3) Put pressure on the fence in so the gauge is tight against the wood, and with the corner of the bean firmly on the wood, tilt the gauge towards you. With this method, with all the pressure going into the fence and edge of the beam, it is trivial to control the pressure on the pin. You can have a tiny bit of pressure on the pin that just leaves a mark for smooth visible wood, or you can just as easily bear down on with more pressure for rough wood so that you get a mark you can see.
3) Then push the gauge away from you, always keeping the long edge of the beam on the word. You push the gauge away from you so that you can see what you are doing. And of course with the pin tilted it won't dig into the wood.
4) You don't want the gauge to go off the the end of the board, because once the beam goes off the wood, you will lose control. So stop just before the end of the line and repeat from the other end of the board this time tilting the gauge towards you.
5) It's better to have a light mark than a dark one. If you have trouble seeing your scribe mark, just run a very sharp pencil in the groove.
6) That's it. A sharp pin isn't super important because in general you want a thin shallow line, but that's a personal preference. I don't think I have ever sharpened a pin in my life.
We sell gauges from about $15 and up. They all work. If you are getting just one gauge, I would suggest the Marples screw adjustable combination gauge. The screw adjust allows you to set the width of a mortise independently of the fence setting, which is a real boon. However, in a pinch all the gauges we sell work. You don't need the fancier Trial 1, although I do like the weight of it. Colen Clenton's gauges feel wonderful in the hand. You won't regret the purchase, but it's certainly a next gauge to get, when you settled into joinery and have the urge to splurge. Over the years I have acquired a lot of gauges because I will set a gauge to particular measure, and then put a piece of tape over the thumbscrew so that I don't accidentally move it, and I'll recognize that it's set for a particular project. On a long project, I can tie up gauges for months, so I have a bunch of gauges.
You'll see over the years and over your projects a hierarchy of favorite and "others" will naturally emerge.
PS - The scribe line in the picture looks a little ratty because it took a bunch of tries to get a shot in focus.
I haven't forgotten about my workbench build. I still have to clean up the face vise and buy all the wood and I'll start to do that next month. I'll make a road trip up to Highlands to buy the wood for the base. I'll build that first and then I'll start in on the bench top. That is in the sequence of events as of now. I'm hoping that I'll be done with it and using it by the end of summer.
|flattened with 80 grit|
|the diamond lapping plate was next|
|I used all 4 of my diamond stones|
|I inherited this shiny bevel|
|iron is done|
|right and left shavings - both the same size and thickness|
|shavings from the center of the iron|
|15 secs work on the 80 grit|
I'll continue to use my diamond stones for all of my tool steel and O1 tools. With the A2 irons I may go back to using water stones just for them. That depends upon what Richard presents in chapters 4-7. I don't have time to watch them on weekday nights and I can't watch them at work on my lunch time(they are blocked). The weekend is the only time I'll be able to catch up on them.
The way I'm sharpening now is working for me. I like the results I get. I can do anything I want with these methods. Now that I know I have to raise that damn burr first, I think I'm heading in the right direction.
|the new project parts|
|these were the back slats|
|getting an eyeball guess-ta-mate|
|my last pine one|
|it's a year old|
|my latest rehabbed #3 plane|
|first side is twist free|
|second one has a slight amount to remove|
|I'm keeping the sapwood|
|the inside faces|
|the shelf is twist free|
|the sides are almost as thick as the feet|
|I want a 1/8" reveal on both sides|
The thing that has been giving me headaches is how to attach the sides to the feet? I have a biscuit joiner and I could use that. Another option is making floating tenons by hand somehow. The last option I thought of was a tenon on the bottom of the sides fitted into a mortise on the feet.
Who was the first president to receive a salary of $100,000 a year?
answer - Harry S Truman (current salary is $400,000 a year)
It is impossible to spend any significant time in Barcelona without feeling the influence of Antoni Gaudí. Being easily influence, I couldn’t get enough of his work and am truly fascinated by him and his works.
For those not so influenced (or aware), I offer the following paragraph copied and pasted from a Wikipedia article:
Antoni Gaudí i Cornet; (25 June 1852 – 10 June 1926) was a Spanish Catalan architect from Reus and the best known practitioner of Catalan Modernism. Gaudí’s works reflect an individualized and distinctive style. Most are located in Barcelona, including his magnum opus, the Sagrada Família.
