"Two peas in a pod"




For that couple that have that unique bond of having so much in common. I have made this set "Two peas in a pod".

The Box is made of White Oak wood and Red Oak wood.

The rings shown are single wood Walnut (men's) and Mahogany (women's)

Click Here To See The Listing.

In Part Two of the federal table wrap-up, Tommy talks to Steve about cutting the banding with a table saw. Then, Tommy drops by the shop to see what Eli is working on. With the table finished, the next project is already underway.

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Our annual exhibition is taking place in Nara from 1st to 6th May.

Craft and Furniture Exhibition of Gifu Academy of Forest Science and Culture
1-6 May, 2oo8
10:00-17:00
Nara-machi Monogatari Kan
2-1 Nakashin-ya Machi, Nara, Japan


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Last week the second year students finished their works for the exhibition and presented them in front of the teachers.
They are requested to make their original products according to what they learned during their first year.
They need to produce them in a batch within a limited shedule, calculate the cost and assess their productivity.
This 'merchandising' lesson is a part of our curriculum.

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The venue, Nara-machi Monogatari Kan is in the city centre of the old capital Nara. Hundreds of people come and see our exhibition every day. Students show their works to the public for the first time and receive many comments from them.
Please come and see our exhibition. Students are waiting for your compliments!

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Unique oval floor lamps by Ken-ichi Matsuoka


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Plates by Hajime Hoshino. Designed for his grand child.


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Stools by Atsushi Yokoi. He was commissioned them from an adult education centre in Gifu.


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Stools for backache patients by Yosuke Ueda. Easy to stand up with handles.


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Hand mirrors by Keiichi Fukushima. Inspired by details of architecture in Hida.


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Hairpins by Mako Taniyama. An image of cherry blossom falling.


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Parquetry butter knives by Hiroshi Okabe.

Tommy and his furniture team (Steven Brown and Lance Patterson from North Bennet Street School) visit RISD Museum at the Rhode School of Design. Tommy meets with Museum Director, Hope Alswang, and Curatorial Assistant, Melissa Burchanan to discuss a priceless piece of historical furniture.

Part VI

With the foundation finally out of the way, it was time for my part to start - framing. I find framing fun, so long as it's not my regular job... and I have done it in the past, so I wasn't too nervous about doing it, except for one thing - the wall framing would be full of angles and small complications that would challenge my abilities... but then again, I like a challenge.

I started by putting together a list of materials I would need, and set out to visit suppliers to get some prices. I'm fortunate to have a large number of building supply outlets all within a close distance to where I live... I didn't get to a fraction of them and I visited two borg stores, a lumberyard associated with a nation-wide chain, 1 local franchise lumberyard (several different locations, but all of them are located within a 100 mile or so radius), and two locally owned lumberyards to get prices. The borg prices were not all that far out of line - but those places simply aren't set up well for putting together large loads and they were the furthest from my house, not to mention the service was basically non-existent from these two places in my experience, so I ruled them out almost immediately.

One of the two locally owned lumberyards' clerks told me that "their estimator is out on a job today - but I'll take your list and he'll get back to you first thing tomorrow"... I never heard from them again. Honestly - if they can't call me back on a larger purchase like this they either don't want or deserve my business. I did notice these guys were out of business/were bought out about a year later - I wonder why?

The national chain store lumberyard's prices were relatively high for my tastes. A friend who was also pricing out a shop told me they were by far the cheapest he had found - but he was buying a packaged garage design, vs. my "custom" order, so that may have had something to do with it.

That left two yards to visit, and these two yards became the final 'competitors' for my business - the local franchise and the other local lumberyard. The cheapest cost I found was at the local franchise store (who also happened to have the closest store), with two caveats - their lumber was of lower quality and their service wasn't all that stellar (not bad - just not stellar). The local yard was more expensive, but the quality of their material was much better... But something else happened while I was at the local yard that convinced me to go with them...

While getting a list of prices from one of the clerks, he asked the fellow behind him what the current price was on OSB, who looked at my list to see how much I was looking for. He said something like "well, for this much I think we could do $6.75" (which was 25 cents more than the other's price). He then looked over and started asking me about what I was building, and we struck up a conversation. Turns out he was the owner of the yard, and we both came from similar backgrounds... In the end, he won my business the old fashioned way. It did cost me a few hundred dollars more to do business with him, but I can say now that the price was well worth it - his little lumberyard gave me by far the best service of any I had dealt with up to then - or have since.

