Thanks to everyone who has sent tools and money for the 18 new hand-tool woodworkers I’ll be teaching at the Marc Adams School of Woodworking next year.
Your tax-deductible donations have already paid for five (almost six) of the students. And the donated tools are piling up on my workbench in the sunroom. I haven’t counted everything yet (and I still have three boxes to open today). But I can say that we are set on mallets and coping saws – more on that point at a future date.
If you haven’t heard about this heavily discounted course that I’m teaching in the United States and England in 2015, go here. If you are interested in donating tools or money to the effort, you can read about that here.
I have had a lot of questions about the class at the Marc Adams School of Woodworking in particular because it has not opened for registration yet. Registration for the general public begins on Dec. 1. If you wish to read the course description and get information on registering, fill out the contact form here and opt in for the school’s newsletter. They’ll send you the 2015 schedule and registration information.
— Christopher Schwarz
Filed under: Woodworking Classes
There was too much woodworking going on in my shop tonight. On many Monday nights, the Hillsborough Orange Woodworkers hold their weekly meeting in my shop. Tonight’s project was part of the continuing toy build for the Triangle Woodworkers Association annual Toys For Tots campaign. To recap, HOW was building toys for the TWA’s T4T 2014.
Nominally, I am in charge of the build. My shop, my project. Trouble is that the HOW people are a bunch of self starters. Hard to control. Not a bad thing, I just need to be a bit more assertive. Better overly eager than reluctant and cranky.
For most of the night there were five work stations in use, a band saw, a drill press and three different sanding stations. I have plenty of power in the shop. Problem is that I usually work alone in the shop and use only one tool with dust collection at a time. The power isn’t distributed for so many tools in use at one time.
Tonight, I had to run more extension cords from outlets I seldom use. Running out of extension cords, I plugged the band saw and it’s dust collector into the retractable ceiling cord reel. I have often plugged in the band saw there without anything interesting happening. But it usually only runs for 10 or 15 minutes. Nothing that will stress the system.
They were using the band saw continuously for around two hours when it happened. I had gone into the main house. Nothing for me to do in the shop, all the tools were in use. I came back in and was told the breaker for the ceiling outlet had tripped and would not reset. We plugged the bands saw into another outlet and moved on.
I tried the breaker and it tripped immediately. They were right. Thinking that there might be a problem in the reel, I pulled down. It wouldn’t move. I pulled harder. It moved and I didn’t like the results. Wire was a bit toasty.
The wire was only 16 gauge. 10 amps. I was running a bit more through it. Probably a bad idea. And the lack of air movement in the reel didn’t help.
Well, off to the recycling center, a sadder but wiser man.
Back in September last year, I had the pleasure of visiting a wonderful violin shop and its restoration workshop called Bridgewood & Neitzert.
If you look at the slideshow, you will see the superb cabinet work of Michael White. I asked Gary for more information about Michael and how he came to meet him. His response via email was such a lovely portrait of Michael that I asked if I could reproduce it in full. Gary’s email is below, with some pictures he also kindly forwarded to me.
I started this blog because I wanted to show the work and skill of proper traditional cabinet makers, joiners and woodworkers like Michael and I hope to connect with many more like him.
Michael White made all of our cabinets, sadly he died nearly three years ago, and he is terribly missed. He worked with us for 18 years. It’s quite an interesting story, an artist friend asked me to help her deliver a painting she had made of a woodworker. She had been commissioned to paint on the inside of a lid to Micks tool cabinet. Mick lived in the Goswell Road in a tower block on the 14th floor. His tool cabinet was truly incredible.
He had started it as an apprentice at Cubitt’s, I think in the Grays Inn Road. He was a sea cadet and involved in D-day but as a skilled woodworked was conscripted to stay repairing London during the blitz. The cabinet was about 8 feet high with a bell shaped cabinet below with a pull out section, made of exotic woods. He had inlaid the old three penny coins around the edge. He had never finished adding to it and amending details, it was truly a superb piece of work. My artist friend had painted Mick with his tool cabinet in the background whilst planing some wood.
We got on very well and Mick was very interested in violin making, which I was doing a lot more of back then. I invited him to come and visit and if he ever wanted to use any of our machines in our basement he would be very welcome as they rarely got used.
