Handplanes Book Now Sold at Highland Woodworking

I'm pleased to report that my recently-released book, Choosing and Using Handplanes: All You Need to Know to Get Started Planing by Hand, is now being sold by Highland Woodworking.  They are a fine family-owned and operated company that sells a wide array of tools and other resources for woodworkers at their Atlanta store and via the web.

If you are interested in purchasing the book from Highland Woodworking, here's the link.

If you do purchase the book, I hope you find it helpful and enjoyable.

Norm

My Book on Handplanes

For the last several months, I've been writing and photographing a book on using handplanes in woodworking.  Titled Choosing and Using Handplanes, it describes the various types of handplanes, how to set them up and sharpen them, ways to hold work for planing and planing technique itself.  It also addresses caring for handplanes, buying and restoring old handplanes and how to diagnose and fix various problems encountered in planing.  The book should be completed in November in a paperback edition that will be sold on Amazon.com as well as on my web site and in a Kindle edition to follow soon after that.

A photo of the book's cover is shown here.  If you are new to handplaning, I think you will find this book a helpful resource for getting started.

Publishing the Handplanes Book

I continue to progress toward completion of my book, Choosing and Using Handplanes.  It has 74 pages now and will probably reach 80 by the time it is finished.  I still have a few photos to make and some appliances to construct.  I hope to have this all completed by mid-August.

That means it's time to start thinking about how I'll get the book published.  I could go for a traditional publisher, but I'm inclined to think that the self-publishing route would be better.  It think that offers the possibility of a lower price and wider distribution.

I do know that I'll be publishing it in full color, both the cover and inside.  That's important particularly for the photographs, which are important for conveying the information I want to share.

At the moment, I'm taking a hard look at publishing through CreateSpace, which will make the book available for purchase via Amazon.  I'll probably also produce a version for Kindle so it can be read on tablets.  That's what I did for my mystery novel, The Hero of Gucci Gulch, and it worked well.

I'll keep you posted on my progress and let you know when it is available.

For now, my offer stands to send a free copy (via email) to anyone who wants to review it.  Just write me at cobblermtnpress@gmail.com and I'll send the latest version by return email.  If you send me helpful comments, I'll also reference you in the acknowledgements!

Norm

An Update on the Handplanes Book

Since my last post, I've made considerable progress toward completing my book, Choosing and Using Handplanes.  The text is completely written, all of the figures are complete and most of some 80+ photos are inserted in their proper places.  I still need to complete the appendices on shooting board construction and build and document a few other appliances.

I have the book out for review with a few people who are knowledgeable about handplanes.  But, I would love to have additional readers.  If you would like to be one of them, send me your email address to cobblermtnpress@gmail.com and I'll send you a pdf version of the book in its present draft form.  Bear in mind, however, that it is about 3 mb in size.

I hope to have the book completely finished in a few weeks.  I am starting to look for a possible publisher.

Norm

A New Name, A New Design

If you're a regular reader of this blog, you'll notice that I've renamed it and applied a new design.  Since I've come to call my basement shop the Cobbler Mountain Woodshop, it seemed right that this blog should bear the same name.  And, in view of the fact that I'm no longer a novice woodworker, a changing subtitle and design were in order as well.

Why Cobbler Mountain Woodshop?  Simply, because my home is situated at the foot of Little Cobbler Mountain in Virginia's Blue Ridge Mountains, with Big Cobbler Mountain lying just behind it.  It's a lovely location, the mountain visible out the kitchen window on all but the foggiest of days.

The address for this blog is still the same as it was, normssawdustpile.blogspot.com.  Only the title has changed, though a search on Cobbler Mountain Woodshop will find it as well.

The photo beneath the title and the design are new as well.  I chose the photo--of my no. 4 Lie-Nielsen smoothing plane working a natural edge walnut coffee table--to reflect my growing use of hand tools.  It also represents the fact that I've been teaching hand plane use and restoration at northern Virginia Woodcraft stores for the last several years.

As I see it, these changes represent more than a design upgrade.  Instead, they reflect my evolution from a complete novice--which I was when this blog began--to a maturing woodworker with a number of increasingly complex projects under my belt.

