Al expounds on the Federal period, particularly the furniture of its time, while Tommy demonstrates the Federal-style table he is making, showing off its embellishment and foot. The conversation turns to how to best begin a project. Al recounts the steps he takes when he first gets a piece of wood, and Tommy hits the marker board to show how he diagrams a piece of work.

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Using a pencil Tommy transfers the outline of the writing surface pin onto one of the case's bombe sides. Shaving by shaving he chisels out the dovetail to receive the pin. While his hands move as if guided from Above, you can tell from his chatter that he's really sweating it. Cleaning out a dovetail on a priceless work is nerve-racking, but Tommy handles it with his usual cool. Thank God he has something great to look at when he's done.

I left off with the individual boards which comprise the two drawer cases. I moved on, trimmed the boards and created the joinery for the sides and top and bottom. The joinery will consist of a rabbet with some small reinforcement. I need to accurately trim the sides of the dual drawer case since there is an allowance for the middle drawer divider which needs to be taken into consideration. The accuracy revolves around the fact that I want each of the three drawers to be of the same general height.The dado for this particular divider will also be stopped, end just short of the front of the drawer case. This allows me to have the upper drawer have a lower lip to meet with the bottom drawer, hiding the center divider in the process.

So, during one of my recent trips to Rockler, I picked up a blank labeled "acrylic acetate". The outside looked like white plastic with some black spray paint on it. Meh. I wasn't impressed, but I wanted to try turning this stuff.

It turned easily until the vibrations set in on my craptastic Harbor Freight lathe. I had a blowout. Hence the purpleheart patch. ;-)

I've got two pics trying to show the pearlescent effect. Neither does a great job. You have to see it in person to really appreciate the beauty.

After turning I sanded to 600 grit W/D paper (wet) and polished with Meguiar's PlastX plastic polish. No need for fancy polishing pads or any crap like that. 600 grit and the polish got it shiny and smooth.

I'm going to pick up some more of this stuff once my new mini lathe arrives. Hopefully it'll be more stable than the one I have now.

I'll try not to get into techno-garble but obviously we are all internet users here. I've started using an online app called Google Notebooks and it is a great tool for researching and sharing ideas and discoveries. I've been using it to organize notes and online info about tools and woodworking. You can publish your notebooks as webpages for others to use and also set it up to have multiple users add to the notebooks. The best thing is that it is easy to use and edit. Here are some notebooks I've made public Layout tools Workbenches Saws If anyone would like to join me in building these notebooks, just email me and I will add you to the list of editors. As these are filled in, it will create a great resource that is fully searchable.

We played with some saws on Friday, the tenth day of my 12 week course.

As usual some of the students had turned up ...

I've been tasked with reconstructing the wood dash panel from a vintage British automobile which is currently being restored. The dash was previously veneered and after about thirty five years, it succumbed to the elements and began to delaminate. Along with this, the original veneered surfaces were cracked and flaking off. This is a type of work I have not done before. The only effective way to remove the veneer completely and uniformly was with a sanding machine. After performing this on either side of the dash panel, I had clean wood underneath. The wood was high grade plywood with many plies. I judiciously re-laminated the laminations which were separating, which was no small feat. Once I was completely satisfied that the plywood dash had regained its strength and rigidity I began to plan the application of veneers both on the face and back of the dash panel.

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Rockler currently has their 4-in-1 screwdriver kit on sale for $5.99 so I grabbed a couple. I needed some screwdrivers for work anyway, and thought this would be a great chance to try turning one myself.

The handle is cherry, and the black lines were done by wire burning, a technique where a stiff piece of steel wire is held in a groove cut into the spinning workpiece. Hold the wire in the groove until it starts to smoke.

The hole for the shaft is made with a 5/8 spade bit on my craptastic drill press. The hole isn't perfectly straight, unfortunately. I really need a new drill press! The head of the unit shifts when pressed down into the cut causing an angled hole.