From there, i took my material list and divided that list up into the order needed, starting with the wall framing and roof framing, the roofing, and the trim, siding and interior work. This would allow me to pick up materials and not have to have them sit outside or be in the way while I was working on the building... Here's the very list I used:

I had decided to use 2x6 studs @ 16" O.C. (On Center) for a couple of reasons - first, for the insulation value. In the large scheme of things, they don't cost all that much more money over using 2x4's. Second, one of the main tenets of the gathering darkness that is the future is the cost of energy. It may or may not happen, but to me it's better to be over-insulated rather than under. Energy costs can become crippling - though they are "relatively" inexpensive now, that may not always be the case.

This is also the biggest reason I don't have a large amount of windows - though I may regret this decision the most of all Natural daylight is a huge bonus, but it does come at a price. There's not just the initial cost of the glazing, there's the added cost for heating to consider. I did end up bumping up the size of the windows to the next size, which I think was a good decision.

Another reason is so it holds what's nailed to it without "waves". Structurally, 2x4 studs at 24" o.c. are fine, and will easily hold up the building. You could probably get away with even less... But then any siding you nail to it, or drywall, or even plywood - will not be held straight and become wavy over time. It might not be right away - but it will happen.

Anyway, I now had the material, and it was time to start building. The very first walls I needed to build were the most complicated - the north and south ends, both having a gable; and since I was using rafters and not trusses for the roof, it meant the studs would have to be framed old-style.

I used to know how to use the a framing square, and all the functions that go with it like rafters and the like. But it's been too long, and not having used that knowledge it's long slipped from my grasp. Fortunately, I am an architect - and have access to computer drafting programs that allow me to size each stud *exactly* and help me layout their location on the top plate even though they are angled - here's the framing plan for the north wall:

You can easily see the benefit of knowing how to use a cad program here. I was able to size each individual member and provide for space for the lookouts all before lifting a nail. I printed out a copy of the above and framed up the main part of the wall (not including the lean-to part) exactly as shown on the floor of the shop, and did the same for the south end (which I will show further down). Then, it was time for an old fashioned "barn-raising" - I gathered a few friends and relatives to help me put the walls up:

Most of the time, you would build the wall so you could tip it up right where it wanted to live - but I could only get these guys together for the one day, so I built both the north and south walls to have them ready... There wasn't enough room on the slab to build them in place, so after we got the wall up we had to shimmy it down to it's final resting place and lift it up over the anchor bolts. I don't mind telling you - these walls were HEAVY! The more help the better.

A sill seal goes down first to fill small gaps between the bottom plate and the concrete foundation wall. The bottom plate is treated wood by code - this is done as it's the most likely location for water to puddle and over time rot the wood.

Once in place, the wall were roughly plumbed and then braced with 2x's tied to stakes driven in the ground or using a pair of 2x's to form a triangle on the inside. These were the only two sections of the wall I planned on tipping up like this - the rest would be built in place by myself.

Next up was the south wall:

The studs were all sized in that drawing, and I created a second drawing to help me lay out their location on the top plate:

Then it was on to putting up that wall:

After it was in place it was also roughly plumbed and bolted down to the anchor bolts in the foundation:

Once the walls were up and the help was gone, I went through and plumbed the two walls. To do this, I parked one vehicle on each side of the wall and tied a rope on each side of the wall, in a loop around the top of the stud and plate where the existing brace we had put up was located down to the bumper of the vehicle. I left a little slack in each line and using a stick, tightened the line like the cord on a bow-saw... Once the slack was all taken up, I removed the nails holding the brace and re-plumbed the wall, tightening the side it needed to go to by twisting the rope on that side more until the wall read plumb., then nailed the brace back into place. You can apply a great deal of pressure using this method, and I was able to plumb the walls around the entire building using this method.

Then it was on to the east wall (the top in the graphic below), which I framed in-place:

The headers over the windows and overhead door are triple 2x10 with a 1/2" plywood core, a diagram of which I will show in a minute... The .

This tied the north and south walls together on the east side, but I then figured should tie the west end of these sections together at the spot where the "main" roof butts into the "lean-to" portion of the roof - the spot labeled #7 in the graphic below:

 

This is to be the main beam for the roof at that spot, so it needed to be a pretty substantial - and straight - beam. I started by first setting up the two 6x6 columns at their planned locations that the beam would rest on (asking a beam to span 32'-0" is a bit much for traditional construction), as to split the span into thirds. A "U" shaped Simpson column base is bolted into the concrete and fastened to the column with nails and plumbed by forming a triangle with a pair of 2x4's nailed to the column to hold them in place - you can see them in the photo below (with the beam already in place):

The columns at each end are simply nailed together 2x6's that rest within the confines of the stud wall.