I look forward to describing my woodworking adventures here and hope you'll join me for future installments.

Norm

Making Space for Hand Tools

Like many contemporary woodworkers, I started out with power tools.  I assembled the usual array--workbench, tablesaw and bandsaw, jointer, planer, router table and sanding equipment, among others.  I set up shop in a basement cleared of accumulated clutter and installed my power tools within reach of a good dust collector.  Convinced that power tools would meet all my future needs and desires, I went so far as to declare I'd never need to use handplanes.  I mean, just how wrong can a fellow be?

It wasn't long before I began acquiring handplanes and learning how to set them up and use them.  Then it was chisels.  And handsaws.  And so, I converted from a complete Normite to a hybrid woodworker with a growing desire to build things using hand tools.

But while my woodshop afforded me space for my power tools, there was no good place for hand tool work, no spot where I could use a sawbench to break down lumber, no place for a sharpening station, no open area for assembly, no way to keep my burgeoning lumber stash from frustrating my attempts to move around the shop.  I began to have visions of building a new woodshop outside to meet my growing need for space.  My wife even went so far as to suggest just that.

It took my friend Jeff to see what I could not--the potential for reorganizing the space available right in my basement to yield more usable work area.  And so, with his vision and assistance, we transformed the cellar in a few short hours and opened up at least half again as much space as I was already using.

Now all my power tools are in one area and my hand tool operations in another.  Now I can walk past my lumber rack without fear of tripping.  I can saw a board with plenty of clearance.  I can wheel my assembly table into an open space for four-sided access when needed.  I have room for a sharpening station near my workbench.

My wonderful wife was ready and willing for me to build a new woodshop.  Fortunately, with her support, I've been able to get nearly the same result at little expense.  I think I now need to build something to repay her.  But that's what it's all about, isn't it?  I think it's time to head down the stairs to my cellar woodshop and start something special.

Norm

Writing for Wood News Online

For over a year and a half now, I've been writing articles and, mostly, book reviews for Highland Woodworking's Wood News Online.  This has been a lot of fun for me, since it combines my twin loves of woodworking and writing.  But it has come at a price--I have not had the time to be a faithful contributor to this blog as a result.   I'll try to make up for that in the future.

In the meantime, it might be of interest to know some of the postings I've made to Wood News Online.  My first article  appeared in May 2012 and was called "Hand Planes: Unlocking the Mystery"; it was a review of techniques for using hand planes in woodworking.  This article draws on my experience in teaching handplane techniques at my local Woodcraft store.

This was followed by a series of book reviews.  You can find an index to the issues of Wood News Online at http://www.highlandwoodworking.com/wood-news-woodworking-magazine.aspx, which has links to all my book and DVD reviews.

In May 2013 I also published "Seven Steps to Peak Handplane Performance," which discusses setting and adjusting a handplane to get the best results from it.  This article also draws on my experience teaching restoring old handplanes at my local Woodcraft store.

Since the first article, I've published a review a month, sometimes about DVDs, but mostly about books.  A couple of reviews have dealt with woodturning but mostly they have been about woodworking techniques, with emphasis on hand tools.  Next month's review, which should be released the first week in January, will be about Marc Spagnuolo's new book Hybrid Woodworking.

I've really enjoyed doing this.  It's a good way to keep my woodworking reading regular.  I learn new techniques and skills through my reading.  And it gives me a chance to express myself in writing.  What could be better?

A Saw Till

I've been accumulating hand saws over recent months as part of my transition from a fully power tool woodworker to a hybrid woodworker.  What that means is that I'm starting to use hand tools more and more in my work.  I don't ever plan to change over to an exclusive reliance on hand tools.  Power tools are useful and have a good purpose, especially when processing large amounts of wood for larger projects.  Still, I like working by hand and am building up my skills in this area.  Hence the hand saws.

I now have three crosscut saws--two in serious need of sharpening, a skill I am working on but have not yet mastered--two rip saws of differing tooth configurations and several smaller saws.  Those saws are a Bad Axe Toolworks 18" tenon saw with a hybrid tooth filing, an Adria Toolworks carcase saw, a Lie-Nielsen dovetail saw and a Veritas crosscut saw. Each saw has its own purpose, so I feel justified in having them all.  I'm hoping they will meet all my hand saw needs for a very long time.