The finish is a 3# cut of amber shellac applied over some BLO (boiled linseed oil). I rubbed the shellac into the spinning handle on the lathe. Gave it a wonderful hand rubbed look.

If you get a chance, give one of these screwdrivers a try. Lots of fun and useful too!

First off - let me apologize for not posting anything for a few weeks. I have been pretty busy in the shop - working on some very cool planes and some “other work”. I will be posting about it in the next few weeks.

I have recently completed a set of 4 rebate planes - 1/2", 3/4", 1" and 1-1/4" widths. The sides and sole are 01 tool steel and the infill is Brazilian Rosewood. It has been a while since I have made a set of these - and I have to say it was a lot of fun.




They are a matching set in that all the Brazilian Rosewood came from the same piece - but I tried to maximize some of the figure by using it where it will be most visible. The 1-1/4" rebate is a good example with that wonderful swirl at the front.







Most of the wedges have either some burl or curl in them.

Most of you know how much I like Andre Roubo's "L'Art du Menuisier" – probably the best and most complete books on woodworking from the 18th century. Heck, I've even considered taking up my French studies again just to be able to read it (more on that later).

However, getting copies of Roubo in this country has been nothing less than frustrating. I got a couple modern reprints through a bookstore in Quebec. And several French web sites carry them (with ghastly hoops to jump through to get them into this country). And all of my efforts to get a reliable and reasonable source in North America have proved fruitless.

Until today.

Thanks entirely to Joel Moskowitz at Tools for Working Wood, reprints of all five volumes of Roubo are now available for sale. These books are immense fun to page through, even if you don't read French. That's because the plates – hundreds and hundreds of glorious line drawings – will teach you more about furniture, marquetry and hand tools than I can. Plus you likely will be inspired to build one of Roubo's benches once you see them in use throughout the book. That's what sold me.

The volumes sell for $70 to $90, which sounds like a lot, but it's worth it. When I was importing these from Canada, that's about what I ended up paying (maybe a bit more once you included international fees). These books will be with you forever, and who knows how long they'll be available.

The other news is that we have some more exciting news about Roubo that we'll be announcing on my personal blog this weekend, LostArtPress.com. This is a personal project that I and another woodworker have been slaving over for a while. So do drop by LostArtPress.com this weekend and check it out. I think you'll be glad you did.

— Christopher Schwarz

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The Maple Tree has long been associated with The independence of mind, extra ordinary person, full of imagination and originality. The lighter base wood is Birch and Birch symbolizes birth and new beginnings and is feminine in nature.

The dark wood is dyed to achieve the color much like dyed wool.

I handcraft every ring to bring out the warmth and honesty of the wood. Each ring is hand formed from thin layers of wood chosen for its grain and durability.

I will make custom sizes upon request.
All you need do is visit me at: http://www.simplywoodrings.com

Hardwood floors are part of an established home?s heritage. The look of the wood is what draws a guest in and what adds warmth even on the coldest of days. When you decide to install solid wood flooring in your home or office you are not only going for that old familiar aesthetic, but you are also acknowledging that wood flooring is extremely sensible. There is a treasured stability with hard wood flooring, something that immediately elevates the value of your property. With wood flooring you give a nod to the baroque.

In addition to looking beautiful and lush, wood floors are also unquestionably good for the environment. The flooring is, in a sense, insulation between your home and the elements. This insulation is said to be sixteen times as powerful as steel and four hundred fifteen times more productive than steel. Most solid wood flooring is made in America and therefore must adhere to the nation?s strict environmental codes and ordinances.

What grain of wood you select will determine the overall character of your floor. Nothing exudes dependability like oak solid wood flooring. Within each plank you see the life of the tree: the knots and burrs. Another benefit to choosing solid oak flooring is that it does not scratch easily. With proper care, the warmth of the color will last a very long time.

Engineered oak wood flooring is a less expensive option. You get the same look and character, but the installation is much easier. In most cases nails or screws are not necessary, all that you need is a foam underlay. Since most of the engineered oak wood flooring is made in China some may argue that the quality is lower.