It was then time to construct the beam. The beam is made up in layers - first a 2x10, then a layer of 1/2" CDX plywood, then another 2x10, a second layer of CDX, and finally a third 2x10. It works out well with the layers of plywood, as then it ends up the same width as the 6x6 column it rests on:

It's great to have an air nailer for jobs like this - it would wear you out quickly nailing all of this by hand, there are a LOT of nails. Fortunately, I still had my old framing nailer from back in the day.

There was no way I was going to be able to construct the beam on the ground and lift it into place on my own, so I constructed it in place by placing the first 2x10 in place (crowned so the higher point is pointing up), holding it by nailing scraps of plywood to Then it was the next 2x10, and so on until the beam was complete:

A composite beam like this is stronger than a solid beam... the layers help guard against natural defects in the wood, and provide a more homogenous beam across it's length. It's still a bit of a stretch - and by code, these beams aren't heavy duty enough to span the entire distance - so I will add in some knee braces later in the construction process. For now, they will be enough.

To level the beam I used the old bucket of water with a clear hose trick, the same sort of one one documented here on the Taunton web site. I had tried a line level, which is what I used to determine the length of the columns, but ended up having cut the columns about 3/8" too short... Using the water level eliminates such inaccuracies - but I hadn't remembered the trick until after I had cut them. They can be a little difficult to use when you are by yourself and trying to measure a column that has nothing holding it up yet anyway, I guess... Anyway, the short columns were an easy fix with a "shim" of 3/8" plywood.

From here it was a matter of finishing up the rest of the walls and installing the sheathing, which ended up being 7/16" OSB:

There are some that don't like this product, and will only use plywood... Truth is, this material will work just fine for sheathing and is more environmentally friendly than plywood is. And - here's the real issue - it was cheaper.

For bracing, the sheathing on the four corners of the building were specially nailed to create what known as a "braced wall panel". This is done to stiffen the structure against it's natural tendency to lean. The special nailing basically means using ringshank nails 6" o.c. around the perimeter and down each stud line. Another good reason to have a nailer handy - that's a lot of nails.

One thing to remember here, which I nearly forgot:

You can't get into these corners after you've nailed the sheathing on - and if you don't, the corner will always feel cold in the winter and it will be a spot where heat can escape the envelope. Taking your time to insulate the building properly can make a HUGE difference in your heating bill, so if you are building a shop I would suggest you do this - even if you are not planning on insulating it. Someone may want to someday - and it's not much money to do now, but will cost you plenty later should you decide to heat the building.

That's probably enough for this installment. Up next - the roof!

Before Tommy can get started cutting and shaping the pigeonhole assembly he needs to select the style and get a 1:1 scale plan together. Tommy walks us through his thought process on selecting the style and how he preps to cut.

Yesterday I faced my greatest challenge as a woodworker.

I wasn't even in my shop when I realized I was in this spot of bother. I was at my desk at work.

It was the space bar that got me.

As my right thumb hit the space bar the electrical grid of my body communicated that something was rotten in the state of Thumbsville. Yep....little splinter in my big right thumb.

I don't think I visited the shop yesterday morning so somehow a sliver of cherry had spent the night with me, living just under the surface of my thumb.

Normally, Gail is my splinter removal girl. However, less than 24 hours before this she had flown to San Francisco to visit her baby sister. It is interesting, because in our 12 years together this is the first time we have been apart for any reason other than my business travel. In other words, although we’ve spent weeks apart with my travels to Viet Nam, China, Hong Kong, Germany, Spain, Belgium, France, The Netherlands, Canada, and all over the States….July of 2008 will mark the first time I’ve spent a night alone in my own house. Of course I have Peyton.

So, staring at the splinter yesterday, and realizing Gail is gone, I considered options. Gail's middle sister is a nurse with keen eyesight, but she was leaving for San Francisco that very day to join up with her two sisters. Calling her was not an option.

I thought of calling on one of my friends in the office. Except I've been married so long I think I forgot how to "hook up" with a new woman....even for splinter removal. Am I supposed to take in the results of my most recent blood test. Even then, how does the conversation begin? "Excuse me , Gladys, I know you successfully raised children, so I know you've done this before...would you mind going after some wood I have here for you????" (Wow...that would have landed me in HR... PDQ.)