Between 1984 and 2005, seven of his works were declared World Heritage Sites by UNESCO.
As an introduction to Mr. Gaudí, we will explore some of his furniture then. In time, several of his buildingswill be explored.
Much of this furniture was designed for specific buildings. It is firmly in the Art Nouveau style with its organic fluid lines with direct references to nature.
Reproductions of these and other Gaudi pieces are still available.
I am not sure if the following furniture is designed by Gaudi but it does exist within Casa Milà, popularly known as La Pedrera. This was the last civil work designed by Antoni Gaudí and was built from 1906 to 1912.
The furniture may not be Gaudi but it is era and style appropriate and in Barcelona.
Shortly, we will examine some of Gaudi’s s iconic buildings.
It won’t come as much of a surprise that woodworkers are frequently good at more than one thing. Sometimes it’s necessary, other times it’s just for fun. I was in Hillsborough, N.C., last week working with Elia Bizzarri on two new videos and we started talking about what music to use. He asked if we’d like him and a few of his friends to play something. “Yes!” was the easy […]
Amy Herschleb attend Jim Dillon’s Hand Tool Sharpening class at Highland and came away with a new appreciation of working with sharp tools. In this series she will go into thoughtful detail on the 3 methods of sharpening Jim Dillon taught. Today she covers Method 3, The Tormek System.
The final technique covered in class was the Tormek system, specifically we used the T-8. The slow speed wet grinder put a new edge on a worn-out tool while the leather wheel, with abrasive paste added, polished the tool. It can be fitted with a wide array of jigs for different shapes of blades from knives to scissors to chisels to axes. A plastic gauge that rests against the grinding stone sets the angle at which you are removing material. In class I watched the principles of the operation, then put them to good use while in Florida, putting a new edge on my kitchen knives (a couple of them older than me) that had probably never been sharpened in their entire culinary careers.
Even with a jig, the process demands a great deal of attention, especially with long knives or those that end in a curve. In this instance, the use of a Sharpie is vital. By coloring the cutting bevel black, you may see where and where you are not wasting material. Often areas near the heel or the tip are ground away unevenly, because so much depends on consistent movement of the blade across the stone. By paying attention to the markings, the sharpener may check for inconsistency along the edge.
The Tormek system allows you to grind either toward or away from the bevel, toward for most knives and away for small knives. I ground the knives toward the bevel with the universal tool rest set up horizontally, keeping one hand on the jig and the other on the handle, floating the blades back and forth, keeping the jig resting on the tool rest bar.
Due to the shape of the wheel, sharpening on a this surface creates a concave bevel, that is, a slightly hollow shape. This makes for a narrower sharpening edge, and faster sharpening times. Over time, the sharpening bevel gets bigger as the blade gets shorter from sharpening. When sharpening takes too long, it’s time to regrind.
Beyond a couple false starts involving a flying carving knife (no one was hurt) and a gouge I tried to put into the leather stropping wheel and the part where I ignored Jim’s advice to test a blade on the arm hairs instead of a thumb tip (I wasn’t sure I’d done that good a job. Spoiler–I had) this went off without a hitch. For once, my kitchen is equipped with a selection of sharp and useful knives, and vegetables and meat may be cut down efficiently without gratuitous sawing and strong-arming.
After experimenting (in a supervised environment and then free range) with a variety of methods, I am most satisfied with the Tormek system. Sandpaper, though easy to come by and easy to replace, is absolutely repulsive to me in a tactile sense and will destroy a manicure. Knowing where there are two Tormeks at my disposal certainly helps things, as I can re-grind worn down tools, then keep them sharp at home with a 1000/6000 wet stone.
Amy received her MFA in Creative Writing from San Francisco State University. She is the staff writer at Highland Woodworking. In 2015 she and her dad co-founded Coywolf Woodworks, their hobby shop in North Florida.
The post Tool Sharpening for a Beginner, Part 4: The Tormek System appeared first on Woodworking Blog.