While some of the heartiness of solid oak wood flooring may be lost, and the value of your home or business may not increase as much, the appearance is not sacrificed and most people rarely can detect the difference. The greatest difference is in the cost and the installation. A professional with elaborate and specialized tools must install solid oak wood flooring.

A benefit for choosing engineered oak wood flooring is that you have the option of putting in the floor yourself. With the do it yourself craze at full tilt many new and established homeowners are getting excited about improvement projects that can be accomplished within a weekend.

Most major chain home improvement centers not only offer a large variety of engineered oak wood flooring, but they are now offering workshops that will guide you through the step by step process. An added bonus to doing it yourself is that now under floor heating is becoming mainstream. In the same workshop where you learn about wood flooring you can learn about the under floor heat process and how energy efficient a row of heating coils can be.

Choosing to upgrade your home or business flooring is simple, and in most cases, affordable. Going with solid oak flooring or engineered oak wood flooring is up to your taste and your wallet.

Natalie Aranda writes on home improvement. Hardwood floors are part of an established home?s heritage. The look of the wood is what draws a guest in and what adds warmth even on the coldest of days. When you decide to install solid wood flooring in your home or office you are not only going for that old familiar aesthetic, but you are also acknowledging that wood flooring is extremely sensible. What grain of wood you select will determine the overall character of your floor. Nothing exudes dependability like oak solid wood flooring.

Well here they are - the “mystery planes” I have been teasing about.

Here is the deal... in 1941, Norris was commissioned to make a plane to be awarded as the first prize in a furniture making competition. The recipient of the plane kept it in new condition all these years. It was sold at auction in 2006 for over £16,000. Shortly after the auction - I was commissioned to make a reproduction of this plane with one change - infilled with ebony (the original was infilled with Brazilian Rosewood).



It was a fantastic and challenging commission to say the least. The only reference I had was a series of photos and two dimensions - the overall length of 13-5/8" and the width of 2-3/8".



Norris clearly emptied the bag of tricks on this plane. The handle tilts to the left and right just like the Stanley No.10-1/4 - but it also pivots left and right.



I was also excited to try a wedged plane with an adjuster. The screw that passes through the keeper engages a brass insert in the wedge. The mechanics of this is very cool. The brass insert is offset and when the screw is tightened - it acts as a drawbore - driving the wedge tighter into the body of the plane. Very cool indeed!



After studying the photos I agreed to the commission. I also decided I would make a prototype to work out any unforeseen bugs. I did not want to “prototype” the commissioned plane. Infilling the prototype with Brazilian Rosewood seemed like a logical choice.

Everything worked without a hitch for the most part - and keeping the prototype ahead a few steps certainly helped refine the building process.

The mouth was one aspect that I really had to psych myself up for. I use what can only be described as an antiquated method - but it has always worked for me, and I did not see any reason why I should re-invent the wheel now. Here are a series of photos of cutting the mouth.



I still use a hacksaw to cut the mouth on shoulder and rebate planes. The difference with this plane is that it is 2-3/8" wide as opposed to the widest shoulder at 1-1/2". I was a little nervous.

My friend Steve had stopped in a few times as I was working on the pair of planes and he asked how I was going to do the mouth. I handed him the hacksaw. His only comment was “ I gotta see this!” I guess his response freaked me out a little bit more, so I decided to cut and file the mouth on my own (sorry Steve). I was not sure I would be able to handle an audience if I messed it all up!

As it turned out - it worked perfectly and I felt bad for not inviting Steve to be there for it. He was on hand as I was finishing it up though - and I handed him the triangular piece of waste from the sole.

Here are a few detail shots of the mouth being done;





Two of three cuts are done - the last one is the “easiest” :)

Here are some further photos of the two planes.

















I should also mention that I have decided to sell the Brazilian Rosewood filled prototype. This is only the second prototype I have sold - all the others live on my bench. This plane is marked KP30-08 on the bed - KP stands for “Konrad Prototype”. The price is $9,000.00 Cdn.

welding

This fall, our magazine is sponsoring the first-ever weekend conference devoted to hand tools and learning to use them.