I didn’t see Mick for about 6 months when one day he arrived in his best suit at our door. After tea and a good look round he was ready to leave and once again I offered use of our facilities, Mick said he’d think about it. About four months later Mick arrived in his work wear and asked me what I wanted doing first! I was quite taken aback and said why he hadn’t brought his own work; Mick said he’d prefer to help us first. Anyway this conversation was to be repeated for the next 16 years, only towards the end when Mick was not well did he decide to finish his cabinet and the last job was finishing the pull out section with carousel which was full of drawers and hanging sections which had a handle in the top and could be removed when working on site. I supplied Mick with pieces of ebony, rosewood, and quilted ash and of course violin maple for the drawer fronts, it was spectacular when finished.
Mick kept finding things to do and useful places to make a cabinet or shelf to maximise storage, his last project was our violin/viola/cello case display cabinet which was finally finished and installed by my friend Hugo.
Mick told of his master whose name I think was Spirro, he trained at the Vatican and Mick said his training was not only woodwork but carving, gilding , drawing/painting and stone work, his apprenticeship lasted 16 years! Mick was lucky enough to train under Spirro at Cubitt’s. He also told many, many stories. One was for one of the old carpenters who worked at Cubits whose tool chest doubled as his coffin and was kept at the end of his bed.
I don't like this, but it was the best way I could think of to do what he wants. Another way that occurred to me as I was doing it is to glue blocks onto the bottoms of the pieces at the joint line and fasten them together with bolts. It would have taken longer to take the top apart but would perhaps have been a little more secure. Oh well.
The remaining task is to come up with a way to fasten the gallery to the rear stretcher that will allow it to be removed quickly. He will need to be able to undo the latches and slide the gallery back in order to disengage the positioners before lifting the gallery up. That means the attachments in the back will have to accommodate a considerable amount of movement. I've got a strange idea that I think will work.
I got a good start on my kitchen island over the weekend…but then Monday came along and work intruded. Loath to let my momentum falter, I decided on sawdust for lunch instead of my usual diet of Diet Coke and pretzels. So I headed to the shop to cut the dados for the two “floating” shelves; the top one will hold the microwave, the bottom one will likely be quickly […]
There are many, many variations on the basic joiner’s mallet design, but there’s one design element I will always insist on in my own mallets: a curved top to the head. I used to think this was merely a decorative element, but I recently found out it’s not.
But does it really matter whether the top of the head is curved or straight?
Yes, it does. Here’s why.
Below is a small mallet I built a couple years ago, mostly to be used for adjusting wooden planes. It doesn’t get much use, and I made it before I had thought much about mallet design. The striking faces are angled as usual, but the top of the head is flat–co-planar with the bottom. That makes an acute angle on the top edge of the mallet, a potentially weak point.
Imagine that the ruler on this square is the trajectory (more or less) of an errant mallet blow that lands right on the top of the striking face. If I strike the mallet there enough times, the top is eventually going to mushroom over. Given enough abuse, the top edge will eventually begin to split off.
That’s exactly what’s happening to my oldest mallet:
This mallet has a few years on it, and when the original face began to show some wear, I sawed about 1/4″ off of it in order to expose a fresh striking face. However, I eased the angle of the face just a bit, leaving the top edge at about a 90-degree angle. It’s now beginning to show some mushrooming, which you can just see in the above picture.
So when I made my most recent mallet, I decided to put a healthy curve on the top of the head:
This makes the top edge of the striking face an obtuse angle, which should be less prone to mushrooming and eventual splitting.
The curved top on the head thus protects the top edge of the striking face from excessive damage.
Okay, but does it really matter all that much? I can imagine a few objections already:
Objection 1: If you use a split-resistant wood, it shouldn’t matter. The top edge will be robust enough to take a pounding for years.
Reply to Objection 1: I partially concede the point. Although my old mallet, made of elm, shows some mushrooming on the top edge, there’s no sign of splitting. That wood is nearly unsplittable. If, however, you are making your mallet from wood that can actually be split, such as beech or hard maple, I maintain that your mallet will probably last longer with a rounded top–all other things being equal.
Objection 2: Mallets aren’t meant to be indestructible. When (not if) your mallet wears out, you make a new one. Don’t waste time on little details.
Reply to Objection 2: I want my mallet to last as long as possible. I will gladly spend an extra fifteen minutes on a single design detail if that means the tool lasts a year longer.