The problem with having this many saws is where to store them.  That led me to design and build a saw till so I could hang them in a small space on my shop wall.  As the photo shows, this turned out to be a simple affair, essentially three rectangles of birch plywood, two of which are attached at right angles to the back board and supported by a cleat on their undersides.  I sawed grooves in the horizontal pieces for the saw blades to fit into.  As you can see, the saws are held in place by their handles and a bit of gravity.  I screwed the whole affair into the concrete wall of my basement shop, where it hangs between some shelves and a large sheet of pegboard.

This simple design works well and was easy to execute.  But improvements might be possible for others who wish to build something similar.  I might have designed it so the handles are at the bottom and the blades facing upward, for example, but somehow the simplicity of this arrangement appealed to me more.  Another improvement would be to angle the top horizontal piece so it slopes upward toward the front.  This would have alleviated my fear that the saws will--given vibrations in the shop--gradually work their way forward in their slots and eventually fall to the floor.  My solution to that is periodically to push them backward in their slots to rectify any forward creep.  An angled board would have rid me of this concern.

Perhaps some day I'll make another saw till that incorporates improvements.  Until I'm caught up on all my projects--and that is likely to be a very long time indeed!--I'll use the one I have and be glad it is there to project my saws and keep them handy for use.

If you decide to build one of your own, leave a comment and tell me what you did.  I just might want to borrow from your ideas if and when I rebuild my own.

Norm

Shenandoah Mallets

My friend Jeff Fleisher and I recently started a business we're calling the Shenandoah Tool Works and we've started manufacturing our first wood tools.  Called the Shenandoah Mallet, they are steel-headed mallets for use by woodcarvers .  We are producing them in two weights

Carving a Newport Shell with a Shenandoah Mallet

--1 lb. and 1½ lb.--and fitting them with comfortable handles turned from domestic and exotic hardwoods of especial beauty.

We personally select the lumber for the mallet handles and turn each handle individually, which makes each handle unique.  As a result, specific mallets may be chosen from the Shenandoah Tool Works catalog at www.shenandoahtoolworks.com/nsp.  We have a wide selection of handles available for immediate order.  In addition to these, we have other hardwoods available for production.  We are also able to produce mallets  from a user's own special wood.  The address for information is  info@shenandoahtoolworks.com.  A four-page brochure is available from us at that address or on our web site.

Shenandoah Mallets in crotch walnut and tiger maple

 We've created the Shenandoah Mallets as premium tools for discriminating woodworkers who value both the functionality and beauty of their tools.  The mallets are durably designed for a lifetime of productive use.  They will bring continuing pleasure to the woodworker who chooses them for both their comfortable fit in the hand and their delight to the eye.  We've made the Shenandoah Mallets surprisingly affordable; they are priced in the mid-range between run-of-the-mill mallets and those sold at higher price  points.  To keep our prices low, we are offering Shenandoah Mallets only from www.shenendoahtoolworks.com/nsp.

Why call it Shenandoah Tool Works and name the mallets the Shenandoah Mallet?  It's where we live.  Jeff's woodshop, where we do our production, is located near New Market, Virginia, in the heart of the Shenandoah Valley.  I live in the Blue Ridge mountains only minutes away from the Shenandoah River and the northern entrance to the valley.  So it's a natural.  Besides, we think the name has a ring to it.

Meems Bottom Covered Bridge

Wish us luck as we get our new venture underway.  We think we've got a good product that will be attractive to woodcarvers the world over.  We hope you and our customers agree.  Send us a comment to let us know.

Norm

A Visit to Lie-Nielsen’s Plant

The Lie-Nielsen factory and store in Warren, Maine

My friend Jeff Fleisher and I, along with our wives, had an opportunity to visit the Lie-Nielsen plant last summer. Their shop and factory are located near the Maine seacoast in the little town of Warren. This was a trip we always wanted to make, and it was fascinating to both witness the production of the famous Lie-Nielsen tools and complete line of their tools in the company store.

A box of cap irons, ready for assembly.

