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Cut the Dado the Same Way You Would if the Case Weren’t Assembled
Yep, its that simple. There is no special technique for adding a shelf into a case you stupidly already assembled because the hand tool approach is to take the tool to the wood. This means you just need a way to hold the case while you saw and chop away the dado. So really this video should be titled, “How to Cut a Dado”.
Lots of Ways to Cut DadosThe method shown above is probably my go to, most common method. But there are always other ways to get to the same place. Have you seen a dado or stair saw in action? You might want to these out:
James McConnell, of The Daily Skep, will teach a weekend class on making a fore plane July 21-22 at the storefront in Covington, Ky. Registration opens at 9 a.m. Monday, Feb. 12.
Just like the other classes at Lost Art Press, it is limited to six students, and proceeds go directly to the instructor; they are not a money-making enterprise for Christopher Schwarz or Lost Art Press. He’s let those of us who are teaching use the space for free (he’ll likely edit this out, but: Chris is incredibly generous and kind) as a way to help build and get the word out on the local woodworking community in Covington. (And to help feed the cats/children/iguanas of the instructors.)
Here are the details:
Build a Traditionally Styled Laminated Fore Plane with James McConnell
July 21-22, 2018
Cost: $250, plus a $115 materials fee for the wood & iron
Build your own a traditionally styled wooden fore plane in a weekend with Jim McConnell. Using simple laminated construction, this wedge-and-pin-style plane works, looks and feels like a traditional fore plane, but it requires no specialized planemaking tools. This is a great way to get into the world of wooden handplanes – and the skills you learn in this class can be applied across the board to build planes of other sizes as well. We’ll focus on getting the bed angles right and fitting each plane to the user, so the plane you take home will be as individual as you are.
— Megan Fitzpatrick
With the legs and writing box done it as time to assemble them and make the shelf that had to be fitted to them precisely not only for the structure as a whole but to provide the specs for the spindles that held them together.
Not a whole lot of descriptive detail required here, the individual components were simply screwed together to make sure the pieces fit and allow for the layout of any remaining components.
It was certainly not a wasted effort as it allowed me to work out some of the minute details that could not be spatially resolved any other way.
It was finally time to move on to my pile of vintage true mahogany.
|still straight and cup free|
|primer I use|
|the plane interior|
Before I spray the primer I scrape and clean the body with degreaser. I then apply the stripper. After I strip the interior I scrape and sand it as best I can. Sandblasting it would be the best choice here. Before I spray on the primer, I clean the body one last time with acetone.
|Rustoleum oil based black enamel|
|made big improvements with the frogs|
One thing I do now is remove the yoke. It is a simple matter of punching out the pin that holds it. It's just as easy to replace. I haven't gotten up the courage to try and remove the lateral adjust lever. I read a couple of blogs where they remove the lateral adjust and pin it again and peen it over. I may buy a frog to practice on because that would make painting the frog even easier to do.
|frog from a rehabbed #4|
|4 1/2 frog|
|spray painted on the left and brushed on the right|
|4 1/2 on up have toe screws on the totes|
|Stanley barrel nuts|
|These are Bill Rittner replacement nuts|
|the small parts|
|oiling the small parts is next|
|almost forgot about the adjuster knob|
|tale of two knobs|
|this is a must|
|needs some wood|
|I haven't given up on this yet|
|bought an adapter for the Craftsman ratcheting screwdriver|
Did you know that the Japanese Nintendo Company made playing cards before it made computer games?
Chests, cupboards, boxes, cabinets – most any wooden furniture that opened and closed had an iron lock in 17th-century New England (& old England for that matter). It’s rare that they survive, even more unusual is a customer who wants to pay what it takes to get locks on their custom furniture. I have such a client right now, for 2 boxes and a chest. So I get to a.) show how I install a handmade lock, and b.) first, re-learn how I install a handmade lock. I do them so rarely that each time is like doing it for the first time. The lock above was made by Peter Ross, blacksmith. http://peterrossblacksmith.com/ His website is perpetually under construction. His iron work is top flight. We’ll get the tacky stuff out of the way first – if you want locks that are so-called “museum-quality/period-correct”, expect to pay for them. This lock, with escutcheon and 2 keys was $650. I suspect Peter still undercharged me, given the amount of work that goes into these. OK. Now to install it.