We're calling it the Woodworking in America conference, and we'll be bringing together the country's best hand-tool woodworkers and manufacturers for a symposium in Berea, Ky., on Nov. 14-16.

There will be more than 40 short classes on tools and techniques during the long weekend, plus a marketplace where toolmakers can display (and sell) their wares, social events with the demonstrators and toolmakers and more.

So who is going to be there? Here's the list of people who have agreed to teach seminars during Woodworking in America as of this date (with more to come):

Roy Underhill: Known as "St. Roy" to the legion of fans who watch "The Woodwright's Shop" on PBS, Roy worked at Colonial Williamsburg and then launched his show about traditional hand tools.

Frank Klausz: One of the country's consummate craftsmen, Frank is a professional New Jersey cabinetmaker who trained in Hungary and has a lifetime of experience with the full range of handwork.

Michael Dunbar: Founder of The Windsor Institute, Michael has single handedly revived the craft of building Windsor chairs, has trained thousands of woodworkers and is a passionate student of the art and history of handcraft.

Adam Cherubini: The author of Popular Woodworking's popular "Arts & Mysteries" column, Adam is a devoted 18th-century woodworker who builds period pieces using period tools.

James Blauvelt: A Connecticut cabinetmaker, joiner and carpenter, James owns Bluefield Joiners and is a student and teacher of Japanese tools and traditions.

Robin Lee: The president of Lee Valley Tools in Ottawa, Ontario, Robin has been a driving force behind the expansion of the Veritas line of premium handplanes and a caretaker of the company's immense tool collection.

Thomas Lie-Nielsen: The founder of Lie-Nielsen Toolworks in Warren, Me., Thomas has been making and selling premium traditional hand tools for 27 years. Thomas's company was the trailblazer in reviving many traditional forms of tools that had been lost.

Larry Williams and Don McConnell: Two of the principals behind Clark & Williams in Eureka Springs, Ark., Larry and Don are bottomless wells of information about traditional tools and their workings. Both are accomplished woodworkers, planemakers and tool historians.

John Economaki: The founder of Bridge City Tool Works in Portland, Ore., John has long been a pioneer in developing new (and very beautiful) forms of hand tools for woodworkers.

Konrad Sauer: The owner of Sauer & Steiner Toolworks in Ontario, Konrad is one of the leading makers of custom infill handplanes.

Wayne Anderson:Wayne specializes in designing and building custom infill handplanes that are deeply rooted in the past but are each a completely original work of art.

Ron Hock: One of the earliest and most important players in the revival of handtools, Ron makes high-quality replacement plane irons, chipbreakers and marking knives in Ft. Bragg, Calif.

Mike Wenzloff: The founder of Wenzloff & Sons sawmakers in Forest Grove, Ore., Mike is a long-time woodworker and expert in saws and saw sharpening. His premium saw business has exploded in the last two years.

Joel Moskowitz: The founder of Tools for Working Wood and an expert on woodworking history, Joel has recently been making many traditional hand tools, as well as selling them through his catalog and web site.

Clarence Blanchard: The publisher of "The Fine Tool Journal" and the president of Brown Auction Services, Clarence sees more old tools in a week than most of us see in a lifetime.

Kevin Drake: After studying under James Krenov at the College of the Redwoods, Kevin founded Glen-Drake Toolworks, where he combines woodworking, toolmaking and education. His innovative tools have received numerous awards; we named his Tite-Mark one of the "Best 12 Tools Ever." 

If you are interested in attending, please visit the web site that is dedicated to this conference at WoodworkinginAmerica.com and sign up for the conference's newsletter (the sign-up box is on the top right of the page). You'll then be the first to be notified of when registration will open (it will be before July 1) and the pricing for this event.

Attendance will be limited to a few hundred people (we want to keep the event intimate and manageable), so be sure to register as soon as slots become available. We are expecting the conference to sell out.