So I decided I was own my own. Naturally, the situation followed the Right Hand Rule. I remember learning about this in Calculus. It means if you are right handed, you will always have to do one handed tasks with the left hand, and vice versa. My tool of choice was a thumbtack/pushpin. As I took that pushpin between my left thumb and forefinger I thought of an interesting paradox:

I'd give my left arm to be ambidextrous....

Like General Eisenhower who signaled the go ahead for Operation Overlord, fully realizing that this necessary step would still require the death and destruction of many Allied forces, I plunged the pushpin into my own Omaha Beach...my right thumb. I dug, I pried, I levered, I cried. The tears served as little magnifying glasses that easily improved my vision ten fold.

At times I pushed it deeper. At one point the delivery turned breech. Still, through the agonizing pain, I continued the pushpin torture. Suddenly, like a prairie dog in the desert or a Whack-a-Mole at Chuck E Cheese....a tiny portion of the splinter popped up. Because I am a committed nail biter, I didn't have the option of pulling it out with finger nails. My choice was to scrape and pray.

I scraped the pushpin against the side of the splinter fully expecting to see it shear off like a whisker in the graphics from a Gillette commercial. Yet, to my great joy, it did indeed pull the splinter fully out of my body.

I looked at that splinter laying on my desk in its own little biohazard containment area. And I was left wondering, "How do single guys deal with splinters?" Then the flood of memories came into my head of the woodworking adventures Gail has shared with me. They all came back...the wound scrubbing...the bandaging...the drives to the Emergency Room... scrubbing the shop floor with bleach...Gail has been an integral part of my woodworking.

So until she returns I am left with the dilemma...

Time in the shop is the perfect way to pass the time while I am alone. Yet being alone subjects my tender body to injuries that may require the assistance of trained professionals.

Finally, the solution came to me.

The Life Alert system (I've fallen and I can't get up) is on its way and will arrive tomorrow. Soon I will be able to maintain my shop independence and can stave off the attempts of those who believe I should move my work to a Group Shop.

Thank you, Life Alert.

Have you ever designed a project from scratch and tried to decide what molding profile to use on the edge of the top? Why is it some moldings make a project appear “heavy” and some make a project seem light, like it defies gravity? Here’s a web site I ran across that’s got a great article and graphics on architectural moldings. It’s written by Donald M. Rattner, Director of the Institute for the Study of Classical Architecture at the Real Estate Institute of New York University. The article is a bit technical, but I found it interesting to see the different styles of moldings and how they affect the overall look of a project. The article is focused on architectual design elements, but the basic principles apply to your projects around the house, too.

I turned a new bowl the other night. I'm looking to practice a little. I'd like to create a segmented bowl soon and thought it might be a good idea to practice on a solid piece first.


I used a piece of yellowheart (2"x6"x6") and sanded up to 600 grit sandpaper.

Boats, logs and claps - Oh MY! In Part One of the federal table wrap-up, T-Chisel visits Steve Brown, head of the Cabinet and Furniture Making Department and a 1990 graduate, of the North Bennet Street School. Steve provides a little last-minute how-to information on getting the embellishments perfect and critiques the table as the end of this project nears.

Between bites of salad, Kevin Drake pauses to take a close look at the common chair sitting in our local Panera.
 
When I look at the chair, all I see is your typical bent-lamination, factory-made, comfortable-for-about-32-minutes padded chair.
 
But Kevin, the founder of Glen-Drake Toolworks, sees a lesson in Japanese aesthetics and composition by Japanese arts teacher Shozo Sato. What is the dominant focus for the viewer? What is the sub-dominant; the subordinate?

I was chewing my food at the beginning of the explanation, but by the end I was listening so intently that I forgot about the baguette soaking in my own mouth juices as I finally "saw" the chair.

Nothing makes me happier than to have lunch with someone whose brain is on fire with ideas different than mine. Someone who sees the same world with different eyes.

Which brings us to handsaws.

It's a common thing to read in woodworking texts that the ripping teeth in a Western saw (power- or hand-driven) are shaped like chisels. And that crosscutting teeth are shaped like knives.

But when Kevin sees sawteeth, he sees something different. He sees the function of the teeth relating more to its "rake," which is how forward or backwards each sawtooth leans. On a handsaw, teeth with the cutting face straight up have "zero rake." Teeth that lean forward into the cut have a more aggressive rake. And teeth that lean backward have a relaxed rake. (Whether the rake is "postive" or "negative" depends on whether it's a power tool or hand tool user describing it.)
 