I cut a test-mortise in a piece of scrap to make sure I was on the right track. Then proceeded to the box. First, bore the main part of the keyhole.
The real dumb thing was to build the box, then decide it wanted a lock. So now, how to hold it for all the chopping, paring, etc? Because of the overhang of the bottom/front, I had to prop the box up on a piece of 7/8″ thick pine. I put some bubblewrap between them so as to not mess up the carved front too much. Then to hold the lid open with something other than my forehead, I cut an angle on a piece of scrap, and clamped it with a spring clamp. Not traditional, but worked well.
After scribing the layout based on the lock, I sawed two ends as deeply as I could.
After chopping some of that waste out, I had to re-score the end grain. I switched to a very sharp knife for this part. worked great.
Alternated scoring with the knife and paring with this long-bladed paring chisel.
Once I got to the stage for testing the fit, I realized I needed a hole bored in the scrap below for the sleeve to fit through. Once that was in place, I swiped a black sharpie over the lock, and then tested it. Left black marks where I needed to adjust things.
Some back & forth til it fit the way I wanted it. The slot on the top edge of the lock is for the staple from the lid to engage the bolt. So I needed to get the wood out of that slot.
Ready to be nailed in place. I bored pilot holes, and drove the nails in. I backed them up out front, thinking some might poke through. As it happened only one did, in a low point in the carving. So no trouble at all.
Then needed to open up the keyhole a bit. A rare appearance of a file in my woodworking. I bored a small hole first, then opened it up with the file.
The escutcheon, nailed in place. I had to snip the ends of these nails off, so they wouldn’t mess up the lock. In this application, they are as short as a wrought nail can be just about.
Then, some fussing to locate and excavate the housing for the staple. Here, I locked the staple to the lock and impressed its position by using the sharpie, and closing the lid & leaning on it. That left a mark so I could see where to cut into the lid.
Knife and chisel work again.
I got this part done, then had to pick up speed because it was getting dark. So the final photos will be another day. It’s 99.9% done. An adjustment is all that’s left.
This is a video on blade calibration to make it run true and vibration free. I was very nervous in the video and when I’m nervous my mind usually goes blank. Hope the video is beneficial to you.
This is an excerpt from “The Woodworker: The Charles H. Hayward Years” published by Lost Art Press.
Of course, you realize that the feature that makes this work awkward is the fact that the moulding which forms the pediment slopes upwards towards the middle. It necessitates a different section from that at the sides, and introduces an interesting problem in mitreing. The pediments of doorways, windows, and mantelpieces often had this feature.
A little reflection will show you that the moulding which runs around the side of the cabinet, the return mould as it is called, must necessarily be different in section from the sloping mould at the front (raking mould, to give it its technical title). Apart from anything else, the top surface cannot be square but must obviously slope to agree with the raking mould, and its top square member must be vertical. The whole contour, however, is quite different because it would otherwise be impossible to make the members meet on a true mitre line. These points are at once clear from a glance at Fig. 2 (A and B).
Before proceeding farther, it will be as well to explain that so far as the centres of these broken pediments* are concerned there are two distinct methods that can be employed. In the one the same section is used for the return as the raking mould, so that the square members of the moulding which would normally be vertical lean over at right angles with the raking mould. The pediment in Fig. 1 is of this kind; also that shown at C in Fig. 2. In the second method the section of the return is different, and is arranged so that all normally vertical members remain vertical as at D, Fig. 2. This latter method naturally involves considerably more work but has a better appearance. Both methods were used in old woodwork.