There were two attractions—the store and the manufacturing plant. As soon as we got there, we ask for, and got, a brief tour of the plant. As we walked through the facility, workers were busy at such tasks as lapping the soles of planes, operating the CNC machines that make the bodies of the planes and other tools, and inserting plane blades in the large tanks where they are cryogenically treated. We also passed many trays of partly and fully assembled tools of all types, the area where the tools are assembled, and where they are reviewed for quality control and packaged. The plant encompasses several buildings, including a wood shop which we were unable to visit, and employs about 90 staff.

Scraper plane bodies.

We also spent time in the store, where Lie-Nielsen displays their products, plus others' tools, such as Auriou rasps. We took particular delight in examining all the specialty planes, with which we were least familiar. Each of us already has a pretty good selection of standard bench planes, but they too were fascinating, particularly because of their high quality.

Lie-Nielsen saws.

Of course, we couldn't get away without making some purchases. I bought a 1/4 inch mortise chisel and a sock for one of my bench planes and managed not to spend a lot on this trip. Truthfully I already own about all the planes I need, many of them manufactured here in Warren. It was a fun trip and even our wives, who have much less interest in woodworking that we do, enjoyed it.

Norm

Winchester Secretary -- And So It Begins

I reported last year that I would be building a Winchester secretary in the Chippendale style, taking a class with Jeff Headley and Steve Hamilton.  Jeff and Steve are renowned furnituremakers.  They produced the two matching chairs with carved handles that the President and foreign heads of state occupy during one-on-one discussions, as well as reproduction pieces for Colonial Williamsburg and others.  It's a seven-day class in two segments.  In the first segment, which began yesterday, we will be building the outer, dovetailed case.  In July, we'll conclude with two days when we will start work on the interior.  In between times and afterward, we'll work on the desk in our own shops.

In reality, I began working on the secretary late last year.  I first created parts and cut lists using Cut List Plus.  Then I located sources for the cherry and poplar I'm using and began accumulating the lumber.  The hardest part was finding a good supply of curly cherry and getting it in the 5/4 size (1-1/4") needed to assure it would be 7/8" thick after planing.  In the end, I settled for 4/4 (1") stock in many instances and hoped for the best.  Then came weeks of cutting the wood to rough dimensions and gluing up the many panels.  With all that behind me, I am now starting the actual construction of the desk.

The design for the secretary is based on a Winchester area desk that is held in the Williamsburg collection.  It is described and illustrated in an article by Anne S. McPherson, "Adaptation and Reinterpretation: The Transfer of Furniture Styles from Philadelphia to Winchester to Tennessee," pp. 299-334 in Luke Beckerdite, ed., American Furniture 1997 (Hanover and London: Chipstone Foundation, 1997).  The original included a case on top that might have held books or china.  I will be building my desk without that top.

We spent most of the first morning running our panels through a 36" belt sander to get them even and to the correct thickness, then cutting them to size.  The machine work was done by our instructors, who cut all the panels using a crosscut sled and jigs so they would all be equal in size.  This was much faster and saved our time for the real work, cutting the dovetails that will hold the case together.

The afternoon was spent cutting half-blind dovetails in the case bottom and sides.  This was my first time to cut dovetails and my first time for half-blind dovetails, even in practice.  It went well.  Fortunately, the dovetails will all be hidden inside the case so any mistakes will not be visible from the outside.  So it provided me a good opportunity for practice.

Of course, with all my careful preparations to process and load the lumber and tools in my car, I walked off without my chisels and dovetail saw.  I had visited my friend Jeff Fleisher to get some dovetailing advice and took them with me, then left them in my wife Betsy's car. Fortunately, I was able to borrow tools from the instructors and all went well.  Still, I wanted to give my Blue Spruce chisels a good workout and was disappointed not to have them.  They are already loaded in the car so I'll have them today.

When we resume this morning, I'll mark and cut the remaining set of dovetails on the bottom of the case and then we'll turn our attention to the top of the case.  I find I'm enjoying chopping dovetails and, under the watchful eye of the instructors, I'm learning a lot.  It'll be fun seeing how far we get today.