To Kevin, Western ripping teeth don't look like chisels; they look like scrapers. Scrapers attack the work in an almost vertical position – like a zero-rake sawtooth. I can see this (see the photo at the top of this entry of a wooden model of Western sawteeth).
 
And to Kevin, it's the Japanese-style sawteeth (shown above right) that look like chisels. They lean forward like a chisel being used for paring. And I can see this, too.
 
So Kevin then asks three questions:
 
1. What type of wood scrapes better, hardwoods or softwoods? Easy. The harder the wood, the easier it scrapes.
 
2. In general, which woods are harder, Japanese woods or Western woods? Again, it's an easy question. Western woods are harder.
 
3. When you scrape a wood, is it easier to push the tool or pull it? You can do it both ways, but I definitely prefer to push the tool.
 
"That," Kevin says, "is why I prefer Western push-style saws."
 
That statement was like a Zen Buddhist riddle (called a koan) for me. Thanks Kevin. Now I'll never look at my saws (or the Panera chairs) in the same way ever again.
 
— Christopher Schwarz

P.S. This coming week (May 19 to 23) I'll be teaching at the Marc Adams School of Woodworking, so there won't be many (if any) updates to the blog. Enjoy your vacation!

John is at it again.  We just finished a brutal month of traveling and teaching and John has got back in the shop!

There is a certain order or Karma to life, and when you violate this flow events let you know.  Like the time I saw this woman and said ?when are you due? to wit she said, ?I am not pregnant!?   Now the natural order would have flowed thus, a woman appears pregnant, you keep your mouth shut until she admits being pregnant, at which time you hesitantly congratulate her.

Anyway, I am hard at the Trestle Table and got the top supports fitted to the leg via a bridle joint.  When all looked great and fit perfectly I took the assembly apart and put the final touches to it with the jointer and smoother plane.  Can you guess what I wound up with?  Yep, my final touches with the jointer and smoother caused the perfect fit to become a 1/16^th gap!  I went out of order.  I should have made the leg complete then laid out the bridle joint.  Oh well, out of the Karma flow and back to plan B.

I learn through mistakes.  I could be in the minority here but when I mess something up, I remember why and am less likely to repeat it.  Like cutting on the wrong side of a line or jamming a perfectly sharp Barr chisel into my hand and cutting a tendon.  Chris and I have been on the road a lot last month and I have not been in the shop much.  The project shows my ?learning? and I hope someday to make something without learning anything.

To fix the problem I re-sawed a ¼ inch piece of wood and glued it to the full length of one side of the leg.  After the glue up was dry, I snuck up on the fit.  It now looks like this.

Can you guess which side has the wood glued to it?  If you can, I will say that there is another learning experience in here.  If you see a small glue line it is a result of that part of the piece not being clamped down to the leg.  It could be that the piece was not flat or maybe the clamp is a bit off.  Nonetheless, next time I will ensure the ?show? side has a seamless glue joint, and yes I am already fixing that nice nick off the bottom edge.  Fortunately this will be painted!

-John

Happy Father's Day from Highland Woodworking!

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Purchase a $150 (or greater) Highland Gift Certificate by June 15, 2008, and we will give you a FREE $20 Gift Certificate as a special bonus.

Visit Highland Woodworking to order your Gift Certificate today!

As a kid, probably the first furniture style that I ever became aware of was the Prairie style, the strongly rectilinear forms that most people associate with Frank Lloyd Wright.

My dad had lots of books about architecture lying around the house that he used to help him design the two houses for our farm outside Hackett, Ark. I used these books to help me design model houses that I built using Legos and wooden blocks.

Lucky for me, Prairie-style houses and furniture are easily built with rectilinear Legos. And Wright's system of proportioning favored 2:1 ratios ? that's the ratio my wooden block set used.

The last piece of the puzzle was the cape that my mom made for me when I was 5 so I could be Superman at Halloween. After seeing photos of Wright wearing a cape, I also took to wearing my cape when I'd build houses and furniture in my room.

I know what you are thinking: It's amazing that I ever married.

In any case, I've always been drawn to Wright's aesthetic. I've visited houses of his in many cities, I've been through his furniture and papers at the Prairie Archive at the Milwaukee Art Museum, and one of the highlights of my young life was sitting in one of his original barrel chairs.

So I'm quite excited to get started on a new project for an upcoming issue of Woodworking Magazine ? an end table designed in the style of Frank Lloyd Wright. I didn't want to slavishly copy one of his designs, and so I'm hoping to build a piece that is inspired by a table at the Dana House (one of my favorite tours), and uses geometric forms found at the May House in Grand Rapids, Mich.