To return to the outer corners, the first step is to fix the contour of the return moulding since this is the one which is seen the more when the cabinet is viewed from the front. Draw in this as shown at A, Fig. 2, and along the length of the raking mould draw in any convenient number of parallel lines, a, b, c, d, e. Where these cross the line of the moulding erect the perpendicular lines 1-7. From the point x draw a horizontal line. With centre x draw in the series of semicircles to strike the top line of the raking moulding, and then continue them right across the latter in straight lines at right angles with it. The points at which they cut the lines a-e are points marking the correct section of the raking mould, and it is only necessary to sketch in a curve which will join them (see B). The same principle is followed in marking the centre return D, but, instead of drawing the semi-circles, the vertical lines 1-7 are drawn in the same spacing as at A (the reverse way round, of course).
Having worked the sections the problem arises of finding and cutting the mitre. This is explained in Fig. 3. The return mould presents no difficulty, and it is usual to cut and fit this first. It is just cut in the mitre box using the 45 deg. cut. Note that the back of the moulding is kept flat up against the side of the mitre box, the sloping top edge being ignored. Now for the raking mould. Square a line across the top edge far enough from the end to allow for the mitre, and from it mark the distance T R along the outer edge. This T R distance, of course, is the width of the return moulding measured square across the sloping top edge. This enables the top mitre line to be drawn in. The depth line is naturally vertical when the raking mould is in position. You can therefore set the adjustable bevel to the angle indicated at U and mark the moulding accordingly.
Worked and cut in this way the mouldings should fit perfectly. We may mention, however, that you can get out of the trouble of having different sections by allowing a break in the raking mould as at Z, Fig. 2. The mitre at the break runs across the width, and the one at the corner across the thickness.
The method of ascertaining the sections of mouldings should be used for all large, important work. If, however, you have a simple job to do requiring just one small length you can eliminate the setting out altogether. First work the return mould and cut its mitre. As already mentioned this is at 45 deg. and is cut straight down square. Fix it in position temporarily and prepare a piece of stuff for the raking mould. Its thickness will be the same as that of the return mould, but it will be rather narrower. Mark out and cut the mitre as described in Fig. 3. If preferred the adjustable bevel can be used entirely as in Fig. 4. The tool is placed so that it lines up with the slope of the raking mould, and the blade adjusted to line up with the mitre (see A). This gives the top marking.
Now set the bevel to the slope of the raking mould as at B. Mark the back of the mould and cut the mitre. Offer it up in position and with a pencil draw a line around the profile of the return mould as in Fig. 4. Work the moulding to the section thus produced.
— Meghan Bates
*A broken pediment is one in which the raking moulds, instead of meeting at the centre, are stopped short and are returned as in Fig. 1.
This week I posted a new online course to which all current members have free access. The project is a Chippendale Fretwork Looking Glass. (If you are a current member, and please make sure that you are logged in, click here to jump to the article, which includes information at the bottom on how to download your course.)
If you’re interested in what this online course is all about, plus learn a bit about the project itself, take a look at the course in the 360Woodworking.com store (go here).
Tapes and Rulers Early on, I remember reading somewhere that you should never rely on measuring tapes in a woodworking shop. Only use your rulers, never tapes. Though I understand the conclusion suggested because tapes are heavily used and vulnerable, I thought it seemed an odd idea. In practice, I neither agree with nor follow that rule. Because I make furniture — where many part dimensions are longer than most rules, […]
The post Precision Instruments for Woodworkers — Part Two: Rules and Tapes appeared first on Popular Woodworking Magazine.
And speaking of workbenches, you’ll have the opportunity to work with me at The Barn building your own version of either a basic Roubo or Nicholson bench in Southern Yellow Pine. Thanks to my adapting David Barron’s innovative system for building laminated Roubo benches, and the elegant simplicity of the Nicholson bench, you can arrive empty handed (except for your tools) on Monday and depart at the end of the week with a bench fully ready to go. The only likely hindrance to this outcome is if you spend too much time simply looking at the mountain vista on the horizon.