I got through the first 3 chapters of Richard Maguire's sharpening video.There are 3 more chapters available now with the 7th one due on the 22nd(?). I was reluctant to buy this because I didn't want to muddle my head up with another person showing their way of sharpening. The 3 chapters I've seen so far have been an eye opener. I have watched them each two times so that I could digest and not miss anything that Richard put out.
Like the other videos outputted by Richard and Helen, this one is outstanding. He explains each step in a way that I can easily grasp what it is. I would recommend this to anyone interested in understanding and upping their sharpening game. And this is based on just watching half of it. He also makes sharpening look like it is as easy to do as breathing air. I'm hoping that I'll be able to do it 10% as well as he does. And I'll be happy with that too.
|the real time is 1545|
After the first day I switched from the Westminster chimes to the bim-bam and I was disappointed with them at first. I could barely hear the first hour count when they sounded. Instead of being a 'gong' bim-bam, they have a bell sound which I don't like as much. But as time passed, they seem to get louder and I could hear them and count the hour as they bim-bam'ed..
The first problem is the hands. They don't fit properly on the time shaft and I think they are slipping. I can move the minute hand 5 minutes in either direction before I feel resistance from the time shaft. It has been running now for two days and the chimes are working correctly but the indicated time is off.
The second problem is the paper dial. Where my finger is has a hump. It is humped in a few other places too but not as high as it is here. The minute rubs on it as it passes by and it looks like the hour hand barely clears it too. I will have to fix these two problems before I try to set the time again.
I will have to take the movement out to fix the dial. Fingers crossed on getting it off without ripping it.
|adhesive dot holding the dial in place|
|double sided adhesive dots|
|more than 4|
|first use of my veneer roller|
Went looking for my plastic hands but I couldn't find them. Searched the shop and then I searched upstairs. I looked there because I set up the clock while watching the Perry Mason marathon. After searching for a while I gave up without finding them.
|fixed the problem|
What time is it when 7 bells rings onboard a ship?
answer - 0330, 0730, 1130, 1530, 1930, and 2330
On my first visit to the Metropolitan Museum of Art (Met) in New York I saw, among the monumental and famous pieces, a small item that captured my eye. It was so impressive that I even decided to buy a postcard with a picture of it. This was a spherical shaped miniature wooden box that, once opened, displayed an intricate biblical scene that shocked me with its complexity and level […]
Amy Herschleb attend Jim Dillon’s Hand Tool Sharpening class at Highland and came away with a new appreciation of working with sharp tools. In this series she will go into thoughtful detail on the 3 methods of sharpening Jim Dillon taught. Today she covers Method 2, Using Waterstones.
The next technique we practiced was with Japanese waterstones. Jim recommends Ian Kirby’s book Sharpening With Waterstones, which covers far more material than the title suggests. We began with 800 grit and worked up to 8000. A simple setup for waterstones Jim suggested was to make a wooden rack for the stone that will sit atop a 5-gallon bucket, so that the stone may be rinsed efficiently and the mess contained. In lieu of this in the classroom setting, after the initial soak, we wet ours constantly with a plastic squirt bottle and kept the stones on plastic sheeting.
The Japanese stone (specifically the 1000/6000 combination stone) is a great tool for touching up blades after using them, such as in the kitchen, before they can wear down far enough to warrant grinding a new edge.
Several weeks later, when I had the chance to visit the shop in Florida, I tried Dad’s DMT Duo-Sharp diamond stone. This one also had a plastic base and was reversible, with a grinding grit on one side and a polishing grit on the other (Dad’s is Fine/Extra-Fine). This I simply kept on the counter near the sink to rinse, then thoroughly dried the stone and base after use to protect the nickel from corrosion.
I found this technique to work very well, when I had the angle set by a guide. Without it, I managed to dull a kitchen knife significantly, simply by sharpening at the incorrect–or even an inconsistent–angle. This episode in the kitchen particularly emphasized the importance of careful setup and attention to detail in what risks being considered (by the uninitiated) the least vital of tasks. Meticulous preparation does indeed save you time down the road, as our buddy Young Thomas learned 178 years ago.
Check back tomorrow to read Amy’s thoughts about the last of the three basic systems of sharpening she learned.