There are more announcements and surprises ahead that I cannot share with you right now, so please stay tuned to the blog and the conference's newsletter.

— Christopher Schwarz

Hi Folks
Finished another little video - this one is making a raised panel with one of my planes.
Here's the vid.....



Also, in shock "not plane related" news, I've been re-finishing a guitar of mine. It is a Fender Telecaster that I've had for years - it has a horrible butterscotch finish that was one part plastic, one part toffee. You could just about make out there was wood under the finish - but only just. One day I chipped the varnish off the corner and it revealed some delightful grain figuring. So I continued to pick away at the varnish until it was bare - and it was beautiful!
So I have now sanded the finish completely off and replaced it with an oil finish. The figure is spectacular! I have just got to re-assemble the guitar and I'll take some more photo's.
Cheers
Philly

Doug Stowe has up a new article on the therapeutic value of creative manual labor such as hand tool woodworking. He has some food for thought that many of us can back up from personal experience even if we don't understand the technical and chemical processes involved.

Here is a quote from the article: "By getting lost in our work, transcending the sense of self, losing all track of time in our creative efforts we generate the same neurohormones that we excite through mind altering drugs and alcohol... We ignore the needs of our children for creative expression only to introduce and enforce their tragic addiction to other things."  read more »

The wood for this ring is from a tree which is commonly known as the “Tree of Heaven”. It is the tree that has taken on the symbolism for what it is to be an immigrant in America in the book “A tree grows in Brooklyn” by Betty Smith. Anyone who has ever come in contact with this tree will remember it. The journey to learn more about this tree has led me to learn more about myself. It was the long forgotten memories and dreams of a little boy that this piece has allowed me to rediscover.



The base wood is walnut which represents passion and intellect. The crème colored wood ailanthus (Tree of heaven) celebrates the spirit to overcome all life throws at you.
http://www.simplywoodrings.com

This ring is made of salvaged walnut and a salvaged diamond to make a heart felt wood engagement ring. Contact me via email Here.

Chisels, turning tools, etc, all need sharpening. Usually fresh out of the box.

To completely remake an edge, my bench grinder gets the right shape going, and for repeated honing I have a fine diamond tool. But what about in-between? What to use after the grinder, but before the diamond hone?
I picked up a cheap "Sharpening Stone" from Harbor Freight. This thing is NOT one of their "gems". At 99c (with a coupon) it was still too expensive.

The stone, Item #07345, is labeled as "Superior Wear-Resistant Stone Sharpens Quickly, Evenly And Efficiently To Give You Sharper, Safer Edges" (poor capitalization theirs). It's crap.

The sharpening material dissolves with sharpening oil! Running a tool across it quickly removes the gray material exposing the white core sandstone.

Yes, sandstone.

The gray material is just a thin coating on top of a sandstone brick. Ugh.

I got one use out of this tool, sharpening my 3 chisels, before I had to toss it.

So a word to the wise: Spend the money and get a quality stone. Oilstone, waterstone, whatever. Just avoid this useless waste of space.

Here are pics of the completed Plane cabinet.  I haven?t forgot the issue that was raised in the comments section related to ?ramping? the mortis  I will get back to that when I have something intelligent to say.  Here are some ?learning points? I got from finishing this project. 

I had a problem installing the molding around the lid.  The problem started when I discovered that the lid was a hair too narrow in width, meaning the molding would not go over the box.   As with most of my mistakes I have no idea how this happened.   No problem, I figured I would plane a shallow rabbet into the area of the molding  that went over the box.  This worked.  Great , on my way to my next mistake.

When making the molding for the lid of the plane cabinet, I thought it would look cool to angle the outside edge of the molding. Not a big deal, just run a plane on half of the molding along it's length. The result, the molding is thick where it is nailed to the lid and tapered where it covers the box.  Being very proud of my use of my planes I cut the mitres for the corners and put my new shooting board to work.