I've drawn a bunch of sketches, but I decided that this piece really calls out for a full-size prototype in wood. Luckily, we have some thick ash lying around the shop that's left over from a co-worker's bench-building project, so there was only a little bit of machine work required to get the parts in shape.

My favorite tool for building prototypes is my Kreg pocket-hole jig. This sucker allows me to assemble and disassemble projects quickly. I screw them together, shake my head at the stupid design choices I've made, unscrew the parts, trim them down and then start the process over.

This weekend I got the basic form real close after about three hours of work. My top started out entirely too thick. It was 2" thick and now it's more like 1-5/8". Now I just need to fuss around with the inside guts to get the geometrical designs inside looking good. My No. 1 concern is where I place the large suspended square. Because end tables are typically viewed from a standing position, I need to get it close to the floor.

I'm also a bit worried that things will look too busy inside the table if I put two of these squares in the base. Perhaps I need to go home tonight, put on my old cape (yup, I still got it) and page through some more picture books on Wright.

? Christopher Schwarz

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

When a young Thomas Lie-Nielsen set out to start making premium handplanes in the early 1980s, he launched his business with an adaptation of the Stanley No. 95 edge-trimming plane.

But Lie-Nielsen wasn't the first person to make this tool in bronze. That footnote goes to machinist Ken Wisner, who made the planes in small batches and sold them through the Garrett Wade catalog. When Wisner decided to get out of that business, he turned over his patterns to Lie-Nielsen, who took them to Maine and set up shop in a shack on his farm.

I've always wanted to own one of these Wisner planes – partly out of curiosity and partly out of my desire to own a piece of recent history. But they're hard to come by. And they're expensive when they do come up on eBay.

So this weekend, I got a little schoolgirl thrill when Jeff Skiver pulled a Wisner out of his bags of tools during a class on handplanes at the Marc Adams School of Woodworking. He wasn't looking to sell it, and I won't tell you what he paid for it. Suffice it to say that Skiver practically stole it from a starving widow who had substantial medical bills.

The Wisner is an interesting piece of work. On the one hand, the main casting was nicely polished and the machined areas were crisp and clean. But the thumbscrew on the lever cap was black plastic (the screw itself was metal, however). And the main screw that joined the lever cap, iron and body casting was an off-the-shelf hex-head screw.

Wisner signed his name on the plane with some sort of rotary tool (perhaps a Dremel). And the blade was thinner than the Lie-Nielsen version.

Of course, when you are blazing a trail like Wisner was, you have to overlook details like this and appreciate the sheer fact that this plane exists. Plus, look at what this little plane led to in Warren, Me.

And if anyone has a Wisner plane they'd like to part with (for the sake of history, natch) please drop me a line.

— Christopher Schwarz

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Day two of the show finds Tommy talking with more interesting craftsmen-and women-including: Randy Crossman who does hand-cut wooden jigsaw puzzles up to 4,000 pieces; Robert Reiss of Window Views puts photographs behind window panes; Gary Keener who makes beautiful furniture and won Best in Show 2007 for Furniture-Traditional Body of Work; Harold Shapiro and Michele Sommer-Shapiro who make furniture and do metalwork using a lot of recycled materials; Joe, a stone carver, creates fountains as well as lamps that burn oil; John Rundlett, a woodworker, specializes in toys; Holly Alderman uses photographs to create tapestries and "all kinds of things" inspired by sculpture; and Jacquelyn Rice, a self-described "artist and maker," who makes whatever she dreams up.

Every fall for the last 15 years or so, the Woodsmith Store has ended the month of September with two events — the annual Fall Fair and the start of the woodworking seminar season. This year is no exception with one small difference. This will be the first year that several of the presenters at the seminars will also be cast members on America’s newest woodworking TV show — The Woodsmith Shop on public television.

As many of you know by now, the first episode of The Woodsmith Shop will air on Iowa Public Television at 6:30pm on Friday, October 5th. And hopefully, by the end of the year when the feed will be available to the rest of the country, the show will be picked up by stations around the U.S. (For more information, go to WoodsmithShop.com. Randy Maxey will also post more about the show soon.)

The same tradition is being carried on every week during the woodworking seminars at the Woodsmith Store in Clive, Ia. They’re held each Thursday evening (from September through April) in a 200-seat auditorium with a fully-equipped shop. Seminar topics for this fall range from “Top 5 Shop-Built Router Jigs” to “Tips for Working with Plywood.” Season and single tickets are on sale now at the store. Plus, this year the one-hour seminars will be supplemented by two 4-hour hands-on workshops held in December. Space is limited to six for these sessions though, so sign up soon.