Objection 3: You must not be very accurate with your mallet, or you wouldn’t have the problem of errant blows mushrooming over the top edge in the first place.
Reply to Objection 3: All right, if you want to get personal, I’ll admit to a good deal of inaccuracy when pounding with my mallets. But within a few thousand blows, I’d wager that a few are bound to land somewhere near one edge of the striking face or another, no matter how accurate you are.
Objection 4: There’s little historical evidence for mallet heads as you describe them. Neither Moxon nor Roubo show mallets heads with curved tops. The old guys built some pretty fine furniture with what you seem to think are sub-standard mallets.
Reply to Objection 4: That’s true. Moxon and Roubo also don’t show planes with proper totes. While there are many, many things we can learn from them, that doesn’t mean we can’t improve on them. If the mallets in 18th-century joiners’ shops were as clumsy as Moxon and Roubo make them look, I wouldn’t want to use them. In fact, I don’t think I’ve ever seen a modern mallet made quite like the ones Roubo shows (click on the link above and scroll down.)
Objection 5: This seems kind of trivial. I’ll bet you were just especially hard up for a blog topic this week.
Reply to Objection 5: That’s true. (It’s also an example of the genetic fallacy.) But I’m still going to be curving the tops of all my mallet heads from now on.
Tagged: joiner mallet, joiner's mallet, mallet, Moxon, Roubo, striking face
This view always makes me think of a red-breasted merganser; or Woody Woodpecker. I got some stuff photographed and posted finally. I struggle with the photos constantly; they are never to my liking. But after shooting this stuff three times in some cases, I figured it’s not going to get different enough to matter. I hope. There’ll be another batch sometime between now & Thanksgiving, maybe two if I get organized. Here’s the page, http://pfollansbee.wordpress.com/spoons-and-more-oct-2014/ or the banner at the top of the blog’s front page. Leave a comment if you’d like to order something. Only one shipping charge per order for those who order more than one item. No need to get nuts about it…
Paypal is easiest, but I can take a check too if you’d rather, just let me know.
Thanks as always for the support. I truly appreciate it.
So for those of you who have already booked and those thinking about it, here is what you will be making.
This one is in olive ash with a piston fit tray and soft close lid. Apart from dovetailing (lots of it!) the techniques used include use of the shooting board (again lots!) as well as hinge fitting.
....removed completely if that's all that's needed.
Here's the discreet finger recess, now who says woodworking isn't sexy?!
Today was a seamless continuation of the successes of yesterday, as Jameel Abraham and I first went to the Scottish Rite Temple in Cedar rapids, Iowa, which will be the venue for the exhibit The Tool Cabinet and Workbench of Henry O. Studley. We spent about an hour in the exhibit hall, brainstorming about the actual layout and design of the event.
Can’t you just see it now?
Following that we went immediately to a theatrical lighting supplier to order the necessary fixtures to make sure the exhibit is visually compelling. It will be.
I spent the afternoon heading an hour north to purchase some Select white oak to complete the purchase of materials for the Studley workbench replica I will build to use as a prop in the exhibit.
Now that is a bench top!
I can now leave Cedar Rapids knowing everything is moving forward.
My name is Jamie. I’m 18 and just starting out in woodwork (specifically Luthery, however I really enjoy all kinds). I was wondering if you’d be able to help. I am looking for a number 5 plane and really don’t know where to start. I know you have a beautiful collection and probably have some useful information to help me. My options are to either purchase a cheap hand plane like Silverline. Or pick up an old stanley and restore it. Restoring does scare me a fair bit but I’d give it a go. I thought i’d ask if either you’d advise restoring, or would you advise buying new. (if you have a number 5 for sale for me to restore, please let me know!) I think car boots are going to be my best option. But would love too hear your opinion.
Thank you for being such an amazing inspiration.
Thanks for the question. It’s unlikely that I would ever advise someone to buy a new plane over a secondhand or older model because in functionality, older made Stanley or Record bench planes work just as well as any of the new ones once they are restored if that is indeed needed at all. They are reliable lifetime planes too. Not sure about Silverline products. I feel less inlined to recommend them generally. It’s not that I necessarily prefer old planes or that I am nostalgic. I just prefer using what’s available and well proven. Hundreds of thousands of users through a century and half can’t be wrong surely. The other issue surrounding your question is that we tend to put off learning what we feel uncomfortable with. I understand that, but really, there’s not much to truing up and fettling the Bailey pattern bench planes and included in those is the #5 jack plane.