That's when my next mistake appeared.  When trying to plane the mitre I could not get a perfect 45 degree joint.  I would run the plane on the mitre and it made a nice cut.  I put the two pieces together which did not result in a tight joint.  I continued to repeat this process getting the same result.  As much as I tried to get a straight mitre, and as much as I checked and rechecked the trueness of the shooting board I could not get the damn thing right!  Then I realized that I had created a compound mitre by tapering the molding before making the mitres.   The molding sat on the shooting board at a non 45 degree angle causing the problem.  I am sure there are a number of  people saying ?no kidding? or some variation?  I should have waited until the molding was attached to the box then used the plane to taper. Once again a time consuming mistake but lesson learned.  And once again, it wasn't the tools.

I got cast iron handles from Lee Valley that came with wood screws. I was concerned that the weight of the cabinet full of planes could be too much for the screws.  I consulted Chris who said "since they are not my planes...Go for it!" I chose instead to use brass machine bolts with nuts and washers.

Oh, one last thing. The raised panel moved inside the lid frame. To solve this issue, I shot a brad into the center bottom area of the inside side of the lid, stopping this movement. I put a coat of oil onto the walnut then took 600 grit sandpaper and sanded a second coat of oil into the walnut. This leaves a touch-ably smooth surface.  When the oil is completely dry I will add two coats of varnish.

-John

About a decade ago, my boss Steve Shanesy told me something about design that knocked me flat. When he was a struggling custom furniture maker, he took some time off to do something that few people do.

Create a new style of furniture.

That is one of the most ambitious personal projects I could imagine. I wonder if there has there been a new style of furniture created in my lifetime. Does James Krenov’s work constitute a new style? Sam Maloof? George Nakashima? I don’t know the answer to this question, but I do know how one mouth-breather of a woodworker (me) goes about it.

And because I never tire of hearing how other people design pieces, I thought I’d share with you the convoluted path I’m taking this week to make a simple thing for our fall 2008 issue.

I like old furniture – anything from Ancient Egypt to World War II interests me greatly. So when I set out to build something I hit the books to look at as many examples of furniture and decorative objects from that period as I can. In this case, we decided to build an 18th-century wall cabinet for the fall issue, so I cracked open all my books from Wallace Nutting, particularly “A Furniture Treasury.” This out-of-print book is available in many forms and is fairly inexpensive. I paid $20 for my two-volume set at Half-Price Books.

I might not look at wall cabinets when I scan these books. I look at lots of casework pieces and their proportions, mouldings and the arrangement of the components, such rails and stiles from doors.

When I’m saturated (a few trips through the treasury will do that), I’ll start sketching. It’s not formal. I just draw without regard to perfectly straight lines or dimensions. I sketch in the car while waiting for the kids to finish track practice. Or in the few minutes of peace I get between the bedtimes of the two kids. I sketch things that I’m sure won’t work just to give them their day in ink.

The more examples I draw, the better the chance I’ll hit something I really like. I don’t use the Golden Section or any other mathematical formula. It’s all gut.

Then I fire up a CAD program on my laptop and try to turn the sketches into something that can be built and has some dimensions that make sense – a dining table that’s 30” high, for example.

While In CAD I’ll make a few variations that take advantage of the cut-and-paste power of the program. I’ll move the drawers and doors around. Add a cupholder. With this wall cabinet I tried it with two doors (like the Nutting original), one door, then a door with a drawer.

Then I show the CAD drawings to others and ask them which ones they like. Why they like it isn’t as important – though I always ask. Maddy, my 12-year-old, liked the two-door version of this cabinet because of the symmetry and that you could display two contrasting pieces of pottery behind the glass panes. Katy, the 8-year-old, liked the drawer because it could be used to “hold little things.” Lucy, my wife, declined to put a dog in that fight.

Next stop: If I have time, I’ll knock together a prototype in poplar to see if it looks awkward. Prototyping always pays off in two ways: I make small adjustments that improve the design, and I’ll typically keep the prototype for our family.

— Christopher Schwarz