... happens at the bench using the tools you’ve made.

I have been working away on the kitchen doors these last few days, and was reminded of why I started making planes in the first place. I have spent several hours taking the final finishing passes on all the 27 door frames. It only took a few minutes of planing for me to forget about the plane as an object and focus on the plane as a working tool. I stopped thinking about the infill wood, the choice of sidewall material, the stainless steel lever cap. All I cared about was the quality of the shaving, the comfort of the handle, the balance point of the plane and where I had placed the candle butt to wax the sole. For a few blissful hours - I felt like a furniture maker.



I have been collecting quarter sawn wood for years - and it really paid off for the kitchen. All the door frames are QS walnut. In a few cases, I had entire boards that were quarter sawn - but I also dipped into my stash of really wide walnut planks to get the quarter sawn wood from the edges. It worked out perfectly because the planks were wide enough to get two 2" wide frames off each edge and still have enough material in the middle to get the single board panels I wanted.



Most of the panels were resawn from 5/4 stock to yield two 7/16" thick panels. I wanted to keep the weight down as much as possible, plus this also allowed me to bookmatch all the panels. There is a large floor to ceiling pantry where I used 5/8" thick panels. I left them a little thicker so I could put a raised panel on the inside as well.

Below are two shots of all the freshly planed frames before assembly.





To really geek out for a minute - here are some technical specs. I re-honed the blade in the A5ss 6 times without going to the grinding wheel to hollow grind.



The above photo is an attempt to show the surface reflection of the last rail I planed (click on it to enlarge). This is the type of surface on all the frames. On average, it took two sets of two overlapping passes to remove all the jointer and thickness planer marks.

The mortises were cut with a bench top hollow chisel mortiser. With over 100 mortises - this felt like an appropriate tool. The haunched tenons are 1-1/2" long and were cut on the table saw using a dado set. Again - 100+ tenons... .



I pre-finished all the raised panels. There is nothing worse than that unfinished line and ridge of dried finish that appears in the dead of winter when the panels shrink.

I am hoping to assemble all the doors over the weekend and start fitting them. Once they are fit, I can apply the finish to the frames.

The stress is showing as Tommy glues the first set of dividers into the pigeonhole assembly. A last minute save rescues days of work, but in the end Tommy's spirits soar as the painstakingly shaped dividers glide right in.

If you’re a subscriber to Woodsmith or ShopNotes magazine, or live in the state of Iowa, you probably already know that we’ve been busy around here. We’ve been working hard on a new TV show that has been airing on public television (PBS) stations in Iowa and will soon be available nationally in December.

The Woodsmith Shop is unlike any other woodworking show you’ve seen. It’s the first one to be filmed and produced (by Iowa Public Television) in High Definition. That means the picture quality is unsurpassed. You’ll see all the details of the tips and techniques we talk about on the show.

Second, The Woodsmith Shop isn’t a project-based show. What I mean is we’ll spend an entire episode talking about a particular woodworking joint, tool, or technique instead of building a project. That means you’ll get more detail about woodworking than you’ll find on any other show. And you’ll have the opportunity to download project plans and articles from our web site that are related to the show’s content.

We’ve been getting a lot of positive feedback so far from those that have seen the show. And a lot of folks nationwide are anxious to take a look. Now is the time to take a minute to email or call your local public television station and tell them you heard about The Woodsmith Shop and want to see it in your area. This link will take you to the show’s web site where you can find out if the show is airing in your area. You’ll also get a list of PBS stations in your area and a contact link for each station.

Let us know what you think of the show.

Tommy is "pumped" to be starting the upper case. In this episode, he gives a quick demonstration on how to cut the "stop dados," stressing that setting the blade on the saw at the right height is critical. Once he's done with the saw, Tommy shows how he uses hand tools, such as the router plane, to clean up the dados.

If there is one power tool that lends itself perfectly to accessories it’s the table saw. Things like push sticks and stop blocks can make using a table saw more efficient and safe. And, auxiliary fences for the miter gauge and the rip fence prevent chip out and protect the factory fence from being damaged.

Best of all, each of these accessories can easily be made in the shop. This week’s Woodsmith Woodworking Seminar focuses on seven accessories that are “must-haves.�

You’ll find a few pieces of hardware, that can be used for building jigs, for sale at the Woodsmith Podcast Store, plus a link to the seminar guide.