The finished bench does not include holdfasts or vise mechanisms; if you want those you can supply your own or I can order them for you separately. And if you prefer a 5-1/2″ slab for the Roubo bench rather than the 3-3/4″ slab, there will be an additional $100 materials fee.
The complete 2018 Barn workshop schedule:
Historic Finishing April 26-28, $375
Making A Petite Dovetail Saw June 8-10, $400
Boullework Marquetry July 13-15, $375
Knotwork Banding Inlay August 10-12, $375
Build A Classic Workbench September 3-7, $950
contact me here if you are interested in any of these workshops.
|came in today|
|600 grit shine|
|the paint boo boo|
|drawer stock 1x8 - actually 7 1/2"|
|48 inches long|
I bought 4 boards because my original intent was to use two boards to make one drawer. I am going to stick to that because I want the drawers to be 4 1/2 inches deep. Allowing for the groove and bottom will give an interior drawer depth of 4".
|brown and red knot|
|this brown knot fell out|
|the knot board will give up the two backs|
|some weird grain about 2/3 of the way down|
|reference edge and face|
|they are pretty straight and flat|
|scraped the front knob|
|filed a fresh burr|
|ready for sanding|
My father-in-law is out the ICU and on the regular ward. He may be discharged tomorrow to the rehab unit which is next door to the hospital. It doesn't look like he'll be going home but to a nursing home after rehab.
Did you know that Henry Stanley of "Dr Livingston, I presume....." fame fought for both the south and the north in the American Civil War?
I did ask Bob about it and he responded at some length on a subsequent podcast (beginning at about 10:30) with a number of good ideas that are worth your while. Nevertheless, there is just no getting around the fact that white oak is difficult to work with hand tools.
This is only speculation, but I wonder if this last issue is one reason arts and crafts furniture is traditionally made with quartersawn white oak. My experience is that it is a lot easier to work with than flatsawn material.
I like Greene and Greene style box joints a lot and that keeps you from using secondary woods for drawer sides. Recently, I used vertical grain douglas-fir for half-blind dovetails, which I like a lot, but it splits very easily. I dislike poplar because of the greenish cast in what I see at my supplier. Alder is plentiful and inexpensive here and I think that will become my secondary wood. It's hardness is comparable to poplar.
Woodworkers tend to have very strong feelings about the different ways of doing things – and handplanes is one of those subjects where opinions can vary wildly and discussions can even get pretty heated. There are three main arguments about handplanes: bevel orientation, number of planes to use and body type. Bevel orientation refers to the way the iron sits in the plane. Shown above are a low angle bevel-up […]
Gluing up can be a frantic time.
And if you’re like me, it’ll be messy too.
But how much should we be planning ahead, before we get it all stuck together?
When we glued up the top for our Hall Table build, we received a few questions on this topic.
They were good queries, pondering over grain direction and alternating growth rings.
So I thought we’d cover this in a little bit of detail.
The arrival of Issue Four is right around the corner – and with each new issue of M&T comes the fine, established tradition of the Mortise & Tenon Packing Party! Now that we’re publishing twice per year, we’re doubling up on these tremendously fun events. We’ve had folks travel from all over to help wrap each new issue in brown paper, affix a special trade card with wax seal, and place it in a mailer with a handful of pine plane shavings.
Everyone shares good food (wood-fired pizza, home-baked goodies, and more), locally-roasted coffee, excellent conversation, and an overall fantastic time. We don’t send anyone home empty-handed - we've got plenty of M&T goodies to go around. The “show and tell” opportunity is my favorite part, as everyone pulls recent projects, old tools, and books out of trunks and backseats to get passed around and discussed.