Oh, and I've concluded that my plywood-topped workbench is not going to cut it for dovetailing so a new bench is in order for later this summer.  One thing I know for sure--it'll have a hard maple top.  Other than that, I've ordered Christopher Schwarz's book Workbenches, said to be the best source on designing and building one.  In addition, I've found an on-line source at Fine Woodworking for a good looking bench that uses the same vise I have sitting on my workshop floor.

More later.

Norm

Learning to Plane - Part VI

There was so much information from this course on hand planing that it's been difficult for me to present it all here in a timely manner.  That's been complicated by the fact that I've been hustling to get my wood processed for the Winchester Chippendale Secretary class I'm taking next week.  That's done now and I have a short time to breathe so I can get back to the subject of hand planing.

Planing Rough Lumber

Continuing the discussion of reading boards and processing raw lumber, Chris Schwarz said that you want a flat benchtop so your boards won't flex downward in the middle while you're planing.  When the heart side of the wood is down toward the bench, plane the bark side by traversing first with a jack plane until the wind is out of the board.  Use a marking gauge to mark the finished thickness around the circumference of the board.  Then use the jointer plane, starting on the diagonal with the mouth of the plane fairly tight.  At first you will get inconsistent shavings because you are getting the tracks from the jack plane.  Eventually, as the boards is flattened, you will get full shavings.  Then you can either plane with the grain or switch to the smoothing plane.  With the jointer plane, start and finish with the strong part of the curved blade off the edge, rather than on the edge, so you don't create a bow.  For interior parts of your piece of furniture, you can often stop after the jointer plane has flattened them; there's no need for the smoothing plane.

Smoothing Plane

Chris smooth planes his furniture after it is glued up when possible.  His advice is to not smooth plane until you have to do so.  As with the other planes, he sets the blade depth by viewing down the sole of the plane and extends the blade until he sees a black line, then adjusts the blade so the curved part is in the center before retracting the blade to the correct depth. 

When planing, he starts partly off the end of the board.  He puts his entire upper body over the plane and uses his legs.  Smoothing plane shavings should be light and fluffy.  It may take several passes to clean up prior marks, though.

Finishing

Aniline dyes don't go well with planed surfaces and will blotch badly.  Pigments lay on top of the surface and work well.  For dyes, briefly rough the surface with 220 grit sandpaper.

Edges

Mark the true face and point to the edge to be trued.  A curved blade lets you cut down the high points.  Use your left hand as a fence.  Drag your fingertips and nails to avoid splinters.

Shooting Board

A shooting board is used to square the ends of boards.  Chris uses a straight edged blade for shooting.  Use a very sharp blade and set it up for a fine cut like a smoothing plane.  He miters the back corner with a chisel to avoid spelching (i.e., blowout).  He draws a line on the end of the board and then shoots until he hits the line, which is behind the miter.

Contest

At this point in the course, having learned about all we could and having set up our planes, we were challenged to square up a poplar board using only our planes.  The prize was a set of books and other items.  I didn't win, but I did learn a lot about using my planes.  I had the books already anyway. 

Scraping

We had time to get in a little extra information and demos on scraping.  We began with sharpening the card scraper.  Chris' method is, he says, the culmination of tests of numerous methods designed for not having much equipment.

You need to flatten both faces and remove the burr that is there.  File the edge at 90 degrees with a file; he mounts the card in the saw kerf in a block of wood.  Only file on the push stroke.  Then he sharpens the edge on stones, holding it at 90 degrees by pressing it against a block of wood.  He starts at 1000 grit, then goes to 4000 and sometimes 8000 grit for edge retention.  He then uses the ruler trick to sharpen the four faces.  Following this, he rubs the edges with a burnisher to push the metal upward and make it easier to turn.  Then he burnishes the end of each edge to turn a hook on each side.  The angle doesn't matter that much.  Use fairly firm downward pressure.  Use as many strokes as you need.  Use a good burnisher.  He does not like the one made by Crown.  The Veritas burnisher works well. 

When using the card scraper, you can either push or pull.  You should get small shavings when you do so, not dust.