Amy received her MFA in Creative Writing from San Francisco State University. She is the staff writer at Highland Woodworking. In 2015 she and her dad co-founded Coywolf Woodworks, their hobby shop in North Florida.
The post Tool Sharpening for a Beginner, Part 3: Waterstones appeared first on Woodworking Blog.
My next step in the Great Kerfing Plane Saga was to go where I think kerfing plane evangelist Tom Fidgen started – kerfing planes with a fixed fence to produce a set width to the cut. My most typical use of resawing by hand is making hand-sawn veneers, so I decided to make my first kerfing plane part of that equation. Since I am not yet as skilled at veneer sawing as the craftsmen in the 18th century Parisian ateliers, who routinely harvested twelve sheets of veneer per inch of stock, I struck a more realistic task of cutting eight per inch. Thus, my need was for a dedicated kerfing plane set to 1/8″.
Falling back on my old habits and routine, I made the body of my plane from 13mm baltic birch plywood. I had first made a pattern for the tool, one I could use repeatedly. I derived the pattern template from a backsaw, which I traced onto 3mm plywood and cut out. The template now hangs overhead off a joist in the shop, awaiting for new kerfsaw-making urges to strike.
I traced the new kerf saw pattern on the thicker plywood, and drilled out holes where they would make the sawing the most amenable. I accomplished this with my coping saw in a couple minutes. Once I was done with the sawing I worked on the profiles of the handle with rasps and files so that it was comfortable in my hand.
I made a 3mm rectangle to be glued to the heavier plywood to provide for the cutting spacing.
The assembling continued apace with another scrap of bowsaw blade and a piece of scrap brass barstock to serve the retaining element to hold it all together.
The completed tool is a delightful amalgam of lightness with robustness for vigorous use, combined with comfort and precision for repeated cutting of veneer.
The test drive was perfect!
I followed up on this kerfing plane with one for some teaching I had upcoming, where the ultimate objective was to derive prepared oak boards of 1/4″ thickness from 5/4 stock. In this case I made the fixed cutting distance 3/8″ since this was the closest scrap I had handy, and in recognition that the folks I would be teaching had no woodworking experience and a bit extra waste would be advantageous. I will soon recount that tale, confirming the tool removed a huge potential hurdle to them completing their assignment and future task.
Thanks again Tom Fidgen for leading me down this path of simplicity for the sake of precision and efficiency.
|I can't fix this|
|outlined the scratch area still to be done|
|lots of ugly looking scratches|
|5 more minutes of work|
|compared to the first pic, it is finally getting smaller|
|switched to my 80 grit runway|
|5 strokes on 80 grit and I got a consistent scratch pattern|
|10 strokes on the coarse diamond stone|
|stepped down to the coarsest diamond stone|
|consistent scratch pattern - not as coarse looking as the 80 grit|
|back to the coarse diamond stone|
|what my bevel looks like|
|couldn't get rid of all of the scratches|
|going to road test it as is|
|thin and wispy|
|smooth as a baby's butt|
|other end smoothed|
|flattening the back|
|ten strokes on the 80 grit|
|after 80 grit back to the coarse stone|
|still have a hump to flatten|
|highlighted the problem spots|
|my last run on 80 grit|
|still needs more work|
|20 minutes later|
|pits are gone|
|before I road test the iron|
|took another break|
|not quite 5" to the center of the screw|
|the iron from the plane with paint on the sole|
If everything is set up the same way and I'm using a honing guide for repeatability, why can't I raise a burr now? Did the iron somehow get out of sharp in use - the back of the iron wasn't meeting the toe of the bevel at nothing anymore? Or did I sharpen this before this and not get a burr and just went with a shiny bevel? If I had done that I can see me not being able to raise a burr here and now.
I will have to take this from this point forward. I will raise a burr on this and sharpen and hone it. The next time I have to touch it up we'll see if I can get a burr off of the stones.
|no detectable burr off of the coarsest diamond stone neither|
|got my burr off of the 80 grit runway|
I still have a ways to go on my sharpening. I would like it to be a 1-2-3 event and then back to woodworking. I think I have a ways to go before that happens.
What was Perry Mason's win loss record on his first 7 cases?
answer - 7 straight losses - from Perry himself in the TV Movie 'The Case of the Musical Murder'