The dates for our Issue Four Packing Party are March 23-24, Friday and Saturday, in Blue Hill, Maine. We’re looking again to rent a house for those who will need accommodations, so please let us know if that is important to you!
If you are interested in signing up to join us, please send us an email right away at email@example.com. We can’t guarantee anyone a slot just yet, but we will be operating on a first come, first served basis. Our Issue Three party was a blast, and we look forward to seeing new faces and old friends again as we launch Issue Four!
Looking back over 2017’s activity, I see that I posted only four times. Four posts! Not too long ago I’d post four times a week. So what’s happened? After nearly sixty years of woodworking have I had enough? Has “the muse” deserted me? Perhaps. But I doubt it.
The last twelve months have included a fair amount of travel and a move. Yes, a move. Gone are the days of being confined in my “little shed”, tripping over lumber, blowing fuses, etc. The new abode includes a 2 1/2 car garage that will become the shop. Of course there’s a fair amount of preparatory work to be done; insulating, heating, painting (white, white, white). Then there’ll be new tills and racks to build, getting the lighting just right, sorting through boxes. All that has to be complete before I can start back to work on a number of projects that remain unfinished.
While attempting to relocate the muse, I have made a few notes to myself:
1. Running out of room for furniture – Hmm – What to do?
2. Explore some areas of the craft that you’ve been away from for a while.
3. Share as much information about “trade” geometry as possible.
Wherever the road takes me…
With the bench “assembled” I turned it over halfway and rough trimmed the bottoms of the legs. Even though I was handling it by myself, wrestling with a 350-pound behemoth is fairly straightforward if I am careful and make sure I am actually handling half or less of the total weight, which is the case if I am rolling or spinning it. With the legs cut to rough length I rolled it the rest of the way over so I could work on flattening the top for a couple of hours.
With the bench on its feet, but on a rolling cart so I could move it easily, I set about to installing the planing stop I had already glued up. I planed it such that the fit was very tight, counting on a few humidity cycles to induce ccompression fit on both the stop and the mortise in which it resides in the hopes of establishing a nice firm fit in the end. I’d wanted to put a full width (of the block) toothed tip on the stop but I did not have the piece of scrap steel in the drawer that could suffice so I just used what I had. I filed the teeth, drilled and countersunk the holes for some honkin’ big screws and assembled the stop. I also excavated the top of the bench so the entire assembly is flush.
With that I cut and affixed temporary(?) stretchers to the legs to support the shelf, Kreg screw style (without the Kreg jig), which on a decently built Roubo or Nicholson bench is the only functional purpose for stretchers. If mortised stretchers are needed to stabilize the bench structure, it wasn’t built well enough. Using scraps from the pile I cut and laid the shelf boards and attached the vise and for now, it was done. Come summer I will flatten the top again and call it quits. As it was the bench served my needs perfectly in Williamsburg to give me both a perfectly functioning work station and a focus for my sermon on workbenches and holdfasts,
Craft Can Have Different Meaning Some times we lose sight of the meaning of craft. To some, perhaps most, it’s now become more a pastime—something you do when there is nothing to watch or you have nothing else to do. Schools have also succumbed to become somewhat dismissive of true craft to substitute what we […]
Read the full post Woodworking Is The Sport—Practice, Practise, Practice on Paul Sellers' Blog.
When I got home I could have spent more time in the shop but I didn't. I was thinking of my wife's father and my father. He passed on when he was 69. I could have gone and seen him at the hospital the night he was admitted but my wife's best friend was his nurse and she said he needed to rest and I should come see him the following day. He died the next morning at 0625 and I never got to see him. Not going to see him when I could have is a regret that I still feel over 20 years later.
|frog is done|
|been a while since I posted a blurry pic|
|Autosol on the frog|
|rough looking heel ends|
|less then a minute on each side|
|tote 80% ready, knob 0%|
Did you know that Brazilian jockey Jorge Ricardo recently tied record holder Canadian jockey Russell Blaze with 12,488 wins?