Scraper Plane

You use a scraper plane to get a flat surface with any direction of the wood.  Flatten the back of the plane with 1000 grit.  Primary bevel is 45 degrees; secondary bevel is 50 degrees.  A hook on the blade is optional but easy to do.  Use a burnisher at the bevel, then raise it 5 degrees, then do it again.  Put the hook on the back side of the blade.  The Veritas burnisher put a quick hook on the Stanley no. 80 Chris was using for the demonstration.  He used the ruler trick on the back of the blade before putting on the hook.


Wrap Up

And that was the class--two days full of valuable information and hands on practice.  I learned more than I could absorb at the time, which is why I took such detailed notes.  If you get the chance to do this class, take it.  But if you can't get there, then these notes should help you get much of its value.

Happy woodworking!

Norm

Learning to Plane - Part V

Chris Schwarz argues that you need a dedicated area for plane sharpening.  After using your planes, dust them off and oil them with either Camilla or Jojoba oil.  The oils won't affect your finish.  In fact, Chris even applies the oil directly to difficult wood or knots to ease planing.  To wax the soles of his planes, Chris uses parafin.  It's essentially mineral spirits.  He waxes after every piece of wood.

Assessing the Wood

Before you plane, look at the end grain.  The bark side of the board is the side where the rings are convex, that is, toward the outside of the tree.  The heart side is where they are concave, or smaller in diameter.  Wood usually cups on the bark side and bows on the heart side.  You tend to get a smooth surface when you plane with the grain.  You can determine that by looking at the edge of the board.  If the grain is rising in one direction, that is the direction you want to plane.  It's like rubbing the fur on the back of a cat; you want to cut with the grain and not against it, which will lead to tearout.  You can also judge from the end grain.  On the heart side of the board, plane from the bottom of the cathedral pattern toward its top.  On the bark side, plane from the point of the cathedral to its bottom.  You would use the same methods to determine the direction for jointing and planing with power tools.  For quartersawn wood, you have to look at the edges; you can't tell from the end grain what direction you should plane.

Assuming the board is cupped, put the bark side down and plane the heart side first.  Once the heart side is flat, flip the board and you can plane without using shims.  When using an end vise, don't put a lot of pressure on the board; the vise can bend it.


Traversing with a Fore Plane

Open the mouth of the plane and use a wide radius (say 8 inches) on the blade.  Plane across the grain.  You can remove lots of wood quickly in this way.  Before traversing (which is what planing across the grain is called), knock off the rear edge of the board, usually with a block plane, to avoid spelching (tearout).

Set the plane on its edge across the board to confirm the existence of a hill.  To remove a hill in the center of the board, plane with the grain to create a slight valley, then traverse the board.  When Chris traverses, he pushes the plane across the board and then pulls it back in a very rapid motion.

Winding Sticks

I took my winding sticks from Philly Planes to the workshop and Chris used those to demonstrate their use.  However, he uses extruded aluminum strips from Home Depot and spray paints one of them black.  Twenty-four to thirty-six inches is a good length.  You can sight at several places on a long board, but you generally don't need to do so.  If you have wind (i.e., the board is twisted), it usually means that two opposite corners are high and you need to plane them.

There's more to tell.  I'll cover it next time.

Norm

Learning to Plane - Part IV

Setting Up Planes

There really isn't much setup to do on bevel-up planes, which is one of the reasons they are increasingly popular, especially with beginning woodworkers.  Chris Schwarz didn't have much to offer on setting them up, except to adjust the mouth tightly for difficult woods. 

Bevel-down planes, on the other hand, usually have chipbreakers.  Chris offered that a dished chipbreaker can be honed using a honing guide.  Most people, he said, set the chipbreaker too close to the edge of the blade.  One-sixteenth of an inch is a good distance, except for difficult woods, when it should be set closer, such as one thirty-second of an inch.  Lie-Nielsen makes a standard 45-degree frog but also 50 and 55 degree frogs for difficult woods for all its planes.

Planes are tuned either to remove material, straighten a board or prepare it for finishing.  The jack or fore plane is generally used to remove material.  These are the #5 and #6 planes.  For stock removal, set the plane with a wide open mouth, say 1/16 inch.  Use a curved blade with and 8-10 inch radius.  Back the chipbreaker off; get it behind the curve of the blade.  Use a low blade pitch, say 45 degrees.  For a bevel up plane, set it even lower.