A #5 jack is excellent for luthier work and will straighten and thin all of your stock for fronts, backs and sides and it will do that within thousandths of an inch as needed. The jack plane measures around 35.5cm (14”) long and has an overall width of 64mm (2 1/2”). More than sized for making guitars, violins and cellos too.
Here are the steps for restoring your #5. Don’t be intimidated by your thoughts, anyone can do this. It’s not particularly demanding or skilful. More sensitive than anything.
My #5 is a typical eBay find. The sole isn’t flat at all. Almost make a good boomerang.
It’s also hollow across it’s short width too and at first you’d look at the pictures and think it would take forever to flatten. In actuality this one took me about 15 minutes so don’t be daunted and though the eBay find might not be as bad as this one, it’s not unusual to find one as bad as this one.
In fact it’s quite common to find planes hollow across the width because many joiners use their jack planes to plane narrow boards of wood, MDF, melamine faced pressed fibre boards and much more abrasive stuff such as plastic laminates and plastics too.
I happen to own a proven dead flat granite slab so placing 140-grit abrasive paper on the block gave me the right start. You can use float glass or even a tile if you test it for flatness first. Sometimes, machine tables are close enough too. I have used wooden 4” x 4” lengths of wood and MDF. Choose your flattest surface.
I used 4 feet of 140-grit abrasive paper 4” wide for the first level major abrading and then polished further to 600-grit. Plenty fine enough.
Make sure you keep the lever cap locked in place at normal pressure with the blade retracted. This keeps the sole in tension and so maintains as closely as possible how the plane will be in its final tensioned state during use.
It’s not necessary to abrade to a finer level, but you can if you like. Wood is surprisingly abrasive and soon undoes what polish you might attain. I went to 600-grit straight from the 140.
Using the light and a true straightedge is usually enough to check for flatness. I first offered mine to the light and even fractional glimpses of light is not necessarily more than a thousandth of an inch.
I used a 1/1000” feeler gauge on my test slab and the gauge penetrated only around the rim where I had bevelled the outer edges as I always do.
To additionally prove my surface flatness I plane two boards independently and placed the edges together and they joint line was perfect.
The post Questions Answered – Advice Needed on #5 Stanley Planes appeared first on Paul Sellers' Blog.
As students of Historic Architecture, Culture and Trades we must never be satisfied with unfounded assumptions. Regardless of how long these speculations have gone unchecked we simply cannot take, as fact, the presumptions of those before us without testing and building reasonable evidence to support it or to debunk it, whatever the case may be.
For those of you who know me, you know that this is nothing new. This is not some new revelation rather something I have said for many many years. In simpler terms, the suggestions and opinions of others should always be valued and weighed but they can never replace experience and research. Learn from others but learn also from experience and testing. I believe that is precisely what Laura Blokker and her associate Heather Knight have done in regards to bousillage construction in Louisiana. She has taken material samples of well documented bousillage structures in Louisiana and has subjected them to analysis.
Simply put, the below information on bousillage is a must read for those currently involved in historical preservation efforts on the Gulf Coast or associated Acadian locals. Unthink what you knew about the composition of bousillage and read this article.
Fig. 2 (above): Preserved section of
bousillage in Estopinal House.
|Fig. 3 (below): Close-up of bousillage|
section showing thin strips of
|Fig. 4: Detail of bousillage with arrows indicating|
thin wood strips. Photograph by L. Blokker.
|Fig. 5: Detail of original Hebert House bousillage and barreau above new barreau. Photograph by H. Knight.|
Whenever woodworkers come to my house, two things happen. We drink beer and we gaze longingly at my 18th-century copies of A.-J. Roubo’s ‘l’Art du Menuisier.”
I assure you that we keep the beer far away from the books.
I’ve owned many copies of Roubo, from the trade paperbacks all the way up to this beautiful first edition. And it is the detail and size of these original plates that grab your eye and cause you to press your face to the page.
“Why did he draw that tool in that way?” is a common question.
With many old woodworking books, the answer is, “He didn’t draw it that way. Some illustrator did.” But in this case, Roubo himself drew most all of the plates. Nothing is unintentional – I can say this because I know many of these plates by heart and have been editing our upcoming translation, which will be published next year.