Jan 17…Building Drawers Using Drawer Joint Bits w/ Phil Huber

Jan 24 …Three Hand Planes Every Shop Should Have w/ Randy Maxey

Jan 31 …A Simple Shop-Made Jig for Cutting Tenons w/ Carol Beronich

Feb 7 …Table aw Set Up & Maintenance w/ Vince Ancona

Feb 14 …3 New Innovations in Joinery w/ Joel Hess

Feb 21 …12 Must-Have Finishing Supplies w/ Dennis Perkins

Feb 28 …5 Surprising Woodworking Techniques You Didn’t Know About w/ Doug Hicks

Mar 6 …Sharpening Basics: Man vs. Machine w/ Randy Maxey

Mar 13 …3 Fast Joints — All in One Hour w/ Ted Kralicek

Mar 20 …Scroll Saw Tips & Techniques w/ Linda Anderson

Mar 27 …Two Methods for Perfect Box Joints w/ Bryan Nelson

Apr 3 …Case Construction: Routing Rabbets, Dadoes & Grooves w/ Chris Fitch

Apr 10 …Mortise & Tenon — Two Variations for Making Doors w/ Dennis Perkins

Apr 17 …Hand Rubbing a Perfect Finish w/ Doug Hicks

Apr 24 …Building a Bookshelf: From Start to Finish, Part 1 w/ Phil Huber

May 1 …Building a Bookshelf: From Start to Finish, Part 2 w/ Phil Huber

Get the full schedule of upcoming seminars and descriptions at WoodworkingSeminars.com

The seminars start on January 17th and run through May 1st. Cost per seminar is $8, but the price includes a $5 $awbuck$ coupon good for any item in the Woodsmith Store (excluding seminar tickets and season tickets).

Thanks to my job and the freelance work I do for The Fine Tool Journal, I get to see a lot of specialty handplanes that most people see only in the catalogs or in one of the lusty tomes by The Sandor.

But despite getting to actually use a corebox plane and dozens of other unusual and cool forms, I tend to stick with the basics when I build. I use the jointer plane more than any other bench plane, followed by the smoothing plane and block plane. A few other specialty tools – router planes, a moving fillister and a plow plane – round out my personal set.

One plane I’ve never quite made nice with is the Stanley No. 95, the edge-trimming block plane. This tool is now made by both Veritas and Lie-Nielsen Toolworks in iron or bronze. And though the two brands have some significant differences, the basic form is the same.

The No. 95 is a block plane with a skewed blade and an integral and fixed 90° fence. The idea is that you press the fence against the face of your work and the tool planes the adjacent edge perfectly square to the face.

I’ve never been fond of the tool – I tend to use my jointer plane to dress edges square to the faces. But during the last few projects I’ve built I’ve found the tool in my hand a surprising number of times. I’ve been using it to plane solid-wood edging square and flush to plywood. I’ve been trimming face frames flush to carcases. And I’ve been dressing rails and stiles of doors and face frames before assembly.

That last task finally convinced me that the tool is a gem for a shop that blends power and hand tools. Here’s why: When I dress stock by hand, all the edges of my rails and stiles end up planed square from the jointer plane. So the No. 95 sits idle.

But when I dress my rails and stiles with a powered jointer (as I’m doing this week), the edge-trimming plane shines. The goal there is to remove the toolmarks, to keep the edges perfectly square and to not remove a lot of material. The No. 95 accomplishes all three goals with aplomb. Typically one or two light passes is all it takes to get crisp inside and outside edges on the parts for a frame-and-panel construction.

Here are a few tips for use: First, the set-up is key. The iron has to project evenly from the mouth or your edge won’t be square. Take some test passes and examine the shavings. Their thickness should be the same on both long edges. Shift the iron around until the tool makes a consistent shaving and a square edge.

Second, press down on the toe of the tool with more force than you would use with a block plane. The plane tends to want to rise out of the cut in softer woods. Also, use one hand to press the tool’s fence against the work and use the other hand to press the work against the fence on the opposite side. All this pressure ensures your cut won’t go astray, which can be trouble.

Now, despite my crush on this tool, I haven’t been able to justify getting both a left- and right-hand version, however. Because my stock is dressed with a planer, it’s true on both faces, so I can work with the No. 95’s fence on either face of the stock without worrying about grain direction. The tool can be pushed or pulled with ease.

Now if I could just find the same love for my chisel plane/paperweight I wouldn’t feel so guilt every time I open a certain drawer in my toolbox.

— Christopher Schwarz