The jointer plane's main job is to straighten a board once excess material has been removed.  Jointer planes are #7 and #8 and run from 18 to 24 inches in length.  You tighten the mouth of a jointer plane; you want to get shavings about .004 or .005 inches thick, so set the mouth at about .003 inches.  Give the jointer plane a strong curve, say .006-.008 inches from the top of the arc to a line drawn between the edges of the blade.  Use an even stronger arc for a bevel-up plane and a 45 to 50 degree pitch.  On a bevel-down plane, the chipbreaker should be backed off to, say, 1/16 inch. 

Smoothing planes should be set with the mouth as tight as possible, .003-.004 inch.  Use a feeler gauge to assess this.  A narrow mouth reduces tearout.  Use a very slight curve to the blade, .002-.003 inches.  Keep the chipbreaker set so it won't clog; 3/32 inch is where Chris starts.  The pitch of the blade can be from 45 to 65 degrees.  The higher the pitch, the less tearing.  Plane softwoods at a lower angle, hardwoods at a higher angle.

Chris argues that it's good practice to use the jack plane and jointer plane as much as possible for smoothing to avoid unnecessary work with the smoother.

Next I'll talk about putting the planes to work on an actual piece of wood.

Norm

Learning to Plane - Part III

When Should You Regrind a Bevel?

You only need to regrind after you have honed your secondary bevel, say, six times, if it is taking a long time to get a good polish, the secondary bevel has grown large or if you've hit a nail or dropped the blade and nicked it.  Chris Schwarz grinds on sandpaper, starting with 80 grit and moving to 120 grit.  Grind until the secondary bevel is small, unless it has been damaged.  In the latter case, grind it off entirely.

If you need to regrind on a grinder, grind the point flat, because the point is the most likely place for the blade to burn.  Alternatively, you can quench the blade while grinding.  If you burn a blade blue, hone it and use it anyway.  It will need honing sooner than if it had not been burned, but otherwise it will be OK.

When using a grinder, Chris draws a square line with a magic marker--red shows up best.  Then he grinds the bevel flat using an 80 grit wheel.  He prefers the gray wheels over the white ones because the gray breaks down easier and stays cooler.

How do you tell if your blade is dull?  When you can see a bright line across the end of the blade.  If it's sharp, you can't see the end at all.

Cambering Blades

Some planes will have straight blades.  Others, especially those designed to flatten boards, should have a curve to them.  Jack planes, when set up as fore planes, should have a curve with an eight inch radius.  You would create this camber on the grinder.  Jointer or try planes can be straight or curved.  Chris prefers them curved.  They get a much smaller curve, about .006 inch from the center of the curve to the edge of the blade.  This would work out to a radius of about 37.5 feet.  Bench planes get a smaller curve yet, about .002 or .003 inch.  In case the case of jointer and bench planes, you grind the blade flat, then hone it curved.  The goal is to have enough curve to the blade to avoid tracks and still take a good shaving.

Chris's method is to use a honing guide that allows some rocking motion side to side.  He holds the blade square against the 1000 grit stone, putting heavier pressure on one outside edge, then pulling the blade 10 times.  Then he shifts the heavy pressure to the other side and pulls 10 times.  After that, he moves the pressure to the midpoint between one side and the center and pulls the blade 5 times, repeating that motion on the other side.  Finally, he puts the pressure in the center of the blade and gives it two pulls.  This sequence is then repeated on the 4000 and 8000 grit stones.  There is no need to repeat the ruler trick on the back of the blade.  Stropping is about like using the 8000 grit stone.  Stropping the blade is unnecessary after honing and may even lead to rounding over the bevel.

You also want to trim the corners of the blade.  This only needs to be done the first time you set up the blade and is done by pushing a fine file against the corner of the blade, using a rounding motion.  This helps prevent blade tracks on your work.

Thanks to Jeff Fleisher for these photos.  Next time I'll cover setting up planes.