With “The Book of Plates,” we wanted to capture that same experience of examining the 18th-century original by giving you the plates at the same size they were drawn in the 1700s. We wanted to offer the extreme detail from the original. Oh, and the paper is the nicest stuff available.
To give you a feel for that experience, I made this short video tour of two plates in the book – one on trying planes and one on measuring tools. The book shown in the video is my first edition – “The Book of Plates” is still on press. I apologize in advance for how many times I say “cool.” I recommend you turn that quirk of mine into a drinking game.
We are now accepting pre-publication orders for “The Book of Plates.” Order soon to ensure delivery by Christmas. The book ships starting Nov. 20.
— Christopher Schwarz
Filed under: To Make as Perfectly as Possible, Roubo Translation
Antonio Marin: Yes, but only two or three per year. This is a spruce town.
From an interview with the great Granada guitar maker, Antonio Marin, American Lutherie #117
A young man visited my studio the other day to chose a guitar from my inventory, he was looking to replace the Asturias brand guitar that he is currently playing. His two complaints about the Asturias were the string length (656mm) and the neck is too thick and rounded.
I handed him a spruce/walnut guitar (photo above) with a scale length of 650mm. He loved the neck and the string length, but I noticed right away that he was struggling to get a good sound out of it.
So, I pulled out one of my latest guitars, the one based upon Antonio Torres's guitar FE 19, which is loud, has an amazing voice and capable of many nuances and again, as he played this guitar I noticed that he didn't get along with it.
"Wilson," he said, "I really want to play that Douglas fir/mahogany guitar that you brought to the Guitar Celebration at Metro State."
I got that guitar out of its case and handed it to him.
It was startling to hear him play that guitar, it was clear that a spruce topped guitar was not for him. The piece of music that he played was immediately clearer in sound and quality, no flubs with the left or right hand.
This guitar has a 640mm string length, one-half inch shorter then his Asturias, which he noticed right away and mentioned that the neck on my guitar made it easier from him to play.
For a little experiment, I let him play my old battle axe, a cedar top Hernandis guitar with a 665mm string length that was made in Japan in 1973 and imported by Sherry-Brener, the one that I played at the Christopher Parkening master class (click here for my posting on that) all those years ago. Yep, he could play that guitar well and it turned out that his Asturias guitar has a cedar top.
I told him that at this point in his studies he is a Douglas fir and cedar man.
I never would have thought that wood could influence a classical guitar player that much.
A true Spanish guitar is made of spruce and rosewood, like the woods in the photo above. I strive to make as Spanish of a guitar that I can, even though I am not Spanish, I want to capture that sound I heard in Segovia's and Sabicas' recording when I was studying the classical guitar.
Working with these young musicians is showing me that I need to make instruments that fit them, that fit them physically, sonically and dare I say it, emotionally. The guitar they play should blow their minds so much that they can't stop playing it and through that constant playing they become better musicians. That is a goal worth working for.
The young man will come back next weekend to pay for and take delivery on the Douglas fir/mahogany guitar. He mentioned to me that he wants me to make him a guitar for his senior recital, which will be in one year.
I all ready know what woods I will use for that guitar: a Douglas fir top; black walnut back and sides; walnut for the neck; black locust for the fret board and bridge; and braced with Engelmann spruce.
All woods that grow in Colorado.
Time for me to go have lunch and get into the workshop and do some work!
The folks at CU Woodshop Supply are holding their 5th Annual Fall Woodworking Festival this week, Thur. Oct. 30th-Sat. Nov. 1st 9 am – 6 pm at the CU Woodshop & School of Woodworking.
If you’re anywhere near the Champaign, Il area and haven’t visited them yet this is a great opportunity to stop by and check them out.
The event is open to everyone and this year will be featuring two masters of woodworking, Jeff Miller & George Vondriska, on-site to share their woodworking knowledge and answer your questions. At the same time the CU Woodshop is also hosting a Lie-Nielsen tool event.
So if you haven’t been tempted enough, this is an amazing opportunity to stop in and try out some of the premier hand tools available on the market and get expert guidance in choosing and using the right one for you by their knowledgeable staff that will be on hand to answer all of your questions.
And if that wasn’t enough to grab your attention and bring you in there’s also the following:
If you make it, tell the staff “Matt said HI!” They’ll probably give you a blank stare, but that’s okay, it’s better than being escorted off the premises. For sure tell Jeff I said “Hello”, but more important have a great time and share your pictures (if you choose to take any) online. I’d love to see how it went.
Skin on frame construction is the way that kayaks were originally built in the arctic waters of their origin. You make a wooden skeleton that is a framework for a waterproof skin that encloses the boat. Traditionally, the skin was made up of several seal skins that had been sewn together, and then sewn around the boat. Most modern builders of skin on frame boats opt for ballistic nylon, polyester, or canvas as opposed to seal skin.
I considered building a Greenland style boat, but eventually settled on building an F1 kayak designed by Brian Schulz of Cape Falcon Kayak. Brian is a paddler and kayak designer/builder on the Oregon coast. He teaches skin on frame boat building classes and builds kayaks and paddles to order. He is actually gearing up for an epic round the country kayak class marathon this winter/spring that is probably coming to a city near you. You can read more about the design, Brian, and skin on frame boats in general here. Check here to see the current destinations for Brian's traveling kayak workshops. Inspiring person, inspiring boats. Here is a picture of Brian paddling one of his F1s out in their natural habitat.
|Want one yet?|
At 14' long the F1 is short for a sea kayak, but it is playful, fast, and action packed. Armed with Christopher Cunningham's book for construction techniques, Harvey Golden's drawing of Brian's F1 kayak, and a clear vertical grain 14' cedar 1x10, I took the plunge.
There are a lot more pictures this time because I read that a lot of people avoid saw making, rehabilitation and sharpening. I want to show that it’s within easy reach of anyone who wants to try and doesn’t care to wait while saws take long trips to the sharpener and back. We can find many sharpening guides and tutorials online. Nearly all are very useful. For this particular saw plate, I followed Paul Seller’s recent tutorial about cutting saw teeth. The method worked wonderfully!
The plate itself is roughly 10″ by 1.5″, recycled from an old Disston that I cut down to make my frame saw a few years ago. Cutting to this shape was simple hack sawing. The tooth edge was smoothed “flat and straight” with a simple single-cut mill file. I decided to cut it to the same pattern I use for other resawing work, 5 TPI, zero rake, no fleam … just a dead simple aggressive rip pattern.
My ever handy Stanley No. 36 1/2 R rule has multiple scales in 8, 10, 12, 16 parts to the inch. The 10 scale made easy work of laying out a guide. The slideshow walks through a number of steps, with notes about each.
End result? A small piece of pine became the test victim. I set the fence to produce a kerf 3/32″ from the edge and went at it with only casual concern. What will this thing do without a lot of fussy attention? Cutting was easy once the initial grabbing was overcome. Hint: start from the far end as one does when planing a molding. You can see in one of the pictures that the kerf is not absolutely square. It’s tilted slightly. Despite that, I ended up with two boards that have less than 1/32″ of roughness left from the cut.
It will be perfect after I make an adjustment to either the face of the fence or to my right elbow.
All projects need refinement, lightness, simplicity.
I tell my Mastery students often in a critique to lose 10% of their design. Sometimes 20%. Mass is not always required for strength. Careful engineering is required. Where can you remove material?
Adding lightness and simplicity is a difficult chore. How much work do you need to do to make something simple? How do you know what is unessential in a piece? Where do you stop?
Make copies. Make models, drawings. Try one thing and then another. Keep checking in with your gut to see how it feels. Keep practicing your paring skills. You will make mistakes. Try again.
“I teach people to see using a motorbike analogy. ‘Imagine you are riding a nice powerful bike, the sun is shining and you are driving along this winding country lane your partner is on the back and you are going quite quick but safe. You approach a series of shallow S-bends you flick the bike left and right with no conscious movement of your body. Sawing down a line is like that.’ Hold that saw handle light like a child’s hand, don’t rush the stroke, don’t press down, just do it. Watch yourself uncritically, your body will adjust your stance to achieve your goal if you allow it. The moment we get tense, the second we seek to control, it goes to hell. Like raising a child.”
— David Savage
David’s e-mail newsletter is one of the things I most look forward to in the morning. As a writer, David is willing to take risks and go places I wouldn’t dare. As a woodworker, he kicks all of our butts. Sign up for his newsletter by going to his home page at http://www.finefurnituremaker.com/. Scroll down to the bottom and you’ll see a box where you can sign up. Highly recommended.
— Christopher Schwarz
Filed under: Personal Favorites, Saws