Norm

A Successful Show

Friday and Saturday, I participated in a Lie-Nielsen demonstration of their outstanding hand tools held at Exotic Lumber in Gaithersburg, Maryland. I was there to help take orders, for which I was paid in credits toward Lie-Nielsen tools. I had a blast! I had never done retailing before and I found that I liked the interaction with the customers, chatting about the tools (about which I learned a lot during the show) and about woodworking in general. All told, I was there and on my feet 10 hours and never even thought of getting tired! I estimate that I sold somewhere in the vicinity of $10,000 worth of tools during the two days, my two biggest orders being $1,340 and $1,175.

I also made some purchases. My first was not from Lie-Nielsen but from Exotic Lumber, whose space we were using. They have an amazing array of special lumbers from around the world, especially Africa. Though it is a long drive for me, it will be a good place to go for special needs in the future. I bought a nice zebrawood board with straight and pronounced grain that I think will make a pretty box. I also bought a burnisher for my card scraper from Czech Edge Hand Tools; it has a beautiful kingwood handle, but what I really liked about it was the size and feel of the handle, which was better, in my opinion, than the Lie-Nielsen version.

At the end of the show, I made a few purchases from Lie-Nielsen. The major items were a low-angle adjustable mouth block plane, which was paid for by my earnings, and a 15 ppi (points per inch) dovetail saw. Lie-Nielsen has offers two dovetail saws, the one I bought and a progressive pitch model, with teeth that run from 16 ppi to 9 ppi. I tried them both on a piece of cherry and much preferred the 15 ppi model; the progressive pitch model was actually harder to start and tended to slip out of position on the first stroke. The photo shows my new acquisitions.

Norm

Learning to Sharpen Chisels

Let's face it, I never started out to be a hand tool guy. There is something about power tools that just draws me to them. Among other things, they have (for me, at least) a mystique about being precise in application. Though I'm finding out they are only as precise as their user, still, the whole idea of hand tools leaves me with the impression of their being susceptible to misuse by my unpracticed hands.

Be that as it may, I have already found chisels handy enough (OK, essential) that I broke down and bought a set. I didn't pop for an expensive set but instead caught Woodcraft's Wood River brand when it was on sale. What I didn't count on was the fact that while they are not exactly dull when they arrive, they do need a basic sharpening to make them really useful.

The first thing I did was purchase a basic grinder, which is needed to shape the front of the blade. But after asking my friend Jeff Fleisher how to sharpen them properly, he put me on to an article about David Charlesworth's method. Finally, today I drove out to his shop in New Market, Virginia, and he helped me sharpen the first chisel so I could see and experience the process for myself.

The process is fairly straightforward, if a little tedious when doing it for the first time. Charlesworth's method calls for a series of Japanese waterstones. You first flatten the back (flat) side of the chisel to remove all the tooling marks as it comes from the factory. This involves working the back of the chisel up and down and then back and forth on either a 200 grit stone or wet or dry sandpaper laid wet on a sheet of glass. When the factory marks have been removed, only slight scratches from the stone or sandpaper should remain. You then move to a 1200 grit stone that has been wetted and repeat the procedure, working from there to a 4000 grit stone and finally an 8000 grit stone on which a slurry has been made with a nagura stone. By the time this has been done, few if any scratches should remain and the back of the chisel should be both flat and scratch free.

The next step is to work on the beveled side of the chisel blade. Here you turn to the fine wheel on a slow grinder. You mark the beveled edge with a Sharpie, then grind away the marked metal, holding the chisel at precisely 90 degrees to the wheel. When all the marking has been ground away, you should have a slightly concave surface on the bevel.

The final stage is to put a fine edge on the chisel. This is done on the 8000 grit stone using a device that holds the chisel blade at 30 degrees to the stone. Five or six pulls is all that is needed. Then you increase the angle slightly and repeat the process, again five or six times. All that's left now is to check and see if there's a burr on the flat side of the chisel and, if so, remove it by pulling the blade across the stone a few times.

The finished blade should be able to cut the top of your fingernail when gently pushed against it or should be able to shave a piece of soft wood like pine smoothly and cleanly.

So, I now have one sharp chisel. And a lot of work to do to get the rest of them ready for real use. The good news is, once the backs are flattened (the slow part of the process), I should not need to do more than touch up the bevels for a long time to come